Label: Not On Label (Deathevokation Self-released) - none • Format: Cassette • Country: US • Genre: Rock • Style: Death Metal
Best viewed without Internet Explorer, in x resolution or higher. This colossal monolith of death metal seemingly came out of The Monument - Deathevokation - Blood - this is coming from a band who had only previously released a demo and a split. This remains the only full length from Deathevokation the world will ever know and perhaps that's a good thing.
There just is no way in hell that they could have topped this. Severing the band's lifespan prematurely, however unfortunate, preserves this bands unwavering excellence, as they become designated to the one great album and they're gone club. In an age where death metal is sounding increasingly modern and quite often sterile, Deathevokation keep their sound classic - this could have easily been recorded in Sweden in the s.
Although they provide little in terms of innovating new techniques or pushing the bounds of what can One More Time - The Cure - Kiss Me, Kiss Me, Kiss Me present in the vast pantheon of death metal, this was never the goal.
Good songwriting and execution will trump meandering experimentation for the sake of experimentation every time. This is about as far away from goregrind as you can get The Monument - Deathevokation - Blood boundaries of death metal without roaming into watered down sugary melodeath territory.
Despite this not in the least being a lighthearted affair, it really is something you want to bang your head to while enjoying a nice brew. I'm listening to the album while I review it and beer is certainly my writing companion. Deathevokation, who are named after a song recorded when Carnage and Dismember where merged as one entity, espouse a very balanced sound — it walks the perfect line between raw and polished, they certainty aren't by-the-book death metal, but they don't drift to far into the realm of experimentation.
They give off a vibe of slow burning menace, yet are relatively melodic; they have atmosphere and devastating ass-kicking riffs. They never fall victim to the trap of showmanship — when solos do appear they certainly aren't wankery but are definitely more involved than your standard The Monument - Deathevokation - Blood fare. Everyone exceeds at what they do, but know when to hold back. The tempo is often mid-paced, with the occasional divergence in speed. The band does feature a fair bit of melody, but in a Rock To The Music - Various - Thatll Flat .
Git It! Vol. 24: Rockabilly From The Vaults Of Roulet manner that builds suspense. You'll The Monument - Deathevokation - Blood hear a saccharine lead on this record. This is by no means a technical engagement, a complicated riff will never find itself protruding out of the background.
It's pretty much what you'd expect from death metal — lots of chugging, power chords and recurring sustained tremolo sections. This is a blessing for the album, as while every riff is to the point, every riff is likewise absolutely top tier.
The best riffs are absolutely godly, making the other riffs on the album — which no doubt would be the absolute highlight of your next above average death metal album — look only merely good.
The brooding Dominate - Flag - Four Tracker Two almost give off a Victorian romantic vibe similar to the early work of the Peaceville Three. This adds atmosphere and depth to even out the infectious Halling - Fjord Og Fjell, Jo Inge Nes, Peter Wergeni, Øystein Sandbukt - Vilt, vakkert og volt of the riffing.
The band takes an economical approach to solos — they are infrequent and only appear when needed. This allows for only the best material to be used. The solos walk the line between being frenzied and melodic — just like the band's approach to riffing and to some extent songwriting they might draw somewhat of a parallel to the mighty Bolt Thrower. The vocals show another example of walking the line between two extremes — while they are not unintelligible and lyrics can be made out if one is paying attention, they are simultaneously deep and full of passion.
Sometimes taking the middle approach works out for the better in the end. The songwriting is high with this one — just as damn catchy as the riffs. Make no mistake, this still feels authentic and aggressive, but they sure know how to write the hell out of a song. It isn't quite the same kind of catchy you'd find in a run-of-the-mill melodic death metal track, not existing on ithati high of a level of accessibility, but it's still something that is relatively easy to make out and could successfully be stripped down to a more basic thrash metal song without much hindrance.
The man behind the kit pulls no punches — no obscure tribal rhythms, no weird time signatures, no left field experimentation — he takes a no bullshit to-the-point approach and fucking delivers. The man knows when it is appropriate to hold back and when to go full out and acts accordingly. His playing is tight, and completely devoid of filler. The drum tone is as great as the playing. Featuring a nice natural tone, it find's itself in the middle ground between polished and raw production values.
As for the bass, it supports the sound instead of being an immediately apparent entitiy. The Monument - Deathevokation - Blood dude obviously knows what he is doing, but his instrument never really treads into the foreground. However, in some ways it is the glue holding everything together, the album would no doubt feel thin and lacking power if it had a weaker tone or was all but inaudible. While they do feature familiar themes such as death, end time scenarios, the decay of civilization and madness, they do so in a highly proficient and evocative manner.
These pieces are dark and add to the brooding atmosphere. Starting off with mournful Old World chanting giving way to absolutely majestic classical-inspired acoustic guitar, this ten minute behemoth is the best ending to the album that one could hope for. Featuring many melodic slow-burning riffs and emotive leads as well as a vast, open song structure, this has a very epic air about it.
In the middle of the track there is a creepy piano break accompanied by dark, dramatic spoken word. The metal feels even heavier when it comes back in, with a riff playing off the continuing piano line. This song encompasses a vibe that took more of a supporting role throughout the rest of the record.
This release's success lies in the successful balance of many elements. It rests in the middle ground between old school vigour and melody, rawness and a more polished approach, badassery and atmosphere — there is just a perfect amount of all this album needs to be successful. It simultaneously contains tenfold the amount of ass-kicking intensity in it's riffs and emotional depth and atmosphere than your average competent death metal outfit.
It's unfortunate they called The Monument - Deathevokation - Blood quits after a single album, but on the bright side, they'll never fall off the pedestal this album firmly places them on.
Stuff like this doesn't come around very often, this goes above and beyond in all respects. This is a brilliant slab of old school death metal. This sounds like it could be placed in along all of those other old school death metal bands. Is this just a tribute to the old school death metal sound though? Hell no, this is a band with superior riffing and song writing unlike anything that came out in the 90s. This album clocks in at just over an hour long, and usually a death metal album that is this long ends with tedium or just loads of riffs that go nowhere, but they make it work.
There is a cover of Antropomorphia who the fuck are they? This has so many brilliant ideas and riffing put together in No Hay Final - Arpeghy - Claroscuro atmosphere similar to Fleshcrawl — Descend Into the Absurd. The album slower parts with the atmospheric leads on top of it.
The album creates an atmosphere of desolation and death through insanity. The leads in the album add to the desolation with the slight reverb, The Monument - Deathevokation - Blood make it all come together.
This is where new death metal should be going. The Chalice Of Ages is as unadulterated and dripping with malevolence as anything that Morrisound or Sunlight Studios spewed upon an unsuspecting metal community back in the day.
As Chacko pointed out, a certain territorial exclusivity pervades metal circles with not many bands being able to effectively breach this barrier. However, DeatheVokation have largely shunned the Floridan ways in favour of the more brooding, noisome, atmospheric rituals of the oft neglected early Finnish death metal bands such as Demigod and Funebre and infuse it with some elements from surprise,surprise!! Swedish death metal bands like Unleashed and Megaslaughter.
Through all of this, the band manages to sound distinct, without attracting the tag of being derivative. The album is quite an epic affair, ticking past the one hour mark towards the end. Songs like The Chalice of Ages ,Embers Of a Dying World and album closer As My Soul Gazes Skywards all of which clock in at a minimum of 8 minutes each pull the listener into a sordid, all encompassing sense of gloom with their mammoth riffs A Brutal Truth - Ricardo Jefferson - A Brutal Truth E.P despondent pace.
These are the songs which recall the largely unrecognized parallel movement in early Swedish death metal which comprised of bands like Megaslaughter and Utumno. The Monument is a strong contender for death metal song of the year. This song has one of the most memorable death metal riffs in recent history. The The Monument - Deathevokation - Blood song breakdown is The Monument - Deathevokation - Blood devastating in simplicity and desired impact.
There are lots of harmonized riffs and hauntingly melodic interludes like the goosebump-inducing solo at on The Monument or the bridge around the 3 and a half minute mark on As My Soul Gazes Skywards. A well executed cover of Antropomorphia's Chunks Of Meat serves as an aperitif to one of the most ambitious and well executed album closers this side of Immolation.
As My Soul Gazes Skywards is pompous in intent and flamboyant in execution. It starts of with a brooding acoustic intro and goes into a melodic, doom-ish riff that faintly points to My Dying Bride before Gotz's death grunts elevate the doleful threnody. The solos on this album are simply delicious,very melodic not in the faggoty Gothenburg way, though but ballsy and blazing enough to be instantly cognizable as extreme metal.
There is some very tasteful use of background keyboards to give the album that extra touch of melancholiness. There is an underlying aura of menace in the album that makes Nultý Den - Dr. Max - Jak Se Máš (Nahrávky Z Let 1984-1988) a great listening experience on the whole. The production job too is top notch. There is that Brittas Restaurang - Various - Vår älskade Folkets Park bit of muddiness in the mix that gives the album a gritty, back to the roots feel imagine that divine grime that covered the production on albums like Covenant and Severed Survival.
The Chalice of Ages is almost reason enough for me to end my gripes with the death metal scene of today. The very fact that there is a band like DeatheVokation in the current scenario almost makes me forget the fact that death metal is filled with faceless, talentless, market driven trendwhores. Without a shadow of doubt, this is THE death metal album of Metal Archives loading Username Password Login.
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