Review by Felix on March 5, 2021.

Let me start with a little statistic. At the time of this writing, the first four Sepultura albums have an average rating of 88.75%. Chaos A.D. still reaches 70%, while the ten long players from Roots to Quadra are at 61.1%. The average would be even lower if the number of reviews of the individual albums were taken into account: 20 people reviewed Roots with an average of 50%, whereas the 87% of Quadra is based on only four opinions. What I want to say is: apparently it's largely consensus that Sepultura have only produced lukewarm shit since Arise.

Well, when I hear Kairos, I cannot disagree with the prevailing opinion. It's rather shocking that this album is still ranked at 74% today. The 2011 work starts quite solidly with the sawing guitars of 'Spectrum' and the opener quickly develops an apocalyptic dark tinge. Although the track remains stuck in the mire of mid-tempo, the threatening melodies do not remain without effect. The following title track is in a similar vein. With the one-word chorus of 'Kairos' I always think it is the little brother of the chorus of 'Nomad', but that is a venial sin. Again, the song bumbles along at a medium tempo, but otherwise shows its teeth. From the third title onwards, even I recognise a clear pattern. Kairos does not emphasise speed, even if parts of 'No One Will Stand' tries to score with high velocity. The record is more about creating a dense darkness. This works reasonably well at the beginning, but it wears out quickly - and the album only ends after more than 53 minutes. The Ministry cover, for whose performance there is absolutely no reason in my view, and the completely pale, meaningless 'Dialogue' do their best to throw Kairos off track. In fact, the album doesn't really find its way back on track either.

There are hardly any moments of suspense, inter alia because of the little variety concerning the riffs. A quite decent solo here ('Mask', a track that is, by the way, at least in phases fast and dynamic), and every now and then a deadly melody that makes you sit up and take notice (the beginning and the end of 'Born Strong'), that's it. But in addition there are the weak vocals of Derrick Green, who has the dynamic and the charisma of a bridge pillar, and rather lifeless drums. You can listen to all that, but it's not very exciting. 'Refuse / Resist', 'Beneath the Remains' or 'To the Wall' were in a different league, just to name three of many.

The result is a relatively powerful, but also somewhat dully produced album, whose creative potential is exhausted after 35 to 40 minutes. You get the feeling that Sepultura want to prove through quantity that they are still relevant, but that's not how the game works. Very few metalheads will fall into endless enthusiasm to the droning guitars of tracks like 'Embracing the Storm'. What's the average since Roots? 61.1%? I am generous. Kairos is worth 62% to me.

Rating: 6.2 out of 10

Review by Felix on February 4, 2020.

Enthroned are still a great band, but they were a real force at the beginning of their career. Their debut "Prophecies of Pagan Fire" was a very powerful and promising statement, even though it delivered trace elements of naivety. The further albums also reached a good or even brilliant level. Lord Sabathan played a prominent role on these works and here he returns (not for the first time) with Slaughter Messiah. Or, to be more concrete, the spirit of early Enthroned reappears. Jagged riffs flirt with black leads, pure vehemence is combined with malignant nagging and high-pitched screams send ice-cold shivers down the spine. This is the red-hot sound of the underground that will never die, because it has this pristine passion, this fascinating negativity, the brutal yet artistic component that blows away the daily shit.

Atmospheric parts are of minor relevance, but the formidable "Bells of Damnation" touches the less swift yet still violent side of black metal. Surprise, surprise, bells ring and an excessive mid-tempo section reveals its destructive power. The entire production reminds the listener of the aforementioned Belgian black metal pioneers, but this is no act of imitation. Sabathan just sticks to his guns and three of four compositions show his unbroken mentality. The fourth track presents a Bathory cover, but it rather sounds like an old Bulldozer demo. In other words, this version is the final proof that the pretty crazy Italian trio was heavily influenced by Quorthon (R.I.P.) - but I guess, this is nothing new. "Die in Fire" does not belong to my most favourite tracks of Bathory, but even if this were the case, I would prefer an EP with four brand new tracks. This applies especially to bands like Slaughter Messiah that do not lack creativity and energy. Hell yes, Slaughter Messiah have forged two perfect tracks that possess everything a song needs to fulfil all requirements in terms of misanthropic black metal.

Both "Blasphemous Exhumation" and "Crypt of the Undead" rush over the land like a storm of steel while revealing exciting details in abundance. Usually, I am not a big fan of solos, but the 18-seconds-solo of the opener which sets in at 3:12 sounds absolutely immaculate. The imperious vocals of Lord Sabathan must be mentioned, too. He reaches his best form whenever the chorus of the first track forces its way: "Blasphemouuuuus Exhumatiooooon". The maximum pressure of "Crypt of the Undead" and its raw staccato riff at the beginning deliver further intriguing elements. No doubt, this horde knows how to celebrate a bloody feast in the slaughterhouse and so the dudes wear their band name justifiably. The dense and adequate production plays its part as well in order to make Morbid Re-Incantations to what it is: a demonstration of strength, might and violence. The re-incantation of the glorious songs of early Enthroned has been successful.

Rating: 9.1 out of 10