Review: Serocs - The Next (2013)

Serocs is a pretty known band for me and for this little space's followers (is there any?), this is because its leader, Antonio Freyre, was interviewed months before the launch which had me expecting for a while and that's today's matter.

After what had been "Oneirology", its last year's edited debut disc (it also has some EP's), future seemed promising for the project. With programmed drum and a riff arsenal made of granite, Oneirology" left the impression of being a good job that still needed to "harmonize" a little, get out of the permanent stuck to attain a stronger focus on the songs properly said,  without leaving any pile of unrecognizable rhythmical sessions.

The question is: was Antonio able to set the pieces to "The Next"? that's what we'll find out song per song.

In "The Variable", we notice the proposal has changed a bit in comparison to “Oneirology”.  It's possible to detect an increase in the songs' structure, having recognizably improved rhythmic and melodic aspects. everything is in perfect order in a very well-crafted song, which remains in the memory without having to lose any inch of power, two songs, two songs, both right.

Third track. "Urban Terror" shows "serocs" in an entangled half time,  where Antonio unhurriedly guides us to the minute and twenty, when Hakkinen speeds up at the time of  the inextricable wall made by Poggione (bass) and Freyre's riffs. Solid, destructive and enjoyable at the same time. An entertaining song that becomes very attractive thanks to the inventive and constant variety that, when not exaggerated, results really pleasant to hear.

For "Weakness Fed The Fear", the most... sticky (?) face of the band is eager to show itself.  Without losing their characteristically energy, some chorus appear, boosted by Jason Hohenstein's vocal stream, fitting very well. However, the song develops too quickly,  in a sort of vertiginous speed which ends up playing against the song itself, especially  at the end. It's not a bad song, but all the entangling ends up lying it one step below the previous songs.

The most remarkable thing from Serocs is the rhythmic treatment given to the songs, because unlike the other bands of its same sub-gender, they don’t need to incur into  blast beats abuse and exaggerated speeds to show strength or brutality, the endless riffs  and the complex rhythmical patterns are more than enough to overwhelm the hearer. "The Hellgramite Method" is a cabal proof of that, with its diversity and flawless execution, which put all back in order after the last song.

We've arrived to the sixth song. "The Shining One" represents four minutes of good moves, where each strike, each note fits perfectly, leaving very clear the technical capacities of their executioners. An enjoyable song, where the middle range of gutturals which Hohenstein uses fits very well with what the song requests, revalidating its scrolls based on potency.

We find ourselves at the verge of the end, where "ChernoVile" explodes like a bomb. Without many differences with the previous songs, Freyre and company don't spare in details to leave a good taste on this speed and texture roller coaster. Poggione's bass lines, always steady, take some more protagonism in this piece through subtle amends.

For this disc's closure "Alienus Gignesthai" becomes present, a song that's a bit different to the rest of the album. Why do I say this? Because the song has a very clear order, distinguishing the beginning, the middle and the end through the intensity with which it develops. from the sinuous intro, followed by a slow march, which would keep this lethargic step for a little longer than a minute, until the pounding owns the composition, leading us to the apparition of a very special character as ins the legendary Demilich's singer, Antti Boman, which unhurriedly guides us to the exit.

These eight songs compose "The Next" a solid record that shows a mature band which has polished its virtues and considerably reduced its defects, securing its sound and its proposal, giving it a proper, recognizable style that places them as one of the names to notice in the Technical Brutal Death Metal scene.

Grade: 88/100

Review: Extol - Extol (2013)

There are discs which you can be craving for long. Ever since Extol announced its comeback and the release of a new album, my expectations gradually grew, as anyone who’s listened their previous records should have.  It’s just that this Norwegian Christian band has had many changes and mutations along its career, which consists of four full-length albums (not counting this year’s of course) which I’ll review right away.

So we find ourselves with “Burial”, the band’s debut album from 1998, which offered a great quality Technical/Death Black Metal with 12 precise, memorable tracks, handled with a subtle melody management which ends up being the band’s trademark. “Undeceived” arrived in 2000, and presented a movement towards MeloDeath-touched progressive Death Metal, thus without losing neither strength nor quality, conceiving an album that is both, solid and enjoyable. However, three years later arrives "Synergy", a thrash-like work that, in my opinion was very irregular, having many low spots and just a few high ones. By 2005 “The Blueprint Dives” would arrive to see them mutate again, but this time to an Alt rock/metal progressive that is as astounding as impressive. Unfortunately, they would break right after this one.

As you can see, Extol has been a restless band that has explored many faces, trying to pull the best out of each and getting a victorious result almost all the time. This 2013, the band got together again and a new record came along. Will they surprise us again? Will they reinvent themselves again? The answer is yes, but not n the way that one should expect. And you’ll see what I mean through every song.

We start with “Betrayal”, which easily traps us with its complicated riffs. The song develops with strength and a chorus worthy of songs like Gloriana (“The Blueprint Drives” first song), which complements excellently with the continuous irregular sections offered by Ole Børud, in charge of the six cords. In this disc’s first encounter both the strength and the melodic delicacies fit in, leaving a very good impression.

“Open the gates” starts with quite some attraction, which is vital when it comes to speaking about this album. Each and every song has its solo, riff or distinctive and memorable base, which allows each song to be engraved in our brains. And the double guitar-drum gets the best of itself in a formidable combination which manages to squeeze the juice of each song out, showing all of its skills without falling into a mere, unmeasured pretention, but all the contrary, each and every element is exposed to focus on the enrichment of the piece. A good example of this is given by David Husbik in the section 01:50 – 02:10.

“Wastelands” takes us to a darker spectrum, where the “thrashigs” are privileged and Peter Espevoll’s mighty voice happens to be more than adequate, even reminding us for some moments of the fury displayed by the band on their first full lengths. An intense song that has its moment of peace during the solo, but rapidly gets us on guard again all due to the dynamism and richness of elements given by each member on the service of the work. 

Fourth movement. With “A gift beyond human reach” we retreat to Extol’s most melodic side, where each riff is extremely hypnotic, noticing that this song practically lacks of any clean voice that helps to add sensibility or to “relax the hearing”. Everything sounds compact, balanced, in a mixture which can remind us of previous works, but keeping a unique style. And that is the key of this disc: it’s the result of all prior discs; it has a bit of each and takes the best out of them, onward to an absolutely own sound.

After the sort-of happy song, “Faltering Moves” appears, which develops as the last’s antithesis, filled with surliness melancholy and feeling, even though it seems a little weird. Without losing their progressive nature, the Norwegian deliver dense sections , alternating them with others filled with feelings, all this with an impressive sensitivity, for them to merge with the necessary cohesion for it to be fluid during the almost six minutes long. Espevoll makes an enviable performance to complement himself with the harmonies and accomplish the desired effect, the alternation between rough and soft.

The second half of the song starts with “Behold The Sun”, where a very technical and elaborated work is shown, filled with complex riffs, changes of time and character, with a very pleasant exchange between clean and guttural voices. Probably this is the most complete song in the sense of having a bit of everything in a very demanding composition. Which doesn’t become boring, but lures us to continue on the four intense minutes that compose this song.

In my opinion, “Dawn of redemption” is something different. A brief reflecting period through Børud’s chords, which calmly leads us to a point in which we notice that each note and pluck is touching our soul. It’s right there when you open your eyes and realize that this is a different disc. It’s a very special disc, not only for the hearer, but for the band itself. “extol” is the pure reflection of their fifteen year old career, it’s the climax of a whole stage, and above all else, it’s the start of a new beginning . However, we still have some songs left…

Eight song, “Ministers”, after the “reflexive” moment brought by the last song, the three-piece band decides to make a strong attack with a song that lyrically is a declaration of principles, therefore, it must show those principles musically as well. Without many melodic down pours (just the necessary) Extol smoothly develops a song that reminds me to the highs of “synergy”, where the aggression was well aimed and administered, so it wouldn’t fall into boredom.

And for the grand finale, two songs in a row. “Extol” (homonymous song) and “Unveiling The Obscure” are connected in an spectacular combination. The first, for having the disc’s most memorable riff, filled with fury and melody at the same time, an absolute wink at “Burial” which added to the use of the clean voices becomes unforgettable. Vicious blast beats at first to move later on to perfectly executed ghastly notes which amaze due to the band’s fluidity to combine such elements without even sounding abrupt, everything enveloped by this melodic treatment which is the house’s trademark.

The second, despite slowing down a bit, doesn’t stand too far thanks to the riffs’ magic brought to us by Børud, who at the end, is the band’s soul, the one in charge of making each song different and unique, having an special touch. And he shows us again this last song with that inventive made to create and recreate himself constantly. A memorable ending indeed.

And thus “Extol” went on, an album that not only puts the Norwegian among the best this year, but also becomes the highest point on their career, and it might probably be very difficult to overcome for the band itself. Although, thinking on the band we are talking about, they can surprise us again. For now, we have a great disc to keep enjoying and analyzing.

Rate: 98/100