shEver - Rituals (2012)

   By their second full length album, shEver continued their journey on the not too intentional path of death/doom with occult and depressive touch. 

   Probably the most remarkable feature of the album compared to "Ocean of Illusions" is the way better sound. At one hand it's quite advantageous for the selected style, cause heavy themes could easier prevail by clean sound. While in case of too noisy sound they losing from their effectiveness, often could have dull impression, and noise itself taking the determining role. At the other hand, if the band previously called their music sludge metal influenced, they should take it back if it's about "Rituals". Clean sound could neutralize the essence of sludgy elements, just as it happens here, because dirty, noisy, sound is one of the most basic requirements to sound sludgy. However, it works great, and makes the ominous feeling even more enjoyable than ever. If it's about themes, it could be sensed, that the band tried to experiment with something different than before, to involve more melodic, and the same time strongly melancolic parts. On the side of expressing depressive feelings, the occult, witchy tone was also intended to keep, but if it's about the implementation, the band seemed a bit idefinitive, like if they haven't been sure how to manage the whole thing. There are plenty of catchy heavy themes and musical solutions to hear on the record, but because of the mentioned experimenting ambitions, the album gets tired at the end. The band slipped with previously so well kept balance on the last two songs, and they became so weird like if they were not even planned for the same album like the previous songs, or if they haven't been ready yet. Except this 16 minutes long not so fitting weirdness (or wyrdness), "Ritual" is a great death/doom record, strongly recommended for the fans of the genre!

Intractable - Inner Decay (2012)

   Intractable's one and only full-length album was on the border of old school and new wave tendencies. The interesting paradox about "Inner Decay" was, that even though the two directions the band merged are quite relatable, the audiences of these specific scenes are rarely covering each other.

   Despite Intractable's music definitely had '90s roots, the result sounds quite mid-late '00s influenced. It could be for two possible reasons. First, the groovy thrash metal they played have very similar influences like what metalcore had basically. Since metalcore on the side of major hardcore and groove metal elements also included some simplified "dummy" form of thrash metal, it might be not a surprising outcome if groove/thrash ends up sounding similar to metalcore. The other, maybe even more possible reason is the band members direct influences came by the actual scene, that they most possibly had in the '00s. That decade was also about the fast rising and spreading of metalcore, and even though Intractable preferred thrash hammering instead of melodic switches, their music still had the same '00s hardcore/metalcore touch. The lyrical concept of social criticism is compatible with both styles, therefore it could serve as a unifying bond between, if such a thing is needed on the side of musical analogy. "Inner Decay" might be compatible with both thrash metal and hardcore / metalcore audiences, it's definitely mosh pit suitable music.

Hellhammer - Demon Entrails (2008)

   Hellhammer needs no introduction for the fans of extreme genres, but still it took a very long time until the predecessor of Celtic Frost earned the release of a compilation that collects all their works.
   On the side of early Venom, these demos and rehearsal room records (on the side of the "Apocalyptic Raids" EP) representing the very basics of all extreme metal styles. And even though Hellhammer didn't reach so wide attention like Venom, still they reached a cultic level, and became a main inspiration for many bands in the followings. Even thrash and speed metal were just about to born in the early '80s, but Hellhammer was already pointing forward with the darker tone that was swolling from their simple and characteristic themes. This exact feeling was recalled only decades later by newer old school styled bands, but back than it proved to be as fruitful ground that opened new perspectives for others. And even for themselves under Celtic Frost as they later showed, but in a completely different way. Their themes and sound became an icon and were incomparable in their time, even if most part of the main impression came from the result of their poor recording circumstances. "Demon Entrails" commemorated worthily the beginning of a new era in metal music.

Asag - Asag (2007)

   Asag's debut album was basically the remastered version of their demo with an extra song. But even by knowing this, it's more like a compilation EP with songs that have been written and recorded in various times.
   That's the thing that makes the debut interesting, as it shows the development of the band's music from a raw, strongly traditional Norwegian black metal influenced form, through a few experimental songs to the forming of the band's own style. It might have been a journey that took a couple of years. As the album goes on, the songs getting better step by step both by sound and composition. Less unified than what should be expected from a debuting black metal band, but therefore a more diverse and exciting record than usual. Starting from the traditional, strongly atmospheric path the band involved both raw black metal elements and catchier themes. By the sound the band also focused more on enjoyability, than on misty atmospheric sizzling. In total "Asag" ends up in a pretty aggressive tone, that's more common to encounter in Mediterranean regions, where generic black metal audiences not necessarily would look for the representatives of the genre. For black metal fans it's definitely a rare and exciting (dark) gem.

shEver - Ocean of Illusions (2007)

   Even though long ago the members of shEver declared that black metal was their main influence, they've debuted with an excellent death/doom album.
   The combination of death and doom metal has a long history, but unfortunately most old bands disappeared or changed style after one or two albums. In the late '00s this style counted as something unexploited partly because of this, and partly because death/doom bands didn't spark wide attention, so plenty of similar projects showed up. The effectiveness of "Ocean of Illusions" lies in the good mixture of simple melodies and heavy sound. The repetitive themes during decent song lengths with the assistance of a strong background atmosphere and clear female singing gave a deeply sad basic impression. By the screaming/growling vocal style and the heavy sound it turns tragic and desperate, but also gains a very powerful effect. The way how the songs were composed could serve as a good example for perfection inside the borders of this style. The appearance of female musicians in metal genres doesn't count as exceptional anymore, but in the case of full female line-up on the extreme metal field things are getting more interesting. Especially if they create something that gives a different perspective for a genre like shEver did, without experimenting with anything new. "Ocean of Illusions" is probably the best death/doom metal album that was released since the early '90s have passed.

Samael - Ceremony of the Opposites (1994)

   "Ceremony of the Opposites" was a turning point in Samael's music. It's probably one of their most interesting albums because they showed up with something unexpected, something that counted extraordinary in black metal.
   Seperated from the main scene of the genre, Samael developed it's own way of progression. It was still a black metal album, but the sings of their late turning point into industrial could be sensed already. The sound became clear, the themes turned more repetatitive and simpler, and they slowed down to middle speed. The intense hammering disappeared and typical black metal themes got reduced, such as the role of the atmosphere. The themes took the lead with their raw basic riffings. That was intersting, cause this could mean an old school reference back to the very basics and a change into something else the same time. Time revealed that the second was correct. The atmosphere created by keyboards and classical elements gave a melodic impression instead of blurring the main view. Instuments had exactly the opposite effect than what the ordinary sizzling black sound could do. Even though the concept didn't change yet, "Ceremony of the Opposites" showed a new possible direction for the black metal genre, that just made it's first steps for wider popularity that time.

Sickening Gore - Destructive Reality (1993)

   An enjoyable old school hammering-based album was represented by the one and only record of Sickening Gore.
   Even though the name and the visuals may suppose some gore and splatter centered concept, the music stays between the borders of old school thrash influenced death metal albums of the early '90s, with occasional grinding and brutal death references. The short noisy solos and the main themes are typically referring to the features of the Floridan scene, and by the actual influences they tried to spice up the main view a bit. In general it's a more diverse album than most were in the very long line of death metal records of those times, but partly because of their huge amount, "Destructive Reality" simply got lost in the endless mass of extreme metal. The other thing is that it cannot really offer any attention sparking features or moments during it's shorter running time. Still it's a good album with great quality and could be entertaining for the seekers of old school death metal nostalgia.

Misery - Mystic (1993)

   The one and only full-lenght album of Misery showed another alternative way in death/doom metal, which wasn't common at all.
   While most bands operated with melancolic melodies, progression or raw themes and putrid sound, the style of Misery was somewhere in the middle. Not too melodic, not too depressed, not fell into the darkest depths of hopelessness, only included a little bit of all. It's compatible with black metal audience too, because of considerable black influences in sound, feeling and vocal style. These are referring to the oldest manifestation of the genre and mainly the influence of Samael is suspected. The lyrics are also related to that direction, torment, mysticism, occultism and upper dark forces. "Mystic" was one of the first albums which were influenced by black metal out of the genre, since it started the first steps in wider development that time. And it was an extraordinary album in the style of death/doom metal too. A less known old school classic!

Samael - Worship Him (1991)

   Parallel to the Northern black metal scene, others also stepped on the dark path that was built out by Bathory. In influences partly isolated from that scene, Samael created it's own imaginations in a style that was very deep under ground that time.
   Unlike the Norwegian black metal bands, Samael didn't try to sound more noisy and sizzle than it would be needed, they always endeavor to clear sounding. As much as it's possible in this genre. Instead of extremely fast hammering they preferred mid speed, and slow downs were also common. That was because not the atmosphere was in the focus of their music, but the themes and they also involved melodies. These slower themes resulted a heavier feeling on "Worship Him" than what could be heard on other early black metal albums, and it's catchier the same time. Compared to the style that lately included the ordinary features of black metal, Samael lacks the intensity and the strong atmosphere. This album became an important classic of the genre, because of it's old school sound and the alternative direction they showed.

Messiah - Choir of Horrors (1991)

   In it's earliest period Messiah's music strongly reminded to the style mixed tendencies of South American bands. Especially the analogy between "Hyms of Abramelin" and early Sarcófago is quite noteable. But in the '80s, at the very beginning of the extreme scene, exact differences between subgenres didn't exist yet, and Messiah's style also didn't seem to  completely manifest until "Choir of Horrors".

   On "Choir of Horrors" an experienced and more determined band could be heard, with great song compositions and themes, and in excellent sound quality. However their style stayed between thrash and death metal, and in this form they were more similar to early Sepultura, so the analogy stayed. Compared to their 2 previous albums "Choir of Horrors" sounds heavier and way more aggressive, and for that not only the increased sound quality is responsible, though it also certainly took part. To the strict and intense thrash basics, heavier sound and growling vocal style are assisting, that moved them forward to the border of death metal. The album counts as a thrash/death metal classic that if it's about heaviness, could be compared to Cancer, Protector and old Sepultura. 

Celtic Frost - Morbid Tales (1984)

   On the side of Venom, Celtic Frost was also found responsible for the forming of extreme metal genres. Their early period (including Hellhammer) also inspired countless of bands and became a main influence. The only cause why their name is maybe less known is that they simply couldn't keep calm, and always wanted to experiment with something else.
   However, none of their restless ambitions became so impressive and successful like their early ideas. "Morbid Tales" and the "Emperor's Return" gave a new and effective tone to something what could be called vile music. The dirty sound and the distortion of the music were a more genuinely supportive backup to the lyrics in leading into a darker world. Such as Venom, they also had some balance between the vileness of the music and the lyrics. Not clear singing or yowling tried to prove the sympathy for evil and narrated to dark topics, but a throathy, grunting voice, which doesn't even tried to show anything nice or funny. That experimentally created synthesis of heavy music and aggressive vocals opened the way to something revolutionary new.