Tag Archives: Century Media Records

Moonsorrow – Jumalten aika

Moonsorrow - Jumalten Aika

Moonsorrow [Finland]
Jumalten aika
2016
Full Length
Century Media Records
Folk/Pagan/Black Metal

I’ve heard of Moonsorrow since their 2007 album, V: Hävitetty, but being young and impatient back then, the band’s brand of epic metal failed to capture my attention. So it was with little knowledge of the band’s sound that I chance upon this Finnish outfit’s seventh full length album, Jumalten aika. With all the band’s release up till 2011’s Varjoina kuljemme kuolleiden maassa drawing critical acclaim, it is with little surprise that fans of the band hold high hopes for the record, especially with the long 5-year wait.

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Album Review: The Dagger – The Dagger

The Dagger - The Dagger

The Dagger [Sweden]
The Dagger
2014
Full Length
Century Media Records
Heavy Metal/Hard Rock

We already know the love for the old school with the ever-increasing number of bands emulating the style that Sweden pioneered, particularly in the death metal genre. On the other hand, there is an increasing number of Swedes moving away from their extreme metal roots, what with bands like Enforcer featuring former Tribulation bassist/vocalist Olof, and the rumoured involvement of Repugnant‘s Mary Goore in Ghost. Whatever it is, this trend is certainly one that is welcome for me, and The Dagger is one of the latest addition to this trend, featuring amongst its ranks past and present members of bands such as Dismember and Grave.

Honestly, knowing about the lineup left me thinking that this was another all-star death metal project, but having Sideburn vocalist Jani in the band should have been a dead giveaway. Kicking off with Ahead of You AllThe Dagger instead indulges in some proto-heavy metal/hard rock with elements of early heavy metal. The opening riffs quickly brings one back to the material of early 80s Maiden, but things escalate quickly and gets much more interesting as the track progresses. Guitarist David shows off his knowledge and his enthusiasm in early hard rock and heavy metal, and on the leads of songs like Ahead of You All, one can’t help but be reminded of the works of Ritchie Blackmore in his works with Deep Purple or Rainbow.

In keeping with the rather psychedelic history of rock, the band also makes rather heavy usage of synths and the hammond organ throughout the album, and this works especially well on slower tracks like Ballad of an Old Man, with every element on the track, from the heavy riffs of David (that reminds us of Dio-era Black Sabbath), to the vocal harmonising having that nice old school touch. The lead guitars on the track even remind one of the ballads of Dio-era Rainbow and Black Sabbath, think a mix between Catch the Rainbow and Children of the Sea. Furthermore, Jani’s vocals, along with the groove of the music on tracks like Skygazer even give the band a rather stoner rock feel at times, though there are moments like on 1978 where one is reminded of the light vocals of Papa Emeritus II of Ghost fame.

As one already knows what the band is capable of, considering the aggression that is on other releases they have been on, one wouldn’t expect or imagine the band to be able to produce such mild-sounding music, yet remaining as infectious and addictive as ever. With releases such as The Dagger, and bands like Enforcer and Ghost, one can be assured that there is an old-school heavy metal fanatic in every metalhead, and with quality as such, I honestly have no qualms at all with this increasing tendency towards old school heavy metal.

[xrr rating=5/5]

The Dagger on the internet:
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Century Media Records

EARACHE RECORDS Sues CENTURY MEDIA

Reposted from Blabbermouth.net

According to the Courthouse News Service, British metal label Earache Records has filed a lawsuit against New York-based The Century Family, an affiliate of the nonparty record label Century Media Records, of Dortmund, Germany, claiming that the U.S. distributor owes it $250,000 in licensing fees, and broke a promise to release a catalog of hundreds of albums.

Earache claims that The Century Family breached a January 2013 agreement to market and distribute Earache‘s music, and attempted to escape its obligations by falsely claiming Earache had breached a three-year licensing agreement. Earache claims that of the 356 albums it delivered to Century, including 10 new releases, the company has distributed only 13 albums in the United States.

Excerpt from the complaint:

“On December 10, 2013, Don Robertson of [The Century Family] asked Al Dawson of Earache Records whether Earache Records would give [The Century Family] a six-month extension of its obligation to pay the $125,000.00 advance due February 1, 2014, because [The Century Family], according to Robertson, was having cash-flow problems. Mr. Dawson explained that, for reasons of its own (including among other things imminent obligations of Earache Records to third parties, for payment of which Earache Records was depending on timely payment of [The Century Family‘s] second and third advances under the U.S. Licensing Agreement), Earache Records regretfully could not agree to [The Century Family‘s] request.

“On January 31, 2014, less than one day before [The Century Family‘s] deadline to make its second $125,000 advance payment, Earache Records received a letter from attorney Eric German, characterizing himself as ‘litigation counsel’ for [The Century Family], setting forth a list of spurious allegations, on the basis of which [The Century Family] was claiming (for the first time ever) that Earache Records was supposedly ‘in breach’ of the U.S. Licensing Agreement. That this letter sent on behalf of [The Century Family] was nothing but a transparent pretext for delay was made clear when Mr. German therein advised, after first threatening litigation, that ‘[The Century Family] will not be making any payment pursuant to [the January 2013 agreement], unless and until such time as this matter is resolved, whether by negotiated settlement or by litigation.’ [The Century Family] thereby not only announced its intended breach of its obligation to make the $125,000.00 February 1, 2014, advance payment, but also the $125,000.00 March 1, 2014, advance payment.

“On February 7, 2104, counsel for Earache RecordsWilliam Leibowitz, responded in writing to Mr. German‘s letter of January 31, 2014, stating in detail Earache Records‘ position and factual contentions, and noting [The Century Family‘s] actual and anticipatory breach of the U.S. Licensing Agreement’s payment provisions. Mr. Leibowitz‘s letter constituted notice of termination of the U.S. Licensing Agreement, pursuant to its terms.

”[The Century Family] did not timely make the $125,000.00 February 1, 2014, advance payment, and has failed to cure that default of [The Century Family‘s] contractual obligation. [The Century Family] has also now failed to make the $125,000.00 March 1, 2014, advance payment, and has already stated that it has no intention to cure that default, either. Accordingly, as of at least March 9, 2014, [The Century Family] is in material breach of its payment obligations under the U.S. Licensing Agreement. Moreover, by [The Century Family] having failed to cure such breaches within thirty (30) days of the date of Mr. Leibowitz‘s letter of February 7, 2014, the U.S. Licensing Agreement is deemed terminated effective as of March 9, 2014.”

Earache says The Century Family is still marketing and selling Earache‘s records in the U.S. market.

It seeks an injunction and $250,000 in damages.
Read more at http://www.blabbermouth.net/news/earache-records-sues-century-media/#1OXmD53pj98S6D1c.99

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Heavy Metal Tribune #011 (July/August 2013)

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OUT NOW: Heavy Metal Tribune #011

This month we are honoured to have Singahell Barbarian Horde the Mighty Impiety gracing our cover. We talk to band mastermind Shyaithan to learn more about the glorious history of Impiety, along with some trivia about their brand new release, The Impious Crusade. We follow that up with Dark Tranquillity telling us about their 10th studio effort, Construct. American occult black/sludge metal band TOAD then talks to us about what goes on behind the scenes and their beliefs when writing their new record, Endless Night. Portuguese technical/progressive death metal band Colosso shows us the worldwide prevalence of extreme metal, with band mastermind Max telling us about their debut, Abrasive Peace. Canadian symphonic black/death metal band Necronomicon closes our issue with a discussion of their musical style, and about their new album, Rise of the Elder Ones.

Read it all here:

Local friends of Heavy Metal Tribune, grab your copy of #011 from Inokii and Roxy Records now! More outlets to be announced soon, so keep your eyes peeled! Foreign friends of Heavy Metal Tribune, as usual, cancontact us for a copy of issue #009 (P+H of USD2.00 applies).

Heavy Metal News – September 25, 2012

CENTURY MEDIA Vc. ICED EARTH Illegal Downloaders: Copy Of Label Manager Declaration Available

Reposted from Blabbermouth.net

A copy of the declaration from Century Media Records’ European Label Manager Antje Lange that was included with the lawsuit filed by a New Jersey attorney on behalf of the label that collectively targets more than 4,000 people for allegedly using peer-to-peer networks to unlawfully distribute “Dystopia”, the most recent album by the U.S. metal band ICED EARTH, can be found below. The label has also filed a similar lawsuit against thousands of individuals who have allegedly illegally downloaded “Dark Adrenaline”, the 2012 album from the Italian band LACUNA COIL, according to NorthJersey.com.

The declaration reads, in part: “I, Antje Lange, declare, under penalty of perjury under the laws of the United Kingdom, as follows:

“I am the European Label Manager of Century Media Ltd. (‘Century Media’), the Plaintiff in the within action. I make this Declaration in support of this application for a preliminary injunction restraining the unauthorized distribution by Defendants of the copyrighted record album ‘Dystopia’ via a torrent network on the Internet.

“Century Media is a record label. One of our artists is the band ICED EARTH. We promote and distribute the works of ICED EARTH, including ‘Dystopia’. Century Media holds the exclusive right to distribute ‘Dystopia’ worldwide.

“‘Dystopia’ was first published in the United Kingdom in October 2011, selling approximately 6,000 copies in the first week and earning a spot on Billboard’s Top 200 chart in its first week of sales. ‘Dystopia’ is the subject of a valid copyright registration in the United States Copyright Office. ‘Dystopia’ is the subject of a valid copyright registration in the United States Copyright Office.

“At no time has Century Media authorized the distribution of ‘Dystopia’ on the Internet via peer-to-peer networks. Each of the Defendants in this action that has distributed the work has done so without the permission of Century Media and in violation of our exclusive rights of distribution.”

In a typical illegal-downloading case, a lawyer hires a company to search for Internet protocol (IP) addresses associated with the use of file-sharing software such as BitTorrent. Once the IP addresses have been harvested, the lawyer’s clients file suit naming defendants as John Doe. They then seek to have mass subpoenas issued for the Internet providers associated with the harvested IP addresses in order to obtain the name and address of the owner of the IP address on the date it was harvested. Once identified, an Internet account holder typically faces the prospect of settling the case for a few thousand dollars or hiring a lawyer to fight the charges.

Shortly after learning of the lawsuit, ICED EARTH guitarist/mainman Jon Schaffer issued a statement distancing himself from the action, saying, “We all know the music industry is changing. We have been adapting to this model by embracing legal streaming services such as Spotify and by bringing our music to places we have never played before by touring our proverbial asses off.

“As much as we respect that the labels are having a harder time selling music, we feel this is a misguided effort and want to make sure our fans know we would have not given our consent would we have been asked.”

Nuclear Blast Records made headlines earlier in the year when it filed a lawsuit against 80 users of the BitTorrent network over illegal music downloads of an album by Oakland, California-based extreme metallers ALL SHALL PERISH. The lawsuit was not only brought without the band’s permission, but also without their knowledge.

After members of ALL SHALL PERISH made it clear that they did not want to participate in the legal proceedings, Nuclear Blast voluntarily dismissed the lawsuit without prejudice.

“It’s tough. If you get one of these letters you’ve been put in a difficult and unfair spot,” said Rebecca Jeschke, a spokeswoman for the Electronic Frontier Foundation, a San Francisco-based civil-liberties group, referring to the notices that go out once a John Doe has been identified.

“In many of these situations,” she added to NorthJersey.com, “the goal doesn’t seem to be to fight infringement; it seems to be to get settlements. That’s where the money-making is.”

In December 2008, the Recording Industry Association Of America (RIAA) abandoned its litigation campaign against file sharers after having targeted some 18,000 individuals, usually naming dozens or hundreds of defendants per suit.

Most of the defendants settled out of court for a few thousand dollars rather than risk Copyright Act fines of up to $150,000 per purloined music track.

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TURISAS Begins Recording New Album

Reposted from Blabbermouth.net

Finnish “battle metal” warriors TURISAS have entered the studio to begin recording their fourth album for an early 2013 release.

The first in a series of video updates from the studio can be seen below.

TURISAS earlier in the year toured North America as part of “PaganFest: America Part III”, the band’s first-ever U.S. headlining run. Joining the Finnish sextet on their triumphant return to the States was a gathering of bands from across the world: Scotland’s ALESTORM, Russia’s ARKONA, and the U.S.’s very own HUNTRESS.

“Stand Up And Fight”, the latest video from TURISAS, was filmed in February 2011 in the California desert with director Iain Sclater. Influenced by the film “Mad Max” and the band’s own image, the video was a thrilling new look at TURISAS in the band’s first-ever U.S.-shot music video.

“Stand Up And Fight” is the title track of TURISAS’s third album, which entered the official chart in the band’s home country at position No. 5. The CD was released in North America in March 2011 via Century Media Records.

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GOATWHORE: ‘Death To The Architects Of Heaven’ Video Released

Reposted from Blabbermouth.net

“Death To The Architects Of Heaven”, the new video from New Orleans, Louisiana’s sons of American no-frills-black-metal-meets-death-‘n’-roll GOATWHORE, can be seen below. The video features the lyrics from the song, as well as live footage of the band on the Summer Slaughter Tour 2012.

GOATWHORE will return to the road this fall in support of HIGH ON FIRE. The trek will run from November 15 through December 22, with PRIMATE (featuring Kevin Sharp of BRUTAL TRUTH, Bill Kelliher of MASTODON, and more) on select dates in November, and CORROSION OF CONFORMITY on select dates in December.

GOATWHORE’s song “Diabolical Submergence Of Rebirth”, from the “A Haunting Curse” album, will be heard in the upcoming season of HBO’s “Treme”. The third season of the show will begin airing on September 23. The track will appear in episode #7, which is currently scheduled to air on November 4.

GOATWHORE’s new album, “Blood For The Master”, sold around 3,100 copies in the United States in its first week of release. The CD landed at No. 4 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200. The band’s previous albm, 2009’s “Carving Out The Eyes Of God”, opened with around 2,700 units to land at No. 16 on the Heatseekers chart.

“Blood For The Master” was released in North America on February 14 via Metal Blade Records. The CD was once again recorded at Mana Recording Studios in St. Petersburg, Florida with producer with Erik Rutan.

“Blood For The Master” was made available on CD, vinyl, and digitally. Fans of vinyl should note that there are three different versions of the LP; red with black splatter, half red/half black, and standard black.

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For more news and updates, head down to http://heavymetaltribune.tumblr.com/

Heavy Metal News – September 18, 2012

REVOCATION To Release ‘Teratogenesis’ EP

Reposted from Blabbermouth.net

Massachusetts metallers REVOCATION have announced a North American tour for this fall presented by Scion A/V. The trek will begin October 18 in Trenton, New Jersey and run through November 14 in Montreal, Quebec, Canada. Support on the tour will come from A LIFE ONCE LOST and KEN MODE.

In conjunction with the tour, Scion A/V will release a new EP from REVOCATION later this month. Titled “Teratogenesis”, the effort features the first recordings with the band’s new bass player Brett Bamberger.

Commented REVOCATION frontman Dave Davidson: “As some of you have already noticed, Anthony has parted ways with the band. The split was amicable and we wish him the best of luck in his future endeavors. We have recently enlisted the services of Brett Bamberger and we are incredibly stoked to have him on board as an official member. Come see us live and buy him a beer.”

CENTURY MEDIA Sues More Than 7,000 People Over Illegal ICED EARTH, LACUNA COIL Downloads

Reposted from Blabbermouth.net

According to NorthJersey.com, a New Jersey attorney has filed lawsuits on behalf of Century Media Records that collectively target more than 7,000 people for allegedly using peer-to-peer networks to unlawfully distribute “Dark Adrenaline”, the most recent album by the Italian band LACUNA COIL, and “Dystopia”, the 2011 album by ICED EARTH.

In a typical illegal-downloading case, a lawyer hires a company to search for Internet protocol (IP) addresses associated with the use of file-sharing software such as BitTorrent. Once the IP addresses have been harvested, the lawyer’s clients file suit naming defendants as John Doe. They then seek to have mass subpoenas issued for the Internet providers associated with the harvested IP addresses in order to obtain the name and address of the owner of the IP address on the date it was harvested. Once identified, an Internet account holder typically faces the prospect of settling the case for a few thousand dollars or hiring a lawyer to fight the charges.

“It’s tough. If you get one of these letters you’ve been put in a difficult and unfair spot,” said Rebecca Jeschke, a spokeswoman for the Electronic Frontier Foundation, a San Francisco-based civil-liberties group, referring to the notices that go out once a John Doe has been identified.

“In many of these situations,” she added, “the goal doesn’t seem to be to fight infringement; it seems to be to get settlements. That’s where the money-making is.”

Nuclear Blast Records made headlines earlier in the year when it filed a lawsuit against 80 users of the BitTorrent network over illegal music downloads of an album by Oakland, California-based extreme metallers ALL SHALL PERISH. The lawsuit was not only brought without the band’s permission, but also without their knowledge.

After members of ALL SHALL PERISH made it clear that they did not want to participate in the legal proceedings, Nuclear Blast voluntarily dismissed the lawsuit without prejudice.

In December 2008, the Recording Industry Association Of America (RIAA) abandoned its litigation campaign against file sharers after having targeted some 18,000 individuals, usually naming dozens or hundreds of defendants per suit.

Most of the defendants settled out of court for a few thousand dollars rather than risk Copyright Act fines of up to $150,000 per purloined music track.

DEMONICAL To Enter Studio In November

Reposted from Blabbermouth.net

Swedish death metallers DEMONICAL will enter Necromorbus Studio (WATAIN, UNANIMATED, DESTRÖYER 666) in Alvik, Sweden in November to begin recording their fourth album for a tentative April/May 2013 release.

Commented DEMONICAL bassist Martin Schulman: “The past weekend was spent at the DEMONICAL headquarter rehearsing new material and making preparations for the pre-production phase of the next album. Five tunes were nailed and completed, deadly material that is still good old death metal (which we all worship) but with some new perspectives and varied influences.”

DEMONICAL recently parted ways with guitarist Pablo Magallanes. A replacement axeman has not yet been announced.

VISION DIVINE: ‘Mermaids From Their Moons’ Video Released

Reposted from Blabbermouth.net

“Mermaids From Their Moons”, the new video from Italian power/progressive metallers VISION DIVINE — founded by guitarist/songwriter Olaf Thorsen (LABYRINTH) and singer Fabio Lione (RHAPSODY OF FIRE) — can be seen below. The song comes off the band’s seventh studio album, “Destination Set To Nowhere”, which is being released on September 14 via Germany’s earMUSIC, the Hamburg, Germany-based rock branch of Edel Group.

ENSLAVED: New Song Available For Streaming

Reposted from Blabbermouth.net

“Veilburner”, a brand new song from Norwegian progressive extreme metallers ENSLAVED, can be streamed at this location. The track comes off the band’s twelfth studio album, “RIITIIR”, which will be released in Europe on September 28 and in North America on October 9 via Nuclear Blast Records.

The track listing for the “RIITIIR” European and North American digipak is as follows:

01. Thoughts Like Hammers
02. Death In The Eyes Of Dawn
03. Veilburner
04. Roots Of The Mountain
05. Riitiir
06. Materal
07. Storm Of Memories
08. Forsaken

RAGNAROK Premiere Track From Upcoming Album

Blood Of Saints is the premiere track from RAGNAROK’s new album, due out on October 30th in Europe and November the 6th in North America via Agonia Records. The album is entitled  Malediction and the track can be streamed at the following location:

http://soundcloud.com/agoniarecords/ragnarok-blood-of-saints

The 7th studio album features 10 new tracks and 44 minutes of music. It’s Black Metal played in the classical style; RAGNAROK proves that they do not need to re-invent the wheel – they just improve it.

Malediction was recorded, mixed and mastered by Devo of Marduk’s fame at Endarker Studios.

The new album will be available as a jewelcase CD [limited to 1st press], digital download and limited vinyl with an exclusive bonus track. First 100 copies will be available on a handnumbered brown vinyl. The album can be pre-ordered at: http://www.agoniarecords.com/index.php?pos=shop&lang=en

For more news and updates, head down to http://heavymetaltribune.tumblr.com/

Album Review: Firewind – Few Against Many

Firewind [Greece]
Few Against Many
2012
Full Length
Century Media Records
Power Metal

Of all the power metal bands that I have encountered over the years, Firewind remains one of the staples in my metal diet, with The Premonition easily being one of my favourite power metal albums of all time. Over the course of its history, the band has encountered numerous shifts in the lineup and Apollo has quickly become one of my favourite singers as well. Few Against Many sees the departure of previous drummer Mark Cross and the inclusion of Johan, who is also involved in Nightrage, the melodic death metal band that Gus G was previously involved in.

2010’s Days of Defiance saw Firewind further exploring their sound with the inclusion of a wide variety of influences into their music, with Gus G even including some thrashy riffs into his playing style, and Few Against Many sees the band continuing in that direction, with album opener Wall of Sound being a rather aggressive opening track. The melodic guitar playing style of guitarists Gus G and Bob and that unique and unmistakable vocals of Apollo are all immediately familiar, a nice welcome after listening to too much extreme metal of late. The band also makes unabashed and generous usage of keyboards throughout the album, and somehow manage to prevent themselves from sounding overly cheesy, enhancing the overall feel of the music for the most part. And of course, there are the duels between guitars and keyboards that spice things up further.

As per most power metal albums, apart from the usual aggressive and speedy numbers there are also the slower and more emotional ballads. Ballads of Firewind have always been a point of contention personally, with albums like Forged by Fire see the band being too indulgent in these moments, often ending up as the least favourite songs for me. Fortunately this time round the band almost manages to find that intricate balance, with longer songs like Losing My Mind containing some of the album’s slower and more emotional moments, and at the same time containing some of the heaviest riffs as well, though the track is far from being my favourite one on the album. The only true ballad, Edge of a Dream, though, is surprisingly good, with Apocalyptica guesting on the track and helping to create that feeling of sorrow.

While I would have loved to heap praise on every new Firewind release, compared to past releases, Few Against Many seems to pale in comparison. Despite the distinct musical style of the band and the guitar playing of Gus G (both in terms of riffing and lead playing), there is a lack of memorable or catchy moments on the album which made albums like Forged by Fire and The Premonition such enjoyable albums. Perhaps it is the production on this album that makes the band sound held back, but there are also moments when the band sound rather uninspired, sounding as though they were being aggressive for the sake of it, and this seriously affects the enjoyment of the album, especially on songs like The Undying Fire. For example, Apollo’s vocals, while improving in consistency and range since his introduction in 2006’s Allegiance, which was one of my least favourite in the Firewind catalogue, are unfortunately mixed rather low compared to the other instruments on the album, not allowing him to really shine.

Fortunately things start to look up as the album progresses, with Glorious being one of the stronger tracks on the album and subsequent tracks generally of typical Firewind style and quality. Things don’t look so bad for Firewind after all, I guess!

Related articles:
Interview with Chity Somapala

Firewind on the internet:
Official website
Facebook
MySpace
Twitter
Century Media Records

Album Review: Marduk – Serpent Sermon

Marduk [Sweden]
Serpent Sermon
2012
Full Length
Century Media Records
Black Metal

While Wormwood was an album that dragged on for too long with few really captivating moments, Marduk‘s recent EP, Iron Dawn displayed a step in the right direction personally, with the band regaining the ferocious charm that made the band instantly one of my favourites when I first heard albums like Panzer Division Marduk and Rom 5:12. This year sees the band finally releasing the follow up to 2009’s Wormwood, their debut with Century Media Records, Serpent Sermon.

I vaguely remember the band mentioning how Serpent Sermon will sound different from what was on Iron Dawn, and how I was initially slightly disappointed with the news. Fortunately, there is nothing much to be disappointed with on Serpent Sermon. Right from the start of the album, the shift in the band’s sound is extremely evident. While albums like Rom 5:12 and Wormwood had a somewhat death metal influence in the playing style, on Serpent Sermon the band takes a more bleak approach, and that abrasive death metal style is noticeably reduced on the album, most obviously in the guitars of the album, with guitarist Morgan favouring a trebly trem-picked style for the most part. Mortuus, who has preferred a gruff, low pitch growl all along not only in the previous albums, but also on his Funeral Mist releases, takes on a different approach this time, and though the tortured, gargled style is still present, he registers a higher pitch this time, giving the music a rather different feel yet without losing that aggressive touch in Marduk‘s music.

Furthermore, there is also a slightly more epic approach in terms of the songwriting on Serpent Sermon. There seems to be an increased emphasis on the melodic side of the band’s songwriting, as evident on the chorus of the title track Serpent Sermon and this certainly is something fresh in the band’s recent catalogue. This is of course not to say that the ferocity in the band has reduced, as the band still mostly goes at a breakneck speed, what with the blistering and furious blasting of drummer Lars, as he presents some of his fastest works with Marduk on this record, at times reminding listeners of the good blasting moments on Panzer Division Marduk.

For the most part though, despite the slight change in playing style of the band, the song structures still remind fans and listeners of the band’s style on Wormwood and Rom 5:12, with the most obvious being songs like Souls for Belial. Hail Mary even brings in riffs and progression that is somewhat similar to Cold Mouth Prayer, and the slower tracks like Temple of Decay once again reminds one of songs like Accuser/Opposer and spoil the nice tempo and momentum that the band has built up with the previous tracks.

Overall, Serpent Sermon does have its moments, and possibly contains some of the most powerful and intense moments in Marduk‘s recent history. Though there are times when songs and riffs sound familiar and reminiscent of songs on Rom 5:12 and Wormwood, Serpent Sermon would certainly appeal to fans of later Marduk output.

Related articles:
Album Review: Marduk – Iron Dawn
Views from the Pit: Marduk Live in Singapore

Marduk on the internet:
Official website
MySpace
Facebook
YouTube
Century Media Records

©2012 Heavy Metal Tribune | Hong Rui