| | Vital Remains Icons Of Evil CD Vital Remains Discography of CDs
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Inconsistent lineups, ever-changing record labels, and sporadic touring and recording through the years have always plagued the career of Vital Remains. But in 2007's long-awaited Icons of Evil, the Providence, RI, death metal veterans may just have their greatest album yet -- so great, in fact, that one almost wishes the band had resisted the urge to advance its overtly satanic agenda (starting with its gratuitous cover art, timed for an Easter release no less), so that undivided attention could have been focused on its astonishing musical achievements instead. These achievements easily shine through in any event, as core members Tony Lazaro and Dave Suzuki -- once again aided and abetted by Deicide vocal legend Glen Benton -- follow up the introductory carnage and crucifixion sound effects of "Where Is Your God Now" with no less than eight epic-length metal nuggets produced by fellow death metal mainstay Erik Rutan (Morbid Angel, Hate Eternal, etc.). All are comprised of arduously brutal yet meticulously assembled death metal, frequently sparked to uncommonly immediate listener appreciation (see highlights "Scorned," "In Infamy," and the title cut) by Suzuki's inspired solos, melody lines, and -- in the case of "Reborn...The Upheaval of Nihility" -- acoustic Spanish guitar flourishes. And every bit of this veritable extreme metal A-team's combined experience comes together on the album's crowning jewel, "'Till Death," boasting nine impeccable minutes, as unassailable to scrutiny as any similarly long-winded heavy metal triumph previously recorded by Maiden, Metallica, Dark Angel, Opeth -- you name it. Even the album's closing cover tune choice lives up to now heightened expectations, as Vital Remains deliver a positively superb death metal version of Yngwie J. Malmsteen's Rising Force's "Disciples of Hell." In sum, don't let Icons of Evil's almost childish levels of forced blasphemy and controversy dissuade you from enjoying its heavenly musical rewards. ~ Eduardo Rivadavia
Personnel: Glen Benton (vocals); Tony Lazaro (guitar).
Recording information: Louder Than Life Studios (12/2006); Mana Recording (12/2006).
Vital Remains Icons Of Evil Songs Icons Of Evil Music Review Average Rating: (4 out of 5 stars)   Mighty Vital Remains
The first time when I heard this album, its totally mass destruction. Hail for Vital Remains, you're my biggest band I ever had.
Submitted by rwijaya ("Bandung, Jawa Barat, Indonesia")
Was This Review Helpful? Yes No
If it weren't for IN-consistency, then Satanists blow MFs
REALLY. Pounds flesh to the end. No mistakes about it. If you know Deicide, then you know about the disbelief about God, in general. Come on. I'm not devout, only semi-. If curious about other religions this is your ticket through hell. Join the ride. It was pleasant.
Submitted by Hmmm-mmm (Edmonton, Alberta, CANADA)
Was This Review Helpful? Yes No ICONS OF EVIL
THIS CD IS INSANE!!! THE DRUM TRACKS ARE BRUTALLY FAST! JUST A GREAT CD!
Submitted by petrie_steve (RIVERSIDE, CA USA) 
Was This Review Helpful? Yes No 0 of 1 found this helpful.  Bad Karma & Car Accidents
Tight thrash metal is one thing, but is it really worth the bad karma that a cd like this brings? This blasphemous album cover and lyrics will CERTAINLY invoke the bad karma you provoke...I just wouldn't want to be the unfortunate person to ride in a car with you! Fill out your donor card. I MEANT NO STARS FOR THIS EVIL!!!!
Submitted by Karma (New York)
Was This Review Helpful? Yes No 0 of 2 found this helpful.
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Pushing the extremes of death metal and grindcore, Vital Remains unleash some of the most intense musical violence conceivable on the band's fourth album, Dechristianize. Some of the beats on this album are so fast that a hummingbird would have trouble headbanging along; meanwhile, the "cookie monster" vocal style renders the (apparently blasphemous) lyrics completely unrecognizable. The amazingly ...
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One of the most infamous and censored death metal bands ever, Cannibal Corpse celebrates their 10th album with one titular sentiment: KILL. That's pretty much what it does, too. KILL reminds us who put the death in death metal, combining relentless and intense sounds with lyrics that couple Grand Guignol thrills with slasher-film imagery. Wiry, almost progressive time and tempo shifts choke out the intense riffage and bend it into dramatic extremes, as evidenced on "Five Nails in the Neck" and the assaultive introduction of "Brain Removal Police," exacting and technical in its delivery, much like the rest of the album. Designed ...
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The unexpected arrival of former Coroner six-string genius Tommy Vetterli into the Kreator fold, there to spar with founding mastermind and resident blazing thrash guitar specialist Mille Petrozza, seemed like one of the oddest stylistic pairings in metal history. Needless to say, observers expected one of two options: absolute fireworks, or a complete and utter failure to communicate. Ironically, they didn't really get either one, for not only was 1997's Outcast conspicuously scarce on virtuoso guitar solos, but it also stuck with recent Kreator history in exploring sonic territories far beyond the legendary German group's once dependably strict diet of pure thrash metal. In fact, though it thankfully coalesced the chaotic ideas scattered all over 1995's Cause for Conflict into a more cohesive whole, the album resurrected some of the industrial elements first heard on 1992's Renewal with questionable results, and focused predominantly on mid-paced arrangements that hardly approached the hyper speed of yore. As a result, despite offering some quality songwriting via first-half highlights like "Leave This World Behind," the pounding "Phobia," and the claustrophobically slow "Black Sunrise," the bulk of Outcast is barely recognizable as a Kreator LP. And even if approached as a brand new entity, the material (particularly second half yawn-fests such as the title track) is nowhere near groundbreaking either, never mind -- God forbid -- exciting. In short, whatever artistic headway purportedly made here was rendered null and void by the commercial rejection that met its release, although Kreator would take one final stab at this direction before reverting to the band's trusty old ways. ~ Eduardo Rivadavia
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