Cancer – Inverted World Review

By Steel Druhm

No one lists Cancer as their favorite death metal band. That’s because even in their heyday, they were pretty average. Early 90s platters like To the Gory End and Death Shall Rise were mildly enjoyable for their primitive, meatheaded approach, sitting at the crossroads of thrash and primordial death along with other bands of that era like Morbid Saint, Protector, and Incubus. 1993s The Sins of Mankind had a more proggy bent that cribbed notes from what Death was doing on Spiritual Healing and Human, and it had its moments. Yet none of these releases were formative or “Must Hear” records either then or now. After that, Cancer dubiously dabbled in nu-metal and groove, thereby alienating their fanbase. After 13 years in limbo, they started a second career redemption arc with 2018s Shadow Gripped, returning to their original death metal sound. Six years later, we get seventh album, Inverted World. Only vocalist/guitarist John Walker remains from the early days, and he brought in a whole new crew for this outing. The sound is basically what Cancer did on Shadow Gripped, offering proto-death with thrash influences. After a long, patchy history, can Cancer metastasize into a higher form?

The short answer is nope. Inverted World is the same kind of stuff Cancer spat out in the old days, ignoring everything that’s happened musically over the last few decades. This kind of evolutionary resistance works for some (all caveman death and Sodom), but it doesn’t do any favors for Cancer. Opener “Enter the Gate” is mid-paced OSDM spiced with modest breakdowns and slight traces of prog. It has the basic Cancer sound, but it’s a very watered-down version of it, and John Walker’s vocals sound weak and uninspired. There are some interesting riffs and guitar bits, but it’s not enough to stick. This sets the stage for issues that plague the whole album. There are inspired moments, but few songs that thrill from start to finish. The title track is exceptionally dull, plodding along in a brain-numbing mid-paced slog, and the follow-up “39 Bodies” keeps it going for another painstaking 5 minutes. A few riffs sound like they came from Death’s Spiritual Healing, but that’s not enough to save things. Lead single “Amputate” is like a drunken Jungle Rot trying to do Leprosy-era Death, and it’s a lunkheaded clunker. It’s so painfully dull, actual amputation might be preferable.

There’s not much on Inverted World that truly grabs the listener, but “Test Site” is a thrashy foray into Coroner-esque riffs that twist and corkscrew in interesting ways, and there are interesting hints of Voivod in the song structure. They even add a touch of dissonance to acknowledge the modern age. It’s still only decent, but at least it’s got some spunk. “When Killing Isn’t Murder” has flashes of lively guitar interplay and harmonies, but it’s still underwhelming. At 44 minutes, Inverted World feels longer due to the over-reliance on mid-paced tempos. Production-wise, the guitar tone is way too weak and non-confrontational to have any real impact. It also doesn’t help that Walker’s flat, monotone vocals are mixed so prominently. Especially since he’s barely even doing death vocals at this point.

The modern Cancer sound revolves around riffs, and John Walker and new lead guitarist Robert Navajas are certainly talented six-stringers. There are minor flashes of inspiration dotting the album, but they only latch onto decent riffs on half the songs, creating a paucity of truly killer riffs. The writing is a huge letdown too, with nearly every song limping along in a mid-tempo fog. John Walker was never an A-list death metal vocalist, but he sounds washed out here, entirely lacking in gravitas and intensity. He sounds bored most of the time, which I can certainly relate to by album’s end. It’s drummer Gabriel Valcázar (Wormed) who comes off best here. He’s a punchy dynamo on the backline, providing a thunderous performance. He can only do so much, though, considering the album’s commitment to pedestrian pacing.

Inverted World is better than the nu-groove stuff Cancer was churning out in the mid-90s, but it still doesn’t have much to offer the average death fiend. It’s too flat and static to inspire repeat listens, and its only appeal is to those who may have overly fond memories of Cancer’s early days. Go back to The Sins of Mankind if you bother to drill down into Cancer’s discography at all. This is a sleepy miss.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Peaceville
Websites: facebook.com/goryend | instagram.com/cancerofficialband
Releases Worldwide: April 25th, 2025

#20 #2025 #Apr25 #Cancer #Coroner #Death #DeathMetal #Incubus #InvertedWorld #MorbidSaint #PeacevilleRecords #Protector #Review #Reviews #UKMetal

Yer Metal Is Olde: Opeth – Still Life

By El Cuervo

With a highly-anticipated new album due on the 22nd of November,1 there’s little introduction required for a progressive metal institution like Opeth. But on the eve of new material, I’m casting my ears back 25 years to the release that established these Swedes as one of the greatest bands in metal.2 I’ve loved most styles of Opeth and count a number of their records among my favorites ever. But, gun to my head, Still Life is at the top of my list. Is it the stylistic apex of their career? Possibly not; the mercurial Ghost Reveries represents the logical conclusion of their discography up to that point, seamlessly blending all facets of their sound that permeated their first decade of releases.

So why is it Still Life that sticks with me? It falls in the middle of Opeth’s progression from inception to apex and marks the start of what most fans would consider their classic run. As such, it finds itself stretched in two directions. While lesser bands would be pulled apart, what leaks out here is nothing but quality. The songwriting is smoother and more sophisticated than My Arms Your Hearse, while its rougher edge distinguishes it from the professional, Steven Wilson-backed production that defines Blackwater Park. In fact, the guitar tone here is the best in the Opeth catalog, rivaled only by Orchid.3 It’s this sweet spot—ornate, dynamic songs fused with death metal production and riffs—that encapsulates Still Life. Look no further than the multiplicitous, textured movement of “Serenity Painted Death.” As if its opening riff wasn’t good enough alone, the transitory passage that begins at 0:50, traversing a shredding lead, tempo shift, dramatic pause, and outrageous groove, demarcates a song of rare quality. And there are seven more minutes to follow, shuffling harmonized singing, delicate acoustics, and gripping story-telling.

Dynamic songwriting isn’t the only ‘best-in-catalog’ quality heard on Still Life. While the aforementioned groove excels, the first lead on “The Moor” and the guitars on the back half of “Face of Melinda” are worthy adversaries for some of the best riffs in metal. Meanwhile, the opening minutes of “The Moor” conjure the strongest atmosphere in the Opeth discography, with harmonized guitar whines and subtle acoustic melodies offering a mesmerizing introduction. “Face of Melinda” is my favorite Opeth track, bar none. It’s the archetypal Åkerfeldt tune, with spell-binding acoustic prettiness, poignant lyrics, and huge riffs. I wouldn’t like to guess how many times I’ve listened to it in total. But most of all, Still Life houses my favorite obscure progressive rock reference, in a band that’s famous for them. The acoustic lead on “Benighted,” while stunning, is a blatant rip-off from Camel’s “Never Let Go”.

I will also emphasize that although this piece has thus far cited examples from incredible songs, Still Life is an incredible album. While the individual melodies and instrumental parts that occupy these 62 minutes are excellent, it’s how these are woven into movements that eclipse the mere tracks that encase them. Still Life is symphonic in feel, compositionally closer to a classical symphony than an album of tracks. There’s a natural lilt in its progression, flowing within the seven songs, but more importantly, outside these seven songs too. It’s almost impossible for me to hit play from any point on the record and not then listen all the way through.

Romantics describe love at first sight; metalheads describe love at first listen. Opeth opened my ears to what was possible with music, and it was Still Life that opened my ears to Opeth. The completionism of Ghost Reveries engages my brain, but the aesthetic of Still Life engages my soul. There’s a big fat hole in the core of your being if you can’t engage with music like this. It’s what perfection sounds like.

#1999 #DeathMetal #Opeth #PeacevilleRecords #ProgressiveDeathMetal #ProgressiveMetal #StillLife #YerMetalIsOlde

#TheMetalDogArticleList
#BraveWords
DARKTHRONE – Peaceville Records To Celebrate 30th Anniversary Of Transilvanian Hunger With Corona Vinyl Edition

https://bravewords.com/news/darkthrone-peaceville-records-to-celebrate-30th-anniversary-of-transilvanian-hunger-with-corona-vinyl-edition

#Darkthrone #PeacevilleRecords #TransilvanianHunger #BlackDeath #NorwegianBlackMetal

Recensie: Orange Goblin – Science, Not Fiction ★★★★
https://writteninmusic.com/albumrecensie/orange-goblin-science-not-fiction/

#Music #Metal #OrangeGoblin #PeacevilleRecords #V2RecordsBenelux

Orange Goblin - "The Fire At The Centre Of The Earth Is Mine" - Official Video

https://www.youtube.com/watch?v=0zfO6QQTlpk&t=9

#music #heavymetal #stonermetal #orangegoblin #peacevillerecords

Darkthrone – It Beckons Us All……. Review

By Dr. A.N. Grier

As per usual with Darkthrone these days, a new record arrived without any notice and NO ONE got the promo until after its release. So, here I am trying to toss together a review at the last second for a band whose process is so annoying that I don’t even want to review them. But, I love Darkthrone. So I will ignore my annoyance and pen this fucking thing. Even after twenty full-length albums and nearly four decades in existence, Darkthrone can still surprise their fanbase with each new record—to the point that you don’t know what to expect. But, the last time I enjoyed a complete Darkthrone album was 2013’s The Underground Resistance and 2021’s Eternal Halls……. Keeping with the theme of the latter album, we have another record that uses unnecessary dots in its title. But, does It Beckons Us All……. have what it takes to keep these crusty old fuckers relevant after all these years?

Since the days when Fenriz started lending his voice to Darkthrone albums, things have undoubtedly become weird. But, the band’s commitment to an old-school sound that no longer relies on the yesteryears of Norwegian black metal glory has been enlightening. Chipping away at classic ’80s riffs from the likes of Hellhammer, Celtic Frost, and Sarcófago, Culto and Fenriz have been keeping old-man metal alive after pulling away from the first and second-wave scenes with Hate Them. Since then, they’ve been forging a path that has seen fans come and go, depending on which version of Darkthrone they prefer. But these two gents couldn’t care less. They could care so little that, as I type these words, I feel like I’m wasting my time. But, after listening to It Beckons Us All……., I wish they did care. Because this has to be one of the most disappointing things I’ve heard since Metallica’s 72 Seasons.

“Howling Primitive Colonies” kicks things off with some weird, psychedelic effects that remind me of that mapping bot from Prometheus. Then, it slides into a classic, mid-paced Darkthrone groove that transitions to some boring, slow sustains and perhaps one of Culto’s worst vocal performances. Hell, I wouldn’t even call them vocals. It’s more like raspy rambling than anything else. It picks up the pace at the midpoint, but the one-dimensional “vocals” remain. Thankfully, “Black Dawn Affiliation” arrives a couple of songs later to kick some major ass. This song might be one of the most badass songs to come from Culto’s fingers. For over six minutes, he takes a basic riff and continues to add layers upon layers, evolving it to a massive headbanging climax as distant clean vocals swirl around it.

The ten-minute closer, “The Lone Pines of the Lost Planet,” provides other interesting guitar moments. Specifically, the mid-section harmonizing work which also continues to evolve as it goes. It’s one of the more surprising pieces because it opens with reverberating clean guitars that feel like it’s about to morph into a Metallica ballad. It fails because it has so many worthless sections that drag it out unnecessarily. Plus, I swear to God, Culto says, “Sucking on hydrothermic chimneys.”1 But, at least it contributes something to the album. Unlike the absolutely worthless instrumental, “And in That Moment I Knew the Answer.” I could have spent those three minutes taking a shit instead of listening to this thing. “Eon 3” and “The Heavy Hand” also suffer in their own unique ways. While Culto refuses to sing on this album, Fenriz’s cleans on “Eon 3” are buried in the back and completely encapsulated in effects. And though “The Heavy Hand” has an engaging, haunting attitude, it spends four minutes going nowhere.

After reviewing Darkthrone albums for years, this is the first time I’ve been this disappointed. It Beckons Us All……. is the most uninspiring collection of work the band has released in some time. Outside of the top songs, the others feel thrown together and completely lifeless. And the vocals are either borderline talking or so distant that they’re barely backing vocals. There is some surprising guitar work in songs like “Black Dawn Affiliation” and “The Lone Pines of the Lost Planet,” but it’s not enough to carry the rest of the songs. It’s a shame because the album is so dynamic that if rats were running around the studio, you’d hear them. Though I’m one of the biggest fans of this band, I won’t be returning to this one.

Rating: 2.0/5.0
DR: 10 | Format Reviewed: 320 kb/s mp3
Label: Peaceville Records | Bandcamp
Websites: facebook.com/darkthroneofficial
Releases Worldwide: April 26th, 2024

#20 #2024 #Apr24 #BlackMetal #CelticFrost #Darkthrone #Hellhammer #ItBeckonsUsAll_ #Metallica #NorwegianMetal #PeacevilleRecords #Review #Reviews #Sarcófago