Morbosidad - Morbosidad / Cojete a Dios por el culo (2008)

   From the '00s the number of the so called war metal bands remarkably increased. Earlier it was written that the changes that are necessarily happening in every genre (from the early, golden age through the final development until the mainstream tendencies and progression) took more time for black metal. In the '00s the style reached high popularity, higher than any other extreme genres. Black/death or war metal was like an answer for this, a turn back to the old school in the most exaggerated way, and there was no better example for that than what bands like Sadistik Exekution, Goatlord, Blasphemy or Abominator have done previously.
   Morbosidad exists since the early '90s but their full-lenght debut came out only in 2000, so their name became better known when the newer black/death bands showed up. Their compromiseless musical insanity gave a new shade for the most exaggerated aspect of the style. The debut was re-released together with their second album as a compilation, to leave a worthy memorial for their effective implosion (and maybe to extend the duration of enjoyment). In themes they preferred thrash basics that they've frequently speeded up with blast beats in blackened way. The chaos they've created on the first album reminds to the oldest classics of the genre, while "Cojete a Dios por el culo" introduced a bit more old school approach. All of their lyrics are Spanish, but there are no doubts they are assisting well to the blasphemous rampage with wide diversity. It's definitely not worth to miss for the lovers of war/black/death.

Nuclear Desecration - Desecrated Temple of Impurity (2008)

   During their short existence Nuclear Desecration have left behind a line of demo records and a full-lenght album, that represents excellent quality in the most deviant direction of black/death metal.
   Even though their style was mainly influenced by Blasphemy and it's related projects, their music showed a further progress. This of course cannot be called literally as a progression or a new tendency of the genre, since black/death was always like an anti-everything, the manifestation of chaos and destruction. Where could lead any further renewal trying? Still some order can be found in the songs of Nuclear Desecration, that refers back mostly to old school death metal. That's the feauture of well composed songs according to the ultimate chaos that's more usual at the classic bands. The sound quality is also better, and even though it's quite close to blackened sound, it's far from being too noisy. The instruments can be clearly heard, and the themes having the leading role. Simple and quite old school black metal themes are waving back frequenty in the songs without creating any atmosphere. The repetition of their simple-selves gave the ominous effective feeling that's common to find at late black/death metal bands. All of these are leading to a pure devastating sound that's strongly recommended for the fans of the genre.

Christ Inversion - Christ Inversion (2008)

   Christ Inversion was one of Phil Anselmo's numerous underground projects, that are not so known for ordinary Pantera and Down fans, and also not compatible with their taste. It was also one of the first black metal tryings in the US.
   This compilation is basically the release of their first demo from '94. The band was short lived, so it counts as a worthy memorial of their experiments. Similar to Demonic Christ, even though they tried to fit to the main concept of black metal, the death metal influences are so strong, that the whole thing didn't work out as they've probably intended. The themes stucked somewhere in half way between black and death metal, and at the end the second sounds dominating. They've added dramatic intros to complete the satanic concept that's theatrically American, and the atmosphere they tried to create with effects that may fit into a horror film. This, and some song structures strongly reminding (not surprisingly)  to Necrophagia. The aggressive shouting vocal would also fit better into another story, and even if the noisy rehearsal quality is quite evident, it still represents higher sound quality than the classic blackened sizzling sound, cause the instruments could be clearly heard, and not leading to the needed atmosphere. Christ Inversion counts as black/death also as a pathfinding experiment, since it's different from anything similar in this style. But because the genre doesn't support such diversity as death metal, to approach it in the same way can't result anything that could fit between it's tight borders.

Embrace of Thorns - ...for I See Death in Their Eyes (2007)

   Embrace of Thorns belongs to those bands who could be found responsible in first line for the notoriety of Greek black metal.
   Their music is also death metal influenced that's represented in the noisy sound, in the vocal style, that's somewhere between black and death with a very strong echo effect, and in the complete lack of atmosphere. Maybe the noise and the echoing together can be explained as a sort of atmosphere, but these only gave similar impression that's usual at putrid sounding death metal bands. Like if the album was recorded in some deep underground dungeon. The guitar themes kept their strong blackened influence, almost non-stop intensely hammering drumms gave a raw perspective to the main view, and short, noisy solos completing the endlessly deviant circle of putrefaction. Their music is strongly related to the Blasphemy influenced black/death metal, but a more unified, obscure sound is in their focus instead of the complete chaotic insanity. The band is not in a hurry though they usually play very fast, middle speed slow downs are common to find, and the tempo switches are sudden. Still, the album is far from spontaneity, all parts are well composed in Embrace of Thorns' dark, deeply sick vision.

Emptiness - Oblivion (2007)

     In what is easily the best musical representation of blackened death metal to date, Emptiness delivers extreme, pounding, at times even groovy, darkness and doom with their 2007 release of Oblivion. This entire album pulls you in from the jump, with rich guitar rhythm and riffs and full bodied double bass drumming. The songs all sound full and balanced, with precisely placed drum and bass woven between guitars and vocals. At no point in time does this album not consume your entire conscious, leaving you begging for more. If Hell had a lobby, Oblivion would play over the loud speakers.

     Oblivion is like a hyper, yet well produced I may add, chaotic can of evil (or worms, whatever) of both black and death metal incorporated vocals that twist and turn their way in and out of thrashing, compulsive guitar riffs. "Crushing Ignorance" and "Feeding Force" are the ultimate representations of the level of intensity that the entire album holds as a whole. This album set a really high bar for me for this band as it was the first I was introduced to, and I can say, no other album, by Emptiness or another, measures to the intensity you feel when you're listening to Oblivion. It is truly it's own entity. The dark undertone of the majority of the vocals is insanely contrasted by the faster moving guitar and bass parts. This is the kind of album that you can't sit still to while listening. A+.

Ravencult - Temples of Torment (2007)

   Ravencult's full-lenght debut starts with some (probably) Orthodox mass detail and ends the same way. This introduction somehow fits to the blasphemous rampage that follows, and gives a frame to the album that suspects a higher level of defilement of the sacred.
   And to defile they do with the same aggressive and dirty sound as it's usual from Greek black metal. But the intense and effective start doesn't reflect completely the spirit of the album, cause the band also preferred old school themes with middle speed. These switching with the insane hammerings when there's some need for rageful insanity. Catchy, but typically blackened melodies are repeating frequently to plant a deeply ominous feeling in the listener, that's partly emotion related, partly foretelling the inevitable grim end that may come. But because of the noisy sound and the band's quite aggressive tone there's barely any atmosphere to form, only the repetitive ominous melodies creating some. The main feeling may remind to old Bathory, and to the early period of Darkthrone. "Temples of Torment" might be a very enjoyable album for the fans of old school styled black metal, offered by the same intense swing that could be expected from the bands of the Mediterraneum.

Astarte - Demonized (2007)

   Astarte was formed when black metal was in a changing period, and during their existence their music went it's own way of change too. Genres in first round after everything possible was made inside the borders of their specific features, starting to become more melodic, audience friendlier, and later involving different influences and/or turning progressive.
   The same has happened with Astarte too. On their last album there are still style features to find that may remind to their debut, like occasionally the intense blackened themes are returning, the vocal style is the same, and they've still wrote Greek mythology influenced lyrics, but it's a different story now. Their music became far more melodic, lost it's dark, depressing old school atmosphere, the themes are strongly melodic death influenced, and partly mixed with classic heavy metal features too. The harmony wasn't lost, but represented differently (in the way of literal meaning). By the melodic death influences and the clear sound the focus has switched from down breaking passive suffering to a more aggressive direction, that is also more generic the same time. Still a remarkable emotional effect remained in their music, since it's the concomitant of the combination of these styles, but it's less effective. "Demonized" is still a great album according to it's style, and fits into the musical voyage of the band, but it may leave behind a feeling that something's missing. Such in the case of the band's split-up because of Miss Tristessa's unfortunate pass (R.I.P.).

Infest - Anger Will Remain (2007)

   Infest just imploded into the nearly metal-less area of the Balkans with their aggressive thrashing in the early '00s. Their full-lenght debut left no doubts about that even if this style was forced back into the depths of underground, it's still alive.
    "Anger Will Remain" was a raw, but still strong debut that may leave behind some nostalgic feeling in the listener by it's short catchy themes that are frequently interrupting the intense hammering. The fast thrashing have complete leading role on the album, like if it was an angry unstoppable war machine that represents the band's hatred of religion, and goes through everything and everyone. War is also a returning lyrical topic by detailing it's reasons: mass manipulation of the currently leading power, especially by religious causes and the assistance of the Church in highlights. The local audience can probably easily relate to that, since similar problems were quite actual in that region not so long ago. This intense utopistic daydream of a war that gives the final strike for the Church and it's obsessed followers reminds to the more Satanic concept of Deasater and to early Venom's less serious imaginations. The approach of Infest is more reality inspired.

TYMAH - Loquitor Cum Alqo Sathanas (2007)

   When "Transylvanian Dreams" came out, it could have been clear that by TYMAH something extraordinary showed up in the very tiny Hungarian underground scene. Their second full-lenght album just confirmed that expection.
   But since the band did their best to isolate themselves from the local scene and it's audience, this act also didn't spark so much attention as it deserved. Their music showed remarkable progress all-round compared to the first album. Their themes kept their similarities to Mayhem, and mostly the intense drumms are reminding to Hellhammer's style. The sound became clear that makes easier to focus on the details of their fast and rageful play. The vocals are far more insane than before, inhuman screams completing the obscure atmosphere that only could be compared to what Bethlehem did on "Dictius Te Necare". The lyrical concept was uprgaded too. From the classic black metal topics that are seeking the dark forces in the hidden and mysterious regions of the mortal environment, they stepped forward into infinity. That switches between the incomprehensible world of the individual mind and it's dreams, and the cosmic level of evil that voyages during it's slumber in the unreachable distances of space. Of course the main features stayed the same, so by it's excellence "Loquitor Cum Alqo Sathanas" cannot disappoint the fans of old school styled black metal.

Watain - Sworn To The Dark (2007)

     Watain bless the masses with this modern take on Swedish black metal. Sworn to the Dark came with much criticism- boring, gimmicky, and possibly too similarly "ripped off" from "De Mysteriis Dom Sathanas". The thing to appreciate about Watain is that they are able to take the core of what was early 90's black metal and boldly step where no 90's metal stepped before- cleaner production, clearer melodies, all while maintaining a raw & dark atmosphere.

     "Block not my path!
      You futile walls of flesh and blood.
      For I have seen your structure clear
                                                                     and I know where to stab."
     Sworn to the Dark is not the most talked about Watain album, and goes a little unappreciated. I'll admit, there are some dull or unimpressive qualities to the album, where songs run together or just don't leave anything to remember, especially if you're looking for the melodic characteristics found in later albums. There's also quite bit of difference when it comes to tempo from this album in comparison to Casus Luciferi. But the songs that do send forth with great intensity leave you yearning for more. The songs Stellarvore and Sworn to the Dark demand your attention. They're raw, commanding, and memorable, not only for the sake of Erik Danielsson's often hypnotic, shrill vocals, but the tone in the guitars and the lead rhythms that carry the aggressive qualities of the rest of the album.

Martyrium Christi - We Will Kill... for You (2007)

   Probably in the most atheistic country of Europe not many have been shocked by the strongly anti-religious concept of Martyrium Christi, but unlike at most similar bands, their main goal was not even to shock the audience.
   The band existed since the early '90s, but they gave a "life sign" only after a long silent period. Their rude brutal death hammering was quite actual in the '00s, when countless bands showed up in this style, but Martyrium Christy preferred to stay at the old school roots, and they introduced their musical skills well by playing brutal death diverse without turning technical or progressive. "We Will Kill... for You" is a very intense album free of frippery and it's ongoing brutality is definitely not boring either. The band didn't approach Anti-Christianity by "narrating to the dark forces" or by showing themselves evil, only flashed on the mass manipulating role of the Church, and criticized as it becomes the tool of politics in the race for power and assisting to oppression. What a paradox is when those who are once preaching about love and peace, later blessing the weapons of war in the name of God? The lyrics are not focusing only on the past sins of mankind, but also forming an opinion about the demoralizing local political situation of the present.

Vulvectomy - Putrescent Clitoral Fermentation (2007)

   Vulvectomy was formed and debuted in 2007 during the Renaissance of grindcore, which had mainly porn grind in its focus, and also slamming brutal death metal bands became quite widespread. While these two factors definitely had influence on their style, the question might stand, what made this band notable or interesting among their countless coataneouses, which mostly had the same musical intentions, messages and both lyrically and visually explicit approach? 

   The short answer might be nothing really, except Vulvectomy's music had slightly simpler and more old school approach than most similar bands. And what turned out to be interesting: this simplicity pushed their music closer to deathcore, which also wouldn't count as something extraordinary in this genre, but by arriving to this point from different roots isn't so usual. The band operated with so basic themes and dummy riffs by mainly staying at groovy middle speed, that for first listening it wouldn't even sound incorrect to call them as a deathcore band. Basically only breakdowns are missing. Only the occasional occurrence of brutal death intensity is able to shake up the listener from this assumption, but the dominant repeatedness of the groovy middle speed and themes might leading back to the same consequence. Similar analogy used to occur at bands that are having at least distant relation with deathcore, for instance in case of harcore / crust punk bands if they want to sound heavier. However, the way how Vulvectomy's style turned out, made them compatible with both slamming brutal death and deathcore audiences. The album perfectly fits into the mid-late '00s extreme era, and might be highly enjoyable for the addicts of sexually explicit and gore based musickness. 

Fatality - ...Closer to Hell (2007)

   Fatality was formed in the early '90s as Kind Death and after some line change and leaving behind that less fortunate name debuted in 1997.

   Even though they count as a quite old school formation, their music was heavily influenced by the actual tendencies of the local and main scene. Their early music wore the features of ordinary Eastern European bands, for instance poor production quality and experimenting ambitions mainly led by the lack of common ground of the band members. But already by their second album they've returned with unified style, concept and sound. That era was the beginning of a technical/progressive brutal death wave in the underground, and that period has left a permanent mark on their music. This was led further on their third album "...Closer to Hell". Even though they did have musically interesting and weird solutions, experimenting themes and song structures, they didn't go too far with them, these haven't been too determining for the main view, and they kept returning to old school and brutal death themes. The lyrical concept also stayed at grotesque and gore based topics. Despite how fast they complied to the tendencies of the main scene, probably the mainstream cream of death metal bands have been their main influences, bands like Dying Fetus, Cannibal Corpse, Morbid Angel, Deicide and Kataklysm. While listening it might be difficult to decide do they take themselves seriously or absolutely not, because sings for both could be found on the album (especially when punk-like themes showing up). Probably the answer lies somewhere in between. However "...Closer to Hell is quite an enjoyable album, mainly recommended to the fans of brutal death. 

From Beyond - Sounds of the Grave (2007)

   From Beyond was formed in the early '90s, but such as many other bands who were not able to make it further that time than a few demo tapes, they've debutet in the early '00s.
   Their first album was kind of raw by ideas that sounded like awaiting for some elaboration, but the band have managed this progress at their return and showed development. Their themes are reminding to classic doom metal that might be not surprising from a death/doom band, but the main tendency of the style was different. The better known and popular bands of the style (at bands where the death metal reference is quite questionable) had similar features in their music, but because of the massive overload of melodies and emotional atmosphere their effect was minimal. And in the case of the rough direction (that was really death metal influenced too) most themes were more like the slow version of death metal. At From Beyond the ominous feeling of the '80s doom metal can be easily identified, only they sound more rough and noisier. And it's possible to find themes that are strongly remindig to '70s, and leading back to the very roots of the genre. This counts as uncommon in death/doom, cause not many have tried anything similar, even though it might be quite evident. Probably it's because death/doom used to be somthing heavier and more depressing than ordinary doom, and classical themes might sound too "bright" for the down-pulling, noisy sound. But there are modern features to find on the album on side of the old school nostalgia, so though it's simplicity "Sounds of the Grave" offers diverse entertainment.

Cripper - Freak Inside (2007)

   For those who missed the feeling of the old school Teutonic thrash attacks with some fresh blood included, Cripper may have been served as some relief.
   The band's debut was a bit more aggressive of course than what was usual in the '80s, since a lot of time has passed, but that was mostly represented in the sound and not in the intensity of their songs. The old competition of playing so fast as possible is history, and even though nobody can judge the band that they've nearly fell asleep while playing, cause naturally the album is intense as a thrash album should be; compared to the oldies, "Freak Inside" counts as a middle speed thrashing album. Simple, but rigid themes dictating the tempo for the march and the final charge. At the end of the album the band tried to involve some plus by more melodies and diverse themes. These tryings can be sensed earlier too, and it sounds like if they've tried to be careful, or they just wanted to hold their surprise card for the final; but things got revealed at the end and they showed what they've got. The other reason why Cripper counts more rough is Britta Görtz as their charismatic vocalist. The rude, aggressive style of Frau Görtz can cause some nostalgic impression if the listener may think about the golden age of the German thrash scene... but it's a different story now. May the "Freak Inside" kill your thirst!

Dimmu Borgir - In Sorte Diaboli (2007)

     If it's possible for a band to hit an apex twice in their career, Dimmu Borgir conquered that exact feat with this highly evolved symphonic album "In Sorte Diaboli".

     Though throughout the years, Dimmu have always proven to consistently evolve their sound and production quality, "In Sorte Diaboli" did not come without criticism from long time fans. Many considered the album to be significantly less symphonic than it's predecessors, and it certainly doesn't measure up to the gritty, more lyrically complex albums such as Stormblast or Enthrone Darkness Triumphant. It's not unknown for black metal fans to hiss and jeer at even the thought of a band taking a different creative approach to a new album. However, it's this metalheads humble opinion that the cleaner production quality and more streamlined approach to their songs and their order are what make "In Sorte Diaboli" such a beautiful album.

     One of Dimmu's most revered and most live played songs, The Serpentine Offering come from this album, and it holds a heavier orchestral presence that, from a creative standpoint, sets the tone for the entire album. Although Dimmu certainly took this concept album and attempted to perhaps appeal to a larger, more commercial audience, listening from a place where you can understand the evolution of music and their performers, In Sorte Diaboli is an energetic, memorable album. 

Naglfar - Harvest (2007)

     I'll be the first to admit that I can be a member of the late train when it comes to getting into a particular band or album that should be considered more well known to a black metal fan. There's no exception to Naglfar when I got their album Harvest, and as I should have known based purely on recommendation alone, the entire album would not disappoint. Can you go wrong with Swedish melodic black metal? Well.. okay, yeah, sometimes. But I'll save that for another post. Maybe.

     Harvest brings out what is best about modern black metal. The album is well produced and clean, yet still holds grit that gives it the dismal atmosphere deserving of any good Swedish black metal band. While tracks can sometimes seem like they run together with a bit of lack of variety, there are some seriously killer riffs and breakdowns throughout the entire album, most memorably midway through "Way Of The Rope", that are complimented by undeniably dark lyrics and raspy vocal tone. If you aren't immediately pulled into this album by the explosive first track, "Into The Black", this album won't be for you. Melodic riffs followed up by blast beats means Harvest delivers a much deeper, extreme approach into the world of "extreme" melodic/black metal.