Mortician-Re-Animated Dead Flesh
(Mortician Records, 2005)

Two things always stand out about Mortician. They use awesome movie samples and pretty much every song they have written sounds the same. The latter of which might be a problem for some bands but not for Mortician. When I go into a new album from this band I don’t want progression, I don’t want to find out that they added technicality and wanky guitar solos. I want to get blasting, fuzzy guitars, and beyond guttural vocals.

This new album is patented Mortician through and through. The production is a lot clearer then past albums though, with much more definition being found in the guitars. It makes the music have more impact and really manages to have a good mix between the guitars and the sometimes overpowering in the past vocals.

You pretty much know exactly what you are getting into with a Mortician album, and if another slab of horror influenced death metal is what you crave, then this will satiate your thirst.

Seventh Star-Brood of Vipers
(Facedown Records, 2005)

Saying that Brood of Vipers is an in your face record would be a definite understatement. Seventh Star is heavy, but really has nothing in common with the metalcore currently coming out of the scene. Essentially take hints of Hatebreed, a little NYHC, lots of mosh, and add a harsher then usual vocal approach and you have Seventh Star.

The band’s songwriting is definitely better then most bands playing this style. Instead of just chugging on the open E for the slower parts, the band writes interesting riffs that run the gamut from power chord churning to even some more atmospheric sections that bring to mind a more Converge, or Neurosis like style, albeit a bit more straight forward then either and not as noisy.

The production comes courtesy of Kurt Ballou and this is very different then what he usually produces, but the style definitely fits. It’s not as noisy as most of his productions, but the usual over saturation of guitars is definitely here and in reality I think this production helps the band stand out. If they had gone with a more common sound this album might not have had as much overall impact.

Thankfully Seventh Star has overcome line-up changes and have returned with an album that definitely blows away their debut album.

Bloody Sunday-To Sentence the Dead
(Facedown Records, 2005)

After hearing the bands debut MCD I was definitely excited to see what the band would have to offer in the future. This debut full length definitely lives up to the promise that they have to offer and in reality doesn’t even sound like the same band at all. This is just so much better in every possible way. It’s faster, more energetic, with better vocals and just better songwriting. Think old school hardcore with lots of gang vocals and some of the catchiest songs the genre has ever seen.

This definitely isn’t as heavy as the MCD as well. They still have a heavier vocal approach, but there is a surprising amount of melody in the guitars, and in general there is much more feel then standard tough guy hardcore. They don’t use the same brain dead breakdowns as well. They have breakdowns, but it’s not a mandatory part of a song.

I can’t get over how much they have improved on this album. If a combination of Bane, Terror, and Comeback Kid sounds promising to you definitely check out Bloody Sunday.

Disgorge-Parallels of Infinite Torture
(Crash, 2005)

I was definitely surprised when I read that Disgorge had signed with Crash Music. Of course I didn’t think that they would change, but brutal American death metal is not usually what Crash has to offer. But if the move helps the band move forward then more power to them because they definitely have stepped up to the plate on their end. This album is absolutely blistering, offering blast after blast coated with sick vocals, and some of the most insane energetic drumming that you have ever heard.

The band’s style is definitely a US approach. Suffocation is definitely an influence that stands out, but the band has even surpassed them in terms of brutality and the overall whirlwind approach of the band. The vast majority of the band’s sound is fast, yet the moments when they slow things down are just as powerful if not more powerful. The bass that will rattle your speakers will definitely blow a few speakers. There is definitely a Dying Fetus vibe running throughout some of the slower parts, but it’s more so just a similar feel then an obvious influence.

This album will have you breathless and beaten before the first song is even finished. By the time then tenth song is finished you will be broken, and bloodied, but you’ll still have a hard time not hitting play again.

Disbelief-66Sick
(Nuclear Blast, 2005)

I have to say that I really don’t like the album name here. It’s just way too predictable, especially on a label as big as Nuclear Blast. I remember hearing Disbelief a long time ago on a compilation and thinking that they sounded a bit like Kataklysm. Well, they definitely don’t sound like that anymore. They have a groovy sort of modern sound, which somewhat reminds me of a cross between Slipknot and Soilwork. Musically it works, but the band doesn’t make everything diverse enough to stay interesting for an entire album. Also the vocals are a bit too monotonous for this style, adding a few different styles definitely would have done a great deal. It’s too bad, because they are almost managed to make this an amazing album. With better lyrics, and a more varied vocal approach then would really be on to something.

Hate Eternal-I, Monarch
(Earache Records, 2005)

Being a huge Morbid Angel fan really makes me appreciate Hate Eternal all that much more. Basically newer Morbid Angel has been crap plain and simple, and Hate Eternal has stepped up to take the vacant slot at the head of death metal. No other band has even come close to topping what Morbid Angel had to offer at the peak of their careers. I, Monarch is not only an album that takes Hate Eternal to the next level, is also solidifies their spot as the kings of American death metal.

This album is simply put death metal perfection. The blasting is precise and energetic, while the riffing is memorable, varied and devastatingly heavy. The Morbid Angel vibe is still there, but they definitely are evolving into an original death metal band overtime. This is one of the few albums that can be placed beside the classics of the genre. This would have very little trouble sitting beside Altars of Madness, or possibly even Reign in Blood. It really is that good.

The main thing that really drives this album home is that no matter the tempo, the song writing is equally memorable. The blasting riffs are memorable, and despite sometimes feeling like you are stuck in a tornado, you will remember every note and be able to latch onto this album much more then most death metal albums.

Mistress-In Disgust We Trust
(Earache Records, 2005)

This band has vintage Earache written all over it and I fucking love it. Combining Brutal Truth, Napalm Death, Discharge, and newer Entombed, Mistress stand out like a sore thumb in a time when bands are more concerned with playing breakdowns and wearing the right clothes. This is dirty music for people who like their music dirty, plain and simple.

I’m not sure if you could call these guys original, or if that is even something that you should even care about. The amount of pissed off aggression coming from the speakers, and the general vibe of the band is just too cool to be caught up worrying about whether they are original. Sure, they wear their influences on their sleeves, but you’ll be hooked by the end of the first song regardless.

I definitely am into a lot of bands on Earache these days, but this is the type of music that I want from Earache. This is simply put, aggressive perfection. Fans of everything from punk to death metal would be doing themselves a favour by checking out this album.