Amputory - Ode to Gore (2015)

   Amputory's debut and so far one and only album by style is on the crossroads of Swedish and Finnish death metal. "Ode to Gore" includes the characteristic features of  both, and this is one of the most typical directions that a Finnish death metal band could take. 
  The song structures, the riffs and the vocal style are all evidently Swedish influenced, while the well known repetitive leading melodies on the side of more diverse themes spicing it all up. Occasionally even some "Finnish gloom" (or happiness for others) shows up by the short involvement of atmospheric effects. The tempo switches are effectively applied and they strongly increasing the album's enjoyability. The role of the mentioned melodic and slightly more diverse parts are more reduced than usual, therefore if the "Swedish buzzsaw" sound would have been picked for the album, nobody could have been able to distinguish "Ode to Gore" from any other old school Swedish death metal release, cause it would completely neutralize the minor presence of Finnish features. These might seem pretty tiny and seemingly completely secondary or even unimportant differences, but these hardly discoverable or identifiable features are able to give character for a death metal album (especially if it's about old school death), and even though for first listening "Ode to Gore" might sound nothing special, since it all sounds very familiar, there are definitely more to discover in this album. For the fans of the Northern death metal scene, it's a potential favorite. 

Desecresy - Chasmic Transcendence (2014)

   Desecresy's third return stated pretty clear (if it wasn't evident already) that if it comes to this band, disappointment is simply not an option. For the lovers of extremely down-pulling putrid death metal, Desecresy is an everlasting (dark) gem.
   In this style any renewal or the intention to come up every time with something different is simply not required. Those who are choosing this style, choosing it for a reason. And somehow it never gets old, and interestingly similar bands wouldn't be judged by their audiences with self-repeating. And it's not even usual in extreme genres either. Why is that? The answer might lie in the noisy and compromise-less approach, that at one hand could be said about every band in any branches of extreme metal. But there are several levels, even if many are not willing to recognize that, and by crossing a certain line, some rules are completely losing from their importance. The more exaggerated a band is and the more special tone they can reach meanwhile, the whole thing becomes the essential part of their character. The constant noisy heaviness that Desecresy is operating with provides both obscure depths and a thick noisy atmosphere. Their combination is able to attract the listener with the effectiveness of a black hole. And assistance of the frequently returning higher toned, simple, but catchy melodies is priceless. Basically this is a highest quality performance that's possible by the features of Finnish death metal. The contrast that lies in the music and also comes by the drastic speed ups is good enough to fill the need of diversity in this form of musical minimalism. It always feels like that every time they're opening a portal to a new world. Some dark, hopeless and decaying world it is every time of course, but with incredible depths always. A contrast that leads to another contrast. Basically the sound is the only thing that Desecresy used to experiment with. And nothing else is needed, by using the good old recipe it might be difficult to fail. Another obscure masterpiece by Desecresy!

Corpsessed - Abysmal Thresholds (2014)

   Corpsessed debuted with a pretty impressive EP "The Dagger & the Chalice" that by heaviness and obscureness could be comparable to bands like Incantation, Disma, Slugathor or Desecresy. By their first full-length album they continued this line and extended these features to abysmal depths, and not only because of its title.
    Similar to the noisiest, most brutal and most obscure Finnish death metal bands, at first their music might seem hard to go into, but by giving the chance, the darkness that's flooding from their music proves to be a force irresistible enough to easily carry the listener away. This is the force that excludes any slight possibility of hope or escape, swallows all light and annihilates everything on its way. The song compositions are more complex than at similar bands (therefore the comparison with Incantation and Disma), and very well made. The intensity on the album has also wider spectrum from old school hammering through extreme speed to middle speed assisted by rough blast beats and also death/doom-like slow downs. They tried to apply them balanced, and this made "Abysmal Thresholds" pretty eventful. The band seemed to be comfortable at any speed, and more importantly the theme/tempo switches completing each other, therefore it might be difficult to determine any as highlighted. The heavy slow downs are as effective as the skull crushing intensity, the nosy riffs are creating as dark atmosphere as the ominous melodic leads. The excellence of "Abysmal Thresholds" is as difficult to describe as the vile, yet unseen creatures lurking in the dark.

Venus Star - Nigredo Expulsion (2013)

   Venus Star has another feature that used to be common at extreme Finnish bands on the side of those that have been mentioned previously: the intention to not fall into self-repeating. '90s metal bands always tried new perspectives or experimented with something new. This tradition also could be sensed at Venus Star, because each album is different.

   Since these changes came step by step, and "Nigredo Expulsion" is already the third Venus Star album, for first listening it might be not even quite evident that it's the same band or have been made by the same person. There are some analogies, like middle speed is still preferred, and the vocal style might sound familiar, but the album definitely became less extreme. Tempo and theme switches have been nearly gone, instead of raw and aggressive tone more atmospheric sound showed up, and the themes became less diverse too. It seems like if unified sound became the main priority, and instead of expressing extremity, balance had framing role. The black and doom influenced themes were possible to distinguish previously, but now they're like fused together. The heaviness of doom riffs is combined with blackened atmosphere, but black metal themes having shorter presence. This solution is unique and sounds interesting, but the same time in this hybrid form the range of possibilities also decreased. More unified sound doesn't let as much room for rawness and extremities than before. Simplicity is still an important factor, but this perspective has also some restricting influence. 

Krypts - Unending Degradation (2013)

   Krypts had a pretty strong debut that introduces death/doom at its best. "Unending Degradation" includes all features that could define the style and make it enjoyable, and more importantly: it's committed by all-round high quality.

   To avoid misunderstandings, the band follows the earliest aspect of death/doom, that's quite far from the romantic-melodic direction, that became popular from the mid '90s. The slowly flowing heavy, noisy riffs resulting a massive impression that leaves no space for any emotional approach. It's overwhelming heaviness on the level that simply couldn't even approve any different influence or feeling to interfere. And there's no need for them either, since the depths created by the frequently returning simple, but ominous repetitive melodies are well filling. This method is well known by Finnish death metal bands in general, so it's nothing new, and it's the same effective in death/doom as well. Slow tempo is the most dominant on the album, sometimes middle speed, that gets reached mainly by blast beats, but in case of occasional speed ups extremely intense drumming could be heard. All assisted by deep growling vocal style of course. Probably the middle and very slow tempo switches are the most effective, since by their occurrences the guitar themes also following the current changes. And compared to the main or leading riffs the themes starting to diversify, creating very enjoyable unity and dark atmosphere. Basically this step  keeps creating the upper mentioned impressive depths, that simply can't get boring to hear again from time to time, thanks to the great song structures. The songs just getting slow, heavy and intense whenever they needed to. Nothing slips into monotonity. Well, this is what excellent song composing is about ladies and gents! Strongly recommended fans of death/doom!

Horse Latitudes - Black Soil (2013)

   After the wider success of drone metal, plenty of bands tried themselves in the new style. Though it's kinda debatable if it was able to show anything new, but it was a new aspect of musical minimalism for sure. In more fortunate occasions, new bands didn't came with another noise based rehearsal sound check experiment, but embedded drone sound into their selected style, that was most commonly doom metal. Usually those bands survived longer who also changed their style step by step, trying further possibilities, and these experiments often led to something impressive (like in case of Conan or Dead Rooster for instance). And Horse Latitudes were no exception either, they gave a new, immeasurably dark tone to doom metal.

   On their first two albums they have been committed to the classic features of doom by occult topics, high singing, and extending their songs to funeral doom length and intensity - or to be more specific, by the lack of intensity. The classic sound of doom metal was completed with drone features, represented by the distorted sound of bass, therefore bass lines had highlighted role. On "Black Soil" the band went further both in influences and obscureness. Growling vocals appeared on the side of clear singing, the bass sounded way more ominous and threatening than before. The song structures were advantageous to highlight the dark and heavy switches that are eventually occuring on the album. Intensity also showed up occasionally like never before. Sometimes by middle tempo with heaviness that could be comparable to death metal, and even by high tempo, that recalled the sound of black metal. In total both the darker tone and the wider diversity in themes turned out to be pretty effective, and on the side of higher enjoyability, this mixed form led to something extremely obscure, depressing and sick, that couldn't be heard often on similar level. "Black Soil" is strongly recommended for the fans of doom metal and funeral doom!

Gorephilia - Embodiment of Death (2012)

   Gorephilia had a quite obscure and heavy debut, that in style was more related to American bands like Broken Hope, Incantation or Immolation, than to the well known features of the Finnish scene.
    The song structures, the sound, the vocal style, the main concept, so every feature reminds to the heaviest death metal bands of the early '90s. Even though the members were quite young that time, and didn't have reasonable musical past, they've produced such all-round high quality music, that might be enviable even for well practiced musicians, who are active in the scene since decades. "Embodiement of Death" definitely have been created in old school spirit, but the great sound quality reflects the that time recent tendencies. It's quite clean according to the style, only the down tuned heaviness gives really rough impression. The frequent switches between middle speed, thrash based intensity and extreme brutality makes the album enjoyable for long term, since collapsing into repetitiveness at any level was completely avoided. This makes "Embodiement of Death" a potencial favorite for both the fans of old school and the modern sound of death metal. 

Stench of Decay - Stench of Decay (2012)

   Stench of Decay definitely cannot be introduced as the most productive band, since except their "Visions Beyond Death" EP that included 2 songs, they had only 2 older demos, and in duration both exceeded the single lenght EP.
    The band's self-titled compilation album includes the EP and the 2 previous demos, and by following each other in time order, they showing the way that was leading straigh to their final act. It's an interesting progress to witness, since the demos are more closer to the Swedish old school traditions. The themes, the thrashy intense speed ups and even the sound suggests that on the side of Morbid Angel old Swedish bands could have been the member's main influences. On the self-titled demo some yet not well practiced switches could be heard, that supposed to be creative solutions, but by not fitting to the main themes, just ending up chaotic. Similar intentions were completely avoided on the second demo, and the songs got closer to the tendencies to the local scene, but the Swedish influence is still evident. Their studio quality showing well what depths could be reached with the assistance of better sound. The 2 EP songs presented high quality and Finnish death metal at it's best. Their catchy, mainly middle speed themes combined with rough, unfriendly sound creating an endlessly obscure impression. This kind of "evolutional progress" might be enjoyable to listen especially for old school death metal fans as the music just gets better and better with time. 

Maveth - Breath of an Abomination (2011)

   Maveth's first full-lenght album included their debut EP and demo, but since they seemed very determined about clear and high quality sound, the difference is minimal. "Breath of an Abomination" sounds quite unitified.
   The modern style of death metal they played was pretty actual that time and could lead back to Immolation as it's main source. That means a very intense themes and speed, that's closely related to brutal death with slight blackened touch and stronly blasphemous concept assisted by deep growling vocals. Their music could be compared to bands like Dying Fetus, Vital Remains or Azarath. Maveth didn't play so complex and technical themes like most bands in the style, though they preferred frequent speed and theme changes too, but similar to the others they also built on overwhelmingly brutal main effect in it's purest form with some short melodic lead assistance. From a debuting band it does sound quite complex and stunning though, and it suspects experienced band members with longer musical past. On the demo songs some Incantation influence also could be sensed. For the fans of the modern sound of the genre "Breath of an Abomination" certainly cannot disappoint.

Herem - II (2011)

  Herem continued from where they left the line on their debut. Their brillantly composed mix of stoner/sludge/doom didn't change (and also didn't need to change) much on their returning album. 
   However in this style a small change is also able to open wider perspectives than how it could be expected. Compared to "Pulsa diNura" the band focused on the atmosphere and on the melancholic approach, and the more intense groovy themes have nearly gone. By this step the stoner influences had smaller role than before, and their music drifted closer to sludge/doom. The atmospheric effects were assisted by softer melodies and occasional background singing. In the long run these features resulted a stronger down pulling effect, especially as they usually paired with noisy sludgy contrast. From this point another kind of contrast could be discovered: the aesthetic introduction of melancholy on the side of the obscure heaviness. Two different aspects of the same thing, but during the extended song lenghts always the second comes up as the main direction. Great leading themes guiding the listener through the heaviness from one easing slow down to the other, so even though the album has definitely strong depressing touch, it's not too hard to go into. 

Cryptborn - In the Grasp of the Starving Dead (2011)

  Similar to Torture Pulse, Cryptborn was also more fascinated by the old school Swedish buzzsaw sound, than the different approach of the Finnish scene.
   But even though for first hearing their debut EP definitely sounds quite like Swedish death metal, there are some small features to find, that suspecting that in summary "In the Grasp of the Starving Dead" is more like a hybride, than some loyal, accure follower. There is some lingering obscureness about the the EP, that shows up by the common doom-like slow downs and assisted by very deep growling vocal style, that reminds somehow to early Acid Witch. Usually strict thrash speed is like an essential feature for ordinary Swedish death, but with time it proved to be more effective combined with the intensity of grindore or the heaviness of doom. Cryptborn have chosen the second path, but speed ups are still enough frequent to not push the scale completely into death/doom. On the side of the heaviness, the other advantage of the slow/middle speed switches is that they gave some space for simple leading melodies, that are more usual in Finnish death metal. The bass lines also could be heard well the same time and these seemingly small features strongly increasing the EP's enjoyability. In total Cryptborn really done it well, "'In the Grasp of the Starving Dead" was a very stunning debut. 

Venus Star - The Dark Victor (2011)

   Probably the feature that makes the Finnish underground scene more interesting compared to other scenes (especially the Swedish and Norwegian ones) is the intention and courage to do things different, and to show other perspectives. It's basically the opposite that could be experienced in neighbor countries, where most bands kept specific style features like dogmas, making their whole scenes sounding alike and eventually predictable and boring. Finnish black metal always have been pretty easy to distinguish from Norwegian black, and Venus Star, a lesser known and underrated one man project intended to introduce another alternative for the genre.

   Black/doom as a style pick was already a promising idea, since the subgenre is rare, and therefore still could offer possibilities that haven't been heard yet. It's also important to mention, that unlike in case of most Eastern European bands, the style pick different from ordinary black metal didn't occur because the musician(s) lacked the skills that would be necessary for black metal. Because usually this is the reason why many Eastern European bands ending up playing thrash/black or black metal with middle speed. Pretty heavy, down pulling, doom influenced riffs could be heard on "The Dark Victor", and the sound by not being atmospheric as it used to be for black metal, is pretty advantageous for these themes. By the assistance of the unfriendly cawing vocal style, the main impression is similarly demoralizing like in case of sludge/doom bands. Again as usual, the lack of any aesthetic features combined with noisy sound giving a way darker tone, because there's no relief for the listener, nothing emotional or human-like to hang into. The more intense songs on the album also operating with pretty basic themes. Even though in this form the music doesn't reflect old school sound, the primitive themes still including some old school related touch, like if the album was a reinterpretation of the whole concept. Approaching black metal from doom, or reverse. Raw, compromise-less musical minimalism at its best, might become potential favorite for the fans of black/doom and sludge/doom metal.  

Burial Sun - Burial Sun (2011)

   Similar to Finnish death metal bands, the the bands of the less numerous Finnish black metal scene also had the intention to play somehow different than the bands of the way bigger neighbouring  scenes. 
   But while at death metal bands easily recognizable returning features have been formed during the decades, about black metal nothing so exact could be said. Partly because there have been less bands, and partly because most of them tried to find their own distinguishable ways instead of creating a unified scene. Some tried to sound more raw and aggressive than the Norwegians, like Beherit or Impaled Nazarene, while others like Archgoat started to play the most exaggerated, death metal influenced style of the genre. Led by probably similar motivation, Burial Sun took another direction, their music took place somewhere between atmospheric, depressive and black/doom metal. The features of all styles could be found on their one and only album, but none of them in enough large scale to have obviously determining role. They preferred slow and middle speed, catchy melodic leads and strongly atmospheric sound. The album lacks real intensity, and doom metal-like repetitive heaviness creates some contrast with the melodic atmosphere instead. The tone of the vocal style is also more like a suffering suffocating voice from a distant source that's covered by fog. Despite the indeterminate role of the three possible directions, Burial Sun sounds quite unified and was able to introduce a new (and probably less known) alternative for the genre. 

Torture Pulse - Plague Poetry (2010)

  It's not new that underground bands from Northern countries usually prefer to keep strictly the traditional sound and style features that have been formed in specific genres during the late '80s/early '90s. Therefore it's easy to distinguish them and it also serves as self-determination and denying to take compromises of the tendencies of the mainstream scene by taking smaller compromises on the field of the evergreen extreme scene.
   However there are some exceptions like Torture Pulse, who despite of their origins didn't start to play traditional Finnish styled death metal, but seemed to be more into the Swedish sound. The musical features of "Plague Poetry" are showing analogy with Swedish death metal on defining level. From the usual "buzzsaw sound" through the song compositions and the intense thrash influenced intense speed until the rude growling vocal style, everything sounds quite like bands of the neighbuor scene. If it's about exact band influences it would be difficult to pick up any, because the band payed attention to imitate the style without taking too much by certain band features. From early Entombed, Unleashed or Grave many classic names could be mentioned depending on the listener's personal impression. For the fans of old school Swedish death metal "Plague Poetry" might be a quite enjoyable album to listen to. 

Desecresy - Arches of Entrophy (2010)

   If it's about endlessly rotting sound, Desecresy made sure to come in mind in first line on the side of bands like Coffins, Decrepitaph or Undergang. The concept is the same, but in a traditionally Finnish way, that might be difficult to confuse with anything else.
  Similar to the mentioned bands, Desecresy also operates with basic themes and deeply distorted sound that effects old school, extremely heavy and modern the same time. On the side of permanent brain damage, their music offers simple repetitive themes and catchy leading melodies, that are typically returning features of Finnish death metal. Even though this combination drives the attention only on two simplicity based characteristics: the basic, melancholic themes and the noisy heaviness, it's definitely doesn't sound boring or too repetitive. Middle speed is the most preferable, but the occasional speed ups and more frequent slow downs are well scheduled, and with the higher toned leading melodies all of these proved to be a toolbar with various possibilities. Very deep growling vocal is assisting to the main view with lyrics about death, doom and the afterlife. It might sound unusual when it comes to this style, but there's harmony in this obscure mass of rotting noise that was reached by themes that are like coming from each other. And this dark harmony also keeps everything together with a firm grip. In summary "Arches of Enthropy" is a well composed masterpiece of old school oriented obscure musickness.

Putrid - Re-Exhumation (2009)

   Putrid was a short lived band from Finland who later changed name and continued as a death/doom band. Their early demo records and one EP have been released as a compliation.
   As Putrid they were probably completely impressed by Carcass, and they tried to involve their gory bizarre concept into their basically traditional death metal music. Interestingly this combination shows some analogy with bands like Necrophiliac and Mangled Torsos, who were also into the depths of musickness, but preferred to stay at ordinary death metal. In the early '90s the Finnish style of death was jus about to form, but Putrid somehow sounds different from the rest of their local coetaneouses. Their music stayed mostly at middle speed, but also preferred speed switches from middle speed to slow or occasionally to short hammering parts. That also needed more diversity than what was usual at most old school Finnish bands, so the main impression wasn't so primitive either, and the repetitive, simple leading melody was missing too. Their other big favorites could have been Autopsy and Obituary, and probably this was the first push to slow down. Putrid was like a way station of a forming death/doom band, an early experiment, that was interesting and sounded promising, but it couldn't fill the band's range of satisfying self-expression. 

Ascended - Temple of Dark Offerings (2009)

   Even though Ascended isn't famous about their productiveness, the few times when they were ready to act was definitely impressing. 
   "Temple of Dark Offerings" is only an EP with 4 songs, but it's musical richness makes it outstanding. Similar to Finnish death metal in general, Ascended also preferred to operate with catchy leading melodies, that also serving as a contrast on the side of the rough, noisy primitive themes. But they also liked to build these melodies forward instead of simply keeping it only as a repetitive feature. So this way both rythm and lead guitar themes having their own ways, but even if the second's role isn't constant, it's still enough frequent to make this impression. It might not sound surprising in metal music, but in death metal, and in death/doom (like in this case) it's not so usual. Ascended isn't an ordinary death/doom band, partly because of their musical diversity and melodic themes, and partly because they didn't build on heavy sound that much. They aren't so far from the melodic death subgenre either. They preferred to switch between middle and slow speed, but occasinally there are also some intense hammering parts to find too. The great sound of the drums is even more enjoyable when they speed up. Mostly the extremely deep, Chris Barnes-like vocal style serves with the necessary heaviness. It's effective enough to not miss the heavy feature from the music. The sound is high quality too, and basically there is no mentinable weakness to find on the EP, in this form it's an excellent record. 

Shrouded - Repulsive Undead Horrors (2009)

   Shrouded was a short lived project of two well known names of the underground scene, Lasse Pyykkö and Elektrokutioner. They've recorded two demos that were released together in this form.

   It was certainly not difficult to find some common ground, since both musicians are known about their affection to hell deep distrorted sound and ominois obscure melodies, not to mention their dedication to old school musickness. The interesting thing is that Mr. Pyykkö mostly stands for death/doom and that also fits the most to his extremely deep growls (though Horrific proved that it works well with groovy speed up too). These aren't so far from what could be heard in the numerous projects of Mr. Elektrokutioner, but in his best ones there's an important role for intense old school themes. Shrouded was a promising cooperation therefore that merged these too theoretical concept into horror inspired traditional old school death metal. Middle speed is dominant, but heavy, sometimes extended slow downs are common. The simple, but characteristic themes of Elektrokutiner are easy to identify, but higher toned noisy leading guitar themes are more common than before. Even though they're mostly short and not always melodic, their frequent show up give some more traditional touch to the main view. According to the main concept the poor rehearsal sound quality isn't something to complain about, since nothing fits better to this style than some rancid smelled impression that makes the listener believe that the whole thing was recorded in the depths of some forgotten dungeon. Recommended for the fans of putrid sounding death!

Hooded Menace - Fulfill the Curse (2008)

   The New Wave of Old School Death metal also opened a gate for related styles, so it could be found responsible for the Renaissance of death/doom metal. It was proven that the heavier, non-romantic and therefore less popular aspect of the subgenre can also offer diversity.
   If the characteristic deep growls of Hooded Menace might sound familiar, it's not a coincedence. It's the band of Lasse Pyykkö, whose voice was widely introduced previously in Acid Witch. Hooded Menace counts as a related band by it's completely horror addicted concept, but in style preferred to stay at the early roots of death/doom. Therefore their music might be harder to go into, but the old school references could help to guide the listener amongst the slow, heavy riffings (for instance "The Love Song of Gotho" is strongly reminding to "Chlidren of the Grave" by Black Sabbath). The album sounds a bit raw, like if it was still in experimenting/pathfinding form in some way. Similar to Finnish death metal in general, they also involved frequently returning catchy leading melodies, and when they turn to middle speed, their music has a nearly groovy feeling. However, even though their described toolbar sounds like an absolute win, all of these didn't removed their music from rawness, the combination of the noisy heaviness and the melodies stayed as a case at issue. "Fulfill the Curse" can be an enjoyable album for the fans of the heaviest musical aspect of horror.

Herem - Pulsa diNura (2008)

 
 The appearence of a new stoner band is usually such an event that could be compared to when a drop of water falls into the sea. It's quite hard to fail in this style, groovy, bouncing riffings, decent amount of '70s influences and a gruff voiced frontman (who also can sing) is enough for the stoner soup. And the audience will love it. But these circumstances are kind of disadvantageous in case of the appearence of a genuine band, because they hardly can get wider attention.
   Herem played a bit more complex music, sludge/stoner/doom, and that only wouldn't be enough to change anything, but even though they showed mixed influences, their music was quite antinomic. The sound was enough heavy to fit to the style, and the themes compensed that by their chilling main effect. The '70s feeling is also there somewhere deep, available to puzzle together from the sound, repetitive themes and the lyrical references. Still the main impression is darker than it was usual in stoner/doom, but far not noisy enough for sludge. The lyrical concept also prefers the dark side, but without self-destruction overdose. The influence of bands like Black Sabbath, Electric Wizard or Kyuss is evident, but this is a different perspective somehow. Still the heaviest feature in their music that cannot save them to be marked as a sludge band is the growling female vocal that would also fit into death metal. And that's something that may count too much in sludge/stoner/doom. However, the band successfully created balance by this combination of aggressive vocal style - chilling music - dark impression, and therefore their music was extraordinary. Stongly recommended for the fans of the mentioned styles!