Morta Skuld: Suffer For Nothing (Peaceville Records) [Rich Oliver]
Suffer For Nothing is the sixth album from Milwaukee old school death metallers Morta Skuld and the second post-reunion album for the band. Two new members have joined the band since previous album Wounds Deeper Than Time in 2017. Bassist John Hill and guitarist Tim Beyer join drummer Eric House, guitarist Scott Willecke and the sole surviving original member of the band, vocalist Dave Gregor. This album sees Morta Skuld continue on the road they set upon on their previous album which is crushing old school death metal given a contemporary sheen. The music is prime US death metal which is brutal and crushing with plenty of that sick old school groove with songs such as Divide The Soulless, Facing Mortality and Godlike Shell dialling up the carnage. Flesh shredding riffs, sick solos, pummelling drums and guttural growls are what you can expect and it is delivered in unrelenting style with a great production meaning these songs sound suitably savage. Morta Skuld know their craft and hone it well on Suffer For Nothing. Whilst it is a very solid death metal album there are a few songs that are on the side of forgettable but when this album needs to land those punishing blows it does it in suitably violent style. 7/10
Scordatura: Mass Failure (Self Released) [Charlie Rogers & Dr Claire Hanley]
Fresh from the depths of Glasgow, Scordatura’s third full length release Mass Failure slaps you round the chops from the get go. Catapulted headfirst into the riffs Disease Of Mind is utterly bludgeoning, with frantic guitar work from Owen McKendrick and lightning fast drumming courtesy of Tam Moran, while still leaving room for elements of emerging groove to grow. This is continued in Skin Trophy, where bassist Derek Wright has some great exposed parts. Nothing But Dust showcases vocalist Daryl Boyce’s impressive range, as the higher end features more prominently. Yet, as we reach the end of track 3, we realise that it’s been largely much of the same. Individual elements are notable, but the whole seems lacking. Thankfully, Contorted Existence provides a much needed tempo change, with a distinct plodding melody taking you to pastures new. It gives way to a sprinting middle section, before returning to the trudge, and this change of pace gives it real staying power. World Devoured continues this trend, with bouncier riffs and a more energetic pace.
It’s less predictable than the preceding material, with more variety in tempo and feel. It’s not usual that the mid point of an album really grabs you, but this track certainly does that. The Flesh That Hates is a sonically dense haze for the most part, and the decay into the mid section is pulled off expertly. Again, more variety gives it that enjoyment factor. There’s little more to be said about the title track, and Immense Atrocity that follows, with the final offering Collapse Of Humanity reinvigorating our attention once more. It’s a pit worthy number, with more than its fair share of meat on the bones. This is a brutal death metal band doing what they do well, but the translation into album format left us wanting more. While the tracks are very well executed, by evidently talented musicians, the absence of memorable songs prevent this from being a stand-out record. 6/10
Six Feet Under: Nightmares Of The Decomposed (Metal Blade Records) [Paul Hutchings]
As legendary as death metal band Six Feet Under are, I can’t say I’ve ever really warmed to them that much. 16 albums into their career, I’ve never really delved deeply into their catalogue. Would album number 17 make any difference? Well, the real challenge with Nightmares Of The Decomposed is the vocal delivery of Chris Barnes, who despite the huge volume of releases is still referred to as the original vocalist of Cannibal Corpse. Sonically, there’s little to complain about. The riffs are uncompromising, the aural assault savage and the groove, for yes, there is a basic groove that underpins the 12 tracks on offer certainly worms into the mind. But, and it’s a but of gargantuan size, Barnes’ vocals grate from the opening growls on Amputator. Zodiac, The Rotting and Migraine are all marred by a squealing pig that drifts in and out, whilst the actual death growls fail to impact in the way that most death metal outfits do.
The Noose is possibly the worst of the lot, Barnes coming across as a rambling bloke at the pub who has had too many Carlings. Elsewhere, the brutality of the band is certainly in keeping with their tag. The driving riffage is effortless, and the song titles are as morbid as one would expect. Dead Girls Don’t Scream rumbles along, the pummelling Drink Blood, Get High is okay, if unspectacular, although the arrival of former Cannibal Corpse guitarist Jack Owen has by all accounts given the band a new dynamic in the music department. I’m sure that long-time fans of Sixz Feet Under will want me hanging from the nearest lamppost. Such is the nature of reviewing. In a year where there has been ample explosively stunning death metal, this release simply doesn’t punch through to the top tier. 5/10
Helion Prime: Question Everything (Saibot Reigns) [Simon Black]
In these darker times, this is a highly topical subject for a concept album. Power Metal is full of concepts, but the vast majority take a particular event in history (or rather a particular reference work about them) and weave a musical story, ‘cos let’s face it brutal wars sounds great in Metal. This one is far more subtle, choosing as its theme individual songs highlighting historical figures who stood up to be counted and moved our species forward for the better. So what Sabaton do for warfare, Helion Prime are attempting for Science and Philosophy. This band have had a turbulent time with regard to line up as well, and seem to have settled somewhat with new vocalist Mary Zimmer, although all their previous three vocalists also apparently show up in either a guest spot or songwriting capacity. How philosophical…
Musically this feels very much Euro-style Power Metal fare, and lacks some of the energy their earlier work had. That said it’s a more polished sound, even if along the way they seem to have lost some of the Promethean spark. Don’t get me wrong – I like their overall sound and I like that they choose more challenging subject matter, but I am missing the knock out punch in the songs. I’m just about to write this album off, but then I get to Question Everything itself, which as well as a punchy title is musically head and shoulders above the rest of the record. For a start the energy is there, and the musical interplay and songwriting are much more directive than the majority of the songs on the album and now they have my attention. And to be fair they manage to hold it for the lengthy closer Reawakening, as Zimmer pushes her voice a little harder and looses some of the clean edge, which is surprising for a Power ballad on an album that thus far had been squeaky clean in its production.
When it works, it does so well, and I can’t help feel that if more of the album had the energy and spark that the title track did, then this would be a very different review. Maybe the new line up just needs a bit of time to settle down, but certainly not a bad effort and if they can get the energy and rawness applied consistently then they are off. 6/10