Review by Emma on April 14, 2009.

Ethereal Collapse offers an album that is as tight, clean and well run as a first world hospital. It also has all the soul and personality of a hospital. To begin, the album artwork is misleading about what is actually in store for the listener. Popping in Ethereal Collapse’s "Breaching The Citadel" in without a second glance I expected something rather doom and gloom. I know, don’t judge a book by its cover, but seriously, the monochromatic Gothic architecture suggests and entirely different kind of sound and attitude than what Ethereal Collapse actually offers. Alas, I was instead greeted with a bad case of cookie cutter melodic Death Metal. There is a little bit of Thrash heard here and there, but most of it screams Soilwork. I’ll start off on the positive points here. For a self-released album this is very well produced. I’d say that is one of the strongest points of the album altogether. The drums are a bit distracting in the opening track ‘A Tragedy Divine’ But otherwise I have no qualms with it. All the songs have a solid structure and none of them I would call boring. But there is just way too much sweep picking for my taste. It’s in every song to the point of being overwhelming! The vocals are also too close to hardcore for comfort. When it really comes down to the entire sound of Ethereal Collapse, ‘neatly packaged’ is the description that struck me. The sound has been so tightly bound in plastic wrap that any characteristics distinguishing this band have been squeezed out. The lyrics are equally lacking in flavor. ‘A Tragedy Divine’ is about ‘Romeo and Juliet,’ which the writer bothered to explain to the audience just in case we couldn’t figure it out. Of all the classic epic tales of love out there to choose, ‘Romeo and Juliet’ is the most rehashed of them that Hollywood (and the public school system) has taken under its wing. The rest of the lyrics also start to dabble in ‘deep subjects’ but don’t make a convincing argument. Altogether "Breaching the Citadel" isn’t a badly done album, fans of Soilwork, In Flames, and Dragonforce will get a kick out of it, but there isn’t anything here I would return to.

Categorical Rating Breakdown

Musicianship:5
Atmosphere:4.5
Production:7
Originality:2
Overall: 6

Rating: 4.9 out of 10

Review by Felix on August 30, 2020.

Thrash metal. Did I ever use these two words in one of my reviews before? I did so? Okay, but I am sorry, I have to do it again. Crimson Slaughter from Spain call for the next thrashing attack. The band prefers the old - and, from my point of view, the true - approach of the sub-genre. Nevertheless, although the artists like to take a trip into the past, let us speculate how future generations will judge this work.

In all fairness, our descendants will not say that Crimson Slaughter released the metallic highlight of 2016. They will additionally say that the band did not surprise the audience with highly original sounds. Although there is no obvious role model like Exodus, Slayer or Testament, the four Spanish ruffians do not desperately seek for new gimmicks in order to enrich their music. (Well, we all know this kind of enrichment - in most cases, it is just crap.) No, Crimson Slaughter are loyal to the initial movement of American thrash metal and its musical ideas from the mid-eighties, even if the first seconds of "Dead Walk Away" reminds me of early Kreator. Their no-frills approach is full of energy, straightforward, but not simple and equipped with the necessary degree of rawness, brutality and pressure. Of course, the full sound of Cycle of Decay is a valuable asset that helps the songs to develop their entire strengths. Just concentrate on the clear, sharp and vigorous appearance of the rasping guitars. Yet the compositions themselves are also well done, even though there is room for improvement in terms of catchiness and coherence. Especially a few solos are going nowhere. But come on, we are talking about debutants.

Future generations will also realize that lead vocalist Víctor Sánchez cannot challenge the charismatic singers of the first wave of thrash. His screams and shouts are powerful, but they lack an individual note. Some gang shouts or extremely distorted voices support him more or less successfully, but to be honest: this is no mind-blowing vocal performance. Nevertheless, Victor's style increases the level of energy and that's naturally a good thing. The high speed that dominates the album asks for a fidgety singer and he fulfils this request. Mind-blowing sequences like the beginning of 'Kill or Be Killed' are based on the explosive guitar work, but also on his screams. Leaving these details aside, the entire track belongs to the highlights of the album. It is on a par with 'Buried Beneath The State' which offers some exciting guitar leads. In particular the second part of the verse has a very good flow.

Viewed overall, the generations of our children and grandchildren will probably say it is no wonder that Cycle of Decay did not become a classic. Yet, and I hope that the album does not fall into oblivion, they will also say that the sawing guitars, the robust drumming and the pretty mature execution of the songs in general ensure a nice listening session. Indeed, I guess they will like this album - regardless of the then current products. And by the way, who knows how thrash metal will sound in 2035? Maybe some progressive "thrashers" have started to mix once sharp guitars with an overdose of flutes and harps? Or every thrash band that wants to be taken seriously must have an accordionist in its line-up? Or a hip-hop mix of "Angel of Death" is the new big thing? Nightmarish visions! Yes, the more I think about it, I am sure. Future generations will enjoy Cycle of Decay.

Rating: 7.3 out of 10

Review by Felix on August 30, 2020.

Thrash metal. Did I ever use these two words in one of my reviews before? I did so? Okay, but I am sorry, I have to do it again. Crimson Slaughter from Spain call for the next thrashing attack. The band prefers the old - and, from my point of view, the true - approach of the sub-genre. Nevertheless, although the artists like to take a trip into the past, let us speculate how future generations will judge this work.

In all fairness, our descendants will not say that Crimson Slaughter released the metallic highlight of 2016. They will additionally say that the band did not surprise the audience with highly original sounds. Although there is no obvious role model like Exodus, Slayer or Testament, the four Spanish ruffians do not desperately seek for new gimmicks in order to enrich their music. (Well, we all know this kind of enrichment - in most cases, it is just crap.) No, Crimson Slaughter are loyal to the initial movement of American thrash metal and its musical ideas from the mid-eighties, even if the first seconds of "Dead Walk Away" reminds me of early Kreator. Their no-frills approach is full of energy, straightforward, but not simple and equipped with the necessary degree of rawness, brutality and pressure. Of course, the full sound of Cycle of Decay is a valuable asset that helps the songs to develop their entire strengths. Just concentrate on the clear, sharp and vigorous appearance of the rasping guitars. Yet the compositions themselves are also well done, even though there is room for improvement in terms of catchiness and coherence. Especially a few solos are going nowhere. But come on, we are talking about debutants.

Future generations will also realize that lead vocalist Víctor Sánchez cannot challenge the charismatic singers of the first wave of thrash. His screams and shouts are powerful, but they lack an individual note. Some gang shouts or extremely distorted voices support him more or less successfully, but to be honest: this is no mind-blowing vocal performance. Nevertheless, Victor's style increases the level of energy and that's naturally a good thing. The high speed that dominates the album asks for a fidgety singer and he fulfils this request. Mind-blowing sequences like the beginning of 'Kill or Be Killed' are based on the explosive guitar work, but also on his screams. Leaving these details aside, the entire track belongs to the highlights of the album. It is on a par with 'Buried Beneath The State' which offers some exciting guitar leads. In particular the second part of the verse has a very good flow.

Viewed overall, the generations of our children and grandchildren will probably say it is no wonder that Cycle of Decay did not become a classic. Yet, and I hope that the album does not fall into oblivion, they will also say that the sawing guitars, the robust drumming and the pretty mature execution of the songs in general ensure a nice listening session. Indeed, I guess they will like this album - regardless of the then current products. And by the way, who knows how thrash metal will sound in 2035? Maybe some progressive "thrashers" have started to mix once sharp guitars with an overdose of flutes and harps? Or every thrash band that wants to be taken seriously must have an accordionist in its line-up? Or a hip-hop mix of "Angel of Death" is the new big thing? Nightmarish visions! Yes, the more I think about it, I am sure. Future generations will enjoy Cycle of Decay.

Rating: 7.3 out of 10