Much of Blood Red Tentacle just flat out crushes. And it’s not just the riffs. If it were just the riffs, I’d still be quite satisfied. But the band’s command of atmosphere pushes the aforementioned quality songwriting to new heights. The massive death/doom, Autopsy-like crushing going on about three minutes into album closer “Funeral Maze” exemplifies this. As does the similarly constructed “Devourer of Light,” which entrances with a slow, sinewy opening minute before it kicks into a higher gear.

Thoughtfully executed tributes are one thing but the d-beat of “Dissolved” and the urgency of “Lord of Discord” and “Maim, Kill, Burn” evince an independent merit and relative diversity to Blood Red Tentacle that deserves noting. Certainly, Disfuneral have chosen a (left-hand) path. But it’s not a simple blend of influences so much as an original application of an established approach. The result is something that better represents a unique perspective than an homage.

The post Disfuneral – Blood Red Tentacle Review appeared first on Last Rites.

I have no hard data to back this up, but I think Entombed was an important gateway band for a lot of kids like myself who liked metal, but weren’t necessarily tuned into the international underground scene. Wolverine Blues was the second death metal album I ever bought, and the major label marketing campaign certainly had a lot to do with that. I also think that Wolverine Blues wouldn’t have been nearly as successful as it was without L-G’s vocals.  With Wolverine Blues, Petrov traded the more “necro” growling style he used on Left Hand Path for a bellicose roar that was more intelligible and probably more palatable to the mainstream, but somehow more aggressive.  L-G’s vocals gave Entombed’s songs a vitality they wouldn’t have had with a run-of-the-mill growler. While the rest of the band’s commitment to musical aggression — and their music, period, if we’re being honest — wavered over the years, L-G always sounded like he was out for blood.

Since not a single album made more than one appearance on staff playlists this month, we have no album of the month. In place of that usual discussion, let’s take a little time to appreciate the work of L-G Petrov.

Here’s a taste of L-G’s drumming on Morbid’s 1987 demo December Moon, which also features Petrov’s future Entombed bandmate Ulf Cederlund and future Mayhem vocalist Dead.

I’ll admit I didn’t have L-G pegged as a piano player, but here he is with his instrumental contribution to 1997’s DCLXVI To Ride, Shoot Straight and Speak the Truth:

Here’s one of my favorites from latter-day Entombed. Morning Star isn’t a death metal album, but it’s the best of the band’s albums that aren’t.

Finally, from Entombed’s 1989 demo of the same name, here’s “But Life Goes On”:

Take care of yourselves out there, friends. Be sure to have a listen to the staff-curated Spotify playlist below, share your own playlist in the comments, and, while you’re at it, give us your favorite L-G Petrov song. [JEREMY MORSE]

• Andrew Edmunds
  Morbid Angel – Kingdoms Disdained
  Napalm Death – Smear Campaign
  Socioclast – Socioclast
  Stone Temple Pilots – Tiny Music… Songs From The Vatican Gift Shop
  Voivod – Killing Technology
  The Cure – Faith
• Zach Duvall
  Medieval Demon – Arcadian Witchcraft
  Manilla Road – The Courts of Chaos
  Rush – A Farewell to Kings
  Dordeduh – Dar De Duh
  Armand Hammer – Paraffin
  Ulver – Shadows of the Sun
• Ryan Tysinger
  Neil Merryweather & The Space Rangers – Kryptonite
  夢遊病者 – Noč Na Krayu Sveta
  Herzel – Le Dernier Rempart
  Kamasi Washington – The Epic
  Fathomage – Psalms of Reverence and Lamentations
  Banchee – Thinkin’
• Danhammer Obstkrieg
  Nekromantheon – Visions of Trismegistos
  Empyrium – Songs of Moors and Misty Fields
  The Weather Station – Ignorance
  Obituary – Slowly We Rot
  Manilla Road – Mark of the Beast
  Susie Ibarra – Talking Gong
• Captain
  Yoth Iria – As the Flame Withers
  Entombed – Morning Star
  Coffin Mulch – Septic Funeral
  Taje skal – Taje skal
  Chevalier – discography
  Bob Mould – Workbook
• Dave Pirtle
  Briqueville – Quelle
  Einherjer – North Star
  Melvins – Working With God
  Evergrey – Escape of the Phoenix
  Significant Point – Into the Storm
  Rush – Clockwork Angels
• Spencer Hotz
  Ominous Ruin – Amidst Voices That Echo in Stone
  Black Sheep Wall – Songs for the Enamel Queen
  Anneke Van Giersbergen – The Darkest Skies Are The Brightest
  St. Vincent – Actor
  Meth Leppard – Woke
  Black Pumas – Black Pumas
• Jeremy Morse
  Runemagick – Darkness Death Doom
  Nevermore – Dreaming Neon Black
  Entombed – Left Hand Path
  Ozzy Osbourne – Diary of a Madman
  Megadeth – Peace Sells… But Who’s Buying
  Cannibal Corpse – Kill
• Megan Astarael
  Opeth – Blackwater Park
  Underoath – Define The Great Line
  Krallice – Demonic Wrath
  Cameron Graves – Seven
  Fat Jon – Wave Motion
  Molchat Doma – Etazhi

The post Staff Infections – March 2021 appeared first on Last Rites.

Here are the seven albums we picked for the week of June 30th — July 6th.

Sunday, June 30th

Last Rites’ Album Of The Day // HAIKU EDITION

Entombed – Wolverine Blues (1993)

Death and roll with a
Comic book look, stripped back
But it’s still got claws.

Monday, July 1st

Anaal Nathrakh – The Codex Necro (2001)

Mechanized nightmare
De Mysteriis gone grindcore?
Beginning the end

Tuesday, July 2nd

Last Rites’ Album Of The Day // HAIKU EDITION

Cradle of Filth – Dusk… And Her Embrace (1996)

Vampiric magick
Blasts hard but aims its rich tones
At pure majesty.

Wednesday, July 3rd

Last Rites’ Album Of The Day // HAIKU EDITION

Black Flag – My War (1984)

Origin of sludge?
B-side heavy as a tank
Nothing left inside

Thursday, July 4th

Last Rites’ Album Of The Day // HAIKU EDITION

Agoraphobic Nosebleed – Altered States Of America (2003)

One hundred songs in
Twenty minutes? Yep, it’s grind.
Loud, fast, ugly rules.

Friday, July 5th

Last Rites’ Album Of The Day // HAIKU EDITION

Pyrrhon – Growth Without End (2015)

Death through brevity
A noisy death grind whirlwind
Never stop spreading

Saturday, July 6th

Iron Maiden – Iron Maiden (1980)

Legend begins here,
rawer than they would end up,
but pointing the way.

———

See you next week.

The post Last Rites’ Facebook Albums Of The Week: June 30th – July 6th appeared first on Last Rites.

That is not to imply that Entombed has been without merit over that period. To the contrary, they have put out a good amount of quality material, if not a lot of truly complete albums. Getting to 2014, debut album (HA!) Back to the Front could easily have been released without the name adjustment, as this basically sounds like an amalgamation of the entire death‘n’roll period of Entombed. It often thumps like Uprising, drives hard like Morning Star, and provides quite a bit of the simpler doom/death’n’roll akin to Inferno tracks like “Retaliation.” The issue is that it isn’t as dripping with filth as the first album in that list, as well-written as the second, or as fresh and fun (goofy) as the third.

It simply feels like New Entombed Album 2014, which admittedly will be enough to entertain certain fans, and it definitely comes up far better than the inconsistent mixed bag that was 2007’s Serpent Saints. (Has it really been seven years since this band released any new material?!) Opener “Kill to Live” should tell listeners all they need to know about this album—mostly that there is not any single moment that even remotely resembles a surprise. And for a while, that’s just fine, as a few legitimately great tunes help to glue together the lesser, merely “there” tracks. Chief among these are “Second To None” and “Eternal Woe,” the former fueled by a heaping of L-G Petrov intimidation and some great gang shouts, while the latter slows to a molasses bang, allowing a simple, well-placed lead to provide the hook.

At over 50 minutes, Back to the Front undoubtedly goes on too long, an issue of which the band was likely aware, as the latter minutes are given a shot with the blasty-thrashy “The Underminer.” But rather than fix the issue, it merely places one of the better songs later than a lot of listeners will want to wait around.

So what’s in a name? Here, not a whole lot. A better moniker for this “new” band probably would have been “Entombed M.O.T.S.,” because Back to the Front is nothing if not more of the same that L-G and company have been peddling for the past couple decades. All in all, it’s a decently fun, insanely safe album that more or less accomplishes what it set out to do: keep the Entombed brand going to justify touring. Still, it could certainly be improved upon by trimming about 15 minutes of the super samey, middling material. It could also be improved upon by sitting on the shelf while you spin Morning Star.

The post Entombed A.D. – Back To The Front Review appeared first on Last Rites.

Instead, they went deeper down the “roll” side of the formula while inviting in everything from bro thrash and groove to a fuckload of attitude and touches of d-beat (the dosage of each depending on the album). The problem wasn’t necessarily that a shift occurred, but that a drop in quality joined it; over the last 15-plus, Entombed has only been consistent in their inconsistency, and has developed a heavy case of shoot-self-in-foot syndrome. After releasing three classics in five years, they have now gone the entire span since without matching their youthful brilliance.

That said, there are a good amount of gems strewn throughout this era that qualify for much more than “Best of the Worst” (hence the dropping of the sub-title to this playlist). So here, good folks, is a nice selection of the best Entombed tracks released in the lean years since Wolverine Blues. If you avoided these albums in the past, maybe you’ll find inspiration to pick a couple of them up. Just be sure to grab used copies of any not named Morning Star.

RETALIATION

[Inferno, 2003]

Of all of the post-Wolverine albums, Inferno is easily the most fun. Sure, the production is among the worst of the band’s career, and it often reaches galactic levels of idiocy, but it remains pretty jam packed with thumping rockers. Opener “Retaliation” sets the stage perfectly with its plodding, nearly doom tempo, and a chorus that exudes burly confidence. It is also a great example of Entombed drawing out the headbangs by excelling in the medium tempos.

TO RIDE, SHOOT STRAIGHT AND SPEAK THE TRUTH

[To Ride, Shoot Straight and Speak the Truth, 1997]

Calling To Ride, Shoot Straight and Speak the Truth a puzzling album is a gargantuan understatement, but much of it wasn’t all too different from Wolverine Blues. Sure, it had that goofy horror movie album cover, and at times it went full bore into the groove, but tunes like the rippin’ title track revealed that it still had that Sunlight sound and just enough death to go with the huge amount of roll. Listeners who were turned off by the streetwise-by-way-of-Satan lyrics must have been truly tough customers indeed, because resisting the amount of bouncing swagger this one brought is damn near impossible.

I FOR AN EYE

[Morning Star, 2001]

Morning Star is often considered to be the best Entombed album since they dropped death metal. I would be hard pressed to disagree, but will add an uncomfortable qualifier. Several songs on this album share more than just a small bit with Slayer’s oft-derided (but still pretty good) Diabolus In Musica. Listen to the barrage of descending riffage in “I For An Eye” and try to argue. Better yet, imagine that it is Tom Araya yelling out the lyrics of the chorus. It isn’t hard. Why does this work better? Because Entombed at this stage was better suited for it, L-G Petrov’s voice was in better shape, and quite frankly they wrote a better set of tunes.

SERPENT SAINTS

[Serpent Saints – The Ten Amendments, 2007]

The title track from Entombed’s most recent platter is just about as close to fully-fledged death metal as the band had gotten in ages. It also helped to fuel plenty of hype that the band had returned to their roots, even if only parts of the album supported such claims. As for the song itself, it’s a fucking beast, winning big on a Celtic Frost gallop, old school Sunlight production, and Petrov’s deepest vocals in long over a decade. Much of the rest of the album failed to live up to this opener, but the strong stuff certainly put smiles on the faces of some old school ‘bangers.

NOBODADDY

Adding to the idiocy and general lack of sense within most of Inferno’s lyrics was “Nobodaddy.” Luckily, it also adds mountains to the fun. Easily among the most unabashedly catchy tunes in the band’s career, it also boasts the kind of chorus that even an old school Left Hand Path diehard would have a hard time resisting in a live setting. Oh, and that trill in the tune’s main riff? Way more than makes up for the fact that L-G actually finds a reason to say “daddy-o” in this one.

SAY IT IN SLUGS

If 2000’s Uprising has one real fault (other than the production), it isn’t that any tracks are terrible, but that most are merely “pretty good.” Still, there remain some standouts, the most obvious being the mega-thudding “Say It In Slugs.” The track smartly leans hard on its infectious forward momentum and simple main riff pattern, finding a way to hook in the listener even while knowing that there really isn’t a ton going on, which fittingly describes most of the album that it calls home.

MASTERS OF DEATH

Beginning with a continuation of the retro death of the album’s title track, “Masters of Death” shifts to the ‘tude-ridden swagger of albums like Inferno during the bridge. The result is a song that not only pulls from every Entombed era, but seemingly from the entire history of roots-oriented extreme metal. The time capsule career cross section even hits on the lyrics, which are a name-drop-a-thon of the 70s, 80s, and 90s, leaving nary a geographic location left out. It’s a fun as fuck kinda tune purely because that’s what Entombed meant it to be.

ABOUT TO DIE

On an album with a fair amount of aping, “About to Die” wins the costume contest by reaching back to the 80s. These two minutes of fury hidden in the final moments of Morning Star make up the best classic Slayer impression the band ever attempted. Minor key, cyclical riffs; blazing speed; aggressive, throaty, screaming; a signature dying-cat-solo; tons of muted cymbal crashes. The band opened the vaults to pay quick tribute to the entire legacy of a band that had to be among their greatest influences, and in doing so solidified the back end of the album.

IN THE FLESH

One of the only songs in which the band embraced full doom, the closer on Uprising was a Sabbath-fueled dirge as only Entombed could present it. Iommian trills, Petrov’s desperation-ridden vocals, a particularly hooky bridge, and a key solo all add up to a buried gem. If the odd organ seems strange at the beginning of the track, it makes perfect sense when it returns to start the lumbering lead-in to the song’s finale, and that of an album that has become lost in time.

CHIEF REBEL ANGEL 

And here it is, folks. “Chief Rebel Angel” is not only the best tune of these long years out of Entombed, it is easily one of the greatest of their career, showing exactly what these albums could have been with a tad more focus and inspiration. From L-G’s damning delivery in the verses to the song’s massive chorus, every element clicks to the fullest. Even the dime store Satanism works because of how much the track just fucking rocks. However, by starting Morning Star with its best track, a shadow was cast over even the most complete of the band’s post-Wolverine albums. So here it was chosen instead to be the closer. Huge, huge stuff.

What, all you Same Difference fans feel slighted? Sorry, the band’s bad Helmet/EHG mashup and L-G’s weak, piss poor Muir-ish delivery are just NOT my bag, man. Crapolla.

The post The Entombed Mixtape – Beyond the Blues appeared first on Last Rites.

There’s plenty more where these came from…

DEICIDE – DEICIDE

Largely because of Glen Benton’s vehemently anti-Christian lyrics, larger-than-life persona, and his infamous branded inverted cross, parents, media and the press were suddenly aware of death metal and how hazardous it was to Midwestern American kids. Underneath all the attention was a virulent, compact, and often deadly 33-minute death metal album. Pure, unadulterated speed and malice — bolstered by vitriolic lyrics and demonic vocals — Deicide’s debut set the bar for death metal ferocity, a standard that’s still in place today. And what’s scary is that they may have topped it with Legion, but Deicide certainly set the precedent. [Roadrunner, 1990]

• • • •

ENTOMBED – LEFT HAND PATH

Listen, there’s not much that hasn’t been already said about the band and album that started a genre and sound. And while the band has endured some serious ups and downs since their truly landmark debut, there’s no questioning that Left Hand Path is responsible for ‘the Swedish sound’ and is the benchmark for pretty much all Swedish death metal albums, period, if not for all death metal albums that came after it. Truly legendary. ‘Nuff said. [Earache, 1990]

• • • •

OVERKILL – HORRORSCOPE

Overkill had already begun construction of their metal legacy when they dropped sure-fire Hall-of-Famer Horrorscope. A furious fist to the face of the grunge movement, the Wrecking Crew’s fifth full length is the perfect storm of rippin’ riffs, fiery lead work, and indomitable hooks. The departure of standout shredder Bobby Gustafson following The Years of Decay predicted real change and threatened decline, but guitarists Merritt Gant and Rob Cannavino turned out to be aces, helping in no small measure to forge from latent greatness true heavy metal eminence. [Atlantic, 1991]

• • • •

MINISTRY – PSALM 69

Subtitled “The Way To Succeed And The Way To Suck Eggs” (although actually titled a series of Greek characters), Psalm 69 did more of the former for industrial luminaries Ministry. The band’s commercial breakthrough, Psalm 69 scored MTV support for “N.W.O.,” “Just One Fix” and the psychobilly groove of “Jesus Built My Hot Rod.” One of the cornerstones of industrial metal, and a clear and obvious ancestor to the electro-metal that popped up everywhere only a few years later. [Sire / Warner Brosˆ, 1992]

• • • •

SLEEP – SLEEP’S HOLY MOUNTAIN

If you rode the dragon toward the crimson eye on Sleep’s reunion tour last year, you don’t need me to tell you that there’s nothing in the world to match the mind-throbbing, body-grooving power of three dudes jazzed on Sabbath and giant platefuls of weed (see especially the “Electric Funeral” tribute/winking-rip-off mid-section of “The Druid”). One of best and most influential stoner doom records ever smoked onto wax, Sleep’s Holy Mountain is also a smoothly-flowing organic whole. There is no peak to this mountain, only a glorious plateau of soul-warming doom, so climb on.  [Earache, 1993]

• • • •

DARK TRANQUILLITY – THE GALLERY

Alongside In Flames and At The Gates, Dark Tranquillity stood at the top of the melodeath movement, and their defining moment remains this 1995 sophomore release. All the traits of the “Gothenburg sound” are here – Iron Maiden-indebted guitar leads, catchy melodies atop sharp riffage… Before post-millennium emo-metalcore douchenozzles absconded with Gothenburg’s signature style, and before every eyeliner-sporting and star-tattooed band was adrift in a sea of Tranquillity, The Gallery was (and is) a shining example of melodic death metal perfection. [Osmose, 1995]

• • • •

KATATONIA – BRAVE MURDER DAY

By the time Discouraged Ones dropped two years later, all vestiges of Katatonia‘s truly deathly roots had vanished, leaving Brave Murder Day as a unique transitional touchstone. Opeth‘s Mikael Akerfeldt lends the band some of his blackest vocals ever put to tape, but the album’s real draw is the way the band lifts the structure of doom/death songs onto a framework of largely clean, depressive rock/doom tones. Later albums would see Katatonia perfect a streamlined, maximum emotional impact version of grey-skied metal, but Brave Murder Day remains a compelling monument to the unwieldy sprawl of sorrow in full flower. [Avantgarde, 1996]

• • • •

WINDIR – ARNTOR

Terje “Valfar” Bakken may be the most unsung hero in the world of black metal. Known for his ability to fuse Norwegian folk lyrics and instrumentation into his music, Valfar’s solo project finally took off at the close of the decade. Unlike many other artists who died in their twenties, Valfar suffered a fate truly tragic as he was found frozen to death in the Sogndal valley during the heart of winter. Windir helped both conclude an era of extreme metal as well as open another, and should go down in history as one of the most fearless acts to ever shape its genre. [Head Not Found, 1999]

• • • •

NILE – AMONGST THE CATACOMBS OF NEPHREN-KA

Rarely does one enter the party with such a pummeling stomp as Nile did with their debut full-length. While perhaps a more rudimentary discharge and lacking in the epic virtues when set side by side with the band’s latter titles, this entree offers a smash-and-grab raid into atavistic Egyptian barbarity shadowing beneath the cornerstone of the civilization. Sophistry and composure be damned, because here we have the perfect soundtrack to our inevitable surge towards chaos. Just like the rubric suggests: essential.  [Relapse, 1998]

• • • •

CHILDREN OF BODOM – HATEBREEDER

Surprise, we’re not really fans of the overuse of synths and keys, but there’s just something about Hatebreeder that screams loudest, “The Devil played a keyboard!” Alexi “Wildchild” Laiho and company slashed and burned their way through thirty-eight minutes of zip-locked and airtight melopowerdeath complete with neo-classical fringe. A fierce whirling dervish widdled by early-twenty-somethings with a jaw-dropping amount of talent and a yearning to pair their debut, Something WIld, with a late onset of puberty from below. When all is said and done, Hatebreeder is a great guitar album. No matter how high up in the mix those synths got pushed, the hot steel of the strings up against that cold staccato riffing put the keytar-envy through the cheddar shredder.  [Spinefarm, 1999]

• • • •

Twenty down; eighty to go…  Stay tuned, kids… And keep your eyes peeled for the next in our series of The Most Essential Albums Of The 1990s: The Companion Interviews… Megadeth was last week — who will be this weeks’ victim?

The post 90s Essentials – Volume Two appeared first on Last Rites.

The death-and-roll engine is firing on all cylinders; after a slow acoustic intro to the title track gives way to a main riff that took me as far back as Left Hand Path (even farther back if you count the blatant appropriation of Motorhead’s “Iron Fist.”) Then “Masters of Death” (featuring guest vokills from Killjoy of Necrophagia) pays tribute to their contemporaries and the entire metal genre while damning those who wish to destroy it, by rattling off a series of band names, song titles, and other references, while also incorporating musical and vocal patterns borrowed from the likes of Metallica, Slayer, and Kreator. It’s anthemic and cheesy all at once.

Although arguably at their best when spitting forth musical venom like “Amok,” Entombed is just as effective when they slow things down for a track like “In The Blood,” which lumbers forth like an angry giant – sure, it moves slowly, but it also leaves destruction with each footstep. When both of these elements come together, on “When in Sodom” and “The Dead, the Dying, and the Dying to be Dead,” the results are instantly memorable, and the latter is guaranteed to become a live favorite for its fist-pumping rhythms and chorus.

Much of what I like about Entombed can be credited to vocalist L.G. Petrov. His range may be limited, but he just sounds like evil incarnate on that mic, whether delivering a thundering rhythmic chorus or a rapid-fire verse. Not many people can keep their tongue firmly planted in cheek when delivering lines like “When in Sodom / you bend over quick / and let me guide your little stick” or the ridiculously over-the-top gore of the aforementioned “The Dead, The Dying . . . “ This guy could do Mother Goose and make it sound like Stephen King. People would probably buy it, too.

This is death –and-roll: rock-and-roll rhythms played with death metal speed and heaviness, and it is what has made Entombed such an underground favorite over the years. They may not have all been zingers, but they’ve always done it their way no matter what the style. Wake the fuck up – Entombed is here to slay you.

The post Entombed – Serpent Saints – The Ten Amendments Review appeared first on Last Rites.

Now here’s an interesting concept for you. You take a group of classic death metal misfits, place them on stage in front a crowd of Swedish socialites at the Stockholm Royal Opera House and have them kick out some freewheeling death n’ roll while the Royal Ballet Company performs an interpretive dance. How fucking Entombed can you get?

Loved by many for their contributions to the formation of the Stockholm sound, reviled by even more for their unabashed experimentation with punk and rock music and embraced by anybody with a good sense of humor and a strong appreciation for fun, Entombed is a band that leaves most feeling slightly conflicted. Much like the bulk of this band’s later output, Unreal Estate is a live album that will delight anyone willing to meet the band and their idiosyncrasies half way.

Devoid of almost any crowd noise, the resounding silence between songs and the amount of clarity and space allowed each instrument creates an almost eerie atmosphere. Entombed, seemingly aware of this ambiance, constructs a perfect set list filled with appropriately placed swells and crescendos culminating quite appropriately with the outro to the title track of 1990’s Left Hand Path. The bulk of the material is drawn from Uprising and Morning Star and arranged in such a way as to break up this slightly abbreviated performance into recognizable movements. Bottom heavy dirges “Chief Rebel Angel” and “Say it in Slugs” are bookended by an introductory piano performance and the truly bizarre “It Is Later Than You Think.” What follows are probably the three most enjoyable tracks on the album. “Returning to Madness,” “Mental Twin,” and a cover of Roky Eriksson’s “The Night of the Vampire” are rendered perfectly by the spacious recording, allowing each held power chord and whiskey soaked bellow by L.G. Petrov to resonate for full effect. The Royal Opera House was a marvelous venue for these songs.

With such a fluidly composed set list, it seems almost selfish to complain about the lack of more classic material. But the fact remain  that those in the market for a classic Entombed album would be much obliged to hear tracks like “Stranger Aeons” or “Hollow Man.” Unfortunately, those yearning for classic Entombed are out of luck, because aside from the final track there’s not a single cut from the band’s first three albums. However, considering the mood the band is able to create on Unreal Estate, it’s hard for me to justify any complaints about the setlist.

Remarkably, Entombed remains energetic and defiant in the face of metal traditionalists. While the band has become structurally more commercial, the darkness of the songs is still just as pervasive. Unreal Estate captures the dynamics wonderfully. I recommend this to anyone looking for an idea of what today’s Entombed is all about.

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