Review by Felix on March 31, 2023.

In my humble opinion, Samael's third full-length is the best album that the dudes released so far. Honestly speaking, it is my expectation that the institution from Switzerland will never reach the level of this work again. Of course, the band has modified its style in a significant manner, but this is not the crucial factor. Of greater relevance is the thrilling combination of nefariousness and perfidy that forms the basis of "Ceremony of Opposites". With regard to the further evolution of the versatile group, the exact recipe for this mixture seems to be irretrievably lost. We must take the most of the moment and delve into the here presented album from time to time. Welcome to the ten monolithic ashlars of "Ceremony of Opposites" that await you in total darkness.

"Black Trip" - this is not only the title of the opener. At the same time, it describes the programmatic approach of the album in a very precise manner. Subversive guitar lines unite with demonic vocals and their interplay has the power to turn the brightest day into the blackest night. Without being brutal in the narrow sense of the term, Samael pledge allegiance to the very sinister side of metal. Their rhythms are almost groovy and, I know it sounds absurd, danceable. Despite this fact, any type of positive feeling does not show up. Instead, the actors keep a close eye on other features. Rarely pompous (at the beginning of "'Till We Meet Again"), sometimes desperate and always diabolical, this is the impulsive mix that the band presents. It is a crude yet fascinating intertwining of cold-heartedness and passion. Amazingly enough, Samael never lose their way. This means, among other things, that velocity is of minor relevance. Instead, the group enjoys the depth of mid-tempo rhythms without boring the listener. The drilling guitars alone are able to keep up the tension and the occasionally occurring keyboards, for example at the start of "Flagellation" or at the end of the title track, increase the menacing and misanthropic aura of the album.

Although this aura has absolutely nothing in common with that of a happy event, the fittingly titled full-length thrives on its ceremonial character. The band is to be strongly commended for having created an almost ritualistic style without falling back on folkloristic elements. I want to emphasize this, because sometimes exactly these elements endanger the metallic fundament of the albums of Samael's competitors. But maybe the Swiss band just had no choice. The sound of cowbells and alphorns would not have been a good idea, if I am not mistaken. Samael were aware of this situation and set the focus on a dense, abysmal and domineering production. It appears as the more or less perfect technical implementation of the musician's sombre visions. The high quality level of the sound matches with that of the compositions themselves and some of the best tunes scream for a detailed description.

The opener, "Baphomet's Throne" and the title track form an unholy trinity. While "Black Trip" kicks off the album with sharp leads, the song about the demon marks the highlight in the centre of the album in view of its negativity and relentlessness. The ponderous title track finishes the full-length while leading the audience to the fathomless pits of eternal damnation. But one thing is for sure. Despite the glory of these tracks, the old saying applies: the whole is more than the sum of its parts. Therefore, I strongly recommend to listen to the album from the beginning to the end in order to experience its constantly growing atmosphere. Even more than 20 years after its release, the impenetrably dark flair of the output is still impressive. Samael demonstrate a radical approach without neglecting melodic elements. As far as I can see, this kind of radicalism has remained unique. I do not know any other (younger) band that has been able to create a work with an extremely robust flair which is based on the same compositional formula. Viewed from this perspective, this ceremony must continue.

Rating: 9 out of 10

Review by Jeger on August 4, 2024.

Without much in the way of the olde Dio steel and leather heavy metal to offer and much more in the way of what’s considered to be cutting edge to divvy out, Philly’s Sumerlands are not your dad’s heavy metal band. They formed in 2013 and now sport two impressive full-length LP’s under their belts - the kind of progressive yet soulful stuff that turns heads like a vixen or an exotic car, not a totaled one either… In September of last year, Sumerlands released their latest effort, “Dreamkiller”, via Relapse Records. 

To top 2016’s “Sumerlands” is no minuscule feat, especially considering the unforgettable vocal work of one Phil Swanson - a classic and classy contribution to an album that I’m not so sure Sumerlands thought was going to make such an impact. But the NWOTHM is a thriving movement in The States, so the real question stands: how could an album of its caliber possibly go unappreciated? Well, it didn’t and it’s been a very long, expectations-raising wait for “Dreamkiller”. Is it worth the wait? You bet it is… 

Sumerlands are my favorite heavy metal band for good reason. I believe that class is important and that less is usually always more. There’s no Dragonforce and Iced Earth flamboyance or Manowar cheesiness to be found here; only executive-level heavy metal - the cream and the standard. The aforementioned Phil Swanson was replaced by current vocalist Brendan Radigan. Similar styles but Brendan’s range is superior and he brings more of a sense of urgency to the music. Essential to dynamic cuts like the titular track and “Force of a Storm” that tread familiar but ultimately more dynamic ground. The latter the album’s finest example of musical wisdom in action. It’s soul meets melody in what is probably the sexiest metal song I’ve heard in a long time; smooth as silk with an unforgettable chorus. But still not even the best of what this record has to offer. 

Guitars are the highlight, man! Thought you knew… John Powers and Arthur Rizk? Untouchable. Riff and solo ear candy the whole way through. Everything from the tonality of the guitars down to the chugging tempo to which they’re played and even the modest yet impactful use of effects; all lethal components that make up this perfect weapon of an album. And the rhythm section? Martial and authoritative as it was in the old days. A strong foundation and the glue that holds it all together. Justin DeTore and Brad Raub laying an unshakable foundation for each and every soulful soundscape. The premier cut on the record comes by way of “Edge of the Knife” - a testament to elite songwriting ability and a Jaguar-like level of sleekness to indulge your taste. In many ways, this is the quintessential heavy metal track; full of classic swagger and it’s these kinds of songs that, at one time, turned mere men into legends of the scene. 

Contemporary heavy metal bands tend to unknowingly make a mockery of the genre through what I consider to be an over-slathering of cheese and overly sensationalized 80’s nostalgia. Definitely not the case here. Timeless and transcendent yet rooted in the fundamentals, “Dreamkiller” is an album for today’s metal fan and climate, but also a throwback to a time when integrity and sincerity stood paramount. 

Rating: 9.5 out of 10

Review by Brexaul on October 1, 2022.

Sometimes I like to imagine a world like Marvel’s “what if?”. In this specific thread of the multiverse the world would riot if Ozzy released this instead of “Patient No.9”. I’m talking about looting and pillaging just to sacrifice our earthly possessions to thank the Gods that blessed us with such a masterpiece.

Six years after their impressive debut, Sumerlands return with a robust statement. With three out of five members also playing together in Eternal Champion, Justin DeTore still smashing the drumkit and the new addition of Brendan Radigan (of Pagan Altar/Magic Circle fame), the band presents a surprisingly nostalgic but FRESH take on the 80s formula.

Here you will find tons of small nods to Dokken, Malmsteen, Stan Bush and mostly the man himself, as Dreamkiller could well be an Ozzy-in-his-prime album, both due to the parallels between the double O / Brendan’s voices and the Jake E. Lee / Randy Rhoads approach to the guitars. But none of this would really matter without good songs. Thankfully, the songwriting is the star here and mainman Arthur Risk has come along cementing his presence in today’s heavy metal, both with his songwriting skills and of course with the personal approach to his mixes.

The guitar work is really excellent with a refreshing take on riff-oriented heavy metal, filled with fantastic melodies and solos. The subtle (or not) use of keyboards amplifies the nostalgia factor up to 11 and along with the fantastic rhythm section – which is as “analog” as one can get these days- make for a very familiar sound that manages to take you back to the best days of your teenage life.

Just listen to the anthemic 'Force Of A Storm' and tell me it doesn’t bring you back to a montage training in Bloodsport or a flight sequence in Top Gun – hell, even Cobra Kai could make great use of it now that Netflix is big on getting heavy metal bands on their 80s inspired series. There is no bad song here, but if I had to pick some indicative songs apart from the aforementioned, then I’d suggest the crushing opener 'Twilight Points The Way' and the somber closer 'Death To Mercy' which features what has to be a short tribute to the late Bill Tsamis of Warlord.

Where’s the catch you might ask? My only gripe again with Arthur’s escapades is that like his work with Eternal Champion, the album is fairly short but it's so well crafted and addictive that I won’t let it spoil my perfect scoring. This is beautiful, so please don’t make us wait another 6 years.

Rating: 10 out of 10