Review by Allan on February 26, 2003.

I hate to be the one to break it to you, but the hardcore genre is just a tad too full. A tad? Scratch that. The hardcore genre is overflowing with unnecessary bands that might as well call it quits or start writing something a little more groundbreaking. Most bands aren’t even cracking the ice, so I don’t be expecting anybody to break it anytime soon. Soul Embraced, another one of those hardcore bands, are stuck right in the middle of all this. Their follow-up to their 2002 debut “This Is My Blood,” their new album, “Immune,” is simply a continuation of that mediocrity that plagues too many bands.

Most people will really dig “Immune.” After all, what’s stopped them before? Soul Embraced have about three-fourths of the whole picture, but that’s not enough. Here’s what it breaks down into for Soul Embraced: thick, rolling powerchord progressions, occasional clean vocals, hardcore screams, the occasional melodic lead, and a melodic edge, including the ever-famous Swedish melodic-death influence. What’s new? Nothing. Granted, some of these riffs will absolutely rock your socks off. So, for whatever that’s worth, take it. But really, I need a little bit more flavor in my tea before I go and brew another batch of it.

I’m probably being far too hard on Soul Embraced. Actually, I am. ‘Someone Just Walked Across My Grave’ is an absolute killer with its menacing feel and powerful riffs, ‘Existence In Despair’ is filled with a nice dual-guitar lead, and you certainly won’t find me complaining too much about ‘On Your Own’ or ‘I Bury You.’ Soul Embraced are just kind of a hit or miss band.

Bottom Line: Not terrible by any means, however, “Immune” is one of those albums that is on the borderline and lacks enough to make it an album that you would listen to more than occasionally. Worth a look for fans of Living Sacrifice, a band of which a few of Soul Embraced’s members are from.

Categorical Rating Breakdown

Musicianship: 7.5
Atmosphere: 6.5
Originality: 5
Production: 8
Overall: 6.5

Rating: 6.7 out of 10

Review by Michael on September 28, 2022.

The year is slowly at its end and it is almost time to think about your favorite albums in the different metal genres. I already found my faves in thrash and death (Protector and Slaughterday), now it's necessary to focus on the doom metal genre. The year wasn't too rich of doom releases (or I didn't get them) but the autumn (which is the best season for doom in my opinion) has two promising albums, namely Spiritus Mortis at the end of September and Candlemass in the midst of November.

Now here we go with the latest album The Great Seal by the Finnish doom legends Spiritus Mortis which is their fifth one in their 34-year-career. First of all I have to state that their new vocalist Kimmo Perämäki really fits very well into the band and gives the songs a very special touch with his deeper and slight raspier vocals than Sami Hynninen (maybe better known as Albert Witchfinder of Reverend Bizarre) had on the previous albums. The production is very powerful and clear so that there aren't any flaws to find here.

The Great Seal doesn’t start with a slow, heavy-laden riff picked as its predecessor The Year Is One did but with a very catchy Candlemass-like opener called 'Puputan'. It spreads a very groovy, warm and epic atmosphere and with a lot of fantastic melodic parts which reminds me a lot of the Robert Lowe-era of the Swedes. Both guitarists do a great job here (and I will come back later to them). Is this still doom or already not – this is the question. Well, with 'Death's Charioteer' or 'Skoptsy' there are classic doom songs to find here, too. They are creepy, very dark and slow songs that spread a certain Black Sabbath atmosphere but combined with this very special Finnish sultry and slight depressive basic mood. 'Martyrdom Operation' however is a very casual, cool rock song that starts with some pretty heavy ZZ Top vibes at its beginning. The chorus is quite simple and catchy and despite of the simplicity of the songs it turns out to be a really great banger. But the best song on the album is 'Khristovovery'. It doesn't start very spectacularly but (and now I'm coming back to the guitar work) what the guitarists are conjuring in the midst of the song is something that Tony Iommi wouldn’t have done better. I haven't heard such a fantastic and majestic parts for a long time. The riff starting at 4:30 is absolutely amazing and what is happening at 5:10 reminds me pretty much of the stairway painting of M.C. Escher – you don't know where the riff began or where it will end, this is quite hypnotic. The shortest song of the album with a very impressive anti-war-message is 'Visions Of Immortality'. This one is a mid-tempo stomper that is very entertaining and again quite catchy. 'Feast Of The Lord' might be the most emotional song with some very tragic and sad arrangements which again show the so much underrated abilities of this band. Closing with a very slow and atmospheric song called 'You Are A Witch' the band declares the battle for the best doom metal album of the year as opened – let's see if Candlemass are able to top this fantastic album. Because I haven't heard “Sweet Evil Sun” yet I “only” give it 9.9 of 10 so that it can be topped by Candlemass. Well, if not, I am going to change it into a 10 (I hope you can follow my logic here).

Rating: 9.9 out of 10 Great Seals

Review by Felix on January 18, 2021.

Norway, once a leader in black metal, is in a sad state. Although they can boast a beautifully antisocial black thrash scene and even a flawless thrash horde can inspire (Shakma). But the black formulas are apparently no longer taught. At best, the old heroes stick their heads out of their snowy forest once a decade (Ancient, Immortal). Therefore the field would be free for the generation of the sons of the second wave heroes. So, does it work? Not really. Endezzma drop by and impressively show that at the upper end of Europe have shifted to producing average stuff. The beginning of the album is terrible. Hectic guitars, a robotic double bass and a vocal line that makes sudden deafness seem like an interesting alternative characterise 'The Name of the Night Is a Strong Tower'. The relatively modern production and the soulless hammering of the double bass don't allow the piece to develop. Next song, same problem. Endezzma obviously think that stormy vehemence alone gives a track depth, atmosphere and power. But that is wrong.

After this introduction I would have preferred to sedate myself with two hours of "Hell Awaits" or "Seven Churches". Seriously, this is the Norwegians' third long-playing record and no one notices this lack of compositional skill? Amazing. But I admit I would have missed a respectable increase in the band's performance if I had stumbled into the nearest bar after the intro and the first two songs and got drunk (but you can't anyway, thanks to Corona). With the title track, the squad creates drama, grandeur and emotion for the first time. Typical Nordic riffing opens the piece in mid-tempo. This approach leaves room for the voice for the first time and one actually perceives something like expressiveness. The tempo changes fit, the one-dimensionality of the first pieces is overcome and especially the incantations from 2:34 minutes on - also with the support of keyboard effects - are magnificently staged.

The title track pushes open the door to the best part of the record. 'Formless and Void' also opens with a blunt but good guitar line and the chorus almost gives the song another dimension. A piece like this would often have done Gorgoroth good. At the latest with 'Garden Ov Heathen' a pattern emerges: whenever Endezzma don't just beat up on their instruments as if there was no tomorrow, musically appealing, atmospherically successful pieces emerge in the process. Why not like this right away, the impatient listener asks himself and unfortunately gets no answer. And that’s not all. From song number eight on, the glory is over again, everything comes to a solid but unspectacular end. Sporadically, the one or other melody line stands out, but such an ingenious background melody as the whimpering keyboard performs in 'Wild Glorior Death' from 3:05, does not appear again. What remains are four top tracks in the middle of the album. Could have been a good EP, but became an ambivalent long player. This can't really improve the state of Norway.

Rating: 6 out of 10