Album Review – Mettadone / Rotten Flattery (2019)

This talented Ukrainian entity returns after four long years with a much darker and rawer sound, bringing to our ears first-class European Death and Doom Metal.

Formed in 2014 as a Gothic-doom duo by vocalist and multi-instrumentalist Evgeniy Shamarin in Kharkiv, a city in northeast Ukraine which is considered the Black Metal capital of the country, Death/Doom Metal unity Mettadone are ready to crush with a brand new lineup and musical direction in their sophomore album Rotten Flattery, highly recommended for fans of bands with a classic 90’s European sound such as Hypocrisy, Edge of Sanity and Paradise Lost. Comprised of the aforementioned Evgeniy on vocals and lead guitar, Sergey Baskakov also on the guitar, Alexander Chernyakhovsky on bass and Alexey Silenko on drums, Mettadone decided to venture through much darker and devilish lands in Rotten Flattery than what we were able to witness in their debut album Invisible Disease, mainly thanks to Evgeniy moving from drums to vocals and guitar when their previous vocalist left the band, switching from their My Dying Bride-inspired sonority to a much rawer approach, consequently sounding closer to other amazing underground acts like Warcrab, Moss Upon The Skull, Refusal and their countrymen 1914.

The quartet begins hammering their instruments mercilessly in the opening track Mind’s Prisoner, showcasing a well-balanced fusion of classic Death Metal and old school Doom Metal (and even Blackened Doom), with Evgeniy growling like a demon while Alexey crushes his drums in great fashion; whereas in Obscurity of Hypocrisy they keep blasting hatred and rage in the form of extreme music, with the band’s guitar duo Evgeniy and Sergey being on absolute fire, adding a welcome touch of evil to the music with their raw, razor-edged riffs. Then Alexander and Alexey extract pure metallic and utterly menacing sounds form their respective instruments in Untrue Entity, generating a thunderous atmosphere perfect for Evgeniy’s demented roars, resulting in six minutes of darkened sounds perfect for banging your head like there’s no tomorrow. And in Pray for Help we’re treated to a more ferocious version of classic Sludge and Doom Metal, with symphonic elements bringing epicness and melancholy to the overall musicality. Furthermore, it’s a pleasure to listen to Alexey on drums, as he can be at the same time infernal and very technical, never letting the music get stale or tiresome.

Living up to the legacy of underground Doom Metal, the quartet delivers the Stygian tune On the Verge, showcasing a beautiful work done by Evgeniy, Sergey and Alexander with their stringed weapons, and also presenting some clean vocals and crisp guitar solos as “bonuses” for our avid ears. In a Funeral Home showcases creepy piano notes intertwined with cutting riffs and pounding drums in what’s the darkest of all songs of the album with its seven minutes of demonic sounds and a strong feeling of hopelessness, just the way we like it in old school doom, also sounding very progressive and intricate from start to finish. Act of Revenge is another song tailored for ripping your spinal chord headbanging where Evgeniy’s growls get deeper and deeper as the music progresses, with the band’s guitarists being in absolute sync, therefore delivering flammable riffs from their axes while Alexey dictates the rhythm with his hellish beats. The last track from the regular version of the album, entitled Orphan, will pierce your ears and minds with its classic Doom Metal sonority infused with Death Metal nuances, and you better be ready because the quartet won’t stop hitting you hard with their vicious music, with the song’s ending being an interesting mix of the Death Metal by Unleashed with the obscure music by Paradise Lost. And lastly, Mettadone offer us more of their dark and visceral music in the bonus track He’ll Not Be Alive, where Evgeniy keeps gnarling demonically while his bandmates fire insanity and violence from their instruments, with the strident sound of guitars being simply fantastic and extremely enjoyable.

After listening to Rotten Flattery, I’m more than sure this new version of Mettadone is here to stay, providing fans of obscure doom and death everything they can ask for in underground extreme music. Hence, don’t forget to give Mettadone a shout on Facebook and on VKontakte, to subscribe to their YouTube channel for more of their visceral music, and obviously to purchase a copy of Rotten Flattery from the Archaic Sound’s BandCamp page or from Discogs. After all is said and done, although Kharkiv might be considered the Black Metal capital of Ukraine, let’s say that the city also has its share of first-class Death and Doom Metal to offer us fans, thanks to the great job done by Mettadone in their brand new opus and hopefully in many more to come in their promising career.

Best moments of the album: Obscurity of Hypocrisy, Pray for Help and Act of Revenge.

Worst moments of the album: None.

Released in 2019 Archaic Sound

Track listing
1. Mind’s Prisoner 7:10
2. Obscurity of Hypocrisy 4:26
3. Untrue Entity 6:16
4. Pray for Help 5:31
5. On the Verge 6:41
6. In a Funeral Home 7:06
7. Act of Revenge 5:26
8. Orphan 7:34

Bonus track
9. He’ll Not Be Alive 3:49

Band members
Evgeniy Shamarin – lead vocals, guitars
Sergey Baskakov – guitars
Alexander Chernyakhovsky – bass
Alexey Silenko – drums

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Album Review – 1914 / The Blind Leading the Blind (2018)

It’s time to head into the battlefields of the Great War together with these talented and obstinate Blackened Death and Doom Metal infantrymen from Ukraine.

It’s time to head into the battlefields of World War I together with Ukranian Blackened Death/Doom Metal infantrymen 1914 and their brand new opus, the breathtaking The Blind Leading the Blind. World World I might not get explored as it should very often, as World War II typically overshadows it, but this Liviv-based squad, formed in 2014 at the 100th anniversary of World War I, makes a damn solid case for its historical significance (click HERE for an in-depth interview regarding the band’s ideology), with their unique and incendiary fusion of  Black, Death, Doom and even Sludge Metal being stomping, heavy-as-hell, therefore inspiring the strength and bravery within to march towards death.

Comprised of 2.Division, Infanterie-Regiment Nr.147, Oberleutnant – Ditmar Kumar on vocals, 37.Division, Feldartillerie-Regiment Nr.73, Wachtmiester – Liam Fessen and 5.Division, Ulanen-Regiment Nr.3, Sergeanten – Vitalis Winkelhock on the guitars, 9.Division, Grenadier-Regiment Nr.7, Unteroffiziere – Armin von Heinessen on bass and 33.Division, 7.Thueringisches Infanterie-Regiment Nr.96, Gefreite – Rusty Potoplacht on drums, 1914 pay homage to all that fell fighting the Great War, with their themes covering topics such as the Battle of Gallipoli (and the involvement of Ataturk), the Brusilovsky breakthrough, the Battle of Verdun and the gas attack at Ypres, not being political nor warmongers, but just telling the tales of war, injustice, fear, hopelessness and endless death as they happened. Featuring a deadly, lugubrious artwork by Czech artist Vladimir “Smerdulak” Chebakov, The Blind Leading the Blind is a precious gem of extreme music, positioning 1914 not only as one of the best underground metal bands of the current scene, but of the past decade without a shadow of a doubt.

War In is a beautiful, wicked and dark intro that takes us to the horrors of World War I, exploding into visceral Blackened Death Metal in Arrival. The Meuse-Argonne (inspired by the Meuse-Argonne Offensive, the greatest American battle of the First World War, where in six weeks the AEF lost 26,277 killed and 95,786 wounded), led by the pulverizing drums by Rusty, while Ditmar roars the song’s lyrics manically (“Arrival / The Meuse-Argonne offensive started like clockwork / We planned to break through the Hindenburg line / I know what we are fighting for / Hopefully to end the war”), also bringing the most Stygian elements from classic Doom Metal. Then we have A7V Mephisto, a World War I German tank masterfully translated into a brutal and heavy tune where the entire band showcases their heavy artillery by blasting sheer obscurity inspired by old school Black Sabbath and Celtic Frost, in special Liam and Vitalis with their lethal riffs, but with a more demonic twist; followed by High Wood. 75 Acres of Hell, an infernal display of Black and Death Metal spearheaded by Ditmar’s growls while Armin and Rusty keep the ambience as dense and grim as possible with their respective instruments, displaying the battle for High Wood’s 75 acres, which started on July 14 and raged nearly continuously for 64 days, coming to be known as “The hell of High Wood” or “The rottenest place on the Western Front.”

Bagpipes ignite a sinister and pulverizing cover version for The Exploited’s all-time hit Beat The Bastards, sounding as rebellious and fun as the original version, but of course with a more metallic and crushing vibe, with highlights to the beautiful job done by both Liam and Vitalis with their hellish guitars. In the interesting bridge Hanging On The Barbed Wire, the infantry sings while marching under a heavy storm (“If you want to find the General, / I know where he is, / If you want to find the General, / I know where he is / He’s pinning another medal on his chest / I saw him, I saw him / Pinning another medal on his chest.”), setting the tone for the superb Passchenhell, a wordplay with The Battle of Passchendaele, also known as the Third Battle of Ypres, a campaign of World War I fought by the Allies against the German Empire. Musically speaking, it’s another flawless display of Blackened Death Metal infused with Doom Metal nuances, also featuring the beyond special guest vocalist David Ingram (Benediction, Bolt Thrower, Just Before Dawn). Furthermore, Rusty is once again bestial on drums, whereas Ditmar together with David will haunt your soul with their demonic growling.

“Hello there, soldier! Ready to kill more Germans?” Those warlike words ignite a fantastic sonic havoc by 1914 titled C’est Mon Dernier Pigeon, leaning towards pure old school Black Metal, feeling and sounding as thunderous and menacing as possible and ending in the most demolishing way you can think of; followed by Stoßtrupp, the German word used to describe shock troops or assault troops created to lead an attack, where another eerie, obscure narration suddenly explodes into a darkened feast of Black and Death Metal tailored for cracking your neck headbanging, with Armin sounding vicious with his rumbling bass punches. Lastly, we have The Hundred Days Offensive, an Allied offensive that lasted from August 8 to November 11, 1918, ending World War I, and 1914 turned that battle into 10 minutes of first-class Blackened Death and Doom Metal where you can feel the horrors of the battlefield in the music, remaining very introspective, melancholic, and flowing infernally until the music morphs into the sensational and creepy outro War Out, the perfect ending to such brilliant album.

In summary, The Blind Leading the Blind, which by the way had as its official release date the 11th hour on the 11th day of the 11th month (Central European Time), marking the 100th anniversary of the end of World War I, is a must-have not only for admirers of Extreme Metal, but also for anyone who wants to learn more about World War I in a very unorthodox and exciting way. Available for purchase from the band’s own BandCamp page, as well as from the Archaic Sounds’ BandCamp page, from the Redifining Darkness Records’ BandCamp page, from iTunes and from Discogs, The Blind Leading the Blind definitely redefines the career of 1914, propelling them into a more-than-promising future. Having said that, don’t forget to follow them on Facebook, subscribe to their YouTube channel, grab your weapons and be prepared to face death in the battlegrounds of the Great War.

Best moments of the album: Arrival. The Meuse-Argonne, Beat The Bastards, Passchenhell and C’est Mon Dernier Pigeon.

Worst moments of the album: None.

Released in 2018 Archaic Sound/Redefining Darkness Records

Track listing
1. War In 1:14
2. Arrival. The Meuse-Argonne 6:20
3. A7V Mephisto 8:13
4. High Wood. 75 Acres of Hell 5:27
5. Beat The Bastards (The Exploited cover) 5:02
6. Hanging On The Barbed Wire 2:28
7. Passchenhell (feat. David Ingram) 7:01
8. C’est Mon Dernier Pigeon 5:22
9. Stoßtrupp 6:13
10. The Hundred Days Offensive 10:01
11. War Out 1:55

Band members
2.Division, Infanterie-Regiment Nr.147, Oberleutnant – Ditmar Kumar – vocals
37.Division, Feldartillerie-Regiment Nr.73, Wachtmiester – Liam Fessen – guitar
5.Division, Ulanen-Regiment Nr.3, Sergeanten – Vitalis Winkelhock – guitar
9.Division, Grenadier-Regiment Nr.7, Unteroffiziere – Armin von Heinessen – bass
33.Division, 7.Thueringisches Infanterie-Regiment Nr.96, Gefreite – Rusty Potoplacht – drums

Guest musician
David Ingram – vocals on “Passchenhell”