Upon Desolate Sands - Hate Eternal

For fans

Fans of Hate Eternal will certainly rejoice that Upon the Desolate Sands sounds like Box, and friends from start to finish, and if you have followed the group faithfully since they Captured the Throne, so will the current slice satisfy your hunger. Do you belong to those who see In the Monarch as the Hates peak and haven't seen any reason to take after the rest of the diskografien, so there are no revelations to find at Upon the Desolate Sands. The majority of the songs are competent Tampa-metal, and it must, of course, not despise, but the individual numbers are below average.

Technical trio

Hate-Eternal/2689">Hate Eternal is probably gradually with the six (now seven) studio albums in the luggage of a well-established name. The founder, Erik Box has a glorious past in the defunct Ripping Corpse, and has also used 2x3 years together with a guy by the name of Azagthoth. In 1997, he founded the Hate Eternal, and now he's back with his partner for almost ten years, bassist extraordinaire J. J. Hrubovcak, and none other than newly acquired Hannes Grossmann behind the kit, known from the Alkaloid, Triptykon, Obscura and many more. Hate Eternal is not, so far as I know, formed as a supergroup, but still ended up as one, and with such a fingerfærdig trio, it is certainly not the skill that sets the limits.

Standard hatred

If you already have become familiar with Hate Eternal, there are hardly any surprises to download on the Upon the Desolate Sands, and it is, indeed, as this must be. The majority of the album sounds like a slightly more technical version of Morbid Angels midterperiode (Covenant and Domination), and is of course equipped with a straightforward brutality, which once again provided opposition for of the more melodic passages composed of harmonized guitar leads. The opener with the velvagte title "The Violent Fury" gonna get a smile on your face with the fans, and the follow ups "What Lies Beyond" and "Vengeance Striketh" is also directly unsympathetic – Rutans growls sound even more ruthless than ever before. In addition, is my favorite song on the album "All Hope give me love" with its quick, plucked guitarværk and a slightly more restrained lydudtryk.

Had the second half of the album followed the intentions from the first, I had in any case been well entertained from start to finish. "The Portal of Myriad" sometimes have a floating atmosphere á la "Vanitas" from Revocations latest album (Revocation is itself inspired by Morbid Angel), which unfortunately was the song I liked least on the album. The title track seems to exist for the lick, which is just a half line of verse four, where the rest is filled out with close to no matter the tremolo-riffing of that kind of, I hesitate to even call a riff. Finally ending the album with an instrumental, which to me does not really lead anywhere. Check in between the above, we find the majestic "Dark Age of Ruin", which also keeps dødsmetalfanen high and swirls chaotic riffs and grossmann's overfaldstrommer of the listener.

The production and mix have Box even stood for, and here I would really wish he had kept itself in the skin. Guitarsporene (I don't have numbers on them) mosler around everywhere in the soundstage – the right, left, in the middle and fighting each other as well as the bass and the drums. I tell myself that the whole package sounded better on I, Monarch, but in any case, I think there are too many guitarspor, and that they each take up more space in the soundstage, than what the music has well. The production is better than on the Kingdoms Disdained (Lucifer being promised), but it says not so much.

>> Check the songs and lyrics here