Mid-2022 and Dieth delivered “In the Hall of the Hanging Serpents”. You might have missed it. The name isn’t instantly recognisable, and with so much music flooding our senses, it’s reasonable to let things that are in the peripheral vision move on by. But whilst that might have been forgivable, to now avoid the full album is probably a real sin. Dieth for those who don’t know, comprises three musicians in the metal world who need no introduction. David Ellefson (ex-Megadeth), Guilherme Miranda (ex-Entombed A.D.) and Michał Łysejko (ex-Decapitated) have combined forces and have served up one impressive album.
First impressions are good. The album opens with the title track, an atmospheric intro that opens into a powerful, muscular song with some death metal tendencies, although the breakdowns are substantially more traditional in style. Miranda does a sterling job, taking lead work as well as vocals. My own view is that the band will benefit from a separate singer with a bit more grit, for at times throughout the album the vocals are the weakest part, and a little one dimensional. But that is a minor criticism, for overall his singing fits the band’s approach.
Although it’s badged as ‘unrelenting tech-steeped death metal’, there’s plenty more to get stuck into. With tracks like “To Hell and Back” and “Don’t Get Mad …Get Even”, there is a bit of an autobiographical theme to some of the album. The band have commented, “To Hell and Back” is the song that best describes our individual and collective journeys as professional musicians. For an album to connect with the listener, it has to have deep meaning, and this wraps up this whole moment for us. We’ve been to Hell – and we’re back!” I suppose it would be surprising if it wasn’t in many ways, but it’s the music that really flourishes in the opening few songs.
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“Don’t Get Mad … Get Even” has been out for a while so may be more familiar, its gang chanting and thrashy delivery a fist pumper. It’s “Wicked Disdain” that really ekes out the Entombed A.D. / Decapitated influence. A ferocious, growling beast, it’s nasty, snarling, savage. It’s followed by another bruiser in “Free Us All”, one in which Ellefson’s thunderous bass lines take centre stage.
That there are stellar musical performances throughout this album is no surprise. The pedigree is undeniable after all. The bump and groove of “Heavy is the Crown” switches the tempo, bringing a Corrosion of Conformity vibe to the release. Perhaps the biggest surprise is the arrival of Ellefson to the microphone, and it’s on “Walk with Me Forever” where we get the man’s solo vocal performance. It’s another change in direction, the song a pensive, powerful ballad that is beautifully crafted. I’ll say categorically that there’s a reason why the former Megadeth man is a renowned bassist, but he does okay on the odd song out here.
It’s where Dieth let loose that this album really kicks into gear. “Dead Inside” throws the thrash card firmly into the ring, Ellefson’s vibrant bass and Łysejko’s blistering drumming combine with some chugging guitar riffs that’ll throw fans into the pit. The pace is unrelenting on The Mark of Cain, possibly the most explosive track on the whole album, it’s reminiscent of Testament’s Demonic period. “In The Hall of the Hanging Serpents” rivals “The Mark of Cain” for sheer ferocity, whilst closing track “Severance” throws in a giant curved ball with a complete change – it’s a beautiful and clever book ending to an album that impressed from the same delicate opening bars.
To Hell and Back is neatly crafted, bringing together the experience and quality of three of the metal world’s top musicians. It may be an unlikely combination, but this is a band which even at the veteran stage, may be one to watch for some time to come.
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To Hell and Back is out on June 2nd
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