ALBUM REVIEW: Danse Macabre – Baest

Formed in 2015, Denmark’s BAEST may not have been in the initial Scandinavian death metal movement of the late ‘80s/early ‘90s – but there is no mistaking the old-school nature of their sound. Taking influence from the greats of early Swedish death metal, ENTOMBED, GRAVE, DISMEMBER, UNLEASHED and HYPOCRISY, with occasional nods to MOBID ANGEL and IMMOLATION from over the pond, BAEST are firmly devoted to honouring the gore-drenched, buzzsaw riffing of the genre’s forefathers. Following a 2016 EP, Marie Magdalene, BAEST return with a record deal with the prestigious Century Media Records and their debut full-length, Danse Macabre.

The production on Danse Macabre is excellent. A little too excellent. Truly, this record sounds fantastic, far better than any band has a right to sound on their debut, but it comes over as a tiny bit over-polished. As such, the record lacks the character the classic albums of the genre had, with their raw, more organic delivery. That said, the production does make for an easier listen.

That said, the production value of Danse Macabre is a secondary concern to the music. And for fans of the filthy, groovy, buzzsaw style of death metal originated in Sweden, BAEST‘s debut has a lot to offer. Opening with lead single, Crosswhore, BAEST forgo an intro track in favour of an evil, punishing groove and plenty of double bass. The riff work here has a sinister hook to it, and though the album as a whole is very Swedish sounding, Crosswhore appears to be influenced by Domination-era MORBID ANGEL.

One of Danse Macabre‘s longest songs, the title track opens with a soft intro that lulls the listener into a false sense of security, before unleashing the chainsaw riffs and demonic gutturals. The track displays the comfort of BAEST in delivering crushing grooves, savage riffing and chaotic dissonance in equal measure. Just as the song hits the six-minute mark, the music stops abruptly, leaving vocalist Simon Olsen‘s glass-gurgling scream to bring the song to a close. The sinister vibe created by the grooves in Crosswhore returns during Atra Mors with distinctively eerie leads and an oppressive atmosphere, making it one of the strongest tracks Danse Macabre has on offer.

The soft, acoustic interlude of Ritual gives a brief moment of respite, before Danse Macabre drives into its closing moments with the HM-2 heavy Vortex and the ambitious closer, Ego Te Absolvo. Vortex is an intense ride, offering little chance to catch a breath for the majority of its four-minute run time. Album closer Ego Te Absolvo is the longest song on Danse Macabre’s tracklist, clocking in at just under six and a half minutes. Opening with a more mid-paced groove, it doesn’t take long for BAEST to pick up the pace. Maintaining the intensity of Vortex, it is a crushing way to end the album; though may have benefited from a minute or so being shaved off the length.

Danse Macabre is very much an old-school death metal album. BAEST abuse the HM-2 peddle within an inch of its life solidifying the distinctly Swedish sound, while eerie, Trey Azagthoth-inspired leads and mammoth grooves bring a touch of Tampa to the Danish quintet’s arsenal. There is a lot of crushing death metal on offer here, and though it lacks a touch of memorability and originality this is a solid debut from BAEST, and shows promise for a truly rotten future catalogue.

Rating: 7/10

Danse Macabre is set for release on August 17th via Century Media Records.

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