Belligerence - Heartfelt (2012)

   After a quite interesting but excellent debut, Belligerence have returned with an even more stunning second album.

   "Heartfelt" followed the same unique mixed concept that have been introduced on "Out: Red", but on a bit higher level. Like if the band tried to highlight all of their determining musical features the same time, and it just worked out perfectly. The sound was now more death metal compatible, and this didn't have disadvantageous effect on their different influenced musical features. The contrast with their melodies and occasional electronic music related effects increased. It turned out similarly back and forth supporting like in case of nu metal bands, except in this case the musical diversity and productiveness is incomparably higher. The band probably also tried to show their musical capabilities at their best, even if it's about vocals, frontwoman Miss Appia performed in three different vocal styles. This, on the side of some sudden, unexpected electronic elements might result some weird, totally abstract moments for the listener, but they're not breaking the songs unity, and by being well composed, they turn out to be relevant as border breaking intentions. The whole thing never becomes autoletic or attention seeking. The album in total is overwhelmingly intense, and by the various themes and musical solutions offering plenty of exciting moments to discover even for long time listening. 

  Despite Belligerence have been a quite underrated band, for their potential and musical creativity it wouldn't be an exaggeration to sort them to the best melodic death metal bands ever. And last but not least: unlike most bands sorted to the same category, they didn't lose their death metal influences, and therefore stayed accurate to the name of the subgenre. 

Et Moriemur - Cupio Dissolvi (2011)

   Et Moriemur debuted with an EP "Lacrimae Rerum" that suspected various different paths for the band due it's mixed influences. However the experimenting tendencies remained on their full lenght album "Cupio Dissolvi" too, only in a better practiced aspect. 
   Their music was probably mainly influenced by death/doom bands who gained wider popularity after they took more romantic, gothic switch with time such as Paradise Lost, Katatonia or Tiamat. The band preferred strong atmopshere created mainly by basic repetitive keyboard themes. To these sometimes nearly symphonically effecting basics simple death/doom themes came on the side of deep growling vocal assistance. The band seemed careful about not making death/doom parts too harsh sounding to avoid creating too large contrast. However, due to their unifying intentions, the contrast showed up somewhere else: at the theme switches. There's definitely a progress to discover compared to the debut EP, and the melancholic, atmospheric parts and the death/doom themes completing each other better than before, and they're even composed together, but still the continuity is not always well working. There's also a softer, quite gothic sounding temporary switch that mixes the two aspects. These simply doom based, strongly atmospheric parts including clear singing both in higher or deep tone, that also confirms the experimenting state. This middle way might suspect some Alcest influence, if it wouldn't remind too badly on Hazael's doom metal album. In case of a real analogy with that direction (that's probably not directly influental), it's more related to some special sound of Eastern European depression, than to the traditional sound of doomed gothic romance. In Total "Cupio Dissolvi" didn't close any doors that were left open on the debut, and the band's possible future step seemed unpredictable.

Morbider - When Darkness Returns (2009)

   Morbider was one of the many death metal bands if the early '90s, who only had demo releases, and time seemed to pass over them without any attention to gain. But the so called New Wave of Old School Death Metal effected them in a fortunate way, cause they were able to release their first full lenght album. 

   While listening it's clear already at the beginning that "When Darkness Returns" is the work of well tried musicians, excellent old school themes and sound are offering great entertainment. And how else could it be more authentic, than by those who played actively and have partaken in the underground scene of the early '90s? Unlike at most similar "long time silent" bands, Mobider's debut is not a demo compilation or the re-recording of old songs, but they wrote completely new songs for the debut. That gives a hint about their productiveness. It's not really possible to find any weak features on the album, it's perfectly composed, intense, could sound nostalgic for the old fans of the style, but somehow also includes the freshness of the young bands of those times. The sound and style features of Swedish death metal might be the most spectacular influence to discover. It's primitive, raw, putrid, unfriendly, just how old school death have to be. 

Sepsis - ...with No Mercy... (2009)

   Sepsis was formed in the early '00s, and even though there's not much more to find about their early demo period than song titles and lyrics, it's suspected that they've started as a more old school oriented band.
   And their first and last full-length album already introduced them as a modern brutal death metal band influenced by the actual tendencies of the mid-late '00s, that also included the that time uprising porn grind wave. The technical complexity of their songs alongside the gore based concept accurately reflects how late '00s brutal death bands sounded like. Strictly composed, formula-like song compositions with sudden theme and tempo switches, that are still giving some primitive impression by their raw insensitivity. And the assistance of two different vocal tones, a deep growling (or like in this case grunting) and a higher toned one. The album also shows well, how this style is relatable and could be easily combined with new waved goregrind. Though except the concept the latest could be sensed mainly in the extremely guttural vocal style. Even if pig squeal is missing, it isn't far, and there's dominant amount of grunting vocals. Some experimenting intentions also showing up at the end of the album, first in the form of a weird sounding solo theme, that reminds to how early '90s 8 bit nintendo games sounded like. And the final song of the album kinda ends up in a jazz theme. Similar features have been also quite typical to late '00s technical / progressive brutal death bands. In summary "...with No Mercy..." represents well the tendency and sound of the mid-late '00s extreme scene, and might be enjoyable for the fans of gory brutal death. 

Stigma - Pain for My Body (2009)

   Stigma is one of the basically quite old bands, who exist since the early/mid '90s, but had a very old waiting period for a debut. Their discography shows continuous progression, that suspects that they haven't been very active in the old times.

  "Pain for my Body" was their last album that counts outstanding compared to their earlier works if it's about themes and sound quality. Raw brutal death with common old school theme switches was the main feature of their music. That didn't change until the end, but their songs became better composed, and the better sound quality had a very advantageous effect too. According to their lyrical concept, probably serial killers were one of their favorite readings, because they wrote not only about the gory outcomes of similar activities, but their psychological background was also referred. So even though the influence of the unforgetable ballads of Cannibal Corpse's "The Bleeding" couldn't be denied, the obscure events of reality could have been the album's main inspirational source. Torment and other gore related details are just icing on the cake. Stigma is also known about that they had one of the most brutal voiced female vocalist as their frontwoman. Even with growling-trained ears it's not possible to tell the difference. 

All-in-one "Pain for my  Body" serves with enjoyable entertainment for the fans of brutal death and the modern sound of the genre. 

Belligerence - Out:Red (2008)

   Basically there are 3 ways how to play melodic death: 1. To play basically heavy metal with growling vocal style, that lacks all death metal musical features (this is the most common, but unfortunately vocals simply can't determine the style of the music), 2. To play melodic death for real, death metal themes with melodies (the rarest), and 3. To play metal with various influences including the actual modern tendencies and death metal. Belligerence debuted as the third cathegory.
   "Out:Red" sounds like an album that have been incubating since a while, and the musicians tried to do their best to involve all possible aspects of their music that they've found interesting enough to share. Musically the album definitely shows modern tendencies not only in the themes and song structures, but also in the instrumentation. If the listener pays attention well, it's also possible to catch moments that would fit into industrial metal. The returning appearence of keyboards and other options of creating a background atmosphere is common both in modern or progressive metal and even in "death-less melodic death". But unlike the latest cathegory, Belligerence preferred  nearly constant thrash metal basics, that are keep switching into a more melodic direction and also into death metal. The main impression is kind of intense, but sometimes turns a bit melancholic. Agressive growling female vocal is assisting to the diverse musical approach. Not all of their experiments worked out well, like the girly switch in the song "Overfilled" is kind of freaking out after the listener got used to the heavier tone, so it defiinitely wasn't their best idea. Except this and some other smaller occasional mistakes the album counts as a strong and convincing debut. Recommended for music connoisseurs!

Immer - Ash to Ash & Dust to Dust (2008)

 Immer debuted with a short EP in the early '90s as an old school death metal band, and after a very long break they have returned with a full-lenght album.
   Times changing, as it could be sensed at their return too. The band while kept playing death metal, also switched to a more groovy style that is incorrectly determined as death 'n' roll, though their music lacks the intensiveness and in general any themes that might refer to rock 'n 'roll, but that's a returning problem since Entombed's Wolverine Blues. Their music keeps repeating the same middle speed bouncing groove metal themes, that are simple, catchy, and they're more related to bands like Pantera and late Sepultura, or to stay strictly in the same style, to Six Feet Under or late Obituary. It might be unpolite to find aging as a responsible factor for the style switch and the nearly constant middle speed, but that's certainly not a neglectable reason. According to numerous different signs about the band (like the photo manipulated cover, the concept, and even the band's name) the main impression is that Immer is just a fun made project that's not supposed to take seriosly. And that also counts as a feature related to the groovy style. Recommended for the fans of groovy metal.

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.

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.

Avenger - Shadows of the Damned (1997)

   As black metal slowly took larger role over the underground scene, more bands felt inspired by this style that didn't counted as something new already, but as the new pretender. In the late '90s had it's final fight with the sceptics of metal journalism before gaining wider attention in the audience.
   Avenger started as an old school death metal band with exciting rotting sound, but they went through a fast change while their debut came out. They kept the heaviness of death metal, but the noisy sound was gone and they involved the influence of Nordic black metal. Their themes turned catchier, more fitting to the new influences, and a bit more melodic. The vocal style also changed from deep growling to black style, and the English lyrics were switched off too, they preferred Czech afterwards. The result was blackened death in a style that could be compared to Unanimated and Grotesque. So to the more balanced-sounding bands of the style, that are between the melodic-sizzling softer projects and the endlessly exaggerated black/death blasphemies. The band kept it's style until they split-up, and always produced the same high quality musical materials.

Crusher - Daymares (1996)

   The debut of the Czech old school death metal band Crusher arrived a bit late, when extreme music lost it's previous wider attention. But better later than never.
   Even though it's barely known and badly underrated, "Daymares" had an excellent quality compared to most other projects of the '90s Eastern European scene. The album was very stunning both in sound and themes, it's probably one of the best materials of the scene. Their music convey a similar impression like Morta Skuld or Baphomet with their mainly mid speed themes. Very simple and short solos increasing the classical impression. The cawing vocals setting it up to a more aggressive level. In general heaviness is the main feature that is responsible for the intensiveness of "Daymares".  It could fit next to the greatest death metal albums of the '90s. The band lately left the old school line and by following the actual underground trends, involved grindcore influences into their music that became way more intense and insane.

Tortharry - When the Memories Are Free (1994)

   Tortharry is another remarkable name that should be mentioned after Root and Krabathor, which bands were the oldest excellency of the small Czech extreme metal scene.
   Tortharry may be less known outside the borders of the Czech Republic, but they also stayed active during the passed decades. Their music was more raw, and therefore less catchy. Burality and intense hammering was the main feature of their music, and even though they sometimes involved some atmospheric sound and fast solo parts, their effect could be barely sensed, simply disappearing between the noisy, heavy riffs. Their music had some brutal death touch on the side of the thrash metal influences which were kind of ordinary at both of the mentioned others, but at Tortharry that appeared only at the drums by simple but stict basic thrash themes. The sound and the main impression somehow reminds me to some less popular German bands, like to the late style of Apophis, but that's maybe because of the raw themes they've operated with.

Bigotry - Step to The Grave (1993)

   On the side of Cryptic Tales, Bigotry was one of the earliest Eastern European death/doom bands. Even though the band's activity under this name was short kinda lived (later they continues as Dissolving of Prodigy) and only one demo was recorded, their early works definitely deserving attention. By a late nostalgia wave of old school death metal, plenty of previously barely known, underrated and forgotten releases and demo records have been re-released since the late '10s. Among them this demo was re-released as well in 2023. 

   The previously mentioned poor recording circumstances and the that time still embryonic form of the extreme scene in the region both left their marks on "Step to the Grave", but compared to most of it's coetaneouses, it was quite a decent record. The music was unified enough and it was way more than some experiment, unlike what from most extreme bands could have been heard of those times in that area. This made the record a real old school  death/doom gem. Bigotry seemed determined enough for their picked style, that was the mix of the earliest concept of death/doom and the the more melancholic, slightly romance influenced late wave. They kept this direction later on, and with time the melancholic direction gained more focus. In the early '90s the difference of these 2 forms couldn't haven't been distinguished yet due to the low number of death/doom bands and their mostly briefly lasting active periods. Funeral doom also just showed up recently that time, but listening to "Step to The Grave", it wouldn't be an exaggeration to say that their music included funeral doom elements or influences too. 

Krabathor - Only Your Death is Welcome (1992)

   While Root counts as the most permanent local black metal influence in the Czech extreme metal scene, Krabathor had the same role in death metal.
   The comparison of the two bands is not reasonable only because their names became the most notorious and known in the early '90s, but because both of them took a long and influental role in forming the local scene. "Only Your Death is Welcome" is a thrash influenced old school classic, a remarkable masterpiece that didn't fall behind in any way from the quality and actual musical progression of the main scene. Some older heavy metal references also could be found in the themes, such as occasional experimenting with the atmosphere. Similar small surprises trying the spice up the cruel and rough main impression and turning it more enjoyable. Even though it was only their debut album, it sounded very stunning and mature. It's sick all-in-one, could be compared only to the biggest old school death metal classics.

Root - Hell Symphony (1991)

   Since the basics of the black metal genre were lay down, a lot of time passed, and a second wave was about to form in the late '80s, and this new endeavour materialized in the early '90s.
   Root musically redifined the genre from the basics by the influences of Venom and Bathory. That means "Hell Symphony" musically is built up black metal straight from heavy/thrash elements. Similarly to some other rare tryings far from the Norwegian scene, they concentrated on the themes more than on the atmosphere. The concept was in their focus first of all, which was satanism at an even more direct way than it was usual in the scene that time. While most other bands only referred to some upper dark force, wrote blasphemous lyrics, or praised Satan, Root had a whole detailed concept. The album is completely dedicated to the demons and dark gods. From Root's discography probably "Hell Symphony" became the most permanent record because of it's genuine approachment and role in the genre, which was quite modern in those times.