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DEMONIC RESURRECTION
The Demon King

Candlelight (2014)
Rating: 5/10

Having begun life back in 2000 as a symphonic metal band, Indian extreme metallers Demonic Resurrection have slightly shifted in shape over time. While still leaning toward a symphonic, melodic trend, the talented quintet now offer a darker, more abrasive metal approach with hints of black and death metal married with traditional influences. The Demon King is the fourth full-length composition from these chaps, and comes four years after 2010’s The Return To Darkness.

The combo is fronted by Sahil “The Demonstealer” Malhija, who also plays guitar. He’s joined by fellow axeman Nishith Hegde, bassist Ashwin Shriyan, drummer Virendra Kaith and keyboardist Mephisto.

The sound that Demonic Resurrection makes is for the most part one of gothic orchestration as the keyboards tend to lace the bouts of extremity, but I’m often left wondering if the synths are required. The band seems a far beastlier opponent when it concentrates on just existing as a tight, fluid and above all aggressive unit, but too many times the sound is watered down by those keyboards.

With the likes of ‘Even Gods Do Fall’, the combo creates a tense atmosphere of gruff vocals and belligerent musicianship, only to be let down by the sudden burst of rather cheesy symphonics. I’m sure the band is of the opinion that this adds some type of grandiose element to proceedings, but for me it takes the edge off of the hostility. The clearer vocal intrusions are also not welcomed by me, either. ‘The Assassination’ works better as a stripped down, raging feast for the ears, as does ‘Facing The Faceless’. The latter is just ruined by that crystal clear tone, but it’s very much contemporary metal with polished production and a drum sound that tends to click a little too much for my liking.

Even so, the band are accomplished musicians who know how to find a cracking melody amidst the maze of extremity, my favourite track being ‘The Promise Of Never’ with its menacing chug and deep, guttural vocal flavour. All this grit seems to go out of the window time and time again with the introduction of the synths, however. A fine example comes via the hostile ‘Death, Desolation And Despair’ which brings to mind Deicide with its vocal sneer, as does the title track, but to me it just feels like the band cannot wait to insert those gushing synths, and it’s something I become extremely tired of.

Melodic black / death metal is something I can live without. Although The Demon King is not the sort of album I’ll be playing again, it’s not the worst piece of modern metal I’ve heard. Having said that, the outfit needs to realise that variety doesn’t have to come via constant keyboard rushes and throbs. At times it’s better to stand back, assess the situation and just go for a rawer approach at times, because this record becomes all too predictable too quickly.

Neil Arnold

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