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Rotting Solarflesh - 62%

Daru_Jericho, December 10th, 2013

With their debut release on Napalm Records, Poland's death metal machine Hate unleash 'Solarflesh' on the metal faithful early in the year. Album number eight brings more of the ferocious death metal that fans can expect from the corpse-painted death metallers with the newer shines of black metal glean influenced by modern Satyricon.

Opening with instrumental introduction 'Watchful Eye of Doom', the quartet utilise Middle Eastern percussion with a female voice to create a sinister prelude to the album before launching into typical Behemoth-style blistering death metal. The comparison to Behemoth is one that runs throughout this release and is a challenge to ignore, particularly with the excessive employment of Behemoth-sounding guitar leads, as heard on 'Alchemy of Blood' and 'Timeless Kingdom'. The blackened death metal atmosphere is made clinical in sound by production and is counterbalanced by the return of a Middle Eastern vocal and percussive influence, as evidenced on the title track and concluding number 'Mesmerized'. However, these ethnic influences avoid fleshing out the music in any particularly notable measure. Tempos lurch between blastbeat breakneck and darkly slow, with 'Endless Purity' showcasing an almost Incantation-esque doomy crawl alongside exploratory melodic guitar harmonies.

The presence of filler tracks on this full-length is quite overwhelming, including 'Eternal Might' and 'Festivals of Slaves'. Hate's newest is a far cry from the optimum release 'Anaclasis - A Haunting Gospel of Malice and Hatred' from 2005 with its particularly fresh take on being rhythmically focused but although it avoids bringing much new to the table, it does present an interesting listen or two.

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Bludgeoning and brutal - 85%

MetalDeity, September 21st, 2013

As one of the leading names in the Polish scene, Hate has a guaranteed difficulty coping with the fans of now-legendary Behemoth trigger-happy to dismiss any band that bears even the most minuscule of resemblance to their preferred artist. And while no doubt about it, Behemoth is a mammoth quartet that are very skilled at what they do, and it seems that with this release Hate has reinvented the genres and has engineered a fine example of not just a blazingly fast, but also an appropriately atmospheric piece of blackened death metal. That is not to say there is no room to further improve, but the foundations laid here are solid and will most certainly support the band's career for many years to come.

The album is comprised of 12 tracks including 3 bonus ones which amounts to a decent length of material just over an hour. After a very mystical and arcane intro of female chanting, we get a less idiosyncratic cannonade of extreme metal with both high-tempo blast beats and a whirlwind of riffs that are caustic and spiteful enough to prepare the listener for even more vitriol that is about to unfold, but not before a nice intro in "Alchemy of Blood" with its tribal drum-fills and a panache for solos, thus making the sound more diverse and less reliant on a single modus operandi. And while the instrumentals and vocals are both extremely well-handled and executed with passion and zest, they are only original to the point of being unafraid to embrace several existing and dominating approaches to extreme metal, like the more dissonant aspect of Deathspell Omega, Blut aus Nord, and Reverence (those French love their avant-garde), or the more recent Swedish old school revival (Nominon, Diabolical, Entrails...).

The lyrics apparently follow the already-seen and not-so-unique fascination with cosmic chaos and omni-incineration, but are not an impediment to general impact as they are for the most part unintelligible and seemingly more carved out of personal observations rather than clownish rephrasing of earlier Darkthrone material, or a drive to show off how well-versed one is in occult literature, which is commendable. The vocals are more akin to death metal, apart from the few aforementioned female passages, namely the intro track and "Mesmerized", that are refreshing and resonating enough to be considered part of the music and not just experiments within the stylistic limitations of the genre.

Overall, with precise and spot-on musicianship, great energy demonstrated in both vocal sectors, and by utilizing several twists and turns of the avant-garde, they succeed at sculpting a fine and admirable effort in their genre with both astounding vigor and some entropic, more contemplative pieces of almost industrial-like ambiance, Oriental embellishments (oud solo in the title track), all gilded with crystal-clear, crisp production and a premise more of the same quality to follow. 8.5/10

A Brilliant, Brutal and Atmospheric Gospel - 91%

Kveldulfr, June 24th, 2013

I've just stumbled upon this album for mere casuality and the immediate thing I heard from people who knew the band when I asked for more information was 'they are a Behemoth clone', which I think it's not a fair tag at all. 'Solarflesh: A Gospel of Radiant Divinity' is not only something far superior to what Behemoth has done Demigod onwards, but also something way more varied and mature to my ears.

In general terms, the album displays a way of blackened death metal more unique than it initally appears. The most notorious thing is the aim for atmosphere more than sheer brutality (despite Solarflesh providing plenty of brutal and hyperspeed blasting). Songs like 'Eternal Might' shows a more dissonant and blackened riffing compared to the technical drumming underneath which keeps playing mostly in mid tempo but adding tons of fills, impossibly fast double bass patterns and a great sense of the use of cymbals.

One of the things I think Behemoth copied from this guys is the fact Hate usually use slow riffs counterpointed by the busy drums. The tremolo riffing is way less prevalent than the dissonant open chords to be found, as well as different arpeggios combined with slow palm-muted chords. The leads are usually in the atmospheric side like Nile does too and the faster soloing is carefully played to complement the overall feeling and brutality/atmosphere - depending of the song and the moment.

Most of songs also display very complex structures where there's no distinguishable chorus. They aren't afraid of repeating some chord progressions with little variation in some songs, since the drums carry the whole weight of both providing the rythmic foundation and the versatility; the guitars are too busy forcing themselves to create atmosphere to get too technical all the time, like on 'Sadness will Last Forever' and especially 'Endless Purity'. Still, there's a lot of rich riffing and complex chord/tremolo constructions to hear this album for the riffs alone. Sometimes, some female vocals are added to enchance the feel of a lost civilization being evoked throught the incantations the band is chanting, like on 'Festival ov Slaves' and 'Mesmerized'.

The vocals are a bit of your standard 'polish' growler: a mix of Piotr and Nergal that doesn't hurt the wholeness in a single bit. The growls are delivered with conviction and enough power to match the brutality and darkness of the music presented. The bass is also pretty audible and delivers some nice basslines like in 'Endless Purity'.

The copy I've got features 3 bonus tracks that could go well with the rest of the album but also at the same time bring new things to the table. 'Hatehammer' has a bit of an industrial feeling but also it's a very atmospheric track; Venom has a strange folkish vibe and serves more as an interlude or intro and 'Fall ov All Icons' that close the album in this way perfectly.

Overall, this a very well crafted execution of death metal with the right pitch black atmosphere, well played, produced and especially written; Hate knows how to create an album with a clear concept translated perfectly into the lyrics and the music.

Hexen the party animal who hands out the sedatives - 49%

Depersonalizationilosophy, March 22nd, 2013

This is actually my very first Hate album I’m listening to its entirely. I’ve heard a few songs and from them before and was very excited to review what is to be Hate’s eighth full-length, “Solarflesh: A Gospel of Radiant Divinity". Yes, I’ve heard how this is just a Behemoth clone but to yield to such a abhorrent label is undermining this mighty act from Poland. In fact, Hate had its signature sound way before Behemoth came along with the same merit. Let’s just agree that Behemoth is Behemoth and Hate is Hate. Those who think they sound identical are apparently tone-deaf.

Well I don’t know how to begin so I’ll just start with “Eternal Might”. My main focus in these extreme acts is to concentrate on the drums as the foundation since it’s very intense and usually everything flows under its right wing. I found this to be true with this album. Hexen, the drummer (but not the awesome thrash metal band of the same name), does indeed start on the right foot by pounding the living heck out of his drum set. On this song particularly I thought it was well-coordinated but came across as a bit sloppy at times. “Alchemy of Blood” is where Hexen sets aside his endurance and thrives a bit on the creative and catchy side of things. Prior to this, the song kicks in with a weird sample. Imagine finding a portal opaquely hidden behind a brick wall. You break it down because your curiosity is strong. There you find an unstable tear in the universe which before any reaction can kick in, you are sucked up into the realms of an unexplained plane of dimension.

On “Timeless Kingdom”, I was a bit disappointed; mundane contributions in Hexen’s part. The guitar rhythm towards the end sounded very familiar to me but I could not put my finger on it. Nonetheless, it sounded completely out of place with the rest of the music and Hexen started to sound a bit dull around these parts. Talk about mood swings, “Festival of Slaves” was a fun song to listen to. Ironically it proposes “fun” by having “festival” in its name. Who was the party animal you ask? Well if you’ve been following my review so far you will know that I’m talking about the one and only, Hexen. I actually started to imitate his pattern on my imaginary drum set. I probably had more cymbals than him since mine is imaginary; easy to learn but creative.

“Sadness Will Last Forever” was by far the dullest song of the lot and unfortunately the longest. Overall it was stale but Hexen’s drum pattern was really nice toward the beginning and close to the end repeated it. I began to take the effect of the title, I was looking forward to its inevitable end. Going along with this emotional roller coaster, “Solarflesh” stimulated the neurons inside my head. I guess if you are going to name your album after a song it might as well be one where everyone is at their optimal form. It begins with an acoustic contraption that is reminiscent of Egyptian folklore. It's a bit primitive and unstable but it leads the song with the foreshadowing of something big coming. While remaining Hate, these guys explore a bit in the ruins of technical prowess. Opening up sarcophagi similar to Nile but it is short-lived.

Again the tendency of negative contrast shows itself on “Endless Purity”. My once stimulated neurons were starting to dwindle in the archaic world of nothingness. However, before a continued onset of the suicide program took effect, something hit me like a quick passing moving object that just flashes by without any warning. These guys were showing what appeared to be Doom sounding riffs. My interests were piqued again and the music began to be salient once again. “Mesmerized” closes the curtain on this album and to my sanity it leaves with a good impression, a satisfied feeling but you felt like you were cheated a few bucks. The wretch from “Watchful Eye of Doom” appears again on this track.

This was a decent album not one of the best but it keeps one entertained. Not sure what to think of Hate after this album. It leaves you expecting more elaboration. My hunger wasn't fulfilled. There’s sloppy areas and fun areas. It started with intense energies but mellowed out with a sedated feeling.

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