Funeral Rain Press Corps

Genre: Melodic Death Metal, Progressive
Label: The End Records

This may come as a shock to some of you out there in The FuneralRaindom, but I’ve never fully cared either way about Opeth. I mean, I know that these guys are one of the more polarizing bands in all of metal (and one of the biggest reasons for this is today’s subject of review, Blackwater Park) but I’ve just never cared all that much. It’s not that their brand of melodic death metal/progressive metal was a turn-off or anything, it’s just that I never gave them a chance. I think the closest thing to that “chance” would of been when I took a few extra seconds to figure out what the clerk at the 7-11 was listening to one night. Turns out it was this album and I’m not going to lie, it sounded pretty tempting. I just have a shitty memory and forgot to look it up when I got home. Oh well, if it was really something that amazing, it’d find me later on down the road.

And it did. YEARS later, but it did. The fine folks at The End Records (for some fucking reason) sent me a box of CDs, including the re-releases of Blackwater Park, Deliverance and Damnation (watch for those reviews shortly). So thanks for that!

Anyway, on to the review!

The album itself comes in a glossy case with a fairly thick booklet of liner notes and lyrics! That’s some snazzy stuff right there! Also included on the audio disc is a live rendition of The Leper Affinity that fairs pretty well in the  grand scheme of things.

Let’s skip over to Disc 2 (a DVD) for a second. You get the 5.0 Surround Sound version of the album album that, I’m sure sounds fucking amazing on a Bose sound system but not all that great coming through my stock speakers in my $200 Magnetbox. Next up, is the Making Of Blackwater Park documentary. Wow… you may as well of watched them record this album in real time because you learn just as much from the documentary. Very in-depth! The boys Opeth talk about how just about every riff was thought up, every lyric was dreamt of and you walk away learning how every moment was genius.

And with that a little too on the nose segue, let’s go back to the main attraction! Since I never got to listen to Blackwater Park beforehand, I can’t tell you if this version is superior to any of the earlier recordings. What I can tell you is that the sound quality is excellent, period. Starting the album up, I was pretty damned excited. I get to listen to an album that I’ve been unconsciously dodging for a couple of years now (it also helped that since it was for review, I had no choice)! About a quarter of the way into the first track, I knew I was in trouble. Aggressive, progressive, melodic death metal? I messed ‘em…

Lyrically, Mikael Akerfeldt’s words are hauntingly beautiful and terrifyingly surreal at times. They’ll take you all over the goddamned place and drag you through murky waters and barbed brier to get you there.  But it’s done in such a way that you’ll ask to go again when all is said and done.

As for the overall musicianship… do I really have to say anything here? Most of you already know that this album owns in just about every aspect. Akerfeldt’s voice is simply perfect for the task at hand. Mellow and clean when needed and an oceanically deep growl for when the moments arise. Mikael and Peter Lindgren’s guitar work is also on par with that of some kind of actual guitar Wizard! It’s all so magical! Every riff (that on occasion are played ad naseum, I’ll admit) sounds like a happiness spell that was cast on my eager, prog loving ears. The acoustic stuff is especially pleasing since it’s not overused and punctuates the ends of the better tracks.

Skinman Martin Lopez dazzles on his set with spellbinding rhythms and manic foot work that pops up out of nowhere. I was incredibly happy to learn that the talent didn’t just reside in the vocals and guitars like everyone I knew tried to make me think. This album HAD TO have a competent drummer to be half as good as everyone says it is. I’m also glad to know that I was right, as I always do.  And finally, we have bassist Martin Mendez and his speedy bass lines. Seriously, you don’t catch bass rumblin’s like that in progressive metal all too often (and that’s not often enough if you ask me). This guy might be my favorite progressive/melodic bassist next to Ed Vink.

As I mentioned before, some of the riffs are repeated to the point of me being able to point out that they can be a bit repetitive. But they’re great riffs and maybe they deserve to get pounded into your head! No, forget that. They can get to be kind of irritating. So there you naysayers go. I smudged this album a tiny bit. Ya happy?

Overall: I can honestly say that this album deserves all of the hype that’s been surrounding it for eleven years. It is everything you could possibly ask for in a progressive/melodic experience and more. Sure it’s a bit on the repetitive side, but I think that that is a pitfall that every progressive outfit falls into every once in a while. Aside from that, this re-release of Blackwater Park is a “Must Have” if you don’t already have it and if you do, then I beg you to consider this version if not only for the documentary.

9.5/10

Opeth Official
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Opeth On Reverbnation 

Genre: Black Metal, Death Metal, Thrash
Label: Pulverised Records
Format: Digital Promo (Earsplit PR)

Impiety are no strangers to the metal masses. Formed 21 years ago, they’ve been releasing album after EP after album of their own blend of black, death and thrash. Some releases have been better than others, but with their newest album, Ravage & Conquer, Impiety seem to be taking a faster route to awesome.
The drums are faster and more technical, solid as bedrock, and wonderfully complimentary to the thrashtastic (and catchy) riffage emanating from Shyaithan’s and Nizam Aziz’s amps. If only they weren’t triggered to the nines, but rather all natural, I think they would sound better.
The lead solos from Nizam bend the mind just as much as the strings, their speed and clarity astounding.
Shyaithan also takes credit for the bass, and though he’ll never be called thrash’s best bassist, he is a great player that locks in pretty much perfectly with the drums and the rhythm guitar.
The death metal elements that Impiety are known for are a little more subdued with Ravage & Conquer, the album taking a more thrash approach, which is even overshadowing much of the blackened elements (other than the vocals, of course). Some fans might not be thrilled by this, but I know I’m enjoying this, and I prefer black and death over thrash!
My favorite tracks are “Revelation Decimation”, “Weaponized”, and “Legacy of Savagery”.
8 out of 10.

Ravage & Conquer Track Listing:
1. Revelation Decimation
2. Ravage & Conquer
3. Weaponized
4. The Scourge Majesty
5. War Crowned
6. Legacy Of Savagery
7. Salve The Goat
8. Sacrifice (Bathory cover)

Impiety Personnel:
Shyaithan – Bass, Vomit
Nizam Aziz – Lead Guitars
Dizazter – Drums

Genres: Deathcore, Hardcore, Metalcore
Label: Independent
Format: CD (Physical Promo)

Marry Me, Murder are a local band, who some will remember were one of the bands at the first Funeral Rain Records show. They have since gone on to press some merch and record themselves an ep proper. Five tracks of MMM’s brand of death influenced hardcore is something I’ve been hoping to hear ever since I saw them live. I wondered if they would be able to pull off their show in a studio, and it would seem that they did.
The heavy Killswitch Engage/Sepultura/Alexisonfire style riffage that I loved from these guys is in full force. Vocals are pretty varied, from death growls to clean singing. I just wish I could remember which dude is Dion and which is Rick! Drums and bass are solid, with some gorgeous snap on the snare, but I would have personally brought the bass up just a bit in the mix, or even just turned the mids up a bit more on the amp.
In all, this is a great first EP. Now if only the band credits were present on it…
7.5 out of 10.

Victimology Tracklisting:
1. Cold Blooded Calibers for Cold Hearted Men
2. Ernie Doesn’t Like the Monsters
3. Crepitus
4. Chivalry is Dead
5. Giant Killer Space Bees Vs. Flying Sharks

Victimology Personnel:
Jaydon Bunney: Drums
Jessey Bunney: Guitar
Dion Amphlett: Vocals
Jake Leggo: Bass
Rick Holmberg: Vocals
Matt Reimer: Guitar

Marry Me, Murder on Facebook.

Genre: Heavy Metal
Label: Napalm Records
Format: Digital Promo (Napalm Records)

After several issues of a couple magazines (most notably Terrorizer) were talking about this female-fronted ‘true’ metal band (and after seeing their singer in next to nothing, honestly) I needed to hear them. And so it came to pass that I got to get my hands on a digital promo of Spell Eater.
I’ve given the album a couple listens now, and I’m quite impressed. Female-fronted bands of late have been leaving me with a listless feeling, like they are just trying too hard, and falling short of their goals; and when I found out that Napalm was taking care of Huntress I was honestly a little bit worried that they may be getting overshadowed by the label’s other, more well-known female-fronted bands. But no, this troupe is definitely not going to get lost in the label, nor do I feel listless after listening. Quite the opposite, in fact!
Think King Diamond if King Diamond was a hot blonde with an affinity for Siouxie Sioux, and you’re getting into the right territory. Musically the band brings to mind Iron Maiden, Black Sabbath, and even some newer Opeth. And well, King Diamond. Galloping guitar and bass, soaring vocals, growls, and spine tingling/finger wrecking solos are brought together to create Spell Eater.
Favorite songs are the lead-off single “Eight of Swords”, which is catchy as hell, “Aradia”, which reminds me a bit of mid-90’s Fear Factory, and “Senicide”, the second track from the album.
In total, I’m definitely loving this album and I’ll be buying it when it comes out.
8.5 out of 10.

Spell Eater Tracklisting:
1. Spell Eater
2. Senecide
3. Sleep and Death
4. Snow Witch
5. Eight of Swords
6. Aradia
7. Night Rape
8. Children
9. Terror
10. The Tower
11. The Dark

Spell Eater Personnel:
Eric Harris: Bass
Carl Wierzbicky: Drums
Blake Meahl: Lead Guitars
Ian Alden: Rhythm Guitars
Jill Janus: Vocals

Genre: Heavy, Black, Doom Metal 
Label: Independent

You would not believe the size of the smile on my face when this little gem materialized in my mailbox. I metaphorically splooged all over Inverticrux’s (formally known as Vintage Flesh) last album, Hour Of The Night Gaunts, so my expectations are impossibly high for their 2012 release, Virgin Reaper. With an album title like that, they’re well on their way to meeting those standards. What mysteries were to behold within? Were there any other changes along side the band name? My mind is racing with the wondrous possibilities…

Immediately, I’m ecstatic to find that the schizophrenic genre melding remains in Inverticrux’s own patented style.  Mixing elements of classic heavy metal, some toned down doom metal and slivers of black metal to make something that’s original and easily distinguishable as belonging to these New Hampshire psychopaths!

Holy… was that a harmonica? Fuck yes! I’ve always said that more metal bands should utilize the power found inside this little magical wind instrument! Granted it’s only found in the song A Cautionary Tale, but I’d rather it be in only one track than in none at all. Personal excitement over discovering the use of an under appreciated instrument aside, the overall instrumentation in Virgin Reaper has a crusty, filthiness going for it that rarely gets the praise it deserves when it’s discovered outside of punk or related versions of black metal. I for one am stoked to find it here!

More praise is to be sent vocalist RayPissed’s way! He changed up his vocal tactic this time around by ditching the constant falsetto (which so many others apparently had a problem with) and replacing it with more variety. Gruff, but not tough guy vocals lead the way while being backed up with the occasional higher end tune and and even better still version of his haunting bellowing! The guy is a vocal genius!

The production is another tally in the positive side of things. Everything sounds much crisper than it did in Hour Of The Night Gaunts while still completely down and dirty. And let’s talk about that cover art! The titular character is clutching his recently used scythe in one hand and a bloody cherry in the other while standing on a pile of skulls, surrounded by blood drenched, big titted chicks! Fucking METAL!!!

Overall: Tinkle me pink to find out that Virgin Reaper holds it’s own against it’s predecessor with it’s stylistic variations and crusty similarities! Inverticrux is a band that knocks down genre expectations and will continue to do what they wish, when they wish on into the future and Funeral Rain will be right there behind them, cheering them on all the way!

10/10

Inverticrux On Facebook