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

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

Vulvectomy - Putrescent Clitoral Fermentation (2007)

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

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

Fatality - ...Closer to Hell (2007)

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

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

From Beyond - Sounds of the Grave (2007)

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

Cripper - Freak Inside (2007)

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

Dimmu Borgir - In Sorte Diaboli (2007)

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

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

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

Naglfar - Harvest (2007)

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

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