Twelve years without releasing an album, with only those four songs from the EP Annihilation quenching thirst in 2018. Two members finally debuting on an album, and one of them, Unleashed drummer Anders Schultz. And of course, Jojje Bohlin on guitar, Mikael Broberg on microphone and Dismember Richard Cabeza on bass.
If after all these arguments one still does not feel the need to resort to Victory In Bloodthe long room of the revered Unanimatedthe same is that what the omicron variant really achieves is to leave your brain as leaky as a fucking Gruyère cheese.
In various phases, the band spent a whole year recording, mixing and mastering with Fredrik Folkare, and the result is impressive. It may be there where the most staunch of the old 90s sound grumble, because despite being natural and as icy as expected from a Scandinavian institution, the group hits us with a most forceful mallet.
For my part, I think that some musicians who are so distinguished should not be required to record these songs ‘badly’, in a hurried week like in the past, or to deny, for pure pose, the gadgets and advances of this century. That decades have passed since your first works, gentlemen!
The homonymous theme uncorks the plastic and the first thing you notice is haste, the urgency felt by the Stockholm quintet to show vitality and desire to continue progressing. Neither intros nor milk. Frontal attack, but balanced, without forgetting the innate talent for melodies that Swedish extreme metal has always denoted.
They choose the same weapons in ‘Seven Mouths Of Madness’, another hooked stiletto that can hardly be faulted. His final tagline lays out a black carpet for ‘As The Night Takes Us’, a cut in which Unanimated put the brakes on something to gloat in their own darkness. This song comes at the right time, experience is a grade, and as it is followed by ‘The Devil Rides Out’, one of the most notorious slashes here, so far we are doing very well.
‘With A Cold Embrace’ is a brief ambient lapse that paves the way for a ‘Demon Pact (Mysterium Tremendum)’ that strikes out furiously again. This is mutating, it is also becoming thick fog, and all this leads to ‘XIII’, a dark midtempo of great quality and refined elaboration.
The guitars of Bohlin and Jonas Derouche ooze bad drool on ‘Scepter Of Vengeance’, but decidedly, and regretfully, it is quite likely that the band has not been able to finish off the job with all the splendor that it should.
Perhaps instead of opting for ‘Chaos Ascends’ they could have sent us to the morgue with another ax to the very metallic neck, and we must admit that ‘The Golden Dawn Of Murder’, despite its onslaught as a climax, does not shine as much as the rest of repertoire. The 2 minutes of ‘Divine Hunger’ are badass and are appreciated, but yours truly would have closed the work with something more lively than the stately ‘The Poetry Of The Scared Earth’.
Despite this, we are facing an extremely worked and meditated album, rich in solos, and although the lack of youthful genius is undisguisable (as in any other cult band that is still active today, by the way), which can display the Unanimated logo on its cover with pride and dignity.
We would like to say thanks to the author of this post for this outstanding material
UNANIMATED – ‘Victory In Blood’ – RockZone
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