St. Paul, Minnesot'as True Metal Record Store (RIP as of Dec. 24, 2015)
A bit of a copout for the E-edition of Death Metal Monday for me. EPITAPH was a short-lived act of the big wave of Stockholm death metal — think ENTOMBED and DISMEMBER and anything else recorded in Sunlight Studios and produced by Tomas Skogsberg. Seeming Salvation, the band’s solitary full-length production from 1992, follows those requirements directly.
So what’s the copout exactly? I don’t find this album particularly memorable or worthwhile despite generally enjoying the style. Perhaps you will think otherwise after a careful listen. It serves nicely as an artifact of its time: the atonal leads, chainsaw distortion and guttural staccato are archetypal to be sure, and at the very least I like it better than any of the latter-day imitations. I admit this may be an aesthetic preference more than anything. And hey, killer cover art.
This has been the subject of a few reissues, all of which have been limited and/or obscure. This includes the most recent one from Singapore’s Konqueror Records, which in two months has already sold out at the label (though perhaps is floating around an underground distro or two). Certainly you should know which classes to turn to in its absence: ENTOMBED Left Hand Path and DISMEMBER Like an Ever Flowing Stream are cream of the crop, though some lesser in-print records from the same era may scratch the itch as well (think GRAVE, NIRVANA 2002 and EDGE OF SANITY). For very recent stuff there are innumerate neo-ENTOMBED clones to choose from (ENTRAILS, REPUGNANT et al) or you can reach back to an old-school tribute of another era with the BLOODBATH works.
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