Cripper - Hyëna (2014)

   Similar to most German bands in general, Cripper also tried to do things a bit different if it's about concept and lyrical topics. At one hand this always turns out to be a good idea, cause this way many bands could have the chance to form their own (and many times odd) character. But the forced struggles to avoid clichés led to the development of hipsterization, that of course in Germany became the strongest trend, and ended up as the biggest cliché ever.
   However, Cripper's endeavours more reflected the "want to be different" ambitions of the '90s German scene, that was pretty much consolidated compared to the followings, and therefore despite Cripper had a pretty modern sound of thrash and their music was far from any '80s or '90s nostalgia, still sounded quite old school in their own time. Their energetic, intense thrashing always had a rougher, slightly death metal influenced tone, and excellent production. If it's about themes and quality, they were never joking. Social criticism was always an essential part of thrash metal, but Cripper always offered a slightly different down-to-earth perspective, that also had certain portions of truly rebellious language, on a not too insulting level. This golden middle way approach was always very typical to the scene, and this was also the reason why similar bands never gained the attention that they have been theoretically worthy of by avoiding clichés. Rigidness isn't a supporting feature in this genre, and even though the band always had potential, this frequently returning (typically German) issue served as a factor that raked out the fire.
   Anyways, "Hyëna" is still a highly enjoyable album for the fans of thrash metal.

Holy Moses - Redefined Mayhem (2014)

   Despite being one of the earliest thrash metal bands in a scene that gained wide international attention, Holy Moses was never one of the best known or most popular names in the genre. This is partly because their music was also not the easiest to go into, and partly because their performances were far from being stable, like switching from impressive albums to completely forgettable ones. For this the main reason could be that their songs always sounded like they were edited on some design table. Theoretically great compositions, but what looks good on paper, not always sounds so cool in practice. 
   Fortunately "Redefined Mayhem" counts as a wave crest in their discography - unlike for instance their following and farewell album "Invisible Queen", that could serve as a guide for how to end a band's career the most inglorious and disappointing way as possible. In fact, "Redefined Mayhem" could have been a way more worthy final album, not only because it's simply better, but also cause it sounds like a summarizing life review of the band's past. Catchy themes with the same "not too revealing" character that have been typical to their early period could be found the same way like songs with the more aggressive tone like on "Strength Power Will Passion" for instance. The returning reference to dogs also showed up in the lyrics  like in the old times (probably a strongly dog lover band), and also male vocal (not only in secondary supporting role as usual) could be heard in the last short song. And after getting used to Frau Classen's legendary voice an album length, it does effect the same way surprising as back then. For those who missed Holy Moses' early period, this record is definitely a potential favorite, cause it really shows the old school energy of the late '80s / early '90s. In fact, by the nearly complete absence of speed/thrash metal in the past 3 decades, Holy Moses was the few remaining bands who kept going (with a longer break) since the golden age of the genre and barely changed in the meantime. A nostalgic and entertaining album indeed, just the way how it was 3 decades ago. 

Maat - As We Create the Hope from Above (2014)

   It seems like Egyptian mythology could be considered as an alternative topic in death metal, since after Nile, Apophis, Coffin Texts; Maat also felt inspired by the whole thing. Usually this is represented only in the lyrics and the visuals, but Maat also embedded a few soft melodies with antic touch into their music. 
   "As We Create the Hope from Above" could serve as a definition for the modern sound of death metal. Old school basics, strong brutal death influence, dominant blast beats, crystal clear sound and high quality production. The main themes and the intensity are comparable to late Obscenity. For the fans of the modern aspect of the genre it definitely could be a potential favorite. No circumlocution, no attitudinizing, and the complete avoidance of death metal clichés by the seemingly unusual concept. However, the concept pick combined with the actual trend keeping ambition also puts the band into a neutral status. Nothing grotesque, gross, too insane or obscure, and of course this could be said only by compared to the past of the style. This so called "neutral" trend is originated from the mid '00s, when many technical and progressive brutal death bands started to experiment with something new (mostly unsuccessfully) and the main inspiration of Maat could be also rooted in those times. In their case it's a moderated, more tradition keeping (meant about the traditional sound of death metal), and therefore more successful form of pathfinding. Eventually this trend led to the hipsterization in extreme metal, another less fortunate phenomenon, that fortunately Maat avoided. If it's about skills, composition or quality, "As We Create the Hope from Above" is the work of professionals, intense, diverse, highly enjoyable, and by its "rule-breaking" features it might be also compatible for wider metal audiences, but by long term listening the album's sterile neutrality might leave some empty feeling behind for the old school fans of the genre. 

Casket - Undead Soil (2013)

   Maybe the most interesting thing about early '90s German death metal bands is, that they always tried to experiment with the style in some way, but mostly without slipping out from its borders. And this seems to be the factor that most reviewers with "wide spectrum" at magazines and mainstream metal sites are missing from the genre, cause "we heard this 1000 times before". But despite the pretended endeavor to always discover something new and extraordinary, the early German death metal scene still remained barely recognized. Casket is one of the few bands of the scene, who didn't change style or disappeared completely since then. 

   And their third full-length album haven't been disappointing either, the same experimenting ambitions could be heard in their music, that have been long lost from the scene, and in a way how only early '90s bands did. On the side of the accurate understanding of the genre, they still sound somehow different from other death metal bands. That means operating with the toolbar of musical minimalism, but not necessarily the most common death metal riffs could be heard in their songs, and the song compositions could be also slightly different. Some with different sound and vocal style could perfectly fit into more popular genres, and that suspects wider influences than usual. The production and the sound are great, and like in this case, if everything goes well, not many would even notice at first that some basic but unusual style features have been embedded into the music. However, hearing a System of a Down cover on a death metal album is similarly irrelevant like a well known radio or pop song's death metalized version. If it meant to be a joke, not many fans are having a good laugh as it might have been expected, and if it meant to increase the hipster factor, it's not really the right place to go after such things (try black metal then). And in both cases it tells about the lack of imagination, and that's quite a paradox if it's about a continuously experimenting band. But except this false step, "Undead Soil" is an enjoyable unusual old school death metal album for the fans of the early '90s extreme scene. 

Atomwinter - Atomic Death Metal (2012)

   Atomwinter came out with a stunning debut in 2012, that could all-round fit to the definition of old school death metal. It doesn't offer anything more or less, but still, it might worth to take a closer look (or listen).

   Nobody could say that the early '10s lacked new old school death metal releases, thanks to the actual tendencies of the underground. "Atomic Death Metal" sounded like intending to recall the basic impression of the genre by it's simple and mainly groovy themes, middle speed, and frequent switches to thrash hammering. Fortunately they didn't go too far with the groovy parts, and the theme and speed switches are always timed good and frequent enough to not let the album to slip into boredom. Even though simplicity and essential features might be the the most determining description for the record, the band operated with them quite well to validate the old rule: "less is more". The themes are catchy enough, and an expected upcoming theme or speed switch will always occur before anything would turn too monotonous. Their influences could be various, but most possibly the mix of the Tampa Florida and Swedish death metal scenes. The concept is also usual, just a reintroduction of something in a way that have been proven in the past countless times that it could work well that way, carried out with "Deutsche Genauigkeit". 

Graveyard Ghoul - Tomb of the Mouldered Corpses (2012)

   Graveyard Ghoul had a quite old school debut by the "Tomb of the Mouldered Corpses", that mainly recalled the atmosphere and feeling of the early Autopsy albums.
   On the side of the early '90s preference, probably there have been further endeavors to imitate the sound of the oldest death metal records, to create something all-round vintage, that even sounds ancient enough. This of course doesn't have too advantageous influence on the main impression, cause in this case the album sounds similarly dull like most British death metal releases, and that takes a lot from the effectiveness of their intensity. However, if the vintage concept have absolute priority, this might be a small price to pay, and from this aspect the album is quite enjoyable, so the band's goal was fully accomplished. The songs are pretty short, and usually switching between thrash speed and ominous slow downs, that intended to demoralize the listener (typical to Autopsy). The themes are kinda simple and basic, but for a retro nostalgia concept that's good enough, nothing else is needed. If the last, instrumental song of the album was skipped, the full length would make it to an EP, and since the last track doesn't add much, it wouldn't be a big problem. It's just a simple, endlessly repetitive track that supposed to illustrate the monotonous existence and march of the brainless undead, but for the fans of vintage horror, it might be appreciating. In total it's all-round ancient and essential death metal, following the strict inspirational guidance of  early '90s metal and '80s pop culture influences. 

Deserted fear - My Empire (2012)

   Deserted Fear debuted in 2012 with "My Empire" and a couple of years later they became Germany's No.1 death metal band, and it's not difficult to see why. However, various components had to align to make this possible.

   It's one thing that "My Empire" was a stunning debut, and the band's timing and formation was also perfect, cause by the New Wave of Old School Death Metal more focus turned on the '90s extreme metal scene, and many bands were inspired by this tendency as well. At least in the underground, cause the mainstream scene seemed unaffected. And also this description could fit on many other young bands too, who started in the same style. But Deserted Fear's music was somehow easier to go into, and the same time the compromise-less intensity remained too. Basically they had Swedish death metal influences, that they've applied in a softer form, and quite catchy, melodic themes were involved to make their music sound more diverse compared to most other new death metal formations. By this step they didn't go too far (for now) to become a melodic death metal band, which usually means to lose nearly all death metal musical features. They preferred to keep them as main determining themes, while the melodic parts are more like completing elements. A few years later this combination proved to be enough impressive even for Century Media to write a contract with them, which is basically equal with breaking into the mainstream scene. At this point it might be interesting to note, that even though nowadays biggest metal labels like Century Media, Nuclear Blast or Earache Records have started to release extreme underground music, and many well known and lesser known cultic albums came out under their labels from the late '80s, they rarely offering a contract to similar bands nowadays. Their methodism in the hope for bigger profit drifted them further from the all-time underground scene, and probably they also grew too old to pay attention to the actual tendencies. However, Deserted Fear was one of the rare lucky exceptions, when the chance to grow big was given to a truly worthy band. Probably the only thing that keeps them away from wider success is that they're not willing to get their asses to play outside Germany (occasional gigs in Switzerland and Austria doesn't make much difference). 

Charon - Sulphur Seraph (The Achron Principle) (2012)

   By "Sulphur Seraph" Charon unleashed such an extremely heavy album, that's definitely wasn't usual to hear before in the German metal scene, or from European bands in general. The band's first and so far last full-lenght record had such  raw extremity, that could be compared mainly to Incantation influenced American bands like Disma, or to the most exaggerated Australian bands like Impetuous Ritual. In the European scene, maybe Undergang and Putrevore showed up with something comparable, but since Charon's music included black metal influences too, maybe Impetuous Ritual is the closest.

   These black metal influences might be not so clear at first, but as the album goes on, they evolving and taking significant role in defining the sound, which is definitely following mainly death metal tendencies. The  black and death metal themes and greatly composed together, and that's the reason why their influences on the sound could be difficult to distinguish first. The album is all-round unified and even though the rawness of the themes making 'Sulphur Seraph" hard to go into, it's also the main factor of how this unification as a whole is working so well. As a heavily obscure, noisy mass, the main impression is quite devastating, and frequent higher toned short guitar effects providing with the feeling of some extra demoralizing ominous hopelessness, if the main view wasn't be enough dire. The combination of such brutality and heavily down-pulling atmosphere became more common with time in the main scene, partly because of it's impressive effectiveness, and partly to show the most exaggerated aspect of old school styles. This direction needs highly skilled and resourceful musicians, therefore the appearance of similar bands is kinda sporadic. Charon was one of the earliest examples for this in Europe. "Sulphur Seraph" is an excellent album, strongly recommended for the fans of the most inhuman, most extreme forms of musickness.

Obscure Infinity - Putrefying Illusins (2012)

   2 years after their debut "Dawn of Winter", that was raw, complex and heavy the same time, Obscure Infinity had an interesting return. "Putrefying Illusions" might sound like an unexpected style switch at first, but even though it seems quite different than the first album, the concept didn't change, and the same the style features determining the second record than the first one. It's only a bit different aspect of the same thing.

   Basically "Putrefying Illusions" was a definite step into one direction of the various posssible options that have been led open on "Dawn of Winter". And it was committed pretty well. The sound completely changed to a strongly black metal-compatible softer, atmospheric way. That's not only well suiting for their frequently returning blackened themes, but also for the effectiveness of the melodies they're operating with. The short, melodic solos having some ancient '80s vintage impression by their echoing sound, but except those and the longer duration of melodies, their music didn't change much. Still, this little change and the sound switch was enough for the music to drift closer to melodic death metal. Calm instrumental tracks are assisting as an extension of this endeavour, but it's important to mention that all of these mentioned features were enough to turn "Putrefying Illusins" to an ordinary melodic death album. It's still way more aggressive and heavy for that, and interestingly some leading themes are even referring old school bands like Autopsy. From another hand: it's exactly how melodic death metal supposed to sound like, by keeping the basic style features, but offering them with a  more melodic background (unlike how the subgenre ended up and became widespread, by losing all of it's referring style features). The complexity that blocked the first album to be unified, is not possible to sense on "Putrefying Illusions", cause the blackened atmosphere and the catchy melodies created the frame that was directly leading to the desired unified sound and to a well composed album.

Doomed - The Ancient Path (2012)

   Doom metal and any of it's aspect is quite rare to find in the German metal scene, since it was dedicated to intensity since the '80s. It's enough to think about the classic, so called Teutonic thrash bands. This main tendency didn't change much during the decades as new styles showed up to give a new meaning to musical extremity, therefore the appearence of Doomed counted as something pretty extraordinary. 
  The band intended to pick up the that time most updated form of death/doom in the most accurate way, that's overwhelmingly heavy, melancholic, and  melodic the same time and gets introduced by high sound quaility. For a beginner band that's definitely not a small task, since this style is far not so easy as it might seem like. And considering that Doomed started as a one man project, and the music on all instruments and vocals were performed by Herr Pierre Laube, the selected mission needed way more effort than how most could imagine. Even though the planned standards were pretty high, "The Ancient Path" not only matched the desired level, but also became the unique gem of the German metal scene. The album is all-round quite unified, even the concept of it's design is genuine. The record mixes well hell deep heaviness with melancholic atmosphere and returning catchy melodies. However it doesn't lack some experimenting ambitions that are more common to find from the second half of the album. Those are represented in softer tone both by music and vocal style. The softer theme switches on the side of clear singing are not always able to comply to the main theme of the anctual songs, and that got close to break the unity of the album. But fortunately since they've showed up only for short term, and other, more fortunate theme experiments worked out better, their comensing role helped to keep the unity. Probably the quality, quantinty, and level of melodies were tested on the side of their balance keeping duration opposed to the leading heaviness. In total the search for further possibilites didn't end up too bad, and became the flawing charm of this unique release, that might be a potential favorite for the fans of death/doom.

Obscenity - Atrophied in Anguish (2012)

   Unlike most other ancient death metal bands who split up or changed style or both from the mid '90s, Obscenity were always around and never fell into drastic changes. Even though Obscenity was definitely amongst the best death metal bands, they've never gained wide attention, and kept their underground status.
   However their music changed a lot during the decades. After their excellent old school death metal debut "Suffocated Truth" the band had a brutal death return, and stayed at this style after, experimenting sometimes with sound, sometimes with the complexity of their music album by album. "Atrophied in Anguish" was their 8th full-lenght release that was probably their most devastating record ever. The combination of extreme intensity, catchy themes and great modern sound quality had their most advantageous cooperation on this album. After the late '00s have been passed, the twilight of the brutal/technical/progressive death metal wave was over, and old school bands formed in increasing numbers. With "Atrophied in Anguish" Obscenity basically released such an excellent brutal death album that couldn't be heard while that actual wave lasted, proving that the routine of a band that have been formed in the golden age of the genre could beat easily any new waved technical or progressive trends. And also could define the most determining and most overwhelming features of the modern aspect of death metal, that are still pretty accurate even nowadays.

Morphosys - A Face of Leather (2011)

   Morphosys was formed in the early '00s as a thrash/death metal band and debuted in 2006 with an EP titled as "Der Blutmond". The band's early period was pretty diverse by their music's current raw form, since their sound wasn't completely unified yet, and the various influences of the band members could have been intensely sensed. And on the side of thrash and old school death metal this also meant melodic death and black metal influences. 
   "A Face of Leather" was their second full-length album, on which an already experienced band could be heard with unified style and sound. This more homogenous form was advantageous at one hand, but also made their music more monotonous. Strict thrash tempo and song structures are dominant, and according to the main metal scene of the early '00s and '10s, this strictly traditional approach could have been refreshing to hear. The concept was mainly horror and gore inspired, and therefore chainsaw became a frequently returning symbol at the band. (And maybe not only because of their horror addiction, since the band is from Bavaria, a quite rural Bundesland, where work around the house including firewood cutting also could have been inspiring.) But at the other hand, keeping their previous more diverse style could have been a better idea, since the band seemed to be on the level in other styles as well. The remains of melodic death and blackened influences are still could be found on the album for a few songs (the song "Verzweiflung" is pretty much a blackened melodic death song for instance), and their greatness approves that diversity could have worked pretty well. In total Morphosys' music recalls the feeling of the late '80s and early '90s embedded into the sound of the modern era, and for thrash metal fans they could be a potential favorite. 

Purify - Hellophile (2011)

    Since the late '90s it nearly counts extraordinary if new thrash metal bands showing up, and usually they're not long living projects. This haven't been different in the case of Purify either.
   Their aggressive, mainly Sodom influenced thrashing recalls the golden age of the German thrash metal scene, but without imitating it's '80s and early '90s sound. Still this small difference isn't enough to describe their music as some modern interpretation of an old school style. The strict limitations of the genre not blocking only to develop any genuine features, but also making difficult to not refer to any of the well known classics while listening a new band. From this view it might be not surprising, that all of the very few lately formed thrash metal bands who gained some popularity and were able to manage to stay active for longer than a few releases, had to mix the style with something else. Purify didn't seem to have further intentions than to play the same raw intensity they've probably enjoyed the most back than. In solo themes and frequently returning short, melodic leads even older, heavy metal rooted references could be discovered. However their role is too short to have some diverse effect on the side of the strict intense hammering. But in the case of old school German thrash it's not really preferred anyway, therefore for the fans of the style Purify cannot be disappointing.

Khaos Aeon - Exitus (2011)

   It's always appreciating to find a black metal band that doesn't follow either of the main directions that supposed to determine overly strict boundaries and limitations for the scene. In this case it's meant to not copy exactly any of the bands of traditional Norwegian scene, and also not getting involved into the lately came hipster compatible wave. 
   Even though by listening to Khaos Aeon it's evident that the band has old school roots, but not the Nowegians might come to mind. Their music lacks the usual strong sizzling atmospheric effects, and instead they were into clean sound quality and more diverse, complex themes.  This diversity might refer even to the influences of the genre itself, so even though "Exitus" does not sound old school in the traditional way, it definitely sounds old school from another perspective. For the band probably old Samael was more inspirational, and since it's like an alternative, and less popular direction, it's also resposible for the genuine main impression of their music. They preferred middle speed, intense hammering or slow down switches are kind of occasional. Only the drums are sounding a bit poor and powerless, but that could be taken as one of the very few traditional features. Still there are excellent guitar leads and solo themes to find, that could compense the possible insufficiencies. All of their unusual features made Khaos Aeon a potential favorite for wider audience and unfortunately also a very underrated band.

Mountain Witch - Mountain Witch (2011)

   Mountain Witch debuted with a strongly Electric Wizard influenced album with rehearsal sound quality. This noisy, blurry sound didn't seem disadvantageous for the style they've chosen, and introduced things from a way simpler perspective. Like in stoner/doom there's no need even for distortion, cause minimal effort could be sufficient enough too to reach the desired effect (and also spares the wallet). 
   And according to the noisy atmosphere that's usual at Electric Wizard, it seems as a reasonable step, even it wasn't done by purpose like that. With other words, if Mountain Witch was a black metal band, they could have obtained trve cvlt status. However, their following, self-titled EP continued the same concept with the same implementation. Except in this case only with instrumental songs, and instead of Electric Wizard, hard rock influences took the main role. The change isn't so drastic as it might could be imagined, since even on "Scythe & Dead Horse" Mountain Witch mainly focused on the psychedelic effectiveness, and therefore their music lacks the endlessly obscure, more aggressive approach of Electric Wizard. And in this form the hard rock basics aren't so far. The EP sounds somehow more vintage only because of the very familiar themes, like if it was the lost demo tape of an ambitious but unknown band from the late '70s. Mountain Witch could be potencial favorite for both the fans of '70s psychedelic rock/hard rock and stoner/doom.

Zombieslut - Braineater (2010)

   Zombieslut sounded like a fun made project of classic horror and old school death metal fans, who didn't seem to take things too seriously, and didn't wish to be taken too seriosly either.
   Their groovy old school rooted death metal definitely represents the more chilled and party compatible aspect of the genre, that only requires to relax, let it loose and enjoy. The music shows similarities with Six Feet Under not only musically, but in concept too. The difference is that they're not going too far with middle speed bouncing to become too repetitive and to end up as most retired groovy death metal bands. They also switching to higher speed and intense hammering enough frequently, and that might give a chance to avoid the returning "groovy side effect" that makes the listener to feel that not only all songs of the album, but the whole discography sounds exactly the same. Anyways, for Zombieslut diversity probably wasn't amongst the planned main factors to reach, since their simple, primitive bouncing offers nothing more than what should be expected from horror/death metal freaks, who just want to have a good time and to share it with others who are into the same. 

Obscure Infinity - Dawn of Winter (2010)

   Obscure Infinity's debut was promising and interesting the same time, because even though it wasn't a unified album, still it didn't turn out bad, and opened various different possibilities about how the band could continue in the future.

   "Dawn of Winter" had mixed influences from old school death metal to brutal and technical directions, and showed sympathy even for black/death. They've involved catchy melodic themes, quite basic riffings, rough sound that's kind of close to the Swedish style of death, aggressive intensity, and atmospheric ambitions too. For the mixed main view various things could be responsible, like experimenting ambitions, that are kind of typical about German death metal bands, or even the members diverse musical influences, as they didn't find common ground yet. However, the album became quite complex, and there's a bit of everything to find on it, but this complexity doesn't make "Dawn of Winter" too chaotic or too hard to go into. The band tried to pull the songs together as much as possible, and avoided drastic switches. Speed switches are common, but their role is advatageous, since they gave opportunity for the various influences to prevail. This form of incoordination is typical to find at young and ambitious bands, but "Dawn of Winter" was like a step further, half way to unified sound. 

Burden - Hole in the Shell (2010)

   As it was mentioned before, stoner rock is a genre that requires "talents" to be able to make it wrong, since it's old school roots and '90s basics are easy to adapt into modern sound. And it's audience friendly fixed formula is also kind of evergreen. 
   However, Burden emerged from the long line of similar bands, partly because they didn't have too evident references to the classics, and they've mixed various closely related styles with ease. "Hole in the Shell" definitely didn't sound like a debut of beginners, but like an album made by well tried musicians. They knew exactly how far they can go with diversity and how to combine the various pieces for the most advantageous effect. Slowly bouncing groovy themes giving the basic tone with rusty sound, that's somewhere half way between heaviness and psychedelic approach. Not too wild, but also not too soft. It's exactly like how southern rock used to end up when it's mixed with groove metal. But the main impression is way more chilled, and instead of becoming too repetitive or one sided, catchy, but heavy leading melodies taking the advantage. At the vocal the singer's remarkable voice range fills similar role, from clear singing to wild screaming shows the same wide perspectives. Even though Burden didn't become a long living project, there was quite big potential in the band, therefore it's unfortunate that they didn't continue their activity. 

Excoriate - On Pestilent Winds (2009)

   Some bands goal was not only to recall the feeling of the '80s, but also to sound exactly like the most ancient bands of extreme metal. This ambition isn't unknown in Sweden since a while, where are plenty of delusive bands to find.
   Excoriate's one and only full lenght album just showed up from nothing as a pretender when the band didn't even exist anymore, and served as a new example how to do it in a proper way. The strong thrash metal incluences, the rehearsal-like dirty sound and the strongly echoing vocal reminds to Possessed, but in a way more obscure version. The remarkable aggressiveness of the music could serve as the only hint that may suspect that the album isn't an ancient long forgotten unknown gem of the '80s. Except that all themes and features are strictly following the good old recipe. They introducing well the very core that later was leading to the birth of black and death metal. While the Swedes focused on the basics mostly under British influence from the mixed aspect of heavy, thrash and black metal, or reached them on the line of punk, thrash and death like Death Breath did; Excoriate grabbed something more exact that existed back than for real in this form. That's why "On Pestilent Winds..." may sound more authentic. It could count as an excellent concept album that brought back a long missing shade into the extreme scene. 

Necropsy - Deathprayer (2009)

   Necropsy's one and only album was a quite promising debut that unfortunately remained as a barely known and underrated record, even though it's timing was great. 
   "Deathprayer" definitely fits to the New Wave of Old School Death Metal, but it's influences are mixed. Musically it's sympathizing with brutal death, that's the most sensable in the rough modern sound. The sometimes intense speed and the drumming style suspects the same, but in general middle speed stays dominant. The guitar themes are not following the intensity of the drums, and therefore brutal speed ups also couldn't prevail for long. The mostly basic and primitive riffings keeping the music on the old school field, but still the drumms are so intense and technical as possible according to the circumstances. It sounds like to keep some sort of balance was an important aspect in the musical concept. There is also some pressure to sense while listening, like if something was about to explode, but keeps staying at the preparings. With the unfriendly, cold sound together this results an obscure feeling. The advantage of the middle speed primitive obscurity is heaviness at a level that's uncommon to hear at similar bands. Probably the band members subjective diverse influences were leading to this mixed result, but still the album is unified and portrays a very dark and rough picture to the listener. "Deathprayer" was maybe one of the best death metal acts of the year because of it's effective rotting inhuman main impression.