Kaamos - Scales Of Leviathan EP (2007)

Given both the connotations and existing musical output associated with the word "Leviathan", you're setting yourself a fairly high target by implementing said word. This posthumous EP from Swedes Kaamos is in some respects appropriately named.

Crunching Swedish death metal of the fairly brutal kind is the order of the day here. A muddy yet audible Swedish production a la Unleashed drives the releases fuzzy low end riffs and beastly death growl. All in all this a gritty, if slightly uninspiring release that has its moments. The dominating chorus of the title track is suitably heavy whilst the thrashing charge of 'Seven Demons' and Slayer-esque solo of 'Blood Has Stained The Cross' will get your head banging. Closer 'Spirtual Funeral' is a pleasant surprise, taking the form of a doomy, trill riddled Black Sabbath homage that's incentive enough to check out the back catalogue.

3/5

Ravencult - Temples Of Torment (2007)

Athens. Ancient home to Plato's Academy and Aristotle's Lyceum. Modern home to Rotting Christ, Septic Flesh, Necromantia and now Ravencult. Although this may be a debut album they're not exactly fresh faced after two demos and an EP (on which 'The Nightsky Codex' first appeared). However, despite such a prolific heritage Temples Of Torment takes a straightforward Nordic approach to the genre.

Evoking both the grim and frostbitten stylings of Immortal as well as the charging, viking bombast of Enslaved what it lacks in originality it more than makes up for in old school aggression. 'In Times Of Demise' in particular is a perfect example of the Immortal/Enslaved mix. Opening with a Bjørnson style charging riff it marches in to the trademark Immortal sound of piercing, jangly, resonant chords and throaty rasping. There's no time to fuck about with lady vocals or ambient synth noodlings, this is a down the line black metal assault.

It might be lacking slightly in variety but it's all executed with such conviction you can't help but be impressed. The clean but meaty production helps a great deal, as usual the bass is completely buried but the guitar tone is deliciously ice cold. Perhaps not essential, but well worth a run through.

7/10

The Pax Cecilia - Blessed are the Bonds (2007)

I'm not a huge fan of anything post-hardcore. I can enjoy small amounts of Envy and a couple other skram bands, but the genre has never really struck me as interesting. The Pax Cecilia, however, provide a fresh take on the style with the inclusion of neoclassical and ambient aspects. The first song, "The Tragedy," is one of the best on the album, creating a beautiful atmosphere using piano and strings. As opposed to most in this scene, the singer handles the soft vocals superbly. These low-key, thoughtful parts are the highlight of the band, and are spread well throughout the album. Eventually the song builds up to the typical chaotic, heavy skram climax, yet even these parts are relatively pleasant. "The Tomb Song" follows in much the same vein. The next two songs are more standard post-hardcore fare, providing nothing really interesting but still not of bad quality. From then on the album sticks to instrumental pieces, with vox only popping back in for the tranquil closing song.

Blessed are the Bonds really has a great atmosphere. It's also much more unique and intriguing than most post-hardcore, at least to me. The band is unsigned, and also sends out their album for free if you email them, so check em out and give some support.

8/10

Catholicon - Treatise on the Abyss (2007)

Imagine this. Log, to refer to them endearingly, decide simultaneously that they have become too mainstream and are not reaching enough of the metal populace. Their obvious conclusion? Create brutal deathcore with an aftertaste of sympho bm. That's right, they've got your over-the-top pig squeals, shit-heavy chugging, out of control drums, and atmospheric synths all mashed together into a generic mess for you to choke down.

The band does manage to conjure up a decent vibe in their slower moments, most likely because here the drummer is actually playing within his skill level. Sadly, and predictably, everything else is boring when it's not irritating. For a band that's been around since 94, Catholicon really don't seem to have taken things too seriously in regards to their music.

4/10

Persecutor - Army Of Damned [Demo] (2007)

Hello Poland, how are you? Happily pumping out endless amounts of shit-hot death metal no doubt. While not necessarily of the same world renowned caliber, Poland has also been known to pump out some fairly competent thrash. Persecutor (not to be confused with Polish thrash metal band Persecutor) are another hybrid thrash affair, with a fairly seemless blend of death and black metal (mostly in the vocals) wrapped in a thrash shell.

Beginning the Blitzkrieg with some Cannibal Corpse meets DiGiorgio Testament tech-death-thrash, it's an impressive whirlwind cacophony of stop-start riffing, spiraling bass and banshee wailing guitar. 'Nuclear Hell' opens up with a riff more than a little similar to Pantera's 'A New Level', but ups the pace and adds an intriguing dual vocal layered assault. There's isn't a great deal of riff variation across this demo and the "solos" are fairly one dimensional but its enjoyable nonetheless. Insert generic statement about potential and full lengths here.

3/5

Blood Island Raiders - Blood Island Raiders (2007)

Blood Island Raiders are another London band, this time comprised of some well respected members of the local scene. Of particular interest (apart from resident Zakk Wylde lookalike guitarist "The Reverend") is the bassist Pete Theobalds, former (founding) member of Akercocke. Unfortunately this isn't corporate satanic progressive-stoner-doom-death metal. What we do have however, is some fine fist pumping mid-paced metal to smoke, drink and/or drive to.

Essentially its Orange Goblin with a hint of Viking Skull and a touch of The Fucking Champs paying homage to the traditional metal of The Obsessed and Trouble. Kicking off with 'I Am The King' and one of those stoner-tone riffs that it's impossible not to love, it sets you up nicely for the rest of the album. There's more than enough "Woah yeaaaaah! Alriiiiight!" to last you a six-pack and a few joints. You've got your usual crunch-driving riffage, tasteful soloage, Warren's meaty pipes and a groovy bass undercurrent throughout. In the spirit of scene comradery there's even a few guest spots; the epic six plus minutes of 'Rust' features the grindcore turned hippy guitar of Bill Steer, though I'm not entirely sure what Team Brick and MC Disaster Lung contribute.

Neither groundbreaking nor revolutionary, if you want layers of depth and complexity then you're looking in the wrong place - this is a boozy background album. Not something you'll spin often, but enjoyable when you do.

6/10

End Of Level Boss - Inside The Difference Engine (2007)

Self professed (cliché alert) "worshippers of the riff" End Of Level Boss rose from the ashes of Hangnail, and since their inception have made a few ripples in the pond up in London. Touted as one of those stoner rocky doom metalish type bands they actually exhibit few if any of the qualities attributed to either genre. Instead they're a rather odd-beat amalgamation of early 90s heavy alt-rock, Isis/Meshuggah/Cynic riff progression and slight Voivodian discordancy. As intriguing a combination as that sounds, the execution is sadly a little tedious.

The basic formula for each song is essentially the same. A handful of discordant riffs repeated with some variation, complemented by fairly generic gruff vocals, at times dancing between Chris Cornell and Daniel Johns with the odd John Garcia moment. There's a Larry Lalonde style Primus solo thrown in ('Mr Dinosaur Is Lost'), a few quieter moments ('Inskintivitus') and the mostly instrumental 'Words Have No Meaning' comes off like a cross between Meshuggah's 'I' and Kyuss' 'One Inch Man'. All in all, if you've heard one song from the album you've pretty much heard all EOLB have to offer.

Despite the potentially exciting combination of influences and nods to slightly left-field metal bands, it's essentially one of those albums that feels like one long tedious song. Not completely terrible, just decidedly average and mostly unengaging.

5/10