Hallowmass - Green Death

A different form

Green Death will not rethought anything on Hallowmass, but the sounds also not worn. The individual elements of the Green Deaths sound is recognizable, but the composition and performance makes Hallowmass to a decent metal albums up for a mere copy. Nature does not, in itself, impressive, but please note that it is presented in spite of the production, a svipser or two and quit, which could be halved. The majority of the songs are successful with exactly what they seek, whether it is thrash, doom, death, or a mixture, and Hallowmass is definitely worth listening to.

American neokonservatisme

Quick question: which band is the first that comes to mind when the name of the town "of Des Moines, Iowa" shows up? Even though the Green Death comes from the same city as the Slipseknuderne, and, in fact, have played at Knotfest, so are the similarities very few. The group was formed in 2012 with the desire to mix thrash with other metalstilarter, and since the beginning they have played a lot of concerts as a warm up for different groups such as Carcass, Abbath, Pallbearer, the Gates and Skeletonwitch. In the study, they have not wasted the time, and in addition to the three EP's are the new Hallowmass third fuldlængdealbum from the americans in just six-seven years. And what's more: it is a big change from 2016's Manufacturing Evil.

Melodic doomthrash

Green Death melts on Hallowmass an unusual alloy of heavy doom and Swedish melodic death metal, the latter preferably in the form of The Gates-inspired melodic thrash-riffs. In addition to the short acoustic guitarintro is the fast, hånddæmpede riffing from thrashindflydelsen, which makes itself felt in the "Bullet of Silver", and the first at the Gates riff comes shortly after. With the downtuned guitar riffs as the bottom is seizing Solar Bale's mainly clean vocals with the lighter shades of the soundstage with a satisfying varied performance. On "Curse the Heavens" shows the group from its doomede side, and despite the significant contrast, binds the album from start to finish together of Bales' vocals as well as a consistent production that meets doommetallens desire for warmth and weightiness.

The album can roughly be divided into thrashsange and doomsange, with a certain overlap. Of the more thrash/dødsinspirerede songs I want to highlight "The Betrayed" with its hard riffs and shout-and-growl-chorus, while "The Harvest" stands as an excellent fusion between the ATG-death metal and heavy doom (even with the Immortal-the harmonisation in the chorus). Of pure doom songs wins the melodic three-fjerdedelsrocker "Bad Omens", where the chorus and the verse stands in so strong contrast, that I reached to the fifth through listening, until I noticed that they use the same riff. Fierce competition to doomtronen carried on by the title song, which demonstrates that with the right casting can play both heavy and melodic riffs at the same time. The songs benefit from a concise sanglængde at 4.30 in the average, which gives a nice focused album.

Hallowmass has one crucial flaw, and that is that Bale often is noticeably backward in the soundscape. The production combined with his neck-dominant technique and sometimes failing energy often gives the impression that he is running out of air, and he manages rarely to shout the listener up from his seat on the second row. I have individual criticisms of the actual content; riffene and the vowels in the "Sacrament" does not live up to the rest of the plate, and hårdrockeren "She Couldn't Live" works – in spite of a certain quality – completely uncalled for. And then there is the finisher, "the Sickle And the Scythe". The first four minutes out of the eight are devoted to their melodic thrash, while the rest don't go by fast with the same riff and vokalhook. in. four. minutes. Excellent until the four-minute mark.

>> Check the songs and lyrics here