Review by Maciek on February 18, 2019.

Seems like another band decided to release a full-length album 6 years after their previous one. Although we had EP in 2016 to sweeten the long waiting period, with 3 quite good tracks and "Tremor" which was more of an instrumental intermission. And the band liked "Requiem" track enough to tweak it a little and put it as the last track on Eclipse album.

But let's get back to basics. How does Diabolical sound now? Well, their style has been enhanced by a lot of new elements. Obviously the first that is the most visible, or I should rather say, hearable element is clean vocals, comparable to what Enslaved is doing. Very interesting addition to their usual death metal riffs and growling. Another addition - choirs. Goes well with this material. I can hear some echoes of In Mourning here (not sure which band is inspired by another, could be the other way), some Insomnium and some elements that are slightly progressive. So to sum it up - Diabolical changed a bit, leaning more towards symphonic and progressive playing.

The first two tracks, "We are Diabolical" and "Betrayal" got videos and both are fantastic tracks to open the album. If you add "Black Sun" you have the full reveal of new Diabolical with the remaining tracks being within the same style with occasional riffs reminding the old Diabolical style, like in "Failure" for example. "Hunter" is slightly longer, with more unusual elements, especially a bit jazzy ending, or at least that's how it sounds to me. Then we have "Tyranni", which is basically an instrumental intermission, preparing for last two big tracks - "The Fire Within" and "Requiem", tracks that are more dignified, majestic even.

It's very hard for me to pick any favourites here. The whole album definitely shows it's still Diabolical, but more evolved and more rich. It's one of these albums where I think it's better to listen to it whole, not skipping any of these songs. You have everything here - their trademark death metal riffs, powerful vocals, very good rhythm section with good blast-beats moments, but it's all enhanced by all of the elements I mentioned before. Not all tracks are probably good to play live due to longer slow passages, but it's a perfect thing to sit down at home, put your headphones on and let your thoughts drift to depths of diabolical soul and explore the darkness within it.

Very good position this year, has enough edge and melody to be quite good contender to the title of the album of the year.

Rating: 9 out of 10

Review by Felix on April 29, 2019.

At the end of the eponymous debut of Disciples of the Void, the unforgotten, almighty Quorthon (R.I.P.) raises from the ashes. The epic cover version is a little bit confusing, because the self-composed material does not really match the Viking era of the Swedish idol. However, let's start in a more logical way and let me introduce this duo from Finland. Like many other formations, projects and lone wolfs, the guys want to go back in time. Death to false (black) metal - let's regain its true essence. 

The dramatic intro sets the stage and gives us the opportunity to feed the lions with some Christians, but sorry, don't count on me. I fail due to a lack of criminal energy. However, regardless of my lethargy, the first regular track makes clear that Disciples of the Void do not love experiments. Their fast-paced opener reveals influences of those veterans who combined a very harsh foundation with atmospheric (keyboard) sounds. I am not speaking of Dimmu Borgir, but heroes like Troll or early Emperor come back to life. You have read correctly: early Emperor! So now you should know that we are having a really great debut here. Hymnal lines, triumphant sounds, insane screams and mysterious spoken parts are overshadowed by an omnipresent darkness. "Dominion", the opener, sets the course and further tracks follow in an impressive manner, for example the furious "Per Aspera Ad Noctem". 

In addition to the aforementioned bands, I have to drop names like Limbonic Art or even Forteresse. These pretty different bands have one thing in common with the here presented band, because they also connect mind-blowing, rapid guitars with overflowing keyboard sounds. Disciples of the Void manage cleverly to integrate the more or less harmonic elements without losing the smallest grain of harshness. Only the calm break in "Heirs of the Wormwood" does not convince and lowers the impact of the actually extremely vicious number. But debutants have the right to fail from time to time and yes, all that glitters are not gold. Instead of presenting the Bathory adaption no. 2.966, they would had been well advised to offer one or two further own pieces.

Having that said, the net playtime of roughly 28 minutes indicates a slight lack of substance and that's a pity, because the songs themselves speak a completely different language. Disciples of the Void show in a quite impressive manner that they are able to create an adequate storm of blackness and their music profits from an equally adequate production which lacks neither density nor atmosphere. No doubt, the obviously eternally fertile Finnish underground has spat out its next ominous creature which deserves our attention. I am pretty sure that even Quorthon in Valhalla lends them an ear.

Rating: 8 out of 10

Review by Felix on April 28, 2019.

Ladies and gentlemen, the circus is in town. Hell do not only present an album, it's simultaneously a spectacle, a drama, a trip to hell and back (please praise the pun right now). Good things come to those who wait and who would be picky? Not me! It took only 25 years (ridiculous period) until the material was officially released. With that said, the monumental, opulent and excessive Human Remains cannot be compared with normal debuts. It reflects the maturity of experienced musicians, but don't think that I am talking about the usual, almost stale appearance of maturity. Here we have artists who really create something special. M-A says they play "NWOBHM, Heavy Metal" and even though this is actually correct, these well-hung, general terms cover by no means the whole musical range of this group. Maybe not during the entire playtime of 66 minutes, but in its good moments, it feels as if the actors from the United Kingdom add another dimension to (quote:) "NWOBHM, Heavy Metal" and their adventurous work with its many twists and turns houses good moments in abundance. This sonic cinema from 2011 emanates so much atmosphere, charisma and character that I am truly impressed, although a very small number of songs does not fully convince.

Of course, it is very positive that the material profits from the fantastic production. Today Andy Sneap is only the name of a competent guitarist and great producer, but I am sure one day it will be used as a short version for "king of perfect metal sound". Take Saxon's "Battering Ram" or the here praised work, you will not be able to see room for optimization. The songs shine in full bloom due to the transparent, fresh and inspiring sound. The album is based on the clear vision of Sneap who seemingly knew exactly how the songs should sound. Every single instrument benefit from his skillful work and the theatrical interludes (the witches of "Macbeth", for example") or the stage-setting intro hit the bull's eye as well. And it does not happen so many times that a more or less perfect production meets a lead vocalist who appears as an all-in-one solution. David Bower's voice has so many facets and expresses so many moods - I don't think that I will ever comprehend his vocals in its complete entirety. He is a narrator, a lunatic and a herald of evil; he is possessed by demons, he does not fear high pitches and last but not least, he is literally a singer. Don't think, that this is all, but, as mentioned before, I am probably not able to realize his full genius. His contribution to Hell's sound is comparable with that of King Diamond to Mercyful Fate's works and both formations may follow a somewhat similar approach, but they come to different results. Thank God, metal is no mathematics where only one result is correct and so we can enjoy both "Melissa" / "Don't Break the Oath" and Human Remains.

As mentioned before, the band adds another dimension, it does not offer a completely new one. This means that the metallic foundation is not swallowed by opera-compatible elements. Strong or even absolutely excellent riffs deliver a massive contribution to the enormous impact of the material. For example, decorate yourself for listening to the wonderful, driving riff that kicks off "The Devil's Deadly Weapon" after the gloomy intro. "Blasphemy and the Master" also houses an overwhelming riff, it sets in after two minutes. But I don't want to say that one has to concentrate on riffs or further details, just dive deeply into the highlights. The first one (and the best one) is "Plague and Fyre" whose imposing lyrics deal with the catastrophes in London during the years 1665 and 1666. Forgive me that this pretty straight number is my favourite number on a record with rather complex material, but a leopard can't change its spots. Framed by an oppressive intro and a frightening children's choir, the comparatively fast-paced verses and the chorus are hammered into my ears. "Plague and Fyre" opens the gates to the best part of the album. The next four songs also knock on the door to perfection and their complexity is not at the expense of catchiness. Hell, constantly create different moods without confusing the listener and they connect so many different parts seamlessly that I believe, they work part-time as magicians. Believe me, it takes more than only one or two spins to discover every facet of these songs.

Too bad that the remaining songs have to struggle in order to reach the level of these five superior masterpieces. "The Quest", to give but one example, suffers from a slightly vapid and faceless chorus. But the band returns to top form with its "single hit" from 1983. "Save Us from Those Who Would Save Us", now equipped with an intro that deals with child abuse by priests, shatters any form of sanctimony due to its combative, direct and compact configuration. Good to know that such a stormy track finds a wider dissemination now, an indication for the fact that this planet is not yet completely lost. Finally, the bombastic closer has some intensive parts Ancient Rites forgot to release previously and so it brings this monument to a more or less worthy end. However, Human Remains constitutes an absolutely autonomous output. It's one of those debuts that sentence its successors to death even before they have been created. Well, this is how the well-known story goes; you have three (or 25) years for the debut, but only three weeks for the second record. But this is not the guilt of albums such as the here presented one. And so, the final curtain falls. The circus is leaving town and we can be sure that we have seen a really exciting show.

Rating: 8.7 out of 10

Review by Maciek on February 18, 2019.

Seems like another band decided to release a full-length album 6 years after their previous one. Although we had EP in 2016 to sweeten the long waiting period, with 3 quite good tracks and "Tremor" which was more of an instrumental intermission. And the band liked "Requiem" track enough to tweak it a little and put it as the last track on Eclipse album.

But let's get back to basics. How does Diabolical sound now? Well, their style has been enhanced by a lot of new elements. Obviously the first that is the most visible, or I should rather say, hearable element is clean vocals, comparable to what Enslaved is doing. Very interesting addition to their usual death metal riffs and growling. Another addition - choirs. Goes well with this material. I can hear some echoes of In Mourning here (not sure which band is inspired by another, could be the other way), some Insomnium and some elements that are slightly progressive. So to sum it up - Diabolical changed a bit, leaning more towards symphonic and progressive playing.

The first two tracks, "We are Diabolical" and "Betrayal" got videos and both are fantastic tracks to open the album. If you add "Black Sun" you have the full reveal of new Diabolical with the remaining tracks being within the same style with occasional riffs reminding the old Diabolical style, like in "Failure" for example. "Hunter" is slightly longer, with more unusual elements, especially a bit jazzy ending, or at least that's how it sounds to me. Then we have "Tyranni", which is basically an instrumental intermission, preparing for last two big tracks - "The Fire Within" and "Requiem", tracks that are more dignified, majestic even.

It's very hard for me to pick any favourites here. The whole album definitely shows it's still Diabolical, but more evolved and more rich. It's one of these albums where I think it's better to listen to it whole, not skipping any of these songs. You have everything here - their trademark death metal riffs, powerful vocals, very good rhythm section with good blast-beats moments, but it's all enhanced by all of the elements I mentioned before. Not all tracks are probably good to play live due to longer slow passages, but it's a perfect thing to sit down at home, put your headphones on and let your thoughts drift to depths of diabolical soul and explore the darkness within it.

Very good position this year, has enough edge and melody to be quite good contender to the title of the album of the year.

Rating: 9 out of 10

Review by Adam M on April 30, 2019.

Vltimas have the right kind of evil style on Something Wicked Marches In.  This is the perfect outlet for a couple of members of death metal acts, most notably David Vincent of Morbid Angel and Flo Mounier of Cryptopsy.  However, the stellar guitar riffs were handled by Rune of Mayhem and his contributions are vital to the outfit. 

The album sounds highly like classic Morbid Angel circa around Covenant and makes the best of this sound possible.  There is also an Immolation flavour as the band tries their best to stick out from the pack with a sound that is reminiscent of past greats.  Make no mistake, this is still very distinctive in sound and has a one of a kind evil aura.  The songs go through louder and softer moments making for a fairly dynamic listen. They have the ability to put the pedal to the metal when needed and come across sounding fairly mid-paced overall.  David Vincent himself makes this sound like a Morbid Angel recording, but the rest of the instruments are equally poignant.  The guitars are highly addictive and go through a number of different shifts and changes.  Drumming is very poignant and adds the rhythm to everything.  Overall, this album was fairly ambitious in its death metal approach and this leads to some huge songs. 

There is definitely a feeling that these musicians are putting their best foot forward and it resonates in the details of this album as it manages to be exciting when a lull is starting to be detected.  While not the greatest death metal album, it is a very solid work that has a high place in the genre so far this year.  Those looking for a new take on the Morbid Angel style will find a lot to like here as there is a wealth of new death metal ideas that come into play.  This comes quite highly recommended to death metal fans.

Rating: 7.7 out of 10

Review by Alex on February 16, 2019.

Pig’s Blood impressed me with their 2017 s/t debut full-length record. It was manufactured utilizing some of the aspects I love about both death metal and black metal. The production was perfect for such a pummeling release, the guitars torched the session whilst the drums and vocals applied a brutal branding. However amidst all this greatness stood a band that would go insufficiently recognized for such a barbaric release. There were other bands at the time putting out credible material along the lines of the genre but never stood a chance against Pig’s Blood debut record; and even as a new face to the underground, the pedigree of the material delivered was stunningly high. With A Flock Slaughtered Pig’s Blood set-out to seize all that had been due to them and much more. With this new session in the abattoir, none of the sheeple are spared; all that was dreaded has now manifested with brute force. 

A Flock Slaughtered is an unmitigated bludgeoning from beginning to end. The essential ingredients for such a twisted display of domination are indeed present and in return offers a recording that is unforgettable. The drumming, heavy and consistent in its precise bashing, the guitars, ripe with both melody and rage, whilst the vocals deliver penetrating growls and grazing snarls, as filth is spouted without shame. Every track is supplied with a satisfactory dose of competent musicianship; the band clearly knows when to accelerate and slow its row. What has been a key identifier of Pig’s Blood music is the way they allow the tracks to set-in by playing at a moderate speed. With the opening track “Gates Ripped Open (Scum Choking out the Meek)”, the pacing is just right as it gives the vocalist the adequate amount of breathing room to emphasise his delivery and build-up his range simultaneously with the drums and guitars, thus adding a felt impact when the growls and snarls are presented. Even though the music is relatively mid-paced, in it lies a certain level of extremity and urgency that steadily grows as the music progresses from one track to another. 

What I have discovered during the numerous times listening to A Flock Slaughtered, lies within the new journey it generates on each repeat. It feels like a different record each time, with tiny twists and turns hiding under the hammering sound, when you make the discovery you are immediately delighted as if striking gold or finding a long lost jewel of yours. Those little moments mean much for a record that stands amongst very competitive bands of the genre, hence reinforcing the importance of offering something that sets your record apart from the rest in the quest for identity. Credit has to be bestowed upon Pig’s Blood for offering more than just a follow-up to their debut; by activating a more noticeably hybridized sound, they have been able to stand clear of stagnation. This is clearly a regiment that exhibits veteran skills though only 2 albums in. A Flock Slaughtered is the record that should certainly see more recognition and acclaim being given to Pig’s Blood. Even though this release is outstanding in many ways, I still believe Pig’s Blood have yet to meet their musical apogee.

Rating: 8.7 out of 10