It was sheer
nostalgia that drove Jimmy Lundqvist
to resurrect his band Entrails after
a 14 year-long hiatus. Long after the band was put to rest in 1994, Lundqvist
stumbled onto the band’s old recordings sometime in 2008 and just couldn’t stop
himself from releasing them as demos. Well, isn’t listening to an Old-School
Death Metal band all about nostalgia? I love getting lost in that same feeling
that I got when I was introduced to the genre; when Old-School was not, well,
fourth full-length album and was released worldwide on 15th May via Metal Blade Records. They keep
their legacy intact and deliver nothing but pure, in-your-face Death Metal
violence on this album. So, expect distorted grimy guitars, raw guttural vocals
and pulverizing drums that will thoroughly rough up your ear drums.
opener in the form of “No Cross Left
Unturned”. It wastes no time in unleashing its aggression onto the listener
with its lightning-fast tremolo riffs and quick-fire blast beats. Jocke Svenssons’ monstrous growls round
up this groove-laden, putrid pile of Death Metal goodness. Just before the
melodic solo, the track has a raw, gory hook-over in which Svenssons almost bring his guts up to his throat as he lets out a
devilish growl, demanding your respect instantly.
of Death” trades the pace of its predecessor for some groove. It starts
off steadily with a doom-y riff that gives way to a raw mid-tempo hook that
stays with you long after you have listened to the album. The track has a clear
melodic undercurrent amidst the raw and distorted rhythms, and an amazing
melancholic ending with the band’s rendition of Chopin’s Funeral March
(or for WWE Fans, Undertaker’s Graveyard Symphony theme).
Tracks like “Beyond The Flesh” and “The Grotesque” use lethal combinations
of meaty, groove-laden hooks and bursts of speed that force you to reminisce
about their contemporaries, especially bands like Entombed, Dismember and Grave. The album is full of such fat,
groovy hooks that sink into your brain and cement itself. Tracks like “Obliterate” and “Epitome of Death” are
sure to make you bob your heads in agreement with the band and salute them with
those metal horns up. The band also lays a distinct emphasis on melodies, and
Lundqvist and Penky weave in subtle
melodic guitar lines to go along with the fatty hooks. The solos in particular on
this album are very melodic and impart a completely different dynamic to the
tracks. Adde Mitroulis supplements
the heavy groove on the drums and shines on tracks like “Obliterate” and “The
Grotesque”. Apart from his gutsy performance on the vocals, Svenssons provides
a very meaty lower end, with his bass work imparting a lot of droning heaviness
to the band’s sound. Dan Swano’s production on this album is top-notch,
and I loved its rawness as well as the deep, meaty-sounding guitars.
42 minute and has 10 songs in total, and manages to keep your attention for its
majority. However, towards the end, I found myself drifting away before one of
the stand-out moments dragged me back in. The songwriting pattern that Entrails
follows wears itself out slightly towards the end, with tracks like “Midnight Coffin” and “Bonestorm” offering little variation.
I found myself skipping these tracks during multiple listens. However, they
pick up the pace soon after and the final track “Re-Animation of the Dead” takes us back to the mood we were in
when we started listening to the album.
album and grows on you on successive listens. It rides high on nostalgia and will
definitely take you back to the glorious 90s era of Swedish Death Metal.
Although Entrails ironically missed out on the chance of being the flag bearers
of Swedish Death Metal in the 90s, they can definitely be considered as an
integral part in its preservation.
Tracks: “No Cross Left Unturned”, “Epitome of Death”, “Obliterate”, “The