My only suggestion for making it better would have been to include "Butchered Mutilation" or the studio version of "Time Crusaders" as bonus tracks. Intense Records cover. Nuclear Blast cover. What we have here is a return to the thrash roots from the first album, but with more finesse.
The influences of Iron Maiden and especially Manowar are showing through much more than in the past. This album was also the introduction of the new vocals style. The deathly growl still present, but mixed with a clean, doomy shout that would begin to become more prevelant in future discs. The lyrics are mature, Christ centered, and intelligent. I guess the return to thrash was not what Jayson Sherlock wanted, as soon after the release of P.
A shame, really, as the drum work on this cd is phenomenal! Some of the best drumming in metal. The Intense cover was drawn by drummer Jayson Sherlock. This album would be the final studio disc of what many would consider the classic Mortification line-up. Mortification - Live Planetarium Intense Produced by Doug Sanders. Ah yes, a live album from our favorite Australian imports.
Good recording, wild crowd from the Blackstump Festival and a good selection of tunes from the first three discs. Two new songs that we were told would be on the next Rising - Various - Am I Metal? Yes I Am!!! (CD) album, however, only "Symbiosis" ever made it onto any official Mortification release.
The studio verison of "Time Crusader" would only see light of day on the very obscure Australia Metal 1 compilation. Probably a wise decision as this live version was beefy and could not be beat! Actually one of the best songs on the disc. A botched, speedy version of Bloodgood' s "Black Snake. Micheal Carlisle never claiming to be much of a lead player, proves it with this solo.
The production isn't bad for a live offering. Probably not the disc you want to get if you are new to Mortification, but a must for fans. Produced by: Mark McCormick and Mortification. Nuclear Blast version.
Intense Records version. With a new drummer, a new producer, and a new logo comes a new sound. Many cried "sellout. The death metal sound was gone but the thrash sound was now completely in place. Some are Mortification classics, while others were just not of the calibur of past albums. However, this was actually the best selling Mortification disc of their entire catalogue, especially in the U. The big difference actually being in the inside and back cover photos.
The change was actually part of what fueled the "sellout" fire. On the Intense version, the classic Mortification logo was gone and replaced with a new logo that featured three swords in place of the crosses.
The Nuclear Blast cover, which was released after the Intense version, had the classic logo back in place, although moved into the right corner. Blood World is a disc for thrash fans and a must for Mortification fans but is probably not the disc to use to introduce the band to a new listener. In Metal Mind re-released almost all the Mortification catalog. All featured bonus tracks, but most of them were not really exclusive.
This track was recorded with the Blood World line-up and originally released on a Nuclear Blast compilation. I'm not sure why this particular track was chosen as a bonus for this CD unless it was specifically chose to promote "Relentless". Mortification - Primitive Rhythm Machine Intense Mortification: Steve Rowe-bass, grind baritone vocals. Steve Rowe, the Lone Ranger. The only original member who trudges on in his metal crusade. The production is a bit raw, or "primitive," if I might say so.
Lots of tribal beats, and a sort of Sepultura -vibe. Favorite tunes "Gut Wrench" and "Mephibosheth," the latter still in the bands live set as of Lyrics are very evangelistic in nature. A great disc that would sit well in any metal collection. I guess it was only available as an import, but I was bummed that this "best of " compilation didn't include at least the hard to find studio version of "Time Crusaders. The songs are laid out in chronological order as well, which is kind of cool, as you can hear how Mortification changed over the years.
I think this is the only place, other than on MP3 format, that this song is available. Musical prelude 1-Emmaculate Conception ii. Musical prelude 2-The Imminent Messiah iii. Persecuted quest iv. The Words at the Supper v. Angelic Sufferance vi. Angelic Resurgance vii. Frustrated Vision viii. Please Tarry 2. Mortification Nuclear Blast promo photo. Well, once again, with new band members comes a new sound. New indeed! This being my favorite Morty offering to date, I like the changes that were made.
Steve Rowe now fully implementing his love for "true metal. Galloping bass, killer guitar riffs and some of the best solos any Mortification guitarist has put forth thus far.
This song alone would be worth the price of the disc, but wait Incredible guitar riff! The drum work is simplistic throughout the disc but well executed. This is actually the first band Keith had ever recorded with.
At the time of the recording he had only been playing less than a year. Formerly he was a Mortification rodie for Australian tours. The disc was released by three different companies, and with that there is slight differences in the artwork. In the U. Diamante released the disc with a plain black imprint on the cd and a bad moray in the cover art.
The best copies are the Australian and German copies, released by Rowe Productions and Nuclear Blast respectively, with the gold and black ink print on the cd and far superior printing on the cover. This is an incredible release that would fit well in any metal Rising - Various - Am I Metal?
Yes I Am!!! (CD). Live Without Fear Rowe Productions H" Nice windmill! Seriously, this is a live club recording-a few hundred screaming fans and a raw sound. A nice array of songs from each album are present as well as some humor a la Steve Rowe. Quite the title too, huh? If I could only have one of these, however, it would be the "Live Without Fear" disc as it is longer and has a better variety of songs.
Both are cool discs for collector's of all things Mortification. Steve Rowe with Ultimatum Well, after almost losing Steve Rowe to Leukemia only a few short months earlier, I get a call from Steve telling me how excited he is about the new disc and U. God did work a miracle in Steve as he was completely healed of this deadly disease.
A good majority of the disc is about what Steve had gone through over the past year and a half. Musically, this disc was a slight return to the death metal past, but only slightly. Actually this disc is more akin to EnVision, which if you have read my review on EnVision, you know I like. This disc again continues with the classic metal influences and the thrash overtones.
Once again we have a lengthy number, although not as lengthy as EnVision, in the titled track "Triumph of Mercy. Other songs like "Drain Dweller," echo the snappy thrash songs off EnVision. Actually, if it hadn't been for the lyrics, I would never have known there was a two year gap between albums.
This song is probably one of my all time favorite Mortification songs. The downfall to this disc is that the production suffers a bit compared to the clean sound of EnVision. In an attempt to sound more raw, the production is a bit weaker. The bass is way out front and the guitars a bit buried. The drums as well are just not as crisp as on EnVision EvAngeline.
This aside, however, this is a much recommended disc. Produced and Engineered by: Mark McCormick. Lincoln Bowen. Hammer of God comes out just short of a year after the release of "Triumph of Mercy. All the vocals this time around are clear. The guitar tones are far better than any Morty disc from the past, however, Steve's signature bass sound is no longer present. Both the bass guitar and the bass drum are very buried in the guitar heavy mix. The first two cuts, "Metal Crusade" and "Martyrs" are two of the finest and most aggressive songs Mortification have written.
Also included on this disc are the demo tracks from the "Triumph of Mercy" sessions as well as a medley of older material simply titled "Medley. Actually this is the same medley that the band played on their "Triumph of Mercy World Tour. Steve's son makes his vocal debut at the end of this song.
A first for Mortification on this album is the use of a piano throughout the disc. Songs like"A Pearl" become beautiful metal songs due to the use of the piano. Short song cloking in at only 1.
Overall, not the best Mortification disc, but a good one none-the-less. The first two tracks and the medley alone are worth the price of admission. Live album number two, or four if you count the two eps. This album features mostly material from the last three albums and the medley that was released on "Hammer of God.
This will be the last album for Keith Bannister as well. With the news of a new drummer who is much younger than the rest of the band, rumors were flying that Mortification were going to go into a more "modern" direction. Steve Rowe and his league of cohorts are still flying the flag of heavy metal.
With no disrespect intended to Keith at all, I have to say that new drummer Adam Zaffarese say that three time fast!
There are a few songs that have a hint of hardcore attitude to them, especially the Lincoln Bowen penned song "Access Denied. Overall, however, "Silver Chord" is not as solid an album as I would have liked. Whereas most Mortification CDs dominate my CD player for weeks after they are released, I found myself bored with this one rather quickly. Honestly, it's really hard for me to say anything negative about a band I have have been a fan of for so long and have so much respect for, but I really think with each album after "EnVision," the songwriting has become simpler and the hooks are less apparent.
However, even with albums like "Hammer of God," I could pull out several standout tracks. With this one I cannot really say that with the exception of opening track "Metal Blessing".
I also think this is the band's weakest album cover art. I should also mention that there is a double disc version with "10 Years Live Not Dead" was released in Germany only. The US version is a single disc. I could probably debate with a handful of Mortification fans for hours on the necessity or lack thereof of releasing yet another Mortification compilation cd.
However, God had other plans for Mortification, and the band will go on with yet another new guitarist, releasing this and future albums on Steve's own label, Rowe Productions.
I am also sure that we could debate and complain forever about songs we feel should or shouldn't be on this compilation. As it stand, Steve saw fit to include one song from each album, including both live albums and one of the two live EPs that were released several years ago.
Of course with such a large catalogue of material there are songs I most certainly feel should have been on here that are not. I actually would have liked to have seen "Northern Storm," "Influence" and "Metal Crusade" on this disc. Of the later day Mortification songs, these are some of my favorites. I do have a complaint though. You didn't think I wouldn't complain about something, now did you? Why not include some more rarities like the incredibly rare "Butchered Mutilation," the studio version of "Time Crusaders" or the incredibly rare "Entering the Eternal Dawn".
There are four acoustic tracks included as a bonus affectionately called "Acoustic Blessing. Death and thrash metal just don't translate well to acoustic guitars. The better of the four tracks are the two newer tracks, "Metal Blessing" and "Standing at the Door of Death.
The other two, well, as I said, death metal doesn't translate well on an acoustic guitar. It's also impossible to translate those brutal vocals to something more soft. I have been a Mortification fan sinceand frankly I was a fan of Lightforce before that.
I have anxiously waited for each new release from Steve Rowe and Co. I am not one who has wanted the band to return to their death metal style of "Scrolls" However, I must admit I was disappointed with "Silver Chord" and I was a bit leary about what the new disc would hold with the rumor that Steve Rowe was putting the Mortification name to rest and then the news that Mortification had gone through yet another line-up change.
Well thanks to the technology of MP3 I was able to check out a couple of tracks before buying and was pleasantly surprised. It seems two new guitarists have brought new life into this old metal machine. While I would not be so bold as to say that I think this is the band's finest work, I would say that it is their best work since 'EnVision EvAngeline' which is my personal favorite Morty disc.
For the most part the guitar work shreds and the rhythm section just annihilates. Musically, Mortification are a hybrid mix of thrash, power and speed metal, all of which are right up my alley. There is even a doom song called 'Sorrow' and a song that borders death metal called 'Apocalyptic Terror. On the downside, there are a few songs that have overly repetitive choruses. Otherwise, I can't say enough good things about this disc. The re-issue contains four live tracks taken from the band's performance at Christmas Rock Night in Germany, The sound quality of these live tracks isn't bad, though are obviously not of the same quality as the studio tracks.
Still, a nice addition to the re-issue. The re-issue also includes an 8-page booklet and a 2-sided card for the front cover art. Of the three simultaneously released Mortification albums, this was the only one to include the additional card. Grind Planetarium [ live ] Too Much Pain [ live ] Standing At the Door of Death [ live ] Spoken Word [ live ] Scrolls of the Megilloth [ live ] That album marks another line-up change for 'ol Mortification, but one that seems to have sparked a fire under Steve.
This is an excellent CD! As well, there is some classic heavy metal influences. The vocals on this song are similar to the more recent albums with Steve doing a gritty, grunty style of vocals. With track two Steve returns to the mixture of deathly growls of the past and his cleaner style. This actually continues throughout the entire CD. Once again, this song is a bit angrier and darker than the last few Mortification CDs.
Without giving a complete song by song analysis, this is probably Mortification's most angry, aggressive CD since those early 's platters.
We are treated to loads of fast double bass, some blast-beats, some choice guitar solos, and some hook-laiden songwriting. Lyrically, Steve continues to preach his faith loud and clear, unashamed of who he is or who he serves.
However, in tracks like "Purest Intent" and "I'm Not a Rising - Various - Am I Metal? Yes I Am!!! (CD) Steve lyrics seem a little angry and directed toward the critics of the band. Long live the mighty Mortification! Long live Jesus Metal! The re-issue contains several live tracks taken from the band's performance at Revolution Metal Fest in Mexico City, This was the infamous show that stirred up a lot of controversy due to headlining band Stryper backing out and not returning the promoter's deposit money.
The sound quality on these tracks are of bootleg quality at best. Unfortunately part of Steve's banter was hacked off. I'm not sure if it was recorded this way or if it was just bad editing.
Erasing the Goblin [ live ] Brutal Warfare [ live ] Hammer of God [ live ] Purest Intent [ live ] Spoken Word Chapel of Hope [ live ] God Rulz [ live ] All I can say about the newest Mortification release is that this is what the fans have been asking for. Is it a return to "Scrolls"? No, "Erasing the Goblin" is it's own monster. However, it is the fastest, heaviest CD from this band in over a decade.
Steve's vocal approach returns to the deeper growls as heard on the band's first self-titled album, as well as those thrashier vocals on "Break the Curse. The very next song follows up with a mixture of old and newer Mortification, that is equally as pummelling. Without going into a track by track review, let me just say that this is clearly one of the strongest Mortification releases in a long time. The only track I really found to be weak is ""Forged In Stone". This song starts off with Steve belching out the song title.
This seems to have become one of Steve's trademarks. Otherwise, the mix is good, the guitars are dirty and gnarly, Steve's vocals sound great, the songwriting is strong, the lyrics are spiritual. What else do you need to know? Long Live Mortification! The cover pictured above to the left is the limited edition release.
This Rowe Productions release was only available retail through the Soundmass. There were copies pressed. Each copy is hand numbered, signed by each band member and contains the exclusive track "Dead Man Walking". The version contained herein is the first studio recording of this song and is not included on the MCM Music release. Of course, being the Mortification collector I am, I eventually had to track down both versions.
Thanks to Vartan for the MCM version. The re-issue marks the third cover this album has had. Initially release independently on Rowe Productions, the album featured ten songs with song number ten being "Dead Man Walking". This re-issue includes both tracks for a total of eleven album tracks. The re-issue also included eight live songs and a track titled "Spoken Word", which is stage banter from Steve Rowe.
The live tracks were recorded a Nordic Fest, The Australian metal machine rolls into with a new live album. The song list here is mostly from newer Mortification releases. Those looking for death metal need to look elsewhere.
Unfortunately, there is not much in the way of old material, other than the medley which is exactly the same as it appears on the bands release "10 Years Live Not Dead" and also as a bonus studio track on the Metal Blade version of "Hammer of God".
It's a shame that Steve didn't drag out either some older cuts like "Nocturnal" or perhaps more newer songs such as "Razorback", "Boaconstrictor", "Metal Blessing", "Access Denied" or "Web of Fire". As it stands, only six of the eleven songs haven't been previously released on a live platter. The sound quality is quite good for a live recording. Steve's in-between song banter is honest and cool to hear. Hearing him talk candidly of his many encounters with near death and how he was told he had only days to live over ten years ago is quite the testimony to his faith and his will to live.
Having seen Mortification live several times over the years, this album sounds like a good representation of the band. Of course it is essential for the Mortification fanatic such as myself. Their sound was often compared to bands like Iron Maiden and Manowar. InSteve Rowe of Lightforce decided to take the band into a more thrash metal direction.
In the band independently recorded and released "Break the Curse" on cassette tape. They soon after changed their name to Mortification and began recording their self-titled album for Intense Records. It was shortly after these two albums were released that Nuclear Blast released "Break the Curse " on CD for the first time with the bonus track "Butchered Mutilation" from Nuclear Blast's "Death is Just the Beginning" compilation. The production is raw, but it works well for this album.
At one time, heavy metal wasn't all about stellar production. Bands like Raven and Motorhead released discs that may not have been sonically brilliant, but the music was awesome and the raw production only made the music that much better. That is exactly the case with "Break the Curse". Roxx Productions remastered the original recordings but basically left the sound alone, only raising the overall volume a bit and offering a bit more clarity.
If you like death metal even in passing, this is going to make you very happy indeed. Yes indeed. Little did I know all the way back then that this would be one of the finest death metal that I would ever have the pleasure of hearing.
And make no mistake - a good decade after I heard this album all the way back in I am of the exact same opinion. That itself should speak volumes about what a fine damn classic this is. Along with one of the most vilest, filthiest guitar tones to be put on tape.
Now THAT is the true essence of death metal right there. Yep, you heard that one right. And although Clandestine was almost as good, the band were simply unable to come close to the sheer brilliance of their debut as they already set such a high standard for themselves at the very beginning itself. Unfortunate, but true.
See back then, the thing with my particular tastes in music is that I was always more of a fan of genres that combined death metal with other genres rather than straight up death metal, finding it a tad monotonous and boring, to say the least. Sure, Death, Possessed and a few other bands had all released classic albums in their own right before this, but this is when death metal rose right up as a truly powerful sub-genre of metal to be reckoned with.
The rest as they say, is history. Hands down the best song Entombed will ever write, not to mention one of the best death metal songs ever. I mean honestly think back and tell me how many death metal albums are this perfect in terms of variation, intensity and songwriting.
Most death metal albums would end up scoring on probably just one or two of those aspects, but to nail all three of them, that too on a debut album is truly a hallmark. No big words here, simply stating it the way it is.
Ultimately, this is one of the definitive death metal classics for sure. Apart from having one of the best goddamn album covers with a fascinatingly eerie vibe just look at it!
Old school death metal did not get popular due to trends or any other bullshit people, it has remained as iconic as it was back in the day and is very much here to stay for good!
Essential Swedeath right alongside the other Dismember and Unleashed classics. Buy or die. Entombed's debut, Left Hand Path is the epitome of the perfect death metal record. It's brutal, heavy, dark, and gory.
Let's start with the cover art. The album cover is damn awesome. It's dark, macabre imagery perfectly foreshadows the music that's to come. The first song on Left Hand Path is its namesake, and it blew me away the first time I heard it. The song is fucking awesome. It's incredibly brutal. What really brings me to mention this song, however, it's the change of texture that occurs towards the end of the song. A horror movie style synth riff creates a really cool atmosphere.
Unfortunately, the band failed to recreate an atmosphere like this at any point during the remainder of the album. Most of the songs on this album are noteworthy like this, but I'm not going to go through every single one. Part of what makes Left Hand Path what it is is the production, which is best experienced with a good quality pair of headphones that allow you to really take in the thick, bass-heavy sound.
The guitars are highlighted by the mix, and this makes them the centerpiece of the album. Both guitarists do an excellent job of fulfilling this task; the riffing is awesome. There are moments of high speed aggression, which I really don't like in death metal, however these are overtaken by copious number of slower, heavy groove sections. Very few of the riffs here come anywhere close to lackluster. There is something worthy of mention about every riff. The vocals on Left Hand Path are quite good.
His growls are indecipherable monstrous bellows, and while you can't understand the lyrics, the sounds create a terrifying atmosphere that would be difficult to match with clearer sounding vocals. If you've put aside Entombed in favor of more well known American bands like Cannibal Corpse, I'd strongly suggest looking towards the Swedish death metal scene that produced many great bands, especially Entombed. And usually I agree with the answer that technically it is damn hard or even almost impossible to name just five or ten favourite and very best LPs, simply because there are many, many more.
There were so many publications, which described everything perfectly, that there is simply no point.
I guess that instead I should rather write how important is this album for me… But again, would I write anything new? No, this LP has marked a sign on thousands of maniacs and it still does, I guess, seeing how many new bands and new fans are praising Entombed from this period of their career. But obviously later, with years passing by, I started to like it more and more and nowadays I see this LP as simply amazing, one of the best death metal materials ever released.
No doubt about that! Why is that? Was it the passion and enthusiasm of the young band or they simply had more time to prepare killer material, which was often selected from various demo recordings? No surprise then that there are so many brilliant and instantly recognisable classics. A perfection in every aspect. Starting with the artwork… Damn, look at their killer logo and that bloody excellent painting done by Dan Seagrave… Not only the music turned out to be the most influential and immortal ever, but even the artwork for the album is like that!
Seagrave did many excellent paintings for death metal bands, but this one is in my top three favourites, if not even his best one ever. The production… Damn, this is the band, which created the whole fuckin Swedish sound! Thanks to them we had a chance to hear this fat, crunchy, powerful and so characteristic guitar tone, very low tuned… rough, but clean hehe! Even the vocals of L. Petrov are kind of unique and different to the typical death grunts.
More so, if you have a CD version then you get two killer bonus tracks, also composed in the good old Nihilist days. Yes, definitely this album is brilliant. It sounds damn vicious, it is dark and aggressive, often fast, but with lots of diversity and it has this classic D-beat, which originates from bands such as Amebix, Discharge, etc Rest in festering slime! Left Hand Path is what Discharge would've sounded like if they'd innovated death metal the same way they innovated crust ten years earlier.
In other words, a mega-ton bomb that erased all around it. With these ten songs, Entombed released an album no less seminal and game changing than Discharge's Why? Yet just before impact, a slowing, a realization of death as a deep blues wish for one more chance that is swiftly denied. Left Hand Path sweeps all that was before it aside and strides over the remains of all and laughs. Almost twenty-five years later and it is still the single most imitated death metal record ever.
Yet all those imitators never once captured even an inch of its overwhelming power. The sensation this band caused in might be hard to fathom in the contemporary imagination but nothing sounded like this then.
No one was heavier. No one was crazier. Death metal was still mostly in the thrall of thrash and the template was Death: the morning star rising over Florida until Entombed shifted the spotlight to Sweden. To start, the guitar tone was the filthiest, nastiest thing unleashed up to that point.
To follow, the rhythm section was blunt force trauma in the d-beat tradition, eschewing the formalism of death-thrash and focusing on a more raw and traumatic experience.
To finish, LGP's unique primal roar wasn't indebted to any previous vocalist. He found his own voice and honed it, singing songs that encompassed a vast swath of philosophical musings about the nature of death and the primacy of horror. And the entire album was suffused in gloom, reeking of the tomb, and as bleak as the sunless landscape portrayed in the iconic group photo.
Nothing could compete. Every track is a fuckin' monster too. Right out the gate, the title track just rips you to shreds with distorted screams and eerie synths segueing right into an absolute face-melting riff and LGP's titanic bellows. Can't forget to mention the "Phantasm" tribute they snuck in too, cheeky bastards!
Catchiness is often seen as weakness in metal but Entombed know how to bait a barbed hook that goes deep. There isn't a single track here that isn't memorable in some fashion. Whether it is a riff, a chorus, an attitude, or an atmosphere, there is much that lingers long after the run time is over. Bands have ripped this album off left and right for decades but some essential ingredient has always been missing.
Entombed even found this out to their detriment with Clandestinean excellent record but not quite on this one's level. No wonder they changed up their sound. If they couldn't top, or even match this, no one else was going to either. Left Hand Path is forever. First impressions, as they say, can mean everything. Along with a few other of my personal favorites, I remember very clearly the first time I heard this masterpiece of a record.
That descending scream, the unceremonious arrival of that solid, bass-heavy sound, and that wild thrashing riff I heard eighteen seconds of "Left Hand Path" before I took off my headphones and purchased the album.
You see, it didn't matter to me that I knew absolutely nothing about the band. The only thing that mattered was that the minuscule sample I had heard very clearly communicated to me that this record was no joke and that I was in for one hell of a ride.
What I discovered, to my immense joy, was that what lay beyond that brief introduction was nothing but death metal among the highest quality ever written, and nothing but EXACTLY what I wanted to hear around every twist and turn. The phrase is used far too often these days, but this album really did blow my mind. In fact, it still does. I could probably write a five-page review about the opening track alone, but that's not my purpose here. It is important, though, for me to stress its significance.
The title track is a legitimate contender for the award of best death metal song ever written. Mixed with audio samples from the horror flick 'Phantasm', the song is a roller coaster of riffs, styles, and emotions. The skill with which it is delivered cannot be understated.
Entombed displays a level of mastery of their craft that seems inhuman for them to have achieved by the time this record was released. And of course, it only keeps on going from there. Left Hand Path is characterized by its bass-heavy sound and warm production, a sound that was vastly different from those sported by the New York and Florida crews of the day and one that would become the trademark of Sunlight Studio.
Whereas many of death metal's early offerings had thin production with clamoring drums, shrill guitars, and completely absent bass, the mix you'll hear on this album is full and balanced. It's a pleasant sound. Perhaps that's odd for such unpleasant music, but I think there's untold value in clarity. The other vital trait of this music is its close relationship with thrash metal. The thrash influence is strong and undeniable here, with one foot boldly plunged into death metal's pool without any fear of how cold it was back then, and the other slowly starting to Rising - Various - Am I Metal?
Yes I Am!!! (CD) from the stale water of thrash metal's swimming hole. Every song has some kind of hook, some kind of little twist in the sound that gets the listener's attention. Although the album can wear you out because of its sheer force, it doesn't get boring. If you're a veteran of the genre, you'll hear various riffs throughout the album that dozens if not hundreds of bands have ripped off in one way or another. In that way, and perhaps a few others, Left Hand Path paved the way for death metal to expand, setting many of the genre's conventions and helping to build a bridge that spanned the gap between the land of thrash and the land of death I'm not suggesting that's what the cover depicts, but it's still an effective metaphor.
Standing out from much of the death metal of the early 90's, before technicality became standard in the genre, many of the songs featured here have wild patterns of ascending and descending riffs, abrupt transitions, and a general tendency to not dwell in one place for too long. Sure, those things are shared by most death metal to one degree or another, but it's often done just for the sake of sounding crazy.
Here, it's done with purpose. Everything on the record is done with purpose. For twenty-two years this album has stood up to all scrutiny it has ever faced. Not even one thing is out of place. It is flawless. Buy it, cherish it, worship it - and the next time you come to a fork in the road, you know which path to take. When a random metalhead opens their meaningless mortal mouth and says something bad or neutral about this absolute masterpiece of human race called "Left Hand Path" I have two opportunities - either to start screaming or crying.
You just don't talk about that album with disrespect. I don't know how to call it - album, record or a spell? That's how holy it sounds to my ears. Even if the latter albums of the band are not that perfect, LHP is a cornerstone of death metal. Why am I talking with such devotion?
To start with, this music is how death metal should sound in its best - morbid, Rising - Various - Am I Metal? Yes I Am!!! (CD), stinky, rotten, hateful yet absolutely magical and even trippy. Hear the second part of Left Hand Path and you'll see. If "Left Hand Path" was to be a person I guess it would be a loner one, the kind that stands with pride and doesn't talk nonsense. I am about to write some words about my favourite death metal song yes, I know it's kind of dumb to have ONE favourite song, I like many but this is like.
The word "perfection" sounds like "crap" when you think of this song. It starts off with the familiar and emblematic scream "aaaaaaaaarh" and then the coolest, never-slowing guitar kicks in, in a perfect unison with the drums. You start headbanging immediately. It continues in its craziness up to minute one. How perfectly heavy is it? And yet, at the same time it sounds as if the band is not doing anything extraordinary, as if it is absolutely normal for them to sound that HEAVY, like a child game.
The first of the slow downs helps you to hear the vocals easy and emphasizes on their coldness. The temperature in the room is 23 C and I feel the chill running down my spine as if it was winter in the graveyard.
When the guitar solo goes on you feel like all the abysmal, abnormal creatures of the abyss are running out from their holes in hell reaching to grab your soul. One minute silence here before I start typing. This is so good I can die. The remaining part of the song is heaven - heaven as you imagine it. It transports you to some higher place, somewhere you can gather everything magical.
Drowned, the second track is another huge favourite of mine. It is shorter and really groovy. The guitar tone is still pretty smashing all the time, the vocals continue to tell their amazing story.
It is again the same feeling that you get - that outer space awesomeness that the album possesses. If I have to describe this song with only one word it will be "Beyond".
Which is Lars Petrov's intention - 'to travel beyond'. At you hear the chills again as the guitar slows down. What a perfect guitar, man. The production of the record is flawless to me. It is not perfect in the generally accepted way, yet it doesn't sound as a garage-recorded crap like many albums of that time. It is about the stupidity of humans to think that there is any redemption after death and someone to tell you which way to choose.
It is about our willingness to buy ourselves coffins and to decay in them. This song declares that your body might stay, but your soul is what will win and float freely.
And the song itself sounds like that. I felt really hooked to that, because the general idea is very much to my liking. Guitars are tuned so low, which is what makes for the grave-like feeling of every song.
Entombed released many good records after this one, some great some decent. For some apparent reason, Entombed never reached the excellence of the first album and I don't think they will ever reach it. So now, please leave me to close the door of eternity and leave me with this record in the void. It is a loyal companion. Who could forget that opening to an album, as the horror chords of a synthesizer part ways like a funeral and the ears begin to rupture to some of the sickest, ooziest guitar tone that has ever been recorded emits from the speakers.
Entombed have arrived from the ashes of Nihilist, and death metal could never be the same. This is the face that launched a thousand ships, if ships were Scandinavian death metal bands. The crushing tones are delivered in blitzkrieg fashion, owing as much to early grinders Discharge and Repulsion as it does to the few death metal forebears that existed by But there is considerably more to Left Hand Path, the album is truly dark, from the psychological imprint left by the cover image to the morbid, erupting cemetery vibe contained in the riffs.
The title track opens the record, of fast, crisp riffing that winds down into massive grooves, blistering leads, and even a creepy breakdown with more horror flick synthesizers. The verses are total d-beat grindage that bands are getting paid today to copy. The influence of this album upon decades to follow is monolithic. I can rattle off the names of many bands whose entire sound and career relies upon their ability to copy Left Hand Path, changing the notes and song titles but shoveling you the same shit you had already known.
It's also the album most responsible for the proliferation of Skogsberg's Sunlight Studio guitar tone, which many other death metal bands adopted even those that weren't cloning this band's riffs. It's one of the most important death metal records, one of the cornerstones for the foundation and survival of the genre into the 21st century. It's spotless. Chances are the title of this review will sound a tad exaggerated.
A record not washed in the progressive and technically-inclined wells of many other forms of death metal but in punkish bursts of noise that provided the genre with its foundations — a piece of recorded art with genuine depth and relevance and influence?
Surely not? Yes, very much so. Having captivated and influenced an innumerable myriad of bands with its unpretentious and fearsomely direct driving power, the record has become legendary in death metal circles for its flawlessly powerful coupling of stripped down grime and an innate ability to conjure atmosphere on a whim, absorb the listener in its nightmarish world, and send them howling down The Left Hand Path with loathsome creatures out of hell clawing at them on all sides.
Few are able to achieve that transcendent state whereby they send a listener headfirst into a world summoned to the imagination by music — that Entombed achieved it with music of such an uncomplicated nature has to be heard to be truly understood. The album, as mentioned, largely owes more to the likes of Discharge and their basic-to-a-fault ilk that sowed the early seeds of the extreme metal scene — while the speed and naked aggression of their death metal compatriots across the open sea is present, Entombed jettisoned the more high-minded tendencies that Morbid Angel and Death were openly indulging in.
What first hits about the album is that infamous guitar sound. What sets this apart from the slimy sounds already exhibited by Repulsion and Napalm Death is that the production here is extraordinarily professional, clear as a bell but never polished, free of clutter but never absent of that feral edge. In songwriting terms, it is unwise to think of Entombed as punks plucking the same note over and over.
Sweet Satan below, doctoral dissertations should be written about this six minute masterpiece, a song truly deserving an accolade as one of the greatest heavy metal songs of all time. Setting the tone for the whole record with that agonised scream, it smashes the listener across the face with slamming chords and crashing cymbals, rips the breath away with an astounding solo courtesy of Mr.
I'll never forget that feeling I had when hearing "Left Hand Path" for the first time ever, I stod up playing air guitar while banging my head totally mad. I would say that every track on this album is great, "no fillers, only killers" as you say although the title track has become my all time Entombed favorite.
After being totally exhausted I went to the couch to relax while "Drowned" went off. Next is 2 more average tracks which still is awesome but not as amazing as the first 2 but on the 5th track "Supposed To Rot" it's all back with one of the coolest riffs I've ever heard.
The rest from now on is also pretty much awesome average songs but I founs something special in "Morbid Devourment" that I liked. Before hearing this album I had also read about how this minor guys got their contract so I was expecting a production that would be so bad that you barely would hear anything at all but man I was wrong. It sounds very much like Carnage's "Dark Recollections", pretty much exactly the same production. A 3rd surprise I didn't expected was that the cast would be too good musicians but I was surprised by that too.
Riffs, solos, drumming whatever, I promise you, there's on thing that all musicians love with this album. Finally, this is an excellent piece of Metal history that every headbanger should own.
It has it all, literally. I think that one would have been great if they performed it with a even more satanic approach. Get "Left Hand Path", you won't be dissapointed! Already from their early incarnation, Nihilist, those guys showed a non common sense of brutality and groove.
Lots of other bands took inspiration from this album during the years and listening to it you can understand why this is so original. The intro to the title track has made history along with the use of some obscure synths and the rotten mid tempo, followed by a long, gloomy solo. The vocals are something incredible for the period in Sweden; they are directly from hell in their inhuman growls.
The drums are quite essential but extremely catchy and thrash inspired in their continue up tempo. The guitars are so crunchy in their down tuned style and the vocals even more obscure. The musicians are always very good at creating rotten melodies, violent and catchy at the same time; every song has its well cast riff that helps you recognize it among the other ones. I cannot say that I recommend this to any Swedish death metal fan out there because you should know it very well for his importance and beauty.
A piece of history for everybody. Neverending violence for my ears!! Quite one of the most cult releases ever! This release made Entombed one of the most famous bands in Europe, although they released after 'LHP' only mediocre records, but this one made them a symbol for crushing Death Metal, with ultra low guitars and simple, but battering drum work. From all the bands from Sweden, and all the releases which so many suckEntombed's 'LHP' is one of the few that really made a significant mark on the metal map, and set standards for future releases and bands.
This Swedish Old School Death Metal sound will be incorporated in a variety of other bands from Sweden, but none of them making such a great effort, which is Entombed's answer to the US metal - we will fuck you up with our bare hands, bitches!
The title song, and its intro, which was then wuite frightening, show what Entombed was all about in - ultra low guitars, that had power behind every played chord, but also with amazing melodies and solos, drums that can only inspire to a greater drum work, and fucking old school vocals by L. Petrov, fucking harsh and non-gay. This all together with the deep bass sound creates a certain sinister ambient; the sound is simply massive and full, no holes and no gaps to be filled, it's just one of the best done releases then.
Nowadays bands like Incantation and Funerus still play this kind of music, only in the US way. Funerus was more than just influenced by Entombed's sound, they also made their guitars sound like Entombed's, to become a full sound. If you just listen to the lead chords and the solo in "Revel in Flesh", you will go off. Obviously Dismember took some good and groovey parts of Entombed and made like 10 releases out of it, wasting the ideas totally.
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