ALBUM REVIEW: The Rise Of The Blind Ones – Come Back From The Dead
The country of Spain is not one that springs to mind when people think of death metal. However, one band that have set out to change that fact is COME BACK FROM THE DEAD. Since their inception back in 2008 the boys from A Coruna have set about recycling the old school death metal teachings and reproducing them with their own modern spin. Resulting in two extended plays (one of which is a low-budget demo) and one full length album entitled The Coffin Earth’s Entrails, released way back in 2015. Now, four years on the band have returned with their highly anticipated sophomore album The Rise Of The Blind Ones with the aim of taking their sound on to the next level and at the same time bringing the Spanish metal scene to a greater audience.
The album opens with a track aptly titled Outcast Of The Light as the overall feel is incredibly gloomy and claustrophobic to say the least. The slow, heavy guitar riff sounds like something that you would hear on an old school doom metal album and the stodgy, thick bass line adds to the dense, weighty feel. Before you know it, COME BACK FROM THE DEAD switch gears and dive straight in to their trademark thrash sound with all of the technical drum work and high paced riffs that the band have become known for. Unfortunately for all of the good points to this song the main flaw with this album becomes very apparent very quickly: the low quality of the recording and production, which muffles the instrumental elements of the music and as a result stifles the impact that the band are aiming for in the early stages of the release.
The second song Martyr Of A Gruesome Demise follows a very similar blueprint, with another slow passage leading the way into another straight up thrash metal song. The vocals are impressive, toeing the line between a Robb Flynn-style bark and the deep, distorted shout of the BEHEMOTH Nergal which soars over the top of the heavily distorted guitars. As intriguing and engaging as the guitar riffs are during the track it feels as though they repeat themselves a little too often and as a result lose a bit of edge. However, in this instance the low-fi recording adds to the dangerous feel of the proceedings in the same way that old school thrash metal embraced the punk aesthetics in the 1980s.
The middle section of The Rise Of The Blind Ones boasts what must be the main highlight of the entire release, entitled Neabulaes Of Malevolent Shining. COME BACK FROM THE DEAD shift styles completely and explore crushing, sludge metal inspired guitar riffs and the kind of vocals that would have sat perfectly on any of the earlier MASTODON releases. Despite the fact that the band brand themselves as death metal, it would seem that this style suits them far better and proves just what the boys are truly capable of. The latter stages of the song shows the band dialling back up the pace and providing a brilliantly well composed, wah-soaked guitar solo which combines just the right amount frantic delivery with soulful melody.
Towards the back end of the album, Lick My Hands Wild Beasts sees the band stripping back their sound and laying down a straight up thrash metal song. The raw mix and lo-fi production value works in the band’s favour and adds a punk aesthetic to proceedings. The vocals come across like early KREATOR and the high velocity guitar work ensures that the back end of the album far surpasses the beginning.
COME BACK FROM THE DEAD have taken their music forward a step from their debut full length and there are some impressive moments on The Rise Of The Blind Ones, but unfortunately there is simply not enough originality and exploration to be found here. Instead the album feels like a by the numbers death metal outing. This is not to say that the album is of a poor standard, but it will not live too long in the memory.
Rating: 6/10
The Rise Of The Blind Ones is out now via Transcending Obscurity Records.
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