REVIEW: ALL I COULD BLEED - Burying the Past

 

ALL I COULD BLEED - Burying the Past

Darknagar Records

Released in 2011 by Darknagar Records, ALL I COULD BLEED's debut album, "Burying the Past," steps into the often-crowded landscape of melodic death metal with a clear intention to forge its own path. This Russian outfit doesn't just stick to the genre's conventions; instead, they weave in a tapestry of influences from thrash, black, power, and even folk metal, creating a sound that's distinctly their own. If you're looking for something beyond the typical melodic death metal fare, this album might just pique your interest.

One of the most striking features of "Burying the Past" is the band's adventurous blending of styles. Tracks like "Under the Moon" particularly showcase this fusion, where traditional folk melodies intertwine with the heavier core, adding an unexpected layer of depth. Beyond the genre-bending, the album heavily relies on keyboards to craft a dramatic and often theatrical atmosphere. This is further amplified by the dynamic interplay between harsh female vocals and clean male vocals, a dialogue that adds significant character and emotional range to many of their compositions.

However, a debut album, especially one pushing boundaries, often comes with its own set of nuances. While ALL I COULD BLEED strives for a unique identity, the execution can be a mixed bag. The female vocals, at times, might draw comparisons to prominent figures like Alexi Laiho or Angela Gossow, though they often settle into a more generalized style. The guitar work can evoke hints of bands like Karkaos in its slower moments, while the drums consistently deliver a powerful, driving rhythm. It's the unconventional application of the synthesizer that truly sets them apart, though its integration isn't always seamless, occasionally feeling a little out of place despite being a core element of their sound.

Digging into individual tracks, some moments shine brighter than others. "Valhalla" stands out as a particularly distinctive piece, marked by a vocal shift where a male singer takes the lead before the familiar female growls re-emerge. This provides a refreshing change of pace from the album's overall flow. "Private Hell" also holds its own, with the drums taking center stage, though the guitars can feel somewhat overshadowed, and the bass is largely elusive. Perhaps the most successful use of the keyboard is found in "Follow Me," the album's pre-release single. Here, the keyboard feels genuinely integral to the song's momentum, fitting seamlessly into the arrangement.

A notable characteristic of "Burying the Past" is the presence of several instrumental tracks—three out of nine songs entirely forgo main vocals. While this can contribute to a feeling of less lyrical content, it also allows the band's instrumental prowess to take the spotlight. Overall, "Burying the Past" is an intriguing first offering from ALL I COULD BLEED. While it might not be a groundbreaking masterpiece, it certainly offers a unique flavor within the melodic death metal genre, particularly for those who appreciate atmospheric elements and a willingness to experiment. It's a debut that suggests potential, even if some elements are still finding their perfect synergy.

Nick Parastatidis