A SKELETAL DOMAIN
So really, what does anyone expect when you get a Cannibal Corpse release handed to you? Ballads, love songs and fun? Not hardly. There's an expectation of severe brutality which the band delivers time and time again. Certainly, it comes with different levels of acceptance to one's ears, but ultimately the only thing that matters if it says Cannibal Corpse on the cover is that you know you are in for an extremely heavy ride. They are one band where even member changes have meant very, very little to the overall sound (cue the Cannibal Corpse uber fans to write in and tell me how each member's departure change the "dynamics"...shut up!). Like I said, you know what you get with these guys, but sometimes the degree of playing is better than at other times. This would be one of those times. As a fan of the band, A SKELETAL DOMAIN is by far the most musical venture the band has taken, and it's by far the most adventurous musically. I'm sure to most that don't appreciate their version of "slaughtercore" it's just noise, but to a Death Metal fan, this is one of their best efforts to date.
CONSTRICTING RAGE OF THE MERCILESS
Here's one for the stout of heart and strong of neck: New Orleans's Goatwhore have just barfed up their sixth album, and if you liked the last few releases, Constricting Rage of the Merciless is sure to appease your charred heart. If you haven't been following along, Goatwhore is sort of a supergroup, if having members of Soilent Green and Acid Bath in the ranks qualifies for that designation—and maybe it doesn't, given the incestuous nature of that city's metal scene. They started out playing pure black metal in the Norwegian style, complete with cumbersome, English-as-a-second-language song titles, but over the ensuing fifteen years, their sound has evolved to include healthy doses of thrash and death metal, and even an almost rock 'n' roll swagger here and there. As a result, when you see news items about them on websites like Blabbermouth, they tend to have laughably long descriptors. Stuff like, "New Orleans hardcore blackened-thrash death 'n' roll sludgemeisters."
The big story surrounding Arch Enemy's ninth studio album is that the band has done the impossible. They replaced their lead singer calmly, quietly, and without anybody knowing about it until it was already done—and somehow didn't miss a beat in the process. It's hard enough to replace a singer just once, but Arch Enemy has done it twice, and while there are still some people bellyaching over the loss of original vocalist Johan Liiva, it's safe to say Angela Gossow left a much bigger footprint on the band, and on metal in the new millennium. With her at the mic, Arch Enemy were one of the bands responsible for popularizing so-called "melodic death metal," if not in the mainstream, at least outside of the dank sub-basements of the underground. Plus, she reminded a new generation of female headbangers that you didn't need to be an opera singer, a goth chick, or a bassist to find a place in extreme metal.
TIBI ET IGNI
I could write all kinds of stuff about how Vader are the icons of Polish Death Metal. I could put all kinds of praise on them, and talk about how they and Behemoth are the trendsetters that allowed people to understand that Poland had some death metal brilliance coming out of their country. I could talk for a long time that they are playing faster than ever before. Or I can give you a fascinating fact about the new Vader release, TIBI ET IGNI. I'll go with that. There's a soft, slow part on TIBI ET IGNI. That's right! Are you surprised? For almost two minutes at the start of "Go To Hell", you get lulled in with a creepy, haunting and yet very soft and docile opening movement. Amazing, right? Don't be fooled though. From there, you are launched into what Vader does best - destroy you with a furiousness that only the most elite of the old school death metal bands have ever been able to offer. TIBI ET IGNI is an old school release, and much like their previous effort WELCOME TO THE MORBID REICH, it just flat out crushes.
IN THE MINDS OF EVIL
Am I the only one that remembers when Florida was THE place for brilliant death metal? That is definitely a ghost from the past, as the major players from that era have seemingly all faded away (or, at a minimum are putting out subpar material). One of those bands that was considered a leader of that pack was Deicide, and much like your Morbid Angels and Obituarys of the Florida world, their music has become little more than tired, regurgitated crud that will draw people to the clubs based solely on their past instead of anything they are doing now. IN THE MINDS OF EVIL feels like a glass of drinking water that you know was recycled from your neighbor's toilet. It may have the feeling that it's refreshing, but you just sense that it's not truly fresh.