Photo by Alexander Hojem

Kolbotn, Norway’s up-and-comers Obliteration are an anomaly in the modern death metal scene. Not only do they stick out like a sore thumb in their native country—where black metal is Norway’s number one cultural export—they don’t exactly fit in with the rest of the world’s typical modern death metal formula either. Triggered drums? Rectified guitar tones? Processed vocals? Nope—you won’t find any of that here.

Not only does the band’s latest full-length, Nekropsalms (Fysisk Format), have one of the most bizarre death metal album covers ever (courtesy of painter Sindre Foss Schanke), but the songs themselves each possess uniquely twisted characteristics. Nekropsalms has the sonic characteristics of an extreme metal record from the Eighties, where the drums sound like drums—and not machines—and the bass really drives the groove of the riffs. The guitars themselves produce a rich and warm sound; a trait that’s lost in many of today’s overly processed metal albums.

Album-opener “Ingesting Death”—in all of its claustrophobic and dissonant glory—sets the mood for the rest of Nekropsalms. Cuts such as “Catacombs of Horror,” “The Spawn of a Dying Kind” and the title track have the kind of dynamic, mood changes not found in death metal since the debut albums from the Autopsy, Severed Survival, and Entombed, Left Hand Path.

From crushing doom parts that harken back to the power of Saint Vitus, to a riotous attitude reminiscent of U.K. crust punks Doom, to the breakneck speeds and technicality of Human Waste-era Suffocation, this Norwegian group is out to destroy the cookie-cutter, fast food mentality of modern metal while forging a sound that is completely and unmistakably their own. —Henry Yuan

Obliteration are set to obliterate Bergen, Norway’s prestigious Hole in the Sky festival next week, and MetalKult will be present to witness the carnage. Stay tuned for a complete account of Hole in the Sky and exclusive content.

Looking for a record that sounds like it should be blasting out of a Trans Am in the parking lot of an Iron Maiden show circa 1985? Well look no further. Sweden’s Enforcer have created a true, timeless heavy metal record with their sophomore full-length, Diamonds (Heavy Artillery Records).

Upon first listen, those familiar with Enforcer—guitarists Adam Zaars (also of Tribulation and now Repugnant) and Joseph Tholl, bassist Tobias Lindqvist, drummer Jonas Wikstrand and singer (and Jonas’ brother) Olof Wikstrand—will notice that Diamonds is a huge leap forward for the band from its debut, Into the Night.

The songwriting is much better and more cohesive on Diamonds, and it’s clear the guys have given particular focus to the choruses, melodies and hooks in songs like “Katana,” “High Roller,” “Running in Menace” and “Take Me to Hell.” The title track—and sole instrumental—is a daring move, but the talented Swedes pulled it off with conviction.

On Diamonds, it seems that each band member drew from a diverse range of influences, such as the speed of Exciter, the catchiness of Angel Witch and, of course, the overall awesomeness of Iron Maiden, which results in songs that are quite dynamic and brimming with personality.

It’s also worth mentioning how much Olof’s singing has improved on Diamonds. He seems to have much more control over his voice compared to their debut. On the lead guitar front, Zaars and Tholl rip with the best of them and have serious potential to become the next big guitar duo. Lindqvist’s bass fills pull everything together smoothly and Jonas’ drumming complements the mix rather than overpowering it. This in-the-pocket approach is key to creating strong heavy metal and Enforcer have got it right.

At the end of the day, Diamonds is a full-on heavy metal album in its purest form: powerful, full of attitude and oblivious to trends. If you like having a good time and enjoy listening to classic metal, Diamonds is the ticket. So what are you waiting for? Buy that ticket…and take that ride. —Henry Yuan

I’ve accepted the fact a long time ago that when young, up-and-coming metal bands decide to try something new and adventurous, it will usually end up pretentious, over ambitious and, sometimes, just plain horrible.

Thankfully, this is not the case with Southern California’s Bonded By Blood’s latest, sophomore release, Exiled to Earth (Earache). This concept album is very much rooted in the great Eighties thrash and speed metal, while also managing to possess a forward-thinking personality and soul (something many new old-style bands lack).

The album’s opener, “600 A.B. (After the Bomb),” confirms their love of technical thrash and speed metal, and brings to mind Agent Steel, Forbidden, Testament and Megadeth, specifically the Rust in Peace-era.

Bonded by Blood—singer Jose Barrales, drummer Carlos Regalado, bassist Jerry Garcia and guitar virtuosos Juan Juarez and Alex Lee—fill this 40+ minute disc to the brim with insane guitar solos, tight and technical riffing, and seriously amped-up John Cyriis-meets-Russ Anderson vocals. Cuts like “Prison Planet,” “Sector 87” and the title-track solidify Bonded By Blood’s thrash cred while “Genetic Encryption” and ender “Cross-Insemination” displays a band maturing and reaching a unique, personal sound. The combination of Jose’s alien-like singing, prison cell-like gang vocals, super-precise riffing, breakneck speeds, time changes and breakdowns make for a refreshing listen in an otherwise stale US thrash pool.

Production-wise, it doesn’t have that annoying Andy Sneap sound, which many older bands opt for…and I’m very happy about that. Exiled sounds clean, but not too polished. There isn’t anything “old-school” or “retro” about the album, but there isn’t anything plastic, either. The word “modern” is a good fit here, and in a positive way.

Another interesting note about Exiled to Earth is that it’s a concept album with a story written entirely by the band, which is refreshing as most concept albums in recent times are usually based on existing stories or events. Exiled is a complex story about, simply, a species known as the Crong looking for total domination of Earth. The booklet has the story written out and the lyrics serve as an extension, so if you want to learn about it, buy the album! Aren’t we tired of hearing about Nostradamus or pirates? I know I am. Hell, I never cared about either anyways.

Bonded By Blood are a band to watch and Exiled to Earth is an album worth listening to. If you enjoy excellent guitar work and thrash metal, you will enjoy every minute of this. Don’t be fooled by the band name—Bonded By Blood do not sound like Exodus! The band could be named Unstoppable Force and will still sound like Jose, Jerry, Alex, Carlos and Juan. —Henry Yuan

To hear the album in its entirety before the August 12 release date, head over to GuitarWorld.com for an exclusive stream!

If you’re looking for new music that is trying to reach new levels, avoid Grave’s new effort, Burial Ground, at all costs. However, if you’re like me and like your death metal best served retro and raw, then by all means, read on to find why their ninth and latest record is quite possibly Grave’s most interesting and dynamic record to date.

After initially forming in Visby, Sweden in 1988 as Corpse, Grave—featuring Ola Lindgren, Jörgen Sandström and Jens Paulsson—released numerous demos and the 1991 debut full-length, Into the Grave, that embodied the blossoming Swedish death metal sound in all its filthy glory. But eventually Grave lost steam on records like Soulless (1994) and Hating Life (1996). The band kept it quiet for about five years, before emerging in the 2000s with a series of albums that hinted at Grave’s former glory. But it seemed like the band was still searching for its lost sound.

Now it seems that something has ignited the old death metal flames under Lindgren, Grave’s sole original member and founder, and the guitarist has returned to the brutal and organic sounds of the Swedish death metal, circa late-Eighties/early-Nineties. Remember when drums sounded like drums and the guitars were filthy and brutish? Well, Lindgren sure does.

Tracks like “Conqueror” and “Ridden with Belief” pay tribute to the scene’s doomish and tortured Autopsy influence, while “Outcast,” “Sexual Mutilation” and opener “Liberation” keep things frantic and headbanging—old-school style.

New rhythm section Ronnie Bergerståhl (drums) and Fredrik Isaksson (bass) hold it down for Lindgren’s aggressive guitarwork. Solos are kept to a minimum, but when they do pop up, like in “Bloodtrail,” they are really impressive and fit the music perfectly. But for the most part, Burial Ground is an all-out riff fest.

Nowadays, it seems like most death metal bands are so extremely technically advanced that they come off sounding just plastic (modern day Morrisound curse?). But thankfully Lindgren and Co. have stepped up and created an album that reminds us why death metal was relevant in the first place: not for its precision, but rather for its barbarism. —Henry Yuan

For the past decade, Sweden’s Grand Magus have been defending the true sounds of heavy metal and are continuing their triumphant charge with this year’s slab of steel, Hammer of the North. After pillaging the metal world with Rise Above Records, their latest record is their debut for Roadrunner Records.

Just when I thought the power trio of vocalist/guitarist JB Christoffersson, bassist Fox Skinner and skinsman Seb Sippola couldn’t get any more metal, Hammer of the North opens with the Judas Priest-inspired “I, the Jury,” which is followed by the tough-as-nails title-track. If you’ve listened to any other Grand Magus album, such as 2008’s brilliant Iron Will, you’ll love Hammer of the North.

JB sounds as powerful as ever, with cuts like “Mountains Be My Throne,” “Northern Star,” and “Savage Tales” displaying a dynamic range not found in many heavy metal singers since the late, great Ronnie James Dio (albeit delivered by a much deeper voice).

The rhythm section of Fox and Seb are as tight as hell and the warmth of their old-school, analog production really rounds out the sound. Grand Magus is a band that really understands how to utilize the three-piece set up, as the songs are built upon truly heavy riffs and tasteful, in-the-pocket playing. The guitarwork also serves the songs, as opposed to being a “lead” instrument that’s solely trying to overshadow the tunes. So whenever there is a guitar solo, it really shines and complements the melodic edge of the vocal lines.

If you’re looking for an album packed with flash and pretentious artistic statements, you’d best look elsewhere. This is heavy metal in its purest form. Grand Magus aren’t out to prove anything to anyone—they’re here to play heavy metal the way they, and all of us, love it. —Henry Yuan

In recent years, black metal has either become a complete parody of itself or, even worse, filled with copy-cat bands with absolutely no originality or musical integrity. How many bands are out there that call themselves black metal just because they threw on some face paint and decorate their shirts with inverted crosses? I think the answer is obvious. If you’re looking for an antidote to superficial black metal, I’d recommend checking out Sweden’s Watain.

For over 10 years, the Uppsala horde—vocalist and bassist Erik Danielsson, drummer Håken Jonsson and guitarist Pelle Forsberg—have been forging their own black metal magic with the intention of taking over the world. Three years after Sworn to the Dark and after months out on the road on their Fuck the World tour, Watain will return this June with the highly anticipated Lawless Darkness (Season of Mist).

The group’s fourth full-length is without a doubt their best release to date. Watain masterfully incorporates dense melodies to add to the black atmosphere, which is evident in songs such as “Malfeitor,” “Total Funeral,” the title track…and just about every song on here. If you’re looking for blast beats in your black metal, you’re going to be utterly disappointed. One of my favorite aspects about Lawless Darkness is the overall old-school and traditional metal vibe in the rhythms and groove. It almost feels like a classic Dissection record. “Waters of Ain,” the album’s closer, is the band’s longest song in their catalog (coming in at 14-and-a-half minutes) and distills the group’s sound perfectly: epic, dark and full of evil. It’s sort of like Watain’s version of Iron Maiden’s “Rime of the Ancient Mariner.”

Lawless Darkness is a black metal album in every sense of the term. It’s an album that doesn’t restrict itself to the preconceived notion of what black metal is or should be. At its core, black metal is about breaking away from tradition and invoking serious evil onto society. Simply put, Watain is black metal. —Henry Yuan

What do you get when you take the progressive tendencies of Cathedral, the doom/death riffing of Asphyx, the epic atmosphere of early Candlemass, the sheer brutality of Autopsy and the melancholic melodies of Finland? The answer is Hooded Menace, Finland’s up-and-coming doom/death juggernaut.

The band’s sophomore offering, Never Cross the Dead (Profound Lore Records), is an album of epic proportions. The band—which is led by Lasse Pyykkö on guitars, bass and vocals—breathes new life into the death metal field by incorporating heavy doses of doom/death in the vein of Asphyx and Autopsy done with a progressive edge. The best way that I can describe the band’s sound would be taking fellow Finns, Swallow the Sun, stripping away all of their electronics and production and adding a good amount of grime to their riffs.

The album starts off with the title track, which sets the mood for the entire record. Throughout the 50+ minutes of Never Cross the Dead, not only are we treated with heavy and haunting grooves, but also with sorrowful melody lines (“Rituals of Mortal Cremation” and “As the Creatures Ascend”), prog-rock passages (“Terror Castle”) and a totally unique cover of the theme from the classic Amando de Ossorio flick The Return of the Evil Dead. As intense and brutal as Never Cross the Dead is, I found myself going back to it time and time again—a sign that the band is surely doing something magical.

This record is highly recommended for those who are looking to get away from the cookie-cutter mold of today’s oversaturated death metal scene. Never Cross the Dead is an album for those who enjoy their metal stripped down, tasteful, dirty and, above all else, heavy. —Henry Yuan

“I recommend… amputation!” If a demo tape starts off with one of the best quotes from Hellraiser 2, you pretty much know it will be amazing. Such is the case with Splendour of Disease (Dybbuck Records), the second demo from Sweden’s Morbus Chron. This recording—without a shadow of a doubt—captures the true essence of what death metal was, and can be again: merciless, putrid, gore-infested, rotten, flesh-devouring and zombie infested.

On first listen, you can hear that this young group—vocalist/guitarist Robba, lead guitarist Edde, bassist Dag and drummer Adam—are well educated in their death metal circa 1986-1989, when the genre was uncompromising, raw and horrific. The opening track, “In Obscuritas,” starts off with a haunting passage reminiscent of Autopsy (well, to be honest, you can hear Autopsy all over this tape).

“Lidless Coffin” adds a bit of demo-era Death to the mix as well as some much-needed thrash elements (think early Sodom and Destruction), which were crucial for the death metal of the ancient days (or, as I like to say, the g[l]ory days). The final track, “Death Strikes,” makes me wonder if this is a tribute to the pre-Master band of the same name. Nonetheless, it’s another fine tune that contains memorable and thrashing riffs that would fit perfectly on Possessed’s Seven Churches. Jeff Becerra would be proud.

The production on Splendour of Disease was eerily similar to that of Death Breath’s. When I looked inside the booklet, it turns out that DB’s own Nicke Andersson and Dismember’s Fred Estby lent their production skills, and the results couldn’t be any deadlier. Another interesting fact is that Nicke also illustrated the band’s logo. Lastly, I can’t help but mention the fine old-school artwork found throughout the insert (see above image).

For those of you interested in getting a copy, good luck. The band has sold out of them. They only received 126 tapes from the label, which they hand-numbered (I snagged number 97 in the nick of time). The good news is that Mexico’s Dybbuck Records has more, so you should contact them if you want one. By Henry Yuan

Cynic’s Paul Masvidal. Photo by Rich Mathias.

Before coming to this show, I knew it was going to be a pretty interesting night. It wasn’t just because the awfully underrated and super-legendary Floridian progressive metal masters Cynic would once again be supporting a band that they helped create, but it’s because I heard that they would be premiering out a new tune. Considering the fact that their latest masterpiece, Traced in Air (Season of Mist), came out 15 years after their landmark debut Focus (Roadrunner), I was more than happy to get a fix of brand-new Cynic songs.

I didn’t make it in time to check out most of Scale the Summit’s set. From what I caught, these guys played instrumental guitar music. I wouldn’t call this metal in any way. In fact, I wasn’t even into it. Sorry, but guitar-heavy instrumental music isn’t for me. I will give props to these kids, though. They can definitely rip on their instruments.

Up next was another legendary figure: Canada’s Devin Townsend. The former Steve Vai singer and Strapping Young Lad frontman is back after retiring from the music industry for some time—and he’s more whacked out then ever. I never understood his music or his sense of humor, so I guess that’s why I didn’t really enjoy his set. While I was walking around the venue, I heard a lot of people who came specifically for him and were super stoked to see him. His onstage banter reminded me of Mike Patton and Frank Zappa, but even more intense. Tonight’s crowd definitely worshipped “Heavy Devy.”

Cynic was up next, and I don’t think my love for this band needs too much of an introduction. They were a band so far ahead of their time that it was ridiculous. Even today, I feel that they are criminally overlooked. With that said, I must admit I was pretty disappointed with the band tonight.

Why? First, they only played only one song from Focus. I know singer/guitarist Paul Masvidal is a very spiritual person, but that doesn’t mean the fans—the people who truly find solace in his music—don’t want to hear his classic songs (even if they were written 16 years ago when he was in a different mindset). Cynic only has two albums, each of them clock-in at about 35 minutes. I’m sure if they cut the live segue samples a little bit, they could’ve added two or three more songs from Focus. I was extremely shocked that they didn’t even play “How Could I?” That’s like Slayer not playing “Raining Blood.”

The new song, whose title I did not catch, really got me thinking. The direction was more straightforward and more in the lines of Paul and drummer Sean Reinsert’s other project, Aeon Spoke. It was definitely a song that I need to listen to at home in order for me to get the most out of it. Right off the bat, I got a latter-day Katatonia vibe, which was awesome, though not exactly “Cynic”-like. Perfomance-wise, the band was on fire, as usual. Bassist Robin Zielhorst held it down and second guitarist Tymon Kruidenier played his leads as fluid as ever.

After a disappointing set, I decided to catch some of Between the Buried and Me. I couldn’t help but notice the band’s eclectic crowd, with fans ranging from hardcore tough guys, teeny-bopper MySpace girls, Berklee College of Music rejects and the occasional old-timer who probably heard about the band in the New York Times or the Village Voice. I’ve read a lot about this band and even checked out some of their latest material, but I never got into it. I was hoping I would at least enjoy them live. Not surprisingly, I was wrong.

Usually, when I don’t enjoy a band, it’s almost always going to be that the music is not for me. However, there are cases where I will see a band live and get so blown away by their energy that I will go back to their records and actually enjoy them, which happened with Sweden’s Nifelheim.

Between the Buried and Me do not fall under this category—and it’s nothing against the band. These guys are so unbelievably talented it’s ridiculous. In particular, I must call out drummer Blake Richardson. This guy is an incredibly fluid and dynamic drummer. I’d like to say he’s the Dennis Chambers of progressive metalcore.

Overall, it was the night for Between the Buried and Me and the sold-out crowd showed it. The fans might have gotten their money’s worth but I was left with a bitter taste in my mouth. This just shows that Cynic need to finally do a proper headline tour so that will give their music justice. In a perfect world, I would love for them to co-headline with Atheist—the band who sparked the reformation of Cynic. Maybe that will give Paul the type of energy to whip out “Uroboric Forms.” —Henry Yuan

Nile’s Karl Sanders (left) and Dallas Toler-Wade

I don’t know about you, but I kicked off my concert calendar for 2010 with New York death metal legends Immolation, long-running Brazilian trio Krisiun and, of course, the insanely brutal South Carolinian band Nile. Talk about starting the year right.

By the time I arrived to the Grammercy Theatre in Manhattan, I learned that Abigail Williams dropped off (due to reasons unknown to me). Also, Los Angeles-based Dreaming Dead were also on the bill though I had no idea who they were.

I made it inside just in time to catch Dreaming Dead. I haven’t heard anything about these guys (and gals) so, needless to say, I was a tad curious. From what I made out, the band played generic modern death metal—lots of guitar solos and acrobatic riffs and a good amount of Slaughter of the Soul worship. Guitarists Elizabeth Schall Elliot and Laura Christine really know how to play their instruments, but I wasn’t exactly feeling the music.

Krisiun were up next and, of course, their legions of fans here in New York were pumped. I’ve seen them quite a number of times over the years (the last time was with Destruction) and they always deliver the goods. However, as much as I enjoy them live and on record, I feel they’re one of those bands that if you’ve seen them once, you’ve might as well seen them a bunch of times. (Read: it’s pretty much the same show.)

To keep the momentum going, bassist/vocalist Alex Camargo kept the banter to a minimum during their short set. The band ripped through about six songs, which were evenly culled from their catalog with emphasis on their latest offering through Century Media, Southern Storm. If you like your death metal fast and punishing, look no further.

I gotta be honest here: I’ve never seen Immolation live before. Yes, I am from New York and I’m well aware of how often Yonkers’ finest play here. It’s just that, for one reason or another, I had never made it out to an Immolation show. I really like the band (Dawn of Possession is genius), so I was really pumped to finally see them.

The band opened with “Passion Kill” and I knew I was in for a ride. To finally be able to see guitarist Bob Vigna’s signature stage moves and bassist/vocalist Ross Dolan’s insane amount of hair was truly an experience. Classics like “Father, You’re Not A Father” and “Burial Ground” are still as strong today as when they first came out.

“The Purge,” from the band’s forthcoming album Majesty and Decay (Nuclear Blast Records), showed that the band hasn’t run out of great ideas. At the end of their set, I was more than impressed. I can’t wait to see these guys come through again in support of their new album. I have a feeling it’s going to be quite amazing.

Finally, we have Nile. I don’t think an introduction is necessary. These Egyptian-obsessed tech-death machines seemed to be in great spirits when they came onstage to a packed crowd. “Kafir”, from the band’s great new album For Whom the Gods Detest (Nuclear Blast Records), kicked things off and was followed with “Sacrifice Unto Sebak” and another new one, “Hitite Dung Incantation” (they never fail with the great song titles).

Guitarists Karl Sanders and Dallas Toler-Wade, drummer George Kollias and bassist Chris Lollis were on fire. The fans were treated to “Serpent Headed Mask” from their first record, Amongst the Catacombs…, as well as some tried-and-true favorites such as “Lashed to the Slave Stick”, “Sarcophagus,” “Execution Text” and, of course, “Black Seeds of Vengeance.”

The last time I caught these guys live, they were touring in support of their 2007 release, Ithyphallic. At that show, though I liked the band, their song selections didn’t seem to work for me live. However, this time out, with For Whom the Gods Detest —and a much more ripping song selection—the band really kept me on my toes for the entire show. Nile are better than ever and I strongly suggest to attend one of their shows if they’re in the area.—Henry Yuan