German Death Metal, although it's not as recognized and successful as the schools of Sweden, UK and USA, it has deep roots that were laid during the Second Wave of the genre (that arose from underground between 1989 and 1991), and acts as ATROCITY, MORGOTH, DARKSEED on their prime showed that German School of the genre had (and still has) a lot to offer to the fans. And "Beyond Acheron", the latest album of the trio TEMPLE OF DREAD is here to be a proof of such an idea. The Spiekeroog home based band is back with a mature and excellent album, indeed. It's a combination of classic Death Metal (or Old School Death Metal, as some are used to) with a more dynamical appeal, using influences that fills their music with a mighty and hooking energy, with an omnipresent eerie ambience (something created by very good melodies that arises, as on the guitar solos during "Damnation"), some horror-like keyboards' orchestrations (pay attention on "World Below") and even some elements of Black Metal here and there boosted things to a new level.

It means: their music, even with a classic appeal, is full of personality, something rare in these days. The album was recorded and produced by Jörg Uken (the band's drummer and known for his works in studio with CORVUS CORAX, DEW-SCENTED, ANVIL, SUICIDAL ANGELS, GOD DETHRONED, SINISTER, METAL AGAINST CORONAVIRUS and others), who created a sonority that's massive, brutal and aggressive, but as an update of what Old School Death Metal albums of the past bore, it sounds defined, with everything on its due place. And to make things better, the band has Marc Grewe (former MORGOTH singer, actually on INSIDIOUS DISEASE, DISCREATION and others), on the vocals on "The Plague", and Henri Sattler (vocalist/guitarist of GOD DETHRONED) on the guitar solo on "Beyond Acheron". And the artwork of Paolo Girardi for the cover translates in an image what the music of the band really is.

After the intro "Charon's Call", "Beyond Acheron" comes as an Old School Death Metal musical assault with some German Thrash Metal-like riffs, with excellent guitar solos as well. And "World Below" keeps in such way, but always with very good tempo changes (a courtesy of bass guitar and drums). A 7 minutes song as "Damnation" for such genre must have some different parts and rhythmic variations (even with the main focus being on slow tempos), but pay attention to the excellent appeal of the guitars on the riffs and leads, with the vocals being laid perfectly under the instrumental sheath. And "Dance of Decay" brings the band to a more usual outfit, but with the details adding points to the band's score.

"All-Consuming Fire" is an oppressive song with terror-like moments with vocals contrasting with agonizing voices (wand what hooking guitars). And on "The Plague", again the band is focusing on a more traditional outfit, but with a non-usual technique (and what good grunts can be heard). On "Carnality Device", some Thrash/Black like pulses can be hard in many moments, adding layers to the band's musical work (and with very good rhythmic contrasts created by bass guitar and drums). The same occurs on "Asebeia", but with different touches in some parts, with the priority is to keep the Old School appeal.

And on "Hades", the album has a track that works as a closing curtain for the spectacle, for it's an instrumental with excellent arrangements and fine keyboards and piano parts. "Beyond Acheron" isn't a conceptual album in the hard sense of the concept, but it seems that all the lyrics are pointing to a common 'core'. But one can be sure of a thing: that TEMPLE OF DREAD is here to stay.