“Album Of The Day” is a Last Rites Facebook feature we started whose purpose is quite straight-forward: highlight one album per day and say a few words about it. Understanding that not everyone chooses to participate in the booking of faces, we thought it might be nice to toss in a feature that gathers the albums in a single piece on a weekly basis.
Here are the seven albums we picked for the week of May 26th — June 1st.
Sunday, May 26th
Hungover at Maryland Deathfest. Here’s a great song by Rippikoulu.
Monday, May 27th
Hungover at Maryland Deathfest. Here’s a great song by Zemial.
Tuesday, May 28th
The Chasm – The Spell Of Retribution (2004)
Playing a breed of mammoth death metal that is impressive in both scope and delivery, The Chasm have staked their claim to the throne of the Metal of Death. With familiar allusions to Slayer, Sepultura, and other forefathers of the vitriolic thrash movement, the band outflanks their masters with a dwarfing compositional prowess. While slightly more melodic than previous releases, the brooding dissonance and choppy riffing remain a staple of the band’s sound. The album begins with a Ktulu-esque instrumental, and avoids all the pratfalls of the typical metal intro. “From the Curse, a Scourge” builds as a finger tapped solo is played over held power chords before giving way to a dark recurring melody. This song is complete and fulfilling, and sets the stage for the rest of the album by presenting many of the ideas that will be explored on The Spell of Retribution. The band continues without a misstep through the remainder of the album, injecting each song with a sense of purpose along the way. Each track is alive and transitions fluidly from one part to the next. Guitarist / vocalist Daniel Corchado’s meticulous songwriting ability, which was apparent on previous releases, has been refined to a sharp point on The Spell of Retribution, and as a result he is pretty much able to take the listener wherever he pleases. Where other bands fail to pull off these sort engaging compositions though an embarrassing hodgepodge of styles and ideas, The Chasm succeed with ease. Whether they are rendering the entire Slayer discography obsolete (almost) on “Manifest My Intervention,” or rewarding the listener with a brief taste of bright melodic riff work of “Eternal Cycle of Disillusion,” the sense that the band is in control remains throughout. [Ramar Pittance]
Wednesday, May 29th
Cursed – Two (2005)
Merging the more easily grasped attributes of Converge with His Hero Is Gone and slight influences from even Entombed, Cursed are as devastating and powerful as ever. The vocals are a little higher and have a few more production effects on them every so often, and there’s no longer that real raw feel the production had on their prior full-length. While there isn’t too much of a deviation from their debut album, things are a little darker this time around, and there’s quite a bit of creative expansion. Right from the moody introduction, Two begins on a hardened and veracious note. Picking up where the intro leaves off, “Fatality” drifts onward with Chris Colohan’s desperate yelling before launching right into their familiar dense and up-tempo guitar parts. “The Void” stands out among the rest of the record, which is anything but typical, with it’s extremely effective and heavy chorus working in conjunction with the dissonant single ringing notes. Sounding slightly like newer Mastodon, “Clocked In Punched Out” starts with a bending riff that flawlessly blends into Cursed’s trademark burly rhythm guitarwork. In spite of the fact that the band usually appealed to hardcore fans of the members previous outfits, they’re now forging ahead and taking a few chances. “Model Home Invasion” could be likened to a slow and southern act like Cable with its whispered verses and immense disharmonic riffing during the chorus. [Drew Ailes]
Thursday, May 30th
Internal Suffering – Choronzonic Force Domination (2005)
Internal Suffering have created an album that captures the chaos and brutality of South American Death Metal and matched it with a mix that is utterly devastating. While some die hard fans of previous material may turn up their nose at the modern production, the end result is a release that will surely be thoroughly enjoyable for death metal fans on the whole. Highly recommended to fans of the genre. [Ramar Pittance]
Friday, May 31st
Satyricon – Satyricon (2013)
Satyricon is a compelling, inventive, and curiously addictive album. But what really puts it over the top for me is that it feels like an album at odds with itself. It feels like a sad album trying to put on a brave face, but those weaknesses shine through in spite of its best attempts. I don’t mean musical or compositional weaknesses, though: I mean human failings, disappointments, and the slow, sad crush of time. This duality is particularly noticeable on “Nocturnal Flare,” where some of those clean, ringing guitar lines wouldn’t sound at all out of place on Earth’s Hex if you slowed ‘em down to half-speed. Even the lead-off single “Our World, It Rumbles Tonight” tosses up a pretty severe challenge. I suspect a lot of listeners will hear this song as an attempt to be Satyricon’s catchy “hit” in the way “Fuel for Hatred,” “K.I.N.G.,” and “Black Crow on a Tombstone” were for the preceding three albums. But coming after the curious instrumental intro track “Voice of Shadows” and “Tro og Kraft,” which eventually burns its way down to nothing but a chiming echo chamber, I’m not so sure. If “Our World, It Rumbles Tonight” feels sedated, it could just as easily be by design as from lack of inspiration. And, while we’re here, to ward off some potential criticism: that riff to “Tro og Kraft” is, admittedly, crazy simple, but you know what else? I guarantee that it will be lodged in your head just as soon as you’ve heard it, and that’s not easy to do these days, when our ears are battered by the millions of riffs already written. [Danhammer Obstkrieg]
Saturday, June 1st
Nile – What Should Not Be Unearthed (2015)
What Should Not Be Unearthed opens with the most immediate fury since Amongst the Catacombs of Nephren-Ka. “Call to Destruction” gives us a glimpse into the mind of the modern religious extremists who wish to eradicate ancient history, and it’s a chilling opener to the album. While the rest of Unearthed will deliver up the more traditional mythology lyrics we’ve come to expect from Nile, it’s the harsh eye on modern religion that shows that Nile is serious.
Whether you’re a fan of fast Nile or slow Nile, you’re going to find much to appreciate here, sometimes in the same tune. Songs like “Liber Stellae – Rubaeae” and “Rape of the Black Earth” show the band pulling out all the stops on their Drop-A riffing excursions, while “To Walk Forth From Flames Unscathed” and “What Should Not Be Unearthed” remind us how powerful that tuning can be when you just dig in and slowly slide around the lowest regions of power chords. Of particular interest is standout track “Evil To Cast Out Evil,” which is actually a mid-tempo song that, by nature of its precision spider-web riffs, actually seems overwhelmingly speedy. [Scott Ross]
See you next week.