Reviewed: March 2013
Released: 2012, F.D.A. Rekotz
Reviewer: Metal-Rules.com UK Team
After releasing both a demo and a split with Lifeless (amusingly titled Chapel of the Lifeless Cult), German Death Metal band Chapel of Disease unleash their first full length record, in which the band continue on their Asphyx/Death-influenced path of Death Metal destruction, 90’s style.
The production does its best to emulate the sound of classic Death Metal recordings, with a certain rawness creeping in on some spots. Crunchy guitar riffs, which sometimes reference other bands just a little too blatantly, are for the most part inspired by Asphyx, with some Bolt Thrower and Death thrown in.
The bass and the drums reinforce the heaviness with a very straight forward approach. On top of all that is vocalist Laurent Teubl’s vocals which are for the most part Martin Van Drunen worship with some other elements thrown in, such as moments when Teubl opts for a deeper, growled vocal style.
The album opens with the title track, in which the band quickly establishes what they are about: building from slow to a mid tempo riff, then finally breaking into a thrashier, old school Death Metal beat, the band makes listeners feel like they’ve just entered a dark cave that leads to a desolated wasteland.
The drums on this song are quite raw once the tempo goes faster, then the band slows down again for a moment, then begin thrashing away again. Teubl’s vocal style fits perfectly with the rawness, and are quite effective during the slow parts. \”Descend to the Tomb\” gives the impression that it will be a slow track, when suddenly the band break into a thrashier version of the same riff, then go into a pattern where the song slows down then suddenly picks up on the speed again.
The vocals have a deeper tone than the previous track. The third track, “Dead Spheres” begins with a riff that was clearly lifted from Sarcofago’s “Nightmare”, before coming back to the band’s style. “Evocation of the Father” contains some interesting bass parts at the beginning, leading to more Doom Metal-inspired territory.
The slow riffs build up to a crushing mid tempo section. The guitar solos are very interesting, and the track itself almost has an improvised jam feel to it. “The Nameless City” is a pretty straight forward track until the band break into a Black Sabbath inspired groovy section, while “Hymns to the New Land” is a thrashier tune with some interesting stuff going on in the middle of the song where the band goes into more technical approach to the music, but without losing the raw edge of the other tracks.
While “Exli’s Heritage” keeps the old school fast approach, the song “The Loved Dead” gives the impression that the band will go full Doom Metal mode, though that is not the case as the band brings in the speed halfway through the song.
Summoning the Black Gods is a good Old School Death Metal record, and even though some areas may have some people thinking “Been there, done that”, Chapel of Disease play their style with a straight forward honesty that can be contagious, especially if you enjoy classic Death Metal. I believe the band does some very good Doom Metal-inspired stuff, which they could explore further in the future.
Review by Titus Isaac
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