(TheMadIsraeli (the artist formerly known as Israel Flanders) steps into the WayBack machine to revisit an At the Gates classic.)
I think it’s time to take a few steps back away from the current metal scene and revisit a timeless classic in the metal landscape. I’ve decided that from here on, I’ll be doing not only current reviews, but also reviews of albums from the past I absolutely adore. Without further ado…
Anyone worth his weight in metal should know this album, this band, and the MASSIVE influence they have had on metal since the album’s release. This is, by all accounts, THE melodic death metal standard. Never did a band of the Gothenburg elite craft an album this aggressive, this vicious, all while retaining pure melodic content throughout. This is also a controversial album, of course, often slandered for its initiation of tens of thousands of At The Gates imitators. But don’t hate the masters, hate the weak imitators.
This is one of my top 10 albums of all time, ever, in metal, period. To me, this is a perfect, absolutely flawless, 10/10, 100% all-killer-no-filler, sonic assault. Those riffs, those vicious vocals, that fucking guitar tone that no one to this day seems to know how to dial in as well, the jarring tempo changes, all contained in very concise, to-the-point songs that don’t wander or play around in any way.
Slaughter Of The Soul (or “SOTS”, as we’ll refer to it from here on) is the final album from this Swedish five-piece before their unexpected decision to quit, preferring to stop while they were ahead and not risk becoming self-parodying ass-hats (*coughArchEnemycough*). A very respectable move indeed. Even to this day, even after re-forming, the band claims they shall not write a single new song for the rest of their lives. (more after the jump . . .) Continue reading »