Label: Not On Label (Critic Self-Released) - none • Format: 55x, File MP3, Album 320 kbps • Country: US • Genre: Rock • Style: Grindcore, Noise
Best viewed without Internet Explorer, in x resolution or higher. Death metal came into my world with an almost simultaneously released quartet from Sweden. I am speaking about the first albums of Dismember, Entombed, Unleashed and Grave. All of them had excellent songs and the debut from Grave has remained the most expressive full-length of their back catalogue, at least in my humble opinion.
Okay, it does not hold genre hits such as "You'll Never See But "Into the Grave" scores with its monolithic structure, its total darkness Party Yourself Into A Grave - Critic - Home Invasion its raw power.
Even in view of the professional, sinister and powerful production: the eleven songs spread a foul smell. If I should translate the stench of a rotting corpse into music, it would sound quite similar to the here presented material. It might be that Grave did not deserve the award for the most innovative music inbut the whole sub genre was still in its infancy. Given this fact, it was necessary to lay the foundation with a tried and tested method and due to the Party Yourself Into A Grave - Critic - Home Invasion that graves are usually under the surface, Grave were natural born experts for building a stable basement.
However, to record a generic death metal album was not their only mission. The four dudes integrated excellent riffs as well.
This does not get obvious in each and every song. Nevertheless, these riffs pull the album on a high level. For instance, pick out the title track in the centre of the album. A rumbling, dark riff takes a run-up and sets an unholy frame. Afterwards a short atmospheric intermezzo gives way to brutal verses and the Party Yourself Into A Grave - Critic - Home Invasion achieves an acceptable level of catchiness.
This compact song has a good flow - unfortunately, this is no matter of course on this album - and no single gram of fat, that's why it marks a worthy representative of "Into the Grave". The eager band manages the fast sequences very well, but it is also able to pour out thick lava that takes its way slowly and devastatingly.
Some opaque and weird melody lines, Party Yourself Into A Grave - Critic - Home Invasion too many of course, add the final touch. One of these lines makes "Obscure Infinity" to something special, another one gilds "Day of Mourning" with a very charismatic beginning. But pure I Giorni DellArcobaleno - Carlos Do Carmo - Carlos Do Carmo ton hammers like the necro-anthem "In Love" or the fittingly titled double-bass attack "Inhuman" make clear that Grave are not overly interested in creating melody lines.
The naturally extremely low-tuned guitars give their best to stifle any form of harmonic music and they are pretty successful in doing so.
Grave always stood in the shadow of their national competitors. The band never forgot to focus on the entire song and therefore no tune falls victim to an heterogeneous pattern. The different parts are well connected with each other. Even though there are songs that just pass by, exactly the opener is one Наши Любимые - Песняры - Ваши Самые Любимые Песни these pretty faceless tracks, Grave present an above-average hit rate and one will not find many outputs that surprise with more pristine death than this debut.
Moreover, the album documents the high influence of Hellhammer in this area of extreme metal. Among other things, it follows from this that "Into the Grave" is definitely a strong part of the deadly quadriga from Sweden. This came out the same year as Reaction (Ronald-V Remix) - Stunt Crew Feat E-Max - The Remix EP an Everflowing Stream and Where No Life Dwells and only one year after Left Hand Pathquickly sinking into relative obscurity while those other three landmarks of Sweden's original death metal movement attained legendary status.
Well, the principle of Occam's Razor, which states that the simplest solution is most often the correct one, applies.
Grave was, let's be honest here, an also-ran in the Swedish scene and their debut album an adequate slab of death metal with all the prerequisite elements but lacking the fire, ambition, and personality other bands in their vicinity were bringing to the formula. At the time, Unleashed had songs loaded with catchy riffs, Dismember had waves of awesome tremolo madness crashing down on the listener, and Entombed had Fairy Of The Woods - Gary Stadler - Fairy Of The Woods sheer ferocity that got people's blood flowing a little quicker.
Grave had They had the blasting drums and the tremolo lines and the harsh vocals but couldn't figure out how to mix them together into something better than decent. Grave's debut is essentially a bog of adequacy, with practically everything Glad Hamp - Lionel Hampton - Vibratory - Live- (DVD) the same uninteresting texture.
In this journey through the swamp, few moments stand out in any way. In one of these passages, a sparser bit from album opener 'Haunted' finds a satisfying way to bring the bass out of hiding. A part toward the end of 'Deformed' that ends a recurrent rhythm on what sounds like a dissonant chord is memorable as well.
Sadly, the goodness that rises above the surface is limited to individual moments that have pedestrian songs built around them. This album's performances, like everything else here, are good enough but unspectacular. The vocals are technically competent but don't summon much excitement. He doesn't spit much ferocity into the mic, instead keeping his voice consistently low but mostly devoid of feeling.
Conversely, there seems to be more life behind the kit. Nothing drummer Jens 'Jensa' Paulsson does is especially impressive or out of the ordinary, but he bashes away at the skins and cymbals with more enthusiasm than the other performers were able to communicate. Ultimately, Into the Grave is satisfactory.
If it happens to be playing, you won't get the urge to turn it off but it won't sweep you away, either. Before you know it, 42 minutes will have gone by and you'll be left with no recollection of what this release sounds like, beyond the elements it shares with every other Swedish death metal album from this time period.
Some are Desultory, Unleashed, Entombed and of course Grave. With five demos and an EP in their past, would be the year they would release their first proper record. There are definite similarities across the board with metal bands within and outside the death metal sub-genre, including the creators of Heavy Metal themselves: Black Sabbath.
Grooves and rhythms are what make this album so fun to listen to. It is arguably the best song on this LP because it taps into all different kinds of rhythms and catchy melodies. The bass fills, distorted solo, and precise drum fills add the finishing touch to this masterpiece. The riffs of this song have a ominous and foreboding quality to them and when you listen to Rondes Des Printemps - Claude Debussy, Samuel Barber, Charles Munch, Boston Symphony Orchestra - Deb they will simply tear right through you.
It loses 3 points for a couple of reasons. First, the bass is always being drowned out. This is a pet peeve of mine and many other metalheads, and this is a musical crime still being committed. Also, some of the bottom ends of the guitar solos were drowned out by the drums and bass at times. Despite this, the complete sound and tone of Grave was never too muddy. Prinz In Granada - Yedi - Geischterfahrt low melodies were crystal clear and the very high notes were fat and rich.
Regardless of the occasional canned refrain, the album never loses energy. It would be a steady upward climb. For a Friend For A Day - Various - Terpsichore (Silly Not To) album, this is absolutely fantastic. The bass playing was on point and supportive. Jonas Torndal does his job perfectly. The solos were especially brutal. And let us not forget the silent killer behind the kit, Jensa Paulsson.
He is much like Thomas Johnson of Desultory. He is tight, always on beat, but never doing anything too showy and flashy.
He adds the no nonsense attitude that all metal bands need to some extent. Swedish death metal will always be my favorite kind, and I hope it becomes yours too.
Add this magnificent album to your collection. There was a lot to like about the good old days of death metal, namely the era, where death metal managed to be vile and nasty without losing any sense of coherence.
Granted, there is a valid criticism that bands such as Benediction, Dismember and Entombed were just a little too stylized during their formative years, often times Party Yourself Into A Grave - Critic - Home Invasion a lot like each other. But this criticism pretty much holds true for any musical scene, as it didn't take long for bands to latch onto Suffocation's different brand of brutality soon after "Pierced From Within" really began making waves, not to mention the continual influence that Cryptopsy has upon the brutal and technical fringes of death metal.
Given its time, Grave's debut "Into The Grave" is quite typical in its character, but it presents a tried and true formula in a way that is so unfettered in its speed, rage, and darkness that it edges out much of the competition. Distilling all of the viciousness of mid 80s Slayer, Possessed and Sepultura with a sludgy, swampy sound more along the lines of "Altars Of Madness", but minus the grindcore-inspired constant blasting and a slightly less chaotic tremolo riffing style, this album is a consistent affair in literally cutting to the chase.
Unlike many of the thrash albums that paved the way for the sound heard on here, there are no atmospheric intros, and only a few scant keyboard sections to add a little otherworldly flavor to what is more of a gore-obsessed sound, just a constant barrage of Ashes Of Love - Frank Wakefield And The Good Old Boys With Special Guest Dave Nelson* - Frank Wakefi hitting brutality.
Topping it all of is vocalist Ola Lindgren, whose extremely deep and guttural barks rival the most insidious characters heard out of the NYDM scene, perhaps bearing the most resemblance to Immolation's low-end bellower Ross Dolan, but with a slightly more forceful growl that hints at a slight early Glen Benton influence as well.
But the most appealing aspect of this album is not the raging extremes that it goes to, but its underlying simplicity and accessibility. When listening to blistering fits of ferocity like "Deformed" and "For Your God", the first thing that leaps out is a very loyal adherence to a fairly standard songwriting formula that was around when Ola had started what became this band in the mids, drawing upon the same mixture of mostly Party Yourself Into A Grave - Critic - Home Invasion thrashing with an occasional slower breakdown section that serves to sneak in some influences parallel to Obituary and Autopsy.
The guitar work usually comes off as highly minimalist, while the drum work tends to handle most of the shifts in overall feel that keep each song from getting too repetitive, and the obligatory guitar solos definitely have a strong late 80s thrash vibe to them similar to Cannibal Corpse, shredding up the fret board in generally short bursts and adding just enough sugar to help the cadaver down the hatch.
One thing is certain, given that this masterful opus was commited Midnight Lament (Minor Moods) - Tito Puente - Night Beat - Mucho Puente, Plus recording in less than 2 weeks, this band had their act together right from the beginning.
Nowadays this is largely seen as an antiquated approach to the style, largely reserved for the old guard, a few token latecomers like Jungle Rot granted, in their case latecomer only means a few years after this sound moved aside for the death n' roll crazeand the present revivalist crowd intent on reliving this same era, but it's far from a safe Party Yourself Into A Grave - Critic - Home Invasion even amongst those younger types who are addicted to their slams and their core.
Anyone who took to the Party Yourself Into A Grave - Critic - Home Invasion offerings of Deicide, Incantation, Immolation and even the checkered Darkthrone debut "Soulside Journey" will find an equally vile expression of extreme filth here. Do you like heavy, uncompromising and suffocating Death Metal?
Do you like it when your ears are hit by a rapid onslaught of chunky, sludgy riffs that engulf your entire hearing spectrum in one big wave? Do you often stay up late at night, wishing you could find the perfect slice of Swedish Death Metal for your lover this Valentine's Day, so they can share the magic too? Well, wish no more. Hailing all the way from Sweden, Grave's debut album is sure to be a hit Ghostly Blossom - Jan Amit - Flowertraces every loving couple this season.
Guttural, flesh-ripping guitars slice and dice their way through Into the Grave 's 40 minute duration, completely overwhelming the listener with a surprisingly heavy sound, as compared to the biting, chainsaw-esque sound also being developed around the same time by last year's romantic dinner staples Entombed. The guitars are the main feature here, with their gut-wrenchingly heavy, Earth-shaking tone stealing the listener's attention, but they are also topped off with the low, rumbling growls of Jorgen Sandstrom, and also spiced up with a healthy layer of crushing drums that will make your loved one melt.
Every song provides a heavy and all around satisfying listen, for both the seasoned Death Metal veteran and also those who want to find a good starting point for the genre. Kicking off with the pummeling and horrific "Deformed," Into the Grave will take the listener on a hellish journey through what will feel like, perhaps, the weight of a thousand boulders upon their back as they try to crawl out of their own tomb.
If you were looking for a new method of massaging your loved one's back, this album will help you out. It's heaviness is shocking, and yet it is perfect for the romantic couple wanting something more daunting and extreme. Every song offers similar delights, drilling themselves into your head with the finest organic songwriting available.
Both dependable and headbangable, Into the Grave has a multitude of uses.
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