German trio Deserted Fear provide the appropriate soundtrack for our self-destructive path with their new melodic death metal full-length Doomsday. These 11 tracks represent a call to arms–a common theme in heavy metal–but not in an assumed corny manner whatsoever; the theater this album projects is compelling and provocative, nowhere near cheesy.
Doomsday’s opening track, simply titled “Intro”, is a galvanizing ensemble of orchestral strings, a pipe organ, and a choir that prepares us for armageddon. “Part of the End” takes the reins and wastes no time showcasing the synergetic duel guitar dynamic between Manuel “Mahne” Glatter (vocals/guitar) and Fabian Hildebrandt. Most of their riffs are layered with dramatic harmonies, licks, and rhythmic leads, progressing the level of urgency in each section. A heroic ambience emanates from the melodies and grooves in this lead single, especially during its bridge.
The innovative instrumentation continues with “Idols of Triumph”, who’s verse and hook curiously carry a 90s New York hardcore bounce done Thuringia-style (the band’s stomping grounds). And to perpetuate the hardcore sentiment, this song champions a sense of nobility and honor. Doomsday’s next single, “Follow the Light That Blinds”, follows with Glatter wrenching out a vocal intro in his demonically serpentine growl, reciting the title which then sets off the instrumentals. The verse scurries to a thrashy fast beat–a rare choice of pace compared with the overall album–courtesy of drummer Simon Mengs; lack of speed from this 3-piece in no way diminishes the full-length’s rousing energy. “Follow the Light That Blinds'” adrenaline-inducing hook becomes more anthemic and impactful with each go-around.
After a brief interlude track, “At its End”, the 2nd half of Doomsday fittingly kicks off with “Reborn Paradise”, radiating melancholic black metal melodies. Moving along, we’re accosted by the hardest song on the release, “Call of Emptiness”. Dark and combative grooves penetrate through this headbanger with attitude on a level with Obituary. Forcefully closing out the record is its title track who’s tempo is that of an imperial march. Its outro culminates in a slicing, climactic palm-muted triplet riff then trails off in a tender harmony coated in delay.
Kudos to Hildebrandt here, whom recorded, mixed and mastered the band’s fifth album at Eisensound Studio. Each player’s razor-sharp performance blends and shines with clarity to generate sonically smooth friction. This savory treat for the ears is served on March 4th via Century Media Records.
Buy the album here.
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