If you still haven’t reconciled the fact that Opeth moved away from death metal years ago – that these days they owe more to the likes of Camel and Gentle Giant than to Morbid Angel – then you might as well stop reading now. Uncross your fingers and stay your optimism for an unlikely return to roaring brutality because the Opeth prog train just keeps on rolling and shows no signs of slowing down. However, for those of you happy with the Swedish progsters’ change of direction almost a decade ago, climb back on board, take a window seat and relax. Continue reading
We’ve seen a ton of heavy metal action figures throughout the years, but Opeth has taken it to a new level. Continue reading
Opeth will be releasing Sorceress on September 30th via the bands own label Moderbolaget Records, thanks to their new deal with Nuclear Blast Entertainment. Continue reading
As far as supergroups go, few come more awesome than Stockholm’s Bloodbath. Formed as a hobby by Katatonia members Anders Nystrom and Jonas Renske along with Opeth mainman Mikael Akerfeldt and producer extraordinaire Dan Swano back in 1998 with the simple desire to pump out some filthy old school death metal, it’s unlikely they ever would have expected to become one of the biggest and most well respected bands in the scene, although given their combined status the result was pretty much a foregone conclusion.
After releasing three blood-splattered and evil sounding albums but having to deal with the departure of Akerfeldt and Swano, some might have expected these veterans to stop playing with the corpse and allow it to rot in peace. However the desire to riff fast and ugly is a strong one and a new vocalist has been found in Paradise Lost frontman Nick Holmes whose new role is elementary (I can’t believe you just did that – Ed [and I can’t believe you wrote an ‘Ed insert’ for me – Dep Ed]) given his growling performance on PL’s classic debut record Lost Paradise (Peaceville).
But is Old Nick’s presence behind the mike enough to ensure Bloodbath remain deadly in a scene rife with sharp-eyed competition? One listen to Grand Morbid Funeral (Peaceville) proves the answer is an emphatic, bellowed yes!
As the serrated riffs of opening track ‘Let the Stillborn Come to Me’ tear out of the speakers like an escaped serial killer on his way to a nearby summer camp, the primal fury of Death Metal is fully revealed in full-blooded, hate-filled form and as the track settles into a disgusting Dismember-esque groove, you’re reminded just how much this music kicks ass and lops off heads with abandon. The buzzsaw guitar sound, as much a part of the Swe-death scene as any notable record you could care to mention, is heavily evident in the marching attack of ‘Total Death Exhumed’ which also features some suitably gloomy lead-work, while the ramshackle chugging of ‘Anne’ evokes images of a demented butcher manically hacking apart corpses in some benighted slaughterhouse.
Bloodbath records have always relied on frantic pace and aggression to get their gruesome message across and while they may lack the precision of Cannibal Corpse or the bad-time grooves of latter day Entombed, their modus operandi is built on a basis of seeing how many people they can kill in the room with a rusty chainsaw before the police take them down, rather than methodically picking off victims. It’s a messy approach, aided by a suitably grimy production but which gives proceedings a rabid and unclean feel, and when they do slow things down slightly such as on the gut-wrenching crawl of ‘Church of Vastitas’ and the grotesque melodies of the title track, the atmosphere drops to especially ghastly levels of hopelessness.
Nystrom and fellow axeman Per Eriksson focus more on tearing our minds apart with a seemingly endless selection of slashing riffs, gloomy melodies and frantic solos while drummer Martin Axenrot flays the skins with an unfussy, methodical determination. Holmes may not have the deepest growl and he is buried too deep in the mix to have a massive impact but his sinister tones give the music a depraved grandeur and when all of these elements combine like on the unrestrained ferocity of ‘Famine of God’s World’ and the monstrous ‘Beyond Cremation’ you’ll be wishing that all the members quit their day jobs and focus on pumping out more of this filth every other year.
There’s enough elements of the US death metal scene to ensure that this isn’t just a caricature of the Stockholm sound, but it’s undeniable that Bloodbath are to all intents and purposes a nostalgia act and a way for a bunch of blokes nearing their 40s to act like they were teenagers again. But some of the best death metal albums were made by whippersnappers so as long as this bunch of morbid Swedes and one ghoulish Brit keep failing to act their age, the world of extreme metal will stay suitably macabre.
Swedish death metallers, Bloodbath, is releasing the title track from their forthcoming fourth album Grand Morbid Funeral (out November 18th via Peaceville) for Record Store Day/Black Friday 2014. Stream the song here.
Grand Morbid Funeral was recorded and mixed at Ghost Ward Studios and the City of Glass Studios in Stockholm, Sweden by David Castillo. Chris Reifert and Eric Cutler of Autopsy have guest appearances on the record.
The present Bloodbath lineup is:
Jonas Renkse – Bass
Anders “Blakkheim” Nyström – Guitar, Vocals
Martin Axenrot – Drums
Per “Sodomizer” Eriksson – Guitar
Nick Holmes – Vocals
The track listing for Grand Morbid Funeral is as follows:
01. Let the Stillborn Come to Me
02. Total Death Exhumed
04. Church of Vastitas
05. Famine of God`s Word
06. Mental Abortion
07. Beyond Cremation
08. His Infernal Necropsy
09. Unite in Pain
10. My Torturer
11. Grand Morbid Funeral
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