Transcend the Rubicon:
Classic and cult British death metal album, originally released by Nuclear Blast in 1993.
Benediction's "Transcend The Rubicon" stands as a testament to the often-overlooked UK death metal scene of the early 90s. While bands from Florida, New York, and Sweden tend to dominate the narrative of that era, Benediction, alongside Cancer and a few others, delivered albums that rival the best of the time.
"Transcend The Rubicon" holds a special place in Benediction's discography. The album's cover art, crafted by Dan Seagrave, is as intricate and captivating as the music within. Musically, the album captures the essence of early death and thrash metal, reminiscent of the raw energy found on albums like "Scream Bloody Gore" and "Schizophrenia". The production is crisp and clear, avoiding the muddy sound of some of their contemporaries.
Tracks like "Unfound Mortality" and "Paradox Alley" showcase Benediction's thrashy, riff-heavy style, drawing comparisons to early Death. Vocalist Dave Ingram's deep growls add a sinister edge to the music, while the guitar solos are straightforward and effective.
What sets Benediction apart is their ability to vary their sound. Songs like "Nightfear" and "Face Without Soul" introduce mid-tempo grooves, reminiscent of early 90s death n' roll, without overindulging in the style. "Painted Skulls" takes this further, adding a touch of Metallica-esque riffing while maintaining a sense of urgency.
"Transcend The Rubicon" may not appeal to fans of modern brutal or technical death metal, but for those who appreciate the old-school sound, it's a gem. It's an album that harkens back to the roots of death metal, offering a blend of consistency and contrast that is often missing in today's scene. Benediction's contribution to the genre deserves recognition, and this album is a testament to their legacy.
The Dreams You Dread:
Benediction’s fourth studio album, "The Dreams You Dread," released in 1995, marked a significant departure from their earlier works. Despite facing criticism upon release, the album has since garnered a more appreciative audience. Many may recall the video for "Down on Whores (Leave Them All for Dead)" airing on MTV's Headbanger's Ball, a rarity for death metal at the time.
"The Dreams You Dread" is characterized by its mid-tempo, chugging death metal sound, embodying a classic old-school style with modern enhancements. The riffs, enriched with acoustic and non-distorted elements, provide a rich texture to the tracks. The album's atmosphere is steeped in horror melodies reminiscent of Entombed's early works. Unlike typical death metal, the bass guitar plays a more prominent role beyond just a backbeat, and Neil Hutton’s drumming introduces subtle yet impactful flourishes. The band occasionally accelerates to faster tempos, injecting necessary dynamism, though some tracks suffer from monotony.
A notable aspect of the album is its groove, compelling listeners to headbang along. The production is clean, balanced, and heavy, maintaining an organic feel. Despite the generally moderate pace, the energy among the instrumentalists is palpable. However, Dave Ingram's vocals are polarizing; raw and undiversified, they might remind some of a less intense Barney Greenaway from Napalm Death.
Lyrically, the album explores intriguing themes. "Down on Whores (Leave Them All for Dead)" stands out with its text derived from James Maybrick’s (potentially Jack The Ripper’s) diary. Other songs delve into typical death metal subjects such as madness, war, and death.
Death’s Chuck Schuldiner praised Benediction, selecting them as the ideal touring companion, a testament to their prowess. While "The Dreams You Dread" may not have been lauded upon release, it has aged remarkably well. For fans of groovy, powerful death metal, this album remains a solid choice.
