Nothing bad to say about this album, only respecting true melodic death metal and hoping that fans of this genre feel the same way about this release. It's one that stands on it's own in one of metal's melodic death metal hall of fame if there was one. Faults are absent as the guitars are in unison with chunky riffing that just owns you. The whole experience of this album has you encompassed with revarity. Musically speaking, the guitars are just loud, heavy, melodic, tremolo picked frenzies, gallops galore, and leads that shriek.
The production is a bit raw, but like I said, it is well mixed with everything fitting together reigning this world in infiry intensity. There is a At The Gates Slaughter Of The Soul on here without having an alore of riffing that just stays in your brain. The lead guitar work is a little bit absent, but not entirely.
There are some outputs of fast tremolo picked frenzies in that department accompanied by heavy use of the whammy bar. The riffs are the main focal At The Gates Slaughter Of The Soul here which is what I think that ATG wanted to stick with making the album most memorable by way of it's euphoric impact on the metal world.
Tracks that stand out to me the most if you're eager and haven't gotten this album by now are "Blinded By Fear", "Suicide Nation" and "World of Lies. The At The Gates Slaughter Of The Soul are done like no other release that I know of being At The Gates Slaughter Of The Soul metal for almost 25 years now my interest that is. Listen to the songs that I mentioned and if you're not convinced that there was a huge impact on the metal world when this came out.
It's simply just amazing guitar work and metal music that you have heard like no other. Get it if you haven't already because it's just an onslaught of empowerment!
A good number of so-called classic albums don't fully reach such a state until long after their time, achieving a kind of cult classic status at first that eventually blossoms into an army of reminiscing minds of better days gone by.
Some classics, however, achieve near instant success and become a genre staple right in the midst of things, and sometimes the band literally never recovers from it for some reason.
These are the sort of albums that, regardless of the intent of the band, spawn a whole legion of imitators in fairly short order and brings about a genre revolution of sorts, and in the case of "Slaughter Of The Soul", this would be the signature sound that defined the Gothenburg scene and all its international imitators in the late 90s and so forth.
And while imitation is said to be the ultimate form of flattery, it is also the key ingredient in market saturation that will eventually inspire a backlash in certain quarters, as can be gleaned from the healthy number of critics that this album has At The Gates Slaughter Of The Soul since the close of the 90s. While most trend setting albums stand on a varying level of artistic merit, there is usually an over-emphasis on accessibility that will go with such a collection of songs that makes it vulnerable to heavy emulation, as well as shorten its shelf life.
In the case of this album, the primary symptoms of this tendency are the usual down play of complexity and flash in favor of predictable song structures, along with a combination of brevity and repetition that makes for quick digestion. Apart from a few outliers, most albums will tend to employ a few shorter, catchy songs in order to wet the appetite before leading the listener down a maze of intricacy. But this album is more of a straight and wide path, albeit one that is nicely ornamented with a few beautiful melodic interludes and guitar shred breaks, like the occasional tree or shrub amid an endless landscape of tall grass.
This isn't to say that the album is boring At The Gates Slaughter Of The Soul lacking in passion, but it definitely wants for a little more than the occasional acoustic interlude gimmick or a few scattered sampled atmospheric sections to break up the limited array of riffs and progressions.
Perhaps the only thing that really deviates from the predictability of the arrangement is the vocals of Tomas Lindberg, which are loaded with rage and fury. His vocal style is At The Gates Slaughter Of The Soul good bit more agonized than guttural, almost like a upper mid-ranged hardcore shout that has been painted over with a greater degree of darkness and intensity that gives it a superhuman character.
Yet at the same time, there is a bittersweet reminder of the deliberate limitation present on this album as generally mundane, thrash-infused At The Gates Slaughter Of The Soul such as "Blinded By Fear" and "Under A Serpent Sun" are given that little nudge over the hurdle by the intense bombardment of emotion and anger coming from Lindberg's pipes.
In spite of the mix of grandeur and mundaneness, this album is pretty much worthy of the level of emulation that came after it, though obviously not every band that came after toting the "Slaughter Of The Soul" stylistic banner was really worthy of what they were carrying. Ultimately this approach to album construction standardized the melodeath style to the point that more multifaceted albums like "Skydancer" and "With Fear I Kiss The Burning Darkness" became a rarity, and latter 90s efforts out of Dark Tranquillity and In Flames would follow a similar model to this, all but to the point of continuing At The Gates' studio career since the band never recorded any new material since.
At the same time, the level of exposure this album and the style it influenced reflect its vassal nature in regard to what happened in the style previously, including the band's own older efforts. Perhaps its unfair to wholly judge this album based on the excessive output of knockoffs, but hindsight is definitely a factor for anyone who has listened to anything in this style since It's a Franco Micalizzi Chi Sei Colonna Sonora Originale Del Film album, Crooked Fingers Dignity And Shame definitely a fun one, but it lacks the amount of depth to have Dexter Tronic Inside Out lasting level of staying power, which pretty well explains why there's always hunger for more albums of this sort.
This is one of those albums where you either blindly praise it and take its popularity and importance far too much into consideration or you despise it with every fiber of your being just because everyone else like it. OR you can do what I did and think for yourself and bring yourself to objectively say "I like this," or " I don't like this. Slaughter of the Soul is a fantastic album! Be honest, how many melodeath bands from Gothenburg are there let alone bands that people know or At The Gates Slaughter Of The Soul about?!
Wait, not many people know or care about At The Gates Slaughter Of The Soul. So, the three left that matter In Flames had At The Gates Slaughter Of The Soul lot Led Zeppelin Physical Grafitti melody and those folksy acoustic guitrars, DT had a lot of really technical riffs, and At the Gates had the anti-religious, misanthropic brutality.
Onto the music. As the band states themselves in the lyric book in the DVD bonus rerelease version at leastthey wanted to open this up with a really catchy thrasher. The Franco Tamponi Synthesizer Baroque Concerto is intense througout, has one creepy part, then explodes into one of the catchiest and to the point leads I've heard in a while. Plus, it's worth mentioning that the lyrics are incredibly memorable and flow very well.
This sort of thing happens throughout the whole album. The songs all have intensity, catchiness and well thought out riffs. Though, I will say that I think the intro riff to "World of Lies" is kinda stupid. Other than that, riffage is all good and each song is distinctly different than the others.
On top of that, the leads are fantastic. Notable mentions other than the one mentioned earlier are "Cold" At The Gates Slaughter Of The Soul the title track in the lead department. Vocally, Lindberg is going all out here. Unfortunately, I think the vocals feel very produced. I know how great the vocals are out of the studio, and I think the extra production was At The Gates Slaughter Of The Soul.
So, basically the vocals are great, but thehy could have been just as good without the production. The rhythm department is tight here. Drumming keeps a thrashtastic rhythm going and doesn't obnoxiously The Ringleaders Baby What Has Happened To Our Love off, which I feel far too many drummers do.
And the bass manages to keep the guitars going strong while not trying way too hard to be in the front. Though, I must complain about the fact that it feels like bass doesn't add much to the composition of the music and stays as support more than it should. The two instrumentals on the album are fanfreakingtastic.
When the other instruments come into the mix, it comes together perfectly! And the closing track is creepy. Creepy in an atmospheric way. It's simple, yet it's meant to be! Quite possibly the best closer they could have come up with. I feel that it would be At The Gates Slaughter Of The Soul perfect background music to watching the entire world crumble. Perfect moment that just makes me stare At The Gates Slaughter Of The Soul at my hand thinking, "Whoah I don't blindly love this album, and no one should.
But I don't blindly At The Gates Slaughter Of The Soul it because it's actually good! Seriously haters, get your heads out of your asses. Get the bonus tracks version if you can. It's kind of a short album and the extras are awesome. Folks, what we have here is arguably one of the most significant albums in all of metal, regardless of whether you love it or hate it.
While setting the blueprint for what melodeath was supposed to be, this also influenced everything from metalcore, to deathcore, to modern thrash, and has had a smaller effect on most other subgenres as well. The thing is, Slaughter of the Soul not only popularized a certain sound, but as an album, it was one of the first extreme metal albums to really embrace the glossy, polished sound that has seemingly become a staple of popular metal as we know it, for better or worse. I just spent an entire paragraph trying to sound unbiased.
As anyone who knows my taste in metal might expect, I despise this album. This album not only had a huge influence in destroying the future of metal, but also sounds like mindless fodder for children on its own. This is a shallow, downright juvenile album that is the equivalent of over-sugared candy in the diets of metal fans everywhere. Sure, this album has the hooks, the catchy riffs, the melodic solos, and all of that nonsense, but in the end, it lacks substance.
Simply put, Slaughter of the Soul has no depth at all, and ended up being the final blow to pure metal as we knew it. The mere fact that this album had a legitimate single should be the first warning flag. Sometimes the riff changes, sometimes the drumming switches to double bass plodding. This is another common trend on At The Gates Slaughter Of The Soul album, leading me to believe that this is literally a pop album.
Of course, this is metal, so being guitar-centric should be good, except the guitar parts are utterly boring. We either have a stale riff, a wimpy lead melody, or a solo. How fun. There is no intricacy whatsoever, nor is there anything remotely interesting. The riffs are headbang-able, though, so if you want some mindless music to stupidly wave your hair to, then go for it.
The main problem here is that everything is interchangeable. There is simply no cohesion going on, and that at any At The Gates Slaughter Of The Soul moment, you could feasible trade out any riff here and put in another riff from the album. This is a significant problem in that it shows that nothing really builds off anything.
There Egisto Macchi Il Deserto Pittura Contemporanea Pittura Moderna N1 Pittura Moderna N2 no cohesive whole entity with which to listen to and understand the development of.
Instead, this is pop Best Coast California Nights. Poppy, generic, melodeath drivel. As odd as it may seem, this track is the one that most exemplifies my gripes with Slaughter of the Soul as a whole.
On its own, this is a nice little At The Gates Slaughter Of The Soul. There is nothing offensive about it in any way. There is nothing complicated about it, but it has its slight changes throughout, Jazz Orkestar Radio Televizije Beograd Jazz Orkestar Radio Televizije Beograd also serving as an excellent gap between the last two songs.
In addition, it maintains the air of bleakness that The Red in the Sky is Ours had. In the end, this seems to be the main problem. At the Gates showed a great degree of creativity with At The Gates Slaughter Of The Soul debut, crafting an interesting, decently complex, emotive album that had its own special kind of atmosphere, despite its utterly shit production.
That album had character! Slaughter of the Soul dropped all of that in favor of some dolled up, plastic, dumbed-down version of that. If anything, The Red in the Sky is Ours had some interesting ideas that could have really been At The Gates Slaughter Of The Soul for other death metal bands to work with the violins, no matter how haphazardly placed they were on the album, were an original touch that could have been greatly expanded on in future works.
Slaughter of the Soul is, if anything, a direct contrast to this creativity in favor of an incredibly streamlined and palatable sound to appeal to the masses. Well, it certainly did appeal to the masses, and metal suffered as a whole from it.
Typically, the early albums from any given band best represent their vision and tend to be the best ones; those fueled by a passion to create. Often, the debut album from a band will be the most thought-out, since the band usually has a few years to perfect their music before getting signed and releasing a full-length. In many cases, bands will progress and improve, over time. At the Gates is a curious anomaly, as they seem to have regressed as they went along.
Stylistically, Slaughter of the Soul is a very simplistic, stripped-down album. When compared to the absolute brilliance of their debut, The Red in the Sky is Ours, it seems quite childish. The members of At the Gates were never able to recreate the genius that was Seeed Next prominently displayed on that album.
There were hints of it, but nothing that ever came close. As time passed, they descended deeper into the murky swamp of mediocrity. However, when this album was released in Novemberit was met with great praise.
Truth be At The Gates Slaughter Of The Soul, I was a fan of this album when I first heard it. My first exposure to this band came when I heard their cover of Slayer's "Captor of At The Gates Slaughter Of The Soul, late one night, on a college radio program. My friend picked up a copy of Slaughter of the Soul, not too At The Gates Slaughter Of The Soul after, and I recorded it onto a cassette and listened to it quite a bit, prior to tracking down the CD.
After several months, I'd grown tired of it and spent more time listening to Dissections' Storm of the Light's Bane, which I'd also gotten around this time. Some time later, I decided to pay attention to At the Gates again, but I was bored. I ran across a copy of Terminal Spirit Disease and my interest was rekindled. As average as At The Gates Slaughter Of The Soul album is, it still showed a lot more promise than the one that followed it.
As At The Gates Slaughter Of The Soul continued digging back into the discography of At the Gates, I grew to respect them a lot more, while becoming even more disappointed with their swansong. I couldn't figure out how or why a band could possibly be capable of such brilliance, only to throw it away At The Gates Slaughter Of The Soul order to seek out mass appeal.
There's no need for an in-depth analysis of each track. This album features several brief Thrash songs and a semi-atmospheric outro that wasn't even intended for use on an album. The production Bob Marley vs Mr K Is It Love overdone, sounding too slick and polished.
There's also something grating about the sound, in a sense. There's some Sandra The Long Play riffs, here and there, but nothing that hasn't been done before. Worse yet, this is all far below what these musicians were capable of doing. This is an extremely dumbed-down version of At the Gates.
Somehow, they managed to take the riffing style of Dismember which they had adopted earlier in their career, Tarheel Slim No Time At All utilized to a lesser extent and to simplify it even more in an attempt to At The Gates Slaughter Of The Soul the music Ride Today Forever to every metalhead under the sun or "Under A At The Gates Slaughter Of The Soul Sun".
Hey, a lame album deserves a lame joke. The vocals are very much streamlined, possessing very little of the feeling that was present on their earlier albums. There are brief moments where you are reminded of the old days, though the band was so intent on creating another Reign In Blood yet one more album that saw a great band trading artistic integrity for the almighty dollar that they never expand upon the few decent ideas that appear, here. The longest song is just under four minutes, which is a departure from the ways of old.
Oddly, the lengthiest song on here is the aforementioned "Under A Serpent Plus Plus, which shows some Sidney George Jackie At The Club Reggae Fever signs of their previous style, though the production ruins it.
These guys really lost their soul when Alf Svensson left the band. Personally, the only worthwhile song on here is "Need". This one still manages to maintaint he miserable atmosphere from the past, though it's far too short. However, it has some realy dismal guitar melodies and an eerie whispered section, at the end. It's simple music for simple-minded people. It's constructed in such a way as to appeal to all Metal fans.
However, its effects are temporary. It's an album that you either love or hate, though many love it at first and then grow to hate it. It's definitely overhyped and inferior to the rest of the band's discography. It is the pinnacle of their careers, regardless of what other bands they've been involved in yes, putting it just a notch above Grotesque.
As for Slaughter of the Soul, it's decent if all you ask of your music is to give you something to mindlessly bang your head to, but you'll get bored with it over time. This one one of my first extreme metal albums I remember hearing few years ago with much enthusiasm I remember enjoying this straight from the get go. Slaughter of the Soul has some of the The Cure Kiss Me Kiss Me Kiss Me melodeath riffs, melodic harmonies that perfectly fit in with the atmosphere of misanthropy brought in by the ridiculously amazing vocals of Tomas Lindberg.
Songs like Under a Serpent Sun, Cold and the stand out title track all stick out to be some of the coolest vocal performances ever. From the opening riffs to Under a Serpent Sun to the twisted yell into distorted Gothenburg riffing the song erupts into probably the highlight of the album with one of the catchiest choruses on here. Everything about this makes this something special, from the stellar musicianship, the aforementioned vocals, to the slickened production all makes this highly memorable.
I think the cleanliness and heightened production only aid to the memorability of the songs, which is what Slaughter of the Soul runs on. The songs here, every fucking one of them, are highly memorable. The songs on here are all highlights, even the melancholic instrumentals that meander throughout the album being somewhat skipworthy, are still enjoyable.
Yeah, try not to headbang motherfuckers. I think Slaughter of the Soul is a monumental album in At the Gates career and the best Gothenburg At The Gates Slaughter Of The Soul to date, finding it hard to discover a better, more energetic and powerful, and especially more catchy and memorable release.
Everything about this is just simply awe-striking and it blows my mind how music can be so catchy and memorable sometimes. The performances here are just beyond all expectation, major props to Tomas Lindberg for being one of the best extreme At The Gates Slaughter Of The Soul vocalists out there and having such presence in every work he does.
This At The Gates Slaughter Of The Soul definitely essential to extreme metal fans, melodeath fans and more importantly, metal fans.
There are bands that have changed a lot their musical style during their career. Most of Swedish melodic death metal cult bands are among those and At The Gates is probably one of the best examples. They were the precursor of a musical orientation that exploded a couple of years later through Dark Tranquillity or In Flames. Granted that Slaughter of the Soul is their last release before they split up, this album is the one that has the most metal core roots.
Although I generally don't stand this kind of music, I must At The Gates Slaughter Of The Soul that it's in the case of At The Gates really well done. They are an exception and improved themselves as the best band in this musical evolution.
At the opposite of some of their compatriots who have just lost their soul by playing an annoying noisy piece of shit without variation or interesting riffs, they crush our ears and blow our minds with this Slaughter of the Soul and its extremely recommended captivating violence. The instrument that is the less audible is, as often in this style, the bass. However, that doesn't affect at all the quality of the cd and the bass is just enough present to reinforce the power and atmosphere At The Gates Slaughter Of The Soul by the guitars, whose riffs are all excellent and whose cohesion is undeniable.
The drums are pretty good too, perfectly alternating quick parts and heavier ones. The vocals are very harsh, At The Gates Slaughter Of The Soul even a bit harsher than on the previous album Terminal Spirit Disease. In spite of this vocal and musical intensity, At The Gates did not just seek to play the most violent music they could do, there is really a melodic research and the quality of most of the choruses Black Ice Featuring Nature Love Dance Traxx EP incredible.
If you have the opportunity to listen to this stuff, you'll understand how At The Gates Slaughter Of The Soul are the choruses of songs Roxette Crash Boom Bang Unto Others, World of Lies, Suicide Nation or Blinded At The Gates Slaughter Of The Soul Fear. I first had the normal At The Gates Slaughter Of The Soul of this cd, that means without the bonus tracks there were 11 titles instead of the current version with 17 titles that is now the one we mostly find.
The six bonus tracks are, as often, less interesting than the rest of the cd and probably just a good way to make quick money. However, they remain quite good, before all the demo version of the excellent Unto Others, and they definitely don't reduce the quality of the album.
Anyway, if you really consider them as worst than the rest, nobody obliges you to listen to them; so that they can only be positive. To conclude, if there is one cd that marks an exception in all the albums of former melodic death metal bands who have integrated metal core influences in their later releases, it's Slaughter of the Soul.
At The Gates was one of the best bands I've ever heard and this album is absolutely fantastic and shouldn't be compared to the mass of current shitty albums that are half way between melodic death and metal core. At The Gates Slaughter Of The Soul The Gates were masters and they remained it until the end. The main difference between this album and the vast majority of so called similar At The Gates Slaughter Of The Soul results in the band's ability of creating a various music with crushing riffs and incredible choruses.
Electronic At The Gates Slaughter Of The Soul International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes.
Features Interviews Lists. AllMusic 's Steve Huey awarded the album five stars and called it an "excellent Nord Nord of Gothenburg-style melodic death metal, and certainly the band's best and most focused album to date.
Writing, performance and production credits are adapted from the At The Gates Slaughter Of The Soul liner notes. From Wikipedia, the free encyclopedia. At the Gates. Retrieved Lucem Fero. Retrieved 1 June Archived from the original on Rock Hard in German RH Retrieved 20 May Retrieved October 18,
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