Review by Felix on August 30, 2020.

Thrash metal. Did I ever use these two words in one of my reviews before? I did so? Okay, but I am sorry, I have to do it again. Crimson Slaughter from Spain call for the next thrashing attack. The band prefers the old - and, from my point of view, the true - approach of the sub-genre. Nevertheless, although the artists like to take a trip into the past, let us speculate how future generations will judge this work.

In all fairness, our descendants will not say that Crimson Slaughter released the metallic highlight of 2016. They will additionally say that the band did not surprise the audience with highly original sounds. Although there is no obvious role model like Exodus, Slayer or Testament, the four Spanish ruffians do not desperately seek for new gimmicks in order to enrich their music. (Well, we all know this kind of enrichment - in most cases, it is just crap.) No, Crimson Slaughter are loyal to the initial movement of American thrash metal and its musical ideas from the mid-eighties, even if the first seconds of "Dead Walk Away" reminds me of early Kreator. Their no-frills approach is full of energy, straightforward, but not simple and equipped with the necessary degree of rawness, brutality and pressure. Of course, the full sound of Cycle of Decay is a valuable asset that helps the songs to develop their entire strengths. Just concentrate on the clear, sharp and vigorous appearance of the rasping guitars. Yet the compositions themselves are also well done, even though there is room for improvement in terms of catchiness and coherence. Especially a few solos are going nowhere. But come on, we are talking about debutants.

Future generations will also realize that lead vocalist Víctor Sánchez cannot challenge the charismatic singers of the first wave of thrash. His screams and shouts are powerful, but they lack an individual note. Some gang shouts or extremely distorted voices support him more or less successfully, but to be honest: this is no mind-blowing vocal performance. Nevertheless, Victor's style increases the level of energy and that's naturally a good thing. The high speed that dominates the album asks for a fidgety singer and he fulfils this request. Mind-blowing sequences like the beginning of 'Kill or Be Killed' are based on the explosive guitar work, but also on his screams. Leaving these details aside, the entire track belongs to the highlights of the album. It is on a par with 'Buried Beneath The State' which offers some exciting guitar leads. In particular the second part of the verse has a very good flow.

Viewed overall, the generations of our children and grandchildren will probably say it is no wonder that Cycle of Decay did not become a classic. Yet, and I hope that the album does not fall into oblivion, they will also say that the sawing guitars, the robust drumming and the pretty mature execution of the songs in general ensure a nice listening session. Indeed, I guess they will like this album - regardless of the then current products. And by the way, who knows how thrash metal will sound in 2035? Maybe some progressive "thrashers" have started to mix once sharp guitars with an overdose of flutes and harps? Or every thrash band that wants to be taken seriously must have an accordionist in its line-up? Or a hip-hop mix of "Angel of Death" is the new big thing? Nightmarish visions! Yes, the more I think about it, I am sure. Future generations will enjoy Cycle of Decay.

Rating: 7.3 out of 10

Review by Felix on April 17, 2022.

Welcome back to the land of graves where Rob Darken sits comfortably on his oaken throne. After a comparatively long break between Dawn Of Iron Blades and Hour Of Ragnarok, he returns with a split album that follows hot on the heels of the aforementioned work. Naturally, only fools expect a spectacular change of style and one must be an optimist to await a spectacular work at all. Since Creed Of Iron at the latest, Graveland’s style has been defined (and became predictable). And so I awaited another typical Graveland offering with plodding rhythms that slowly but surely make their way from the cave to the battlefield and back, with Valkyries voices in the background and heroic vibes that give the music its triumphant yet battle-weary mood. Nothing new in the Polish forests.

The first time I listened to his four new tracks, I felt confirmed. But after three listening sessions, I must say I was wrong. The songs have more layers than I realized. Of course, Graveland still sound like Graveland, but some unexpected details show up. On the one hand, Darken has integrated a few very rapid sequences ('At The Shore Bathed By Blood', 'Possessed By Steel') that give the atmospherically dense songs an extra dose of intensity. On the other hand, he gives room to keyboard lines that sound like In Extremo minus the joy of living ('Amber Lantern'). Everything is presented with another voluminous production which has become a trademark of the one-man-project. The powerful guitars and the throaty voice celebrate their great appearance, the drums deliver the solid foundation and the keyboards – well, they are very (or even overly?) present, but this is nothing new when it comes to Darken’s approach. A little less pathos would be good sometimes, but I ask you to understand that as a side note. All in all, I enjoy a very cool delivery of the Polish lone wolf (yes, I have seen that he has two side kicks since 2020, but I don’t think they have a big influence on Graveland’s sound) and it’s a mystery to me why his music never gets boring, at least in my humble opinion. 8 points for his contribution to this split.

But now let’s have a look at the commander from Finland, another solitary person who has not found any fellow musicians. No doubt, he is more or less a spiritual brother of the Polish pioneer. Commander Agares have a more icy guitar sound and the vocals resonate with cruelty. Some details do not really work, for example the fade out and back in after four and a half minutes in 'Dawn Of A New Morning'. Another minor flaw is the powerless drum sound. Did the guy really beat a snare drum or was it just cardboard? Anyway, the overall impression does not fall victim to serious mistakes. Instead, the artist collects plus points with the ghostly dancing keyboard melody of 'Rising Flames Of Revelation'. It sounds like a harmony early Gehenna forgot to record. Commander Agares do not fish in the waters of Viking metal and that’s the main difference to the art of their split album partner. Yet they also convey a desperate touch and their three compositions do not suffer from a lack of substance. In contrast to its name, the profound and insistent 'Where We Are Crowned As King' does not spread a triumphant aura, it rather sounds like a document of pain and hopelessness. It’s the song which is closest to the material of Graveland and therefore it builds the perfect bridge between the two units. For me, Commander Agares deserve 7,6 points and this means that the very recommendable split gets 7,8 points.