The Ghost Of A Future Dead is the kind of album where the sum of its parts come together and just click. Returning members and a renewed sense of energy meant that this had so much going for it. And then, life does something unexpected and incredibly wicked, Tomas Lindbergh was taken prior to its release.
Now, please bear in mind that At The Gates wrote the book on what melodic death metal should sound like. In the same way that The Bleeding by Cannibal Corpse is considered a pinnacle that others aspire to, Slaughter Of The Soul is the same and I don’t think its ever been topped. Can I say that this is my truth, and if you want to tell me I’m wrong, go right ahead.
This is a tightly wrapped 42 minute belter, where they have come together and wrote music that lives up to their legacy whilst not copying their past endeavours. This isn’t something that is governed by the laws of diminishing returns. They bounce through these songs with a vigour and energy that is true to them. The Fever Mask kicks off in grand style, unmistakable in its arrangement and its sound. In all of the melodic death I’ve reviewed, all have tried to write like these without getting what makes it tick and sets the rest of the album up nicely.
This is a tightly wrapped 42 minute belter, where they have come together and wrote music that lives up to their legacy whilst not copying their past endeavours. This isn’t something that is governed by the laws of diminishing returns. They bounce through these songs with a vigour and energy that is true to them. The Fever Mask kicks off in grand style, unmistakable in its arrangement and its sound. In all of the melodic death I’ve reviewed, all have tried to write like these without getting what makes it tick and sets the rest of the album up nicely.
Its backed up by The Dissonant Void, it follows that ATG blueprint of staying on the front foot at all times and we are two for two. It’s the kind of start that I love, give me the energy, take those risks and go for the throat. Its not all brutality as they bring the melodic arms to bear, and rightly so. Its that attention to what made them the way they are, it’s the tools at their disposal and the way that they put things together. Its heavy, but doesn’t rely on one method to beat you up.
What’s more, they don’t take forever to do it neither, with one eye on the clock as they charge through the tracks, and as noted they do switch things around, such as In Dark Distortion which takes a restrained path before it gets loud. I appreciate that is an old trick, but in doing it places Tomas’s vocals in the centre, and why not? The album is paced tremendously; latter tracks come in and whip you up to ensure that you aren’t skipping forward (clue – you don’t) with Tomb Of Heaven deploying that patented sound to great effect. Other bands should look to this as the way to go, and it’s the kind of music that inspires you to pick up a guitar and play.
Unfortunately, it has to end. Black Hole Emission pulls the curtain down on the album, and on this incarnation of At The Gates. It reminds me of their back catalogue, bringing the melodic touches into play with a restrained lead break. And then that’s it, all done. I’ve no idea of what the future holds now for them, but if this is their last album then they should be rightfully proud of it because this is not a nostalgia release of a band desperately seeking past glories.
What’s more, they don’t take forever to do it neither, with one eye on the clock as they charge through the tracks, and as noted they do switch things around, such as In Dark Distortion which takes a restrained path before it gets loud. I appreciate that is an old trick, but in doing it places Tomas’s vocals in the centre, and why not? The album is paced tremendously; latter tracks come in and whip you up to ensure that you aren’t skipping forward (clue – you don’t) with Tomb Of Heaven deploying that patented sound to great effect. Other bands should look to this as the way to go, and it’s the kind of music that inspires you to pick up a guitar and play.
Unfortunately, it has to end. Black Hole Emission pulls the curtain down on the album, and on this incarnation of At The Gates. It reminds me of their back catalogue, bringing the melodic touches into play with a restrained lead break. And then that’s it, all done. I’ve no idea of what the future holds now for them, but if this is their last album then they should be rightfully proud of it because this is not a nostalgia release of a band desperately seeking past glories.
This is a band who shows they can still do, are still valid and worthy of your attention. 9/10
Sepultura – The Cloud Of Unknowing (Nuclear Blast) [Mark Young]
Sepultura sign off with a 4 track EP, one that sums up their material post Max. I think its only fair to consider this material against their music released since that parting of the ways because it would be far too easy to hold this up against Beneath The Remains or Arise and then dismiss it out of hand. Too easy, and unfair.
Sepultura – The Cloud Of Unknowing (Nuclear Blast) [Mark Young]
Sepultura sign off with a 4 track EP, one that sums up their material post Max. I think its only fair to consider this material against their music released since that parting of the ways because it would be far too easy to hold this up against Beneath The Remains or Arise and then dismiss it out of hand. Too easy, and unfair.
I think if you have stayed with them, culminating in Machine Messiah and Quadra as their most recent long players, the material here won’t bring any surprises to you. In some ways, its for the best they dropped an EP this way, there is no expectation on them now to deliver a world beater and just think how outraged you would have been if it had been a live release of Max material.
All Souls Rising is blistering enough, a punch to the face delivered over 3 and half minutes, it’s a welcome start, all venom and fury with some A-Level fretwork courtesy of Mr Kisser. Like the rest of the songs here, its played to suit them, no longer having to live up to something they have no hope of doing. Beyond The Dream, is fine, coming through as a version of classic rock played through a number of distorted filters. You can’t fault their endeavours, and it’s the sort of song that live would miss a second guitar to fill out that sound.
Sacred Books reverts back to an abrasive edge, and then almost halts itself as a chunky beast. It’s ok as a makeweight, with The Place bringing the EP to an end. If there was ever a song which has an attitude of ‘we will do whatever we want’ its this. Had this band just been Derrick’s I think we would be kinder to them. As their last will and testament, it is in keeping with what Sepultura sounds like now. A band that tried to push itself forward and was desperate not to be shackled to those classic albums. The Place ends with a frenzied attack, one that they could have done with more of.
In any respect, its incredible to think that this is it from them, and I hope that once this mammoth goodbye tour wraps then that is it. Personally, I think that it’s a suitable adios from them with this and your enjoyment will mostly derive from where you sit on the whole ‘No Max, No Sepultura’ fence. For me, I never cared for Roots, sorry and whilst the studio stuff since then had some crackers, live they missed that second guitar and nothing will change my mind on that. Check this out so you can make comments about it online, and in doing so you might actually like their final transmission. 7/10
Draken – Here Be Draken (Dark Essence Records) [Matt Bladen]
The Great Deceiver, the opening track from Draken’s album Here Be Draken, can be described as Ozzy Worship over Sabbath Worship as it has more than hint of Perry Mason about it. But you know if you’re going to borrow someone then why not The Prince Of Darkness.
Formed in Oslo in 2019, Draken call themselves True Norwegian Hard Rock and with influences from Grand Magus, High On Fire and Motorhead (on Wrath and Shit Show), I’m not going to correct them.
This is their third album, debut on Dark Essence Records and the trio of Even Hermansen (guitars/vocals), Hallvard Gaardløs (bass/vocals), and André Drage (drums), are belting out the biggest riffs yet on Here Be Draken.
Well biggest and most volatile as Jólablót adds some harsh shouts and grooves as Saturday Night Head Removal bows at the altar of Dimebag (though Damageplan over Pantera), the acoustics begin Crimson Sun as the crushing sludge continues to punish.
Then without warning there’s some power rocking on It Serves You Right that gets the fist pumping again, Draken moving between the myriad of genres with ease; as they bring organs on Shirts Of Black (F.O.A.D), hardcore bounce on Demise And Men while Endtyme brings more apocalyptic doom.
Heavy, groovy, rocky and raging, Here Be Draken . 7/10
White Tundra – Stories From The Dark (Octopus Rising/Argonauta Records) [Matt Bladen]
Over to Norway again for the fat riffs of White Tundra, inspired by their native folklore and the huge stoner doom grooves of Red Fang, The Sword, 1000mods, the band have been to levelling ice covered mountains since 2023, driven by fuzzy grooves and psychedelic atmosphere, their second album Stories From The Dark is the sound of a band who have had to rebuild.
However with lead guitarist Kjell Andres Nilsen and bassist Øyvind Persvik joining the band and giving White Tundra a more sprawling sound, as the bass grooves locking everything down with the drums, guitar bringing the desert rock chops, sung by a vocalist with rawness in his throat.
It’s a record linked to their debut with lyrics a about exploring the unknown, going into the wilds away from the rat race and their music has enough heads down determination and wide-screen escapism to reflect the inspirations in the lyrics. The double opener of Healer and Huset crank up the volume early as the psychedelic doom lumbers in on Riderless Horse.
Slowing things down in the middle works well as it means that a track like The Lake which is a bluesy and grungy doesn’t feel odd as the pace has shifted, towards the epic closer White Tundra where all the skills are on display. If you wondered what The Sword would sound like with Andrew W.K on vocals, or if your just a fan of big Scandi riffs then check out Stories From The Dark. 7/10
However with lead guitarist Kjell Andres Nilsen and bassist Øyvind Persvik joining the band and giving White Tundra a more sprawling sound, as the bass grooves locking everything down with the drums, guitar bringing the desert rock chops, sung by a vocalist with rawness in his throat.
It’s a record linked to their debut with lyrics a about exploring the unknown, going into the wilds away from the rat race and their music has enough heads down determination and wide-screen escapism to reflect the inspirations in the lyrics. The double opener of Healer and Huset crank up the volume early as the psychedelic doom lumbers in on Riderless Horse.
Slowing things down in the middle works well as it means that a track like The Lake which is a bluesy and grungy doesn’t feel odd as the pace has shifted, towards the epic closer White Tundra where all the skills are on display. If you wondered what The Sword would sound like with Andrew W.K on vocals, or if your just a fan of big Scandi riffs then check out Stories From The Dark. 7/10
Review by Kris Peters Universal Pictures Release date: May 7 Music documentaries are generally designed as promotion for a band and therefore highlight the good and gloss over the bad. It is an understandable approach, but also one that has left me a touch reticant to sit down to watch a full documentary because, lets […]
