Entombed
DCLXVI - To Ride, Shoot Straight And Speak The Truth!

THE REVIEW

I believe I can confidently assert that "DCLXVI To Ride, Shoot Straight And Speak The Truth" is quite a challenging album to review, and let me explain: Entombed came from almost ten years ("To ride,...." is from '97) of unreserved success. Since their beginnings as Nihilist, they grew their fame, first thanks to a whirlwind tape trading (exchange, sale of demos) very popular at the time, then becoming Entombed and signing a contract with the most prestigious label of the era in the extreme metal field (Earache Rec., see Napalm Death, Carcass, Morbid Angel, Unseen Terror, Godflesh, etc., etc.). They published entire pieces of history like "Left hand path" and "Clandestine." But with the subsequent and highly acclaimed "Wolverine Blues," something changed: the straightforward death metal of our guys mutated, becoming a very strange (unique, to be honest) explosive mixture where hardcore/punk reminiscences mingle with clear Motörhead influences, then filtered through the still distinctly audible death fury (for example, the opener "Eyemaster").

"To ride..." is a good transitional album that no longer possesses the element of surprise of its predecessor; on the contrary... everyone expected them at the pass, and it is partly for this reason that there was a 4-year gap between the two full-lengths in question (plus an interlocutory series of EPs and even a new bassist, since Lars Rosenberg left the band shortly after "Wolverine...", due to musical differences, they said), because courage is needed in choices, but even more is required in being consistent with what has been chosen.

Therefore, we are faced with a creature that oozes a rotten and malevolent blues, Sabbathian yes, but also capable of taking inspiration from more Southern and seventies things and then transporting them with strongly DISCHARGE-flavored accelerations of "Hear Nothing See Nothing Say Nothing." The extraordinary thing is that the sound, the anger, and what makes Entombed have not changed at all, making the album and the band immediately recognizable. Of the early days' death metal, nothing remains, except for the roots from which they draw, particularly the Celtic Frost of "Morbid tales/Emperor's return," as in the opener and title track or, for example, in the rhythms of "Light out" or "Just as sad" and the hoarse, growling but more modulated singing, more relevant to the lyrics (always enjoyable, true demonic gems...) compared to the past, of the good L.G. Petrov.

The album also unexpectedly presents itself as protracted in terms of time, boasting 14 tracks, including the instrumental piano piece "DCLXVI," and the feeling is that of a journey inside a soundtrack of 1960s b-horror movies, something that unexpectedly aligns our guys with some works of Rob Zombie/White Zombie and Danzig. Worth noting is the opening triad of the album, namely the already mentioned title track, "Light out" and "Like this with the devil," the powerful and well-conceived "Somewhat Peculiar," the singles "Damn deal done" and "Wrackage" (the only track where speed makes a bit of a comeback) for the filthy roughness.

Ultimately, an album that further distorts the already deformed creature Entombed, but that will not fail to gain followers, with a myriad of groups devoted to returning to hardcore/rock'n'roll shores, and will have such a long influence that it manifests even now in the latest black metal releases (see the latest Satyricon, Darkthrone, and other lesser bands).

Worth trying.