Review by Felix on December 7, 2019.

Something went wrong in the career of Grabak (if we want to use the big word “career” at all). Their perfect second album still waits for a comparatively good successor. The malignancy and intensity of Encyclopedia Infernalis have remained untouched – not to mention its majestic enormity. Bloodline Divine, the release from 2017, also has no chance to cast down the once-in-a-lifetime work from its throne. Nevertheless, the album embraces the listener violently and it cannot be blamed for a general lack of strength.

Grabak have not changed their song-writing formula. Bloodline Divine offers exactly the approach of Sin or Agash Daeva. And here we are at the point why the album is not on a par with the immaculate full-length from 2001. All these works have many hammering hyper-speed parts, they shine with an enormous degree of brutality and they deliver a fine soundtrack for the funeral of the overdosed techno maniac next door you loved to hate. Yet the great, monumental melodies are missing, and the atmosphere is black, but still not black enough (sorry for using the words of the old poser called B. Lawless). Grabak lay the foundation for a demonic cathedral, they create a very robust building and it weathers all storms. But where is the last iota of architectural brilliance? The melodic elements that show up during the less brute sections do not score with compositional excellence. Some of them remain pale and so they are not able to deliver an interesting contrast.

But perhaps I am just expecting too much when it comes to Grabak. Their 100%-album is both blessing and curse. The only band with two perfect long-players is Slayer – and these works seem to originate from another life (I was young, had long hairs and no back pain). So, let’s say it unmistakably: songs like “Corpsebridge”, “Seelensammler” or the title track breathe, spit, ooze and emanate black metal in its pure form and they do it in a competent manner. Honestly speaking, I could have mentioned the other pieces as well. However, sometimes the whole is more than the sum of its parts – and vice versa. Grabak cannot prevent a slightly stale feeling of uniformity. Even though each and every track hits the mark, the album does not reach the 90+X% area. I am not quite sure whether or not it’s a lack of compactness, a lack of diversity or a lack of catchiness (or all together), but one thing is certain: I cannot suppress the feeling they have a bigger potential than they show on Bloodline Divine.

What is left to say? The powerful production has an adequate depth, the vocals convey a proper quantum of diabolical vibes and any kind of lukewarm or soft tendencies does not show up. Grabak now have released six albums, five good one and a perfect one. Bloodline Divine belongs to the first group.

Rating: 7.8 out of 10

Review by Alexi on February 20, 2005.

The Louisiana bayou has been the setting for one of America’s muddiest forms of music, sludge metal. Fusing the grooves of Black Sabbath with the herbish-aura of Kyuss, sludge metal took many forms in the early 1990’s. However, by the mid nineties, sludge metal was defined by three bands: Eyehategod, Down, and Crowbar. These three would forever be the embodiments of the sounds of the bayou.

Crowbar was last heard from four years ago when they released Sonic Excess In It’s Purest Form. Sonic Excess was not only a groundbreaking, but it also left a lot of room for growth. After listening to Sonic Excess, fans might have wondered what direction Crowbar’s next record would take. It could be a very slow album with singing, or aggressive as Dopesick by Eyehategod.

Crowbar took an evolutionary step in Life’s Blood For The Downtrodden, making an album similar to Sonic Excess but with subtle differences. The primary difference is the production. Producers Warren Riker (Down) and studio bassist Rex Brown (Pantera, Down, and Crowbar) brought out every instrument clearly, without losing the fundamental aspect of sludge metal: its muddiness. Another ideal addition to the studio lineup aside from Brown was Craig Nunenmacher (Black Label Society) on drums whose finesse and grace around the drum kit can be heard clearly on Life’s Blood for the Downtrodden.

While Life’s Blood For the Downtrodden is not the fastest Crowbar release, it is extremely versatile showing off the musical personalities of the band. Whether you are a diehard Crowbar fan, or if you are hearing Crowbar for the first time, Life’s Blood for the Downtrodden should have a permanent spot in your CD player.


Categorical Rating Breakdown

Musicianship:7
Atmosphere:8
Production:8
Originality:7
Overall:8

Rating: 7.6 out of 10

Review by Jack on March 20, 2002.

Edguy is a German power metal band that is featured within the same vein of pompousness as Sonata Artica and whilst better than Sonata Artica, they both do not possess the same mastery over their metal that innovative bands like Rhapsody do. However, do not make the mistake of thinking that Edguy are not brilliant musicians, because that line of thought could not be further from the truth. The pit-fall that Edguy (and Sonata Artica) fall into is a willingness to not expand and open their horizons. I mean we have all heard Stratovarious before, why must we listen again and again and again?

Tobias Sammet of Avantasia-fame created a brilliant album in “The Metal Opera” (all be it with some help from some other celebrity power metal folks). It was a stand out album and definitely worthy of album of the month at Metalbite.com. Why in the hell did he come together with the rest of Edguy and put together such a disappointing album in “Mandrake"? Edguy as a collective possess an extraordinary amount of talent, yet let themselves down as a band with writing tired music with boring and unimaginative chorus/choir sections.

It is ridiculously frustrating to see Edguy, who have the potential to strive and reach for the power metal throne, write some pretty mediocre stuff. If Edguy were some untalented and worthless power metal band I wouldn’t care, as “Mandrake” is not an overly bad album, it is just sad that Edguy have not fully realized their potential.

Bottom Line: If it was most other bands, I could probably get away with recommending this album, but being the talented outfit that Edguy are it is extremely hard to say this album is worth a look because of the frustrating abilities of these guys. Still if you are craving more “Silence” from Sonata Artica than give this album a look. Very, very average record from a very, very above average outfit.

Categorical Rating Breakdown

Musicianship: 9
Atmosphere: 5
Production: 8
Originality: 3
Overall: 4

Rating: 5.8 out of 10