Of the literally hundreds of excellent metal bands hailing from Sweden, Evergrey is one of my favorites. The band's trademark mix of thrashy power metal, progressive metal, and gothic subtleties gives them a unique identity within the crowded prog metal genre, and the powerful and distinct vocal delivery from Tom Englund never fails to amaze me. On their 1998 debut, The Dark Discovery, the band's morose and edgy progressive power metal sound is firmly established, but it lacks the refinement that made some of their future efforts so outstanding. Evergrey's entrance into the musical world is flawed in many regards, yet the band exhibits a high level of promise that - thankfully - would be fulfilled over the course of their next few observations.

For those unacquainted with Evergrey, this Swedish act performs a style of progressive power metal with a thrashy, American-sounding edge and dark gothic atmospheres. Their sound has moved in a more commercial direction in recent years, but earlier efforts like this one have quite a few progressive overtones. The Dark Discovery is undoubtedly an original album given its time period, and the band's semi-straightforward and morose sound was a refreshing change of pace from the countless Dream Theater and Fates Warning clones that populated the prog metal scene in 1998. Most of the songs here linger in the four to five minute time frame, and these powerful and melodic mini-epics are all really well-composed and quite diverse. Some songs may take a few listens to draw any distinctions between, but a gothic power ballad in the form of "For Every Tear That Falls", for example, helps add some nice variation and memorability to this already solid album. Although the band would take their unique approach to new heights over the next few years, The Dark Discovery is a worthy listen for any fan of Evergrey.

In terms of complaints, the album's real shortcoming is in its tremendously weak production. The guitars sound muddy and unclear, the drums sound distant and blurred, and Tom Englund's otherwise spectacular vocal delivery is obscured by a poor mixing job. This is just a really amateurish sounding album in terms of production and delivery; in addition to the weak production, the band's technical skills weren't quite as sharp as they would soon become either. It's a bit of a shame, actually, because this is a very impressive album from a compositional standpoint. Still, the production does not ruin The Dark Discovery, and its assets are plentiful enough to warrant a listen from any progressive power metal aficionado. Though I'd recommend starting with a masterpiece like In Search of Truth if you're new to the band, The Dark Discovery is a recommended listen to any Evergrey veteran.

When it comes to Cradle of Filth, the general consensus within the metal community is that their earlier output is far superior to anything they've done in more recent years. That's not to say that most folks will claim that their newer albums are horrible - in some cases, it's quite the opposite - but most of the attention is often given to the band's first handful of records. As a result of this common mindset, many newcomers to the band may be inclined to initially skip over 2008's Godspeed on the Devil's Thunder - a real shame, as I'd actually consider this to be one of the Cradle's finest moments. Complete with a chilling, bombastic, and downright evil story focused around the life and wrongdoings of infamous French serial killer Gilles de Rais, this masterpiece showcases Dani Filth and company at the absolute top of their game. If gothic atmospheres, symphonic overtones, and overblown arrangements are what you crave in extreme metal, it's tough to go wrong with Godspeed on the Devil's Thunder.

Cradle of Filth's sound has become more polished over the years, but their core mix of symphonic black metal and gothic metal has more or less remained in tact since day one. Godspeed on the Devil's Thunder is undoubtedly an acquired taste, as the overblown and pompous nature of the album is likely to turn away quite a few of the more conservative 'purists'. If you're open to the idea of having a choir, loads of keyboards, and classical flourishes in your metal, however, you'll find that symphonic gothic/black metal doesn't get a whole lot better than this. Godspeed on the Devil's Thunder is an exceptionally well-made album, and it's clear that the band put a lot of thought into the compositions and arrangements of this observation. The crystal-clear production allows the listener to easily experience every small detail in the music, and upon repeated spins, many subtle intricacies do begin to come to life. Everything from the eerie choir arrangements to the brilliantly intertwined recurring themes just reek of sheer perfection, and coming up with complaints for an album this good is quite a challenge. A cinematic overture in the form of “In Grandeur and Frankincense Devilment Stirs” instantly sets the mood for the entire album, and the subsequent dive into sinister symphonic black metal on “Shat Out of Hell” is simply enthralling.

Thankfully, the band maintains this level of intensity throughout all of Godspeed on the Devil's Thunder; although the album will be playing for over 71 minutes before it ends, it never feels stale or drawn out. The epic interludes, crushing metal riffs, and chilling narration always mix things up, and this is truly one of Cradle of Filth's finest moments from a compositional standpoint. There's really not a weak song in sight, and the musicianship is also among the finest in extreme metal. The drumming from Martin Škaroupka (or Marthus) just blows me away every time, and his chaotic mix of blast beats, frantic fills, and technically demanding rhythmic patterns never cease to amaze me. The man is simply a monster, and a complete treat to listen to for any drum nut.

Though I am in a rather small minority, I consider Godspeed on the Devil's Thunder to be one of the best albums from Cradle of Filth. The chilling concept about an absolutely vile human being is brilliantly realized to its fullest potential on this observation, and the riffs and arrangements are among the best in the band's discography. Music this pompous is bound to sound a bit cheesy at times, and although this does happen in a few instances on Godspeed on the Devil's Thunder, I wouldn't say that it necessarily detracts from my overall experience. If I'm in the right mood for it, Godspeed on the Devil's Thunder always scratches my itch for bombastic and overblown extreme metal; and, in reality, that's all it really needs to do. A very effective, well-produced, and brilliantly composed album, Godspeed on the Devil's Thunder is an essential listen for anybody curious about Cradle of Filth's music.

If you've been blown away by the killer technical death metal from newer bands like Obscura or Abysmal Dawn, Relapse Records now has another band on their roster to satisfy that itch for brutal, semi-melodic, and inhumanly technical death metal. Enter Spawn of Possession, a Swedish five-piece that has made their major label debut, and third album overall, with the masterful Incurso. I was, ashamedly, unfamiliar with these Swedes before a promotional copy of this album rolled into my inbox, but 'better late than never' certainly applies here. Incurso is Spawn of Possession's first album since 2006's Noctambulant, and although there have been a few lineup changes over the past five-plus years, the band's technical-edged extreme metal sound remains fully in-tact.

Technical death metal is known by most people as a genre focused on blinding guitar leads, frantic drum patterns, and brutally challenging composition styles, and while this all certainly applies to Spawn of Possession, they take the dizzying sound of technical death metal and showcase the genre at its highest potential. Very much like their labelmates in Obscura, Spawn of Possession is not afraid to sneak some memorable hooks into their otherwise punishing tech-death sound, and I think this versatility and modern-sounding approach in terms of songwriting is what sets Spawn of Possession apart from the hordes of bands that are still trying to relive the classic days of Cryptopsy, Atheist, and Death. Incurso shows the result of a forward-thinking, talented band taking the very best of technical death metal and updating it for the modern age.

After the ominous intro in the form of "Abodement", the band dives head-first into brutal, technical death metal in "Where Angels Go Demons Follow". For the most part, technical death metal is the name of the game throughout Incurso, but frequent changes within riff structures, a monstrous rhythm section, and rather dynamic songwriting keeps the album from ever feeling one-dimensional. The copious amounts of keyboards in "Apparition" even brings 2011's Agony from Fleshgod Apocalypse to mind, with its symphonic flirtations over-top of brutal tech-death working like a charm.

With the musicianship also remaining impeccable across the board (I especially have to give a nod to Henrik Schönström - few drummers manage to kill my self esteem as much as this guy!), it's really tough to find any complaints when we're talking about a technical death metal album of this caliber. Incurso secures Spawn of Possession's place among the elite modern tech-death acts, and I'd recommend this within a heartbeat to anyone who enjoys music from the likes of Obscura, Abysmal Dawn, Fleshgod Apocalypse, Atheist, or late-period Death. In short, Incurso is a modern death metal masterpiece and a landmark album for extreme metal in 2012 - don't miss it!

Deathcore may not be the first thing that comes to mind when talking about Italy, but that's exactly the style of music that Despite Exile dedicates themselves to on this debut EP. Scarlet Reverie is a six-song, 21-minute effort that demonstrates the brutal, unforgiving style of death metal-infused metalcore popularized by bands like Suicide Silence, Carnifex, or Emmure. Add in a touch of melodic-edged metalcore in the vein of Killswitch Engage, and you've got a pretty good idea of the style of music delivered by Despite Exile.

Though the band doesn't do anything particularly new in this well-trodden territory, Scarlet Reverie is a well-executed debut from a band that has clearly rehearsed before. Their compositional abilities are also substantially above-average for most modern deathcore acts (I have a major issue with the overall generic sound that bands like Emmure tend to embrace), and although Despite Exile relies a bit too heavily upon 'standard deathcore breakdowns' for my tastes, Scarlet Reverie is still a very promising debut EP.

Despite Exile's rather uninventive approach may not appeal much to folks outside of the deathcore fanbase, but anyone who enjoys the genre will probably like what these Italians have to offer. There are certainly enough displays of technical mastery, devastating breakdowns, and pummeling riffs to satisfy the vast majority of metalcore and deathcore listeners out there.

If there's any doubt that Napalm Death is one of the most consistent forces in the world of extreme metal, Utilitarian is likely to silence those naysayers. With fifteen albums (as well as numerous EP's, demos, splits, and live releases) now under their belts, the latest from Napalm Death is a perfect example why this famed grindcore band from Birmingham, England is still as relevant in 2012 as they were nearly thirty years ago. Utilitarian is a downright lethal blend of death metal and grindcore, filled to the brim with crushing riffs, brutal technicality, and overwhelming amounts of rage. It's tough to imagine any Napalm Death fan being disappointed by an effort with this kind of quality, and Utilitarian currently stands as one of the year's best death metal offerings.

After an epic instrumental opening in the form of "Circumspect", the band dives straight into their bone-crushing and distinct hybrid of death metal of grindcore with the killer "Errors in the Signal". Utilitarian, like most recent Napalm Death albums, veers much closer to death metal territory than grindcore or crust punk, but there are frequent reminders that the band did start out in the eighties' as one of the earliest grindcore acts. Many of the riffs are definitely rooted in hardcore punk territory, and Barney Greenway's hostile vocal delivery just reeks of anger and raw aggression. Throughout this sixteen track album (or eighteen if you purchase the version with bonus tracks - something I highly recommend), your head will be bashed in by some extremely brutal music, but Napalm Death never forgets to keep their music memorable and exciting. Lots of variation within riff structures, tempos, and vocal delivery always keeps me on my toes, and Utilitarian is an absolute blast throughout its full duration. Not many deathgrind albums are as well-composed as what we have here - believe it or not, Utilitarian actually stands as one of Napalm Death's finest musical efforts thus far. With songs like "Errors in the Signal" and "Quarantined" (to only name two), it's hard not to be left amazed by this exceptional observation.

Utilitarian also shows Napalm Death taking a few risks musically, particularly in "Everyday Pox" where saxophone legend John Zorn delivers frantic squeaking to add to the already frenzied atmosphere. This is a damn solid album from every angle; the band is as tight as ever, the compositions are brutal yet rewarding, the production is phenomenal, and a sheer sense of unbridled energy is always present. Fans of Napalm Death are advised to head out to their local record stores and pick up a copy of Utilitarian immediately - this is yet another fantastic observation from kings of deathgrind.