Getting ever closer to the final date we’re only four more days away from our last Album Of The Year. We have had so many fantastic albums on this list so far, some to most people’s taste others that might be slight oddballs. Seeing so many different facets to bands these days, when a band goes through a line up change, it can be a double edged sword. A new sense of drive reappears from the band, the band get more press and everyone is talking about them. On the other hand they could be talking about them for the wrong reasons. Returning to the fore this year after a six year abscence Bloodbath, shrouded in mystery entered the studio with their new singer…
Bloodbath – Grand Morbid Funeral
Nick Holmes. The singer from the doom laden Paradise Lost is known far and wide for his crooning ability but what others may not be aware of is his grit filled rasp. Particularly in the earlier days of Paradise Lost (Gothic-era) Holmes was lot more raw than he is now on the newer records. Obviously being a big fan Anders “Blakkheim” Nystrom sought out the talents of this metal idol. Metal heads were sceptic of the new singer, not thinking that he could fill the sizeable presence of the previous Akerfeldt era and I am so glad they were all proved wrong.
Not only did Holmes add a new dimension to Bloodbath but the band has never sounded so decrepitly fresh. It’s not all about the arrival of Holmes though, he is just a string to this albums many bows. The key to the genius of this work is the song writing. With the album clocking in at eleven tracks each song is drenched in pernicious dread. As the album begins the frenecity is immediately apparent belching out “Let The Stillborn Come To Me” we have our first taste of the organic sounding guitars, the chainsaw buzz is a staple of the album itself lending the particularly faster, blast beat driven sections an extra venom.
When Bloodbath do decide to slow down however its just as maniacal. The battering ram of “Anne” a perfect example along with the haunting “Church Of The Vastitas“, but what Grand Morbid Funeral succeeds in doing is creating a truly malevolent atmosphere. As Holmes‘ morbid sermons are uttered the instrumentation behind is there to match. Fluid songwriting enables the songs to work cohesively showcasing the diferent elements the band is known for. Not to mention the solo’s on the album are cherry picked for the right moment and evoke exactly the right atmosphere. Ending on the ghoulish climactic torment of the guitar trade off on “My Torturer” leading to spectral “Grand Morbid Funeral” we’re returned to darkness.
An absolutely essential album to any fan of death metal. Melding demonic atmosphere, gargantuan groove, razor sharp riffs and most importantly some of the best song writing in a very long while Bloodbath‘s new incarnation and effort could potentially be one of their best yet. Showing that long ago when the band was born from the love of death metal, death metal is best made by its fans.
