STEINMETAL (8/10)

The hungry wolves traveled from the burning fires into a frostiness wilderness, ever vigilante, on the hunt as expected, storming the fields, defiling their victims without mercy, establishing a position as a fearful pack. With the change of scenery, the American veteran Thrashers of DEATH ANGEL, loosening their own kind of mayhem, a type that has been looming around since the late 80's when they first began to Thrash up places like maniacs. Following the accomplishment of "Relentless Retribution", the deadly fiends commenced another raiding run with "The Dreams Calls For Blood", via Nuclear Blast Records, established itself as a common ground where the deadly angels apparently spiced up their Thrash illustrations, constantly maturing yet without forgetting their blood red youthful scent of the past. Once again impressively produced by Jason Suecof, which attributed to their definitive sound as on the last album, DEATH ANGEL came forth with intelligent version of US Thrash Metal while igniting older bursts of raging energy.

Truth be told that some things won't probably change like Mark Osegueda's vocal styling, which is still high and mighty with his high pitching screeches, it can be compared to OVERKILL's Bobby Blitz Elsworth's traits. Osegueda's vocal demonstration has been unavoidably analogous to his earlier performances (also if the guy's voice has no age), however, Rob Cavestany and Ted Aguilar's guitar works revealed as brainy, while not just putting up fast paced Speed / Thrash notes or merely palm muted action resulting in worn off banal riff configurations. Other than the tremolo picking dynamics, there were strays toward Heavy Metal riffery, a few dissonances, along with shards of old school Punk. Quite intriguing I might add. However, I wasn't that utterly overwhelmed by the rhythm section as Damien Sisson and Will Carroll showcased obvious linings, though at times I noticed that their roles did provide the impression of miscellaneous thwarts, which demonstrated the guys' execution talents.

After listening for the first time, I felt that there was nothing different between "The Dreams Calls For Blood" and its previous. Furthermore, I imagined that there wasn't anything blatantly out of the ordinary in general from what DEATH ANGEL has been presenting for the past ten years. On the other hand, later on when I tuned to the tracks again and again, I noticed that the material within the album took a slight turn when it comes to the songwriting and composing. DEATH ANGEL might have hanged on to their earlier endeavors, yet it was hard to ignore that the band's material, release after release, is way more developed other than being persistently in an in your face dogma. The songs emphasized an attention to details; the structures indicated a distant margin from the basics, which made it even more special. "Execution / Don't Save Me", slowly building up with a mellow intro, developed into a fierce multi cruncher, while "Territorial Instinct / Bloodlust" that more or less was forged in the same manner as the previous, brandished the band's appreciation for melodic trending and solo shaping. Although "Succubus" and "Empty" might appear as two ordinary tracks, like anything of DEATH ANGEL's latest era, these two need another listen to grasp the mastery behind them, especially the former that bestowed amazing twin guitar and lead guitaring showmanship. So as you can see, "The Dreams Calls For Blood" is a sign that Thrash Metal can be more than banal, and it can also develop into a thing of angered beauty. Of course, it is also a sign that DEATH ANGEL are in their rightful place as a leading band in the genre.

METTLEANGEL (8/10)

After touring incessantly for three years and flooring everyone for a third time live before entering the studio, including delivering a memorable performance of "The Ulta-Violence" in its entirety, the road mutants are back to detonate and succeed, such that indeed "The Dream Calls For Blood"! This is the second album to feature this steady line-up and if you relished the sonic beat down from "Relentless Retribution", then you know what bloodlust to expect when thrown to these territorial wolves and devoured by their voracious souls. Thrashers of all ages will once again form a truce and then fall on their knees and begin to kill as one.

When I recently interviewed Mark, he informed me that the band of once thicker than blood relatives now have a stronger following with a younger audience, who eagerly embrace the newer material more. Disorganization and disloyalty could stem from those who no longer powerfully pursue the band, ever since the related spirits have departed. Being present and active is just no longer a viable option due to the fact that all the original members are older and now they have families, responsibilities, and mortgages. He made it all too clear to me that to survive in this world - love it or hate it - touring is a vital necessity. This just leaves Mark and Rob as the main composers, and Ted who has been with them since "Art Of Dying" creating with Damien and Will what fans now want to hear.

Andy Galeon was always the groovier more rhythm based drummer, and I miss his archived contributions. For too long the confused sounds of those who once freely frolicked in the park. They who experimented with the artifacts of life by stretching the limits and boundaries of Metal. I yearn for the intense puking feeling syndrome to surge again in their guts, that they may once again eat the fuckin' elephant skin, and as a passing thought feel that ecstasy of the past. However, I realize that this is asking too much for them to re-embrace their more stylistic roots, given their unrelenting aggression. The fact remains DEATH ANGEL are no longer 80's era expendable youth, and they have matured, but thankfully they are still disturbing the peace and hopefully they will never stop or fall from grace. I know I never get bored.

The new album begins strong and in your face, tightening the noose, with "Left For Dead". "Fallen" seems like a timeless sequel to "Road Mutants", and "Execution / Don't Save Me" picks up with a similar melody as "Room With A View" before volcanically erupting into another version of "Claws So Deep", minus all the rivulets of rapture. "Detonate" showcases Mark singing in his trademark scowl with a hint of Geddy Lee thrown in for good measure.

Mark's tone is easily recognizable, allowing for that searing howl. It is akin to a swarm of locusts buzzing over the mic., when you hear his hard core bite. His lyrics are commonly thought-provoking and inspirational, bitter-sweetened by bi-polar feelings of fear, anger, frustration, and innocence. Rob's melodies are always engaging and never empty, each riff ripping a blank hole in the void, penetrating the senses with seemingly endless time changes and a punchy riff, then solo interchange. Just check out the soaring solos slicing through this black, cold world on "Empty" or participate in the hate of "Caster Of Shame". Ted A. has really come into his own over the past decade on the long road home. While Will is more of a thrash drummer as a song like "Son Of The Morning" clearly exhibits when it sounds it warning like a Ulysses siren.

The only track lacking is "Succubus". I find it to be a bit too bitchy, dealing with the distress of pain, anguish, and strife. The closer "Territorial Instinct / Bloodlust" has its moments, but you can envision how this and the title-track both inspired the awesome cover artwork. Otherwise, we have another winner, closer in construction and constitution to "Killing Season". I respect the fact that D.A. never surrender, degenerate, or lose their state of mind. Instead they continue to write some ripping and punishing anthems with sheer sonic execution. Heed these words to this wise, open up your eyes and realize why they do this for you.