Review by Alex Grindor on September 19, 2021.

There are reasons why I don't listen to a lot of modern death metal bands. Mostly because (in my opinion) the current bands try to only be faster and more brutal than the previous ones, without caring too much if the end result is cohesive at all. The unnecessary brutality, combined with the more pristine modern production, are the two biggest reasons why I dislike modern death metal (if not modern extreme metal as a whole). So of course, it's not surprising that many fans (and musicians) prefer this particular style in the old way, with a rawer production, atmospheric approach and controlled brutality. And Ulcer's latest record, Dead Souls Cathedral, is a testament to the old ways of this art, with just the slight pinch of modernity, but nonetheless brutal and evocative of the early years of this style.

This album opens with a very brief intro, an atmospheric sound that abruptly ends as the guitars take control before the whole band gets in the action. I just love the overall sound of the record. The guitars sound absolutely crushing, murky and really down tuned, yet the riffs and harmonies are more than distinguishable and lemme tell you, these riffs fucking kill! From down paced headbangers to faster, frantic playing, there is a wide variety of riffs throughout this album and while some may be less memorable than others, they nonetheless are perfectly executed. Solos are added as well, and not just for the sake of being added. They actually contribute to the overall songs, and it is evident that the solos are specific for each track. As it tends to happen with most (if not all) of extreme metal, the bass is barely audible. You can actually feel its presence despite the low tuning, but there aren't that many moments where you can listen to it, except in certain moments that its left alone. The drums are great as well, and what I like about them here is that it doesn't rely on excessive blast-beats or over-the-top drum fills. Instead, the drums here are more of a controlled fury. Mid-paced rhythms and double-bass pummeling are the dominant drumming here, and it helps the music retain a more evil, eldritch atmosphere that is added thanks to very specific keyboard segments placed in some tracks. These segments elevate the music's atmosphere to a whole new level and are part of what makes this record so great. Last but not least, the vocals are actually well done here. The performance is actually great, and you can actually make out part of what he's singing. His growls are complemented with high shrieks in most of the tracks.

Although some riffs were not to my liking, and that the bass is (once again) barely noticeable, it is nonetheless an outstanding record. A testament that death metal in the old ways is still favored and practiced and that atmosphere is one of the keys for such task. Beyond what I've stated, there aren't many flaws in the record, although as a side note, 'Eternal Night' is not really memorable, and the album could've worked just as well without its inclusion. Overall, a great album, one of my new favorite records and if you like your death metal in the old ways, then get it!

Rating: 9 out of 10

Review by Alex Grindor on September 19, 2021.

There are reasons why I don't listen to a lot of modern death metal bands. Mostly because (in my opinion) the current bands try to only be faster and more brutal than the previous ones, without caring too much if the end result is cohesive at all. The unnecessary brutality, combined with the more pristine modern production, are the two biggest reasons why I dislike modern death metal (if not modern extreme metal as a whole). So of course, it's not surprising that many fans (and musicians) prefer this particular style in the old way, with a rawer production, atmospheric approach and controlled brutality. And Ulcer's latest record, Dead Souls Cathedral, is a testament to the old ways of this art, with just the slight pinch of modernity, but nonetheless brutal and evocative of the early years of this style.

This album opens with a very brief intro, an atmospheric sound that abruptly ends as the guitars take control before the whole band gets in the action. I just love the overall sound of the record. The guitars sound absolutely crushing, murky and really down tuned, yet the riffs and harmonies are more than distinguishable and lemme tell you, these riffs fucking kill! From down paced headbangers to faster, frantic playing, there is a wide variety of riffs throughout this album and while some may be less memorable than others, they nonetheless are perfectly executed. Solos are added as well, and not just for the sake of being added. They actually contribute to the overall songs, and it is evident that the solos are specific for each track. As it tends to happen with most (if not all) of extreme metal, the bass is barely audible. You can actually feel its presence despite the low tuning, but there aren't that many moments where you can listen to it, except in certain moments that its left alone. The drums are great as well, and what I like about them here is that it doesn't rely on excessive blast-beats or over-the-top drum fills. Instead, the drums here are more of a controlled fury. Mid-paced rhythms and double-bass pummeling are the dominant drumming here, and it helps the music retain a more evil, eldritch atmosphere that is added thanks to very specific keyboard segments placed in some tracks. These segments elevate the music's atmosphere to a whole new level and are part of what makes this record so great. Last but not least, the vocals are actually well done here. The performance is actually great, and you can actually make out part of what he's singing. His growls are complemented with high shrieks in most of the tracks.

Although some riffs were not to my liking, and that the bass is (once again) barely noticeable, it is nonetheless an outstanding record. A testament that death metal in the old ways is still favored and practiced and that atmosphere is one of the keys for such task. Beyond what I've stated, there aren't many flaws in the record, although as a side note, 'Eternal Night' is not really memorable, and the album could've worked just as well without its inclusion. Overall, a great album, one of my new favorite records and if you like your death metal in the old ways, then get it!

Rating: 9 out of 10

Review by Felix on June 27, 2024.

Ha, it took three days, but now that I have found the “Ú” in my laptop, I can start to write the first review for (yes!) Úlfarr’s first length. At the same time, I beg your pardon that the review is not written in Old English, although the lyrics of “Orlegsceaft” revitalize this form of English. But my modern English is bad enough and you can get a review in Deutsch if you really want, but not in Old English. So it goes without saying that I cannot say something about the lyrics, but there is another language I understand – the language of black metal. Úlfarr celebrate it in its purest form with hardly varying, extremely raw vocals, they reduce the style on its essentials, they perform their songs passionately and the artwork sends greetings to "Blasfemia Eternal", the strong Ancient Rites album from 1996. Is there anything else one can demand? I don’t think so.

Just take the sinister high velocity devastator called “Trollblót“ (needless to say that I needed two further days until I had found the „ó“). Its flow is nearly perfect, because it has such a natural feeling that it has to be exactly the way it is. The smooth yet hellish approach of the song is as irresistible as the best flowing tracks of Darkthrone on „Ravishing Grimness“ (which is a great work from my point of view) and the riffing is also not too far away from this album. The riff after the break at 4:20 is not only absolutely fantastic, it also underlines the affinity for Darkthrone as well. Due to the nearly absurdly throaty vocals, there is also some „Transylvanian Hunger“ represented in the sound of Úlfarr – I can definitely imagine worse references. Or put the focus on “Wælgæst wæfre”. (Hooray, I had used “æ” already before, it was no problem to find it!) Its seven minutes are filled to the brim with aggressive, explosive eruptions. But there are also nearly thoughtful sections and they and some mid-paced parts develop depth and despair. The song shows impressively the talent of the band to give its songs the right quantum of melodies and, even better, the guys are able to write very strong, expressive melody lines.

Admittedly, “Orlegsceaft” does not consist of highlights exclusively. Some tracks are robust and solid without meeting the highest expectations. They do not lack substance and show no signs of obvious weakness, they just have to accept that they cannot fully compete with the best tracks here. So one can sit down with a good drink and press the start button or guide the needle to the record – there is no song that will hurt the comfortable scenario. The production is also nothing one has to fear. I do not know whether there is some national black metal guide line, but the sound of the album is comparable with those of Frosten’s and Hellvelyn’s debuts. Nuances are missing, maybe the guitars could sound a bit sharper, but come on, it is a pretty simple yet adequate and vigorous sound. Unfortunately I cannot hear the bass guitar, but I am not able to say whether this is a weakness of the production or a consequence I have to suffer after more than 40 years of metal consumption. Either way, Úlfarr’s full-length debut continues the sound of their EPs and deserves respect and attention.

Rating: 7.8 out of 10