![]() ![]() The band’s latest work, ‘Live By The Sword’ is a 5-track EP that clocks in at just under half an hour and is a more than logical follow-up to the previous work of the past few years. ![]() Whether this is a conscious decision or a lack of label interest I don’t know, but either way it fits well with the band’s aesthetic: headstrong, inward-looking and with a clear vision of their musical direction. Meanwhile, in 2021, the band released their sixteenth (!) album with ‘Banners Of Blood’, and like most of their recent releases, that album came out in-house. They have stubbornly and stoically continued releasing their music all this time, apparently not caring whether people listen to it at all. Countess may never have had the name and fame of a band like Funeral Winds or Bestial Summoning, but there is still a certain atmosphere of cult around the band – for better or worse.įor many, the band will lead an almost invisible existence, but Countess itself will not care about that. There may no longer be any original band members in the current line-up and the band took a short break between 19, but Countess has always remained a fixture in the (real) underground Black Metal scene of the Netherlands. One of the very oldest Dutch Black Metal bands is Countess, formed in 1992. Plague Bearer - Summoning Apocalyptic Devastationĭesekryptor - Curse Of The Execrated Savage Necromancy - Feathers Fall To Flames įrozen Dawn - The Decline Of The Enlightened Gods Åndutsyn - The Epitome Of The End Of The Cavernous Forestry Mortem Agmen - Where Life Ends Forever īlood Magic - Mystic Warpath Conjuring Mithrandir - Towards the Spires of Dol Guldur Incongruous - Upheaval Of Autophagus Wisdom Ĭronos Compulsion - Malicious Regression This entry was posted in Reviews and tagged Death Metal, Dismember, Entombed, Entrails, Evocation, Grave, Gruesome, Metal Blade Records, Obliteration, OSDM, Swedish death metal, unleashed.Moonshrine - Hallucinatory Forest Rituals įrosten - With Sigils And Infernal Signs Īmargor/Lord Bakartia - Amargor/Lord Bakartia. Yet, if you let it, it can also be a fun romp that, flaws aside, really shouldn’t require any justification, and all the subtle differences, much like Mozart’s 12 variations on “Ah vous dirai-je, Maman,” can oddly enough, make the album sufficiently varied. As a result, and also due to the somewhat selfsame nature of many of the riffs, Obliteration has the potential to lose its luster fairly quickly, especially for folks already knee-deep in this style of OSDM. The album’s flow follows this pattern, in fact, starting and ending strongly but with a midsection that is comparatively lukewarm in quality. “Obliterate,” “Skulls,” and “Midnight Coffins,” for instance, no matter how infectious the rhythms or how significantly more appealing the opening riffs are, eventually even out on the same footing and at times end abruptly, which is a formula Entrails relies on to a fault during these moments. The highlight of the album, and indeed the most appropriate example comes early, on “Epitome of Death,” which is melodically uplifting throughout but finishes with an unexpected and absolutely oppressive rendition of Chopin’s “Marche Funèbre.”ĭiscovering the album’s shortcomings, however, makes for a rather deflating contrast, as its limitations are very well-buried between “The Grotesque” and “Abyss of Corpses,” wherein one can almost feel a palpable sense of déjà vu with galloping thrash/pseudo-death riffs that seem to be simple variations of only a couple themes. It is something quite evocative of Clandestine, a riff-heavy but catchy, hook-laden affair that alternates its viciousness superbly with its melody, making for a two-toned blending of styles that suggests a reasonably mature expression of that approach. Fast forward to 2015 and Entrails is dishing out their fourth full-length, Obliteration, which is quite the consistent pace indeed to establish credibility within the Swedish OSDM scene that, remarkably, continues to grow at a healthy pace.Įven in the face of 2014’s outstanding Grand Morbid Funeral and shortly off the heels of Gruesome’s debut, Savage Land, Entrails’ newest album couldn’t come at a better time, as it keeps the wheels spinning speedily. ![]() Think about it, then, as a project that finally got off the ground since the only member from the original lineup (Jimmy Lundqvist) started to put points on the board in 2009 with the aptly titled demo, Reborn. Taking visual cues from Entombed with a logo that looks painfully similar in almost every detail, including a band name that even begins with the same three letters, Entrails might as well sound like them too, which if not for a 1990 inception date, would denote something quite derivative indeed.
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