The Few Against Many, Sot
So what do you think we should expect from former Scar Symmetry‘s growler/crooner Christian Älvestam on his first effort away from the band he’d been with for three albums. Melodic death metal for sure. Tinged with progressive elements? Of course. Well, you’re only part right.
With Älvestam’s latest project, The Few Against Many, he forgoes the clean crooning, instead opting for a nearly one-dimensional guttural growl delivered with more malevolence and beastial aggression than just about anything he’s done before. Sot gathers the strengths of all its members to deliver death metal with a melodic edge, gothic orchestrations, choirs and slick progressive moments for a monster album packed into eight short tracks.
Hädanfärd
I personally could do without the overtly cheesy choir bursts and would have been demonically happy with this opening track. The choir aside, “Hädanfärd” is one hell of an introduction for the band. Massive (and I mean massive) vocals tread water in the deeper end of the guttural pool, but never go too deep. The drums vary from mid-tempo death metal to manic blasts when the moment is right. The guitars are slick — delivering progressive highlights along with blackened riffs with equal skill and technical flare. The two and a half minutes that this song eats up feels so much longer due to everything that the band puts into its short duration.
Bränd Mark
Seriously. Kill the choir effects and just get down to business. Dark, melancholy riffing and solemn guttural vocals are accompanied by an up tempo rhythm that gives the song a memorable feel. I’m digging the deep vocals mixed with the more progressive tinged death metal guitar work. It makes for an interesting overall feel. There are some real nice tempo shifts creating dramatic moments that punctuate the vocals nicely. Overall, this is one catchy song, despite the crappy choir effect.
Blod
I love the opening guitars to “Blod.” They are thick and melodic without becoming overly silly. Mixing in the progressive elements before the guttural vocals arrive is a nice touch. The orchestral strings actually work well with this one as does the layered vocals found throughout. the lead at the two minute mark is slick and fits the accompanying riffing wonderfully. The song ends with typical melodic death metal riffing that fades to nothing.
Skapelsens Sorti
Progressive guitar work and steady drums open up this next song before a flourish of death metal riffing and manic drums come in at :30. Peppered with progressive highlights “Skapelsens Sorti” is a song pitted against itself — at one time melodic and beautiful, the next ugly and violent. It makes for a hell of a song. I love the vocal patterns throughout this song. They’re catchy as all get out.
Sot
The title track, “Sot,” fades in from the distance with melodic guitar work and pile driving drums. The drumming throughout this song is impressive and violent while Älvestam growls over the progressive guitar work. Overall, this is an impressive song on all members part, showcasing just what each one can do, but wholly masterful when combined as one entity. The sweet lead at 3:30 is just one such instance. Man, this is an epic song.
Abider
Man, this one is beyond insane with lead after lead over top of unrelenting drums and Älvestam’s guttural vocals. Surprisingly however, this is the first song with a decidedly thick groove to it. While the others showcased the progressive elements of the band this one pummels then soars then pummels some more. It’s a great song with excellent song writing and delivery.
Heresi
Slick guitars and heavy bass work open up “Heresi” along with a healthy scream. The pace to this one gives you the impression that the band is unstoppable in its mission. After seven songs, I’m still surprised that Älvestam hasn’t brought out the clean vocals yet. Not that I was expecting a Scar Symmetry — it’s just a surprise. Don’t get me wrong though. I’m loving the hell out of his delivery with this album.
One With The Shadow
The final song on a pretty damned impressive debut effort starts off with light piano work and… and… is that a werewolf howling in the background? What the fuck?! At any rate the big scream and progressive tones allow you to quickly forget the werewolf for a little while at least. Once the vocals come in fully, the guys get down to business with chugging riffage and galloping drums. The lead at 3:28 has a slick rock vibe to it that at first felt out of place, but upon subsequent listens fits in nicely amongst the death metal-oriented song. Damn, the werewolves are back to end the song.
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Additional Notes:
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