July 14, 2010 | , | 3.5

Dew-Scented, Invocation

Dew-Scented: Invocation

Don’t let the acoustic and melodic nature of the opening track to Dew-Scented‘s eighth studio album, Invocation, give you the wrong impression. The band hasn’t given up their ferocity one iota. “Downfall” is just the calm before the storm — a storm that never seems to get old with these guys. In fact, I’d say this is some of the tightest, most well written stuff they’ve ever put out.

Invocation (all the band’s albums begin with the letter “I”) is chock full of menacing riffs that are catchy and searing, being driven along by thundering, bruising rhythms. Just about every riff on the album is unique and memorable as the guys pile-drive their way through your skull with hardcore and death metal tinged thrash metal akin to the likes of All Out War or a less melodic The Haunted. Vocally, the lyrics are barked with a ferocious delivery that’s aggressive and in your face.

Even after 14 years, these German sonsabitches are still bringing it with everything they have. I hope you’re ready to head bang your ass off, cause there’s no sitting still with Invocation.

Just under two minutes of momentum building is just the what the doctor ordered for the jump into the pummeling mosh that starts off “Arise From Decay.”

Arise From Decay
Ah hell yeah! This is what I want to hear. Pummeling drums that are barbarically simplified in nature accompany thrashing riffs and barking vocals throughout this blistering track. This thing is full of meaty riffs, heavy drums and ferocious vocals. I can’t think of a better way to get the blood flowing first thing in the morning. The lead at 2:50 is pretty slick, as is the brief flourish at 4:12.

The Invocation
“The Invocation” picks up right were the last track left off as reverb leads quickly to manic drums and a memorable series of riffs before jumping into a galloping rhythm as the vocals come in. There are some nicely layered deeper, more guttural growls to accompany the main vocals that adds some nice depth to the track. Man, this is one aggressive song that’s only lightened up by the lead at 2:16 before diving head first into the hardcore-like shouts and barks.

Have No Mercy On Us
I love the groove that sits behind the first batch of riffs before the guys dive head first into a thrash-fueled wood chipper. Pile driving drums and driving riffs push you along to the precarious edge of some nasty-ass cliff with reckless abandon. The groove does return later on within the track and it’s a welcome break from the unrelenting attack these guys never seem to get bored with (which is probably a good thing).

Artificial Life
The opening to “Artificial Life” is probably one of the more memorable on the album. The staggered drum attack and distant riffing leads right into catchy riffs and more barking ferociousness. With the constant attack like the one you’re experiencing thus far with the album, you’d think the band’s sound would grow stagnant quickly, but it surprisingly doesn’t. We’re only five songs in and the album still sounds fresh and varied. Speaking of varied, there are some slick leads over rolling drums midway through this song that simply shred balls.

Just when you though the album couldn’t get any more fierce, the opening riffs to “Condemnation” will give you a swift kick in the junk before peeling away your cranial flesh with buzz-saw efficiency. Man, this is a bestial track with pounding drums that should be enough to cause partial deafness in at least one ear. There’s a small amount of melody that slips in here and there with the guitars, but it’s not nearly enough to take away from the ass-kicking your receiving.

“Totem” is a one minute long breather that’s got some sweet guitar work in it’s short duration.

Torn To Shreds
“Torn to Shreds” is an apt title for a track that’s sure to leave many eardrums in tattered ruins. This is a great song with plenty of aggression, massive riffs, catchy rhythms and enough shifts in pace to keep you fully entertained. Man, these dudes sound angry as fuck on this track.

Revel In Contempt
The sound clip that comes along with the big guitars and slowly building drums in the first 40 seconds is a new element that the band hasn’t used so far on the album. It’s a simple, yet effective way to change things up a bit. This mid-tempo beast of a song has some nice eruptions of drum and riff activity that hits at just the right spots and is, as a result, one of the more eclectic sounding tracks on the album.

A Critical Mass
Another memorable opening series of riffs and drums starts off “A Critical Mass.” The military precision of the drums just after that start is a nice touch as the band gets down to business with churning riffs and a steady rhythm. This is another mid-tempo, bruising song that takes its time in pummeling you into submission, only stepping on the accelerator when needed. Holy hell the lead at 2:55 is technical and fast as fuck. There’s also plenty of opportunity for you to shout along with the band toward the end of the song.

Global Hysteria
Beefier than all get out riffs that eventually settle into a chugging beast of a delivery gets this next track off to a ridiculously burly start. There’s a bit more of a hardcore feel to this song — like a bit of The Hoods got tossed into the mix. It’s a big song with plenty of aggression and vehemence.

Slaves Of Consent
“Slaves of Consent” starts off with light guitar work before speeding things up with some pretty technical riffs and rapid fire drums. This is an unrelenting beast of a song, like heading down the Autobahn at top speed and suddenly realizing your brakes are out. I guess you could consider the riff/drum combo around 2:40 to be a breakdown of sorts &$151; it’s not huge, but it’s a nice touch for sure. The lead around 3:25 is all over the place, yet fits the song perfectly.

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