MEMORIAM. So old school death metal still can be played properly?


Memoriam – The Silent Vigil (2018)

Review by Estelle for Metalegion Magazine on the 31st of May 2018


  1. Soulless Parasite
  2. Nothing Remains
  3. From the Flames
  4. The Silent Vigil
  5. Bleed the Same
  6. As Bridges Burn
  7. The New Dark Ages
  8. No Known Grave
  9. Weaponised Fear
  10. Dronestrike V3
  11. Prisoners of War


Genre: Death Metal
Label: Nuclear Blast
Country: United Kingdom
Date: March 23rd, 2018


Frank Healy – Bass
Andrew Whale – Drums
Scott Fairfax – Guitars
Karl Willetts – Vocals

Memoriam’s second full-length “The Silent Vigil” goes onto the next stage of the mourning process because of which the two ex-Bolt Thrower and two ex-Benediction members got together to form the band in the first place. The new album is noticeably a lot less affected by sadness compared to their first record “For the Fallen”, instead they’ve become a lot more more aggressive, bitter and raw – Memoriam seem to be moving from the past and trying to develop and form their new identity.

The songwriting on “The Silent Vigil” is true to the quality we are used to and can expect from ex-members Bolt Thrower and Benediction: The (mostly guitar-driven) songs contain nothing else but strong, catchy riffs in the style of good old 80s’-early 90s’ death metal, with some interesting twists here and there. Even though one can clearly identify hearing a different band than the well-known previous ones of the members, occasionally it indeed is hard to get away from the “I’ve heard this before”-thoughts. The production and the artwork (I’ll just say one name: Dan Seagrave) of the record are nothing but the implementation and representation of an old school approach on high standard. Just a note, I don’t blame anyone sitting, looking at the cover and searching for details for hours!

Lyrically, the texts are reflective of the world that we live in containing subjects of war, politics, loss and illnesses – themes that seem to be important for lyric-writer and vocalist Karl. In case a single weakness has to be mentioned, Karl’s voice naturally doesn’t “shine” in all of its glory anymore and his significant growls don’t come out the way they did maybe even just a few years ago.

However, this does not take much from the overall experience of a (lyrically and instrumentally) well-written and -composed old school death metal album; a refreshing and promising music experience suggesting that old school death metal still can be created and played properly. “The Silent Vigil” is composed by veterans of the genre who know what they are doing and why they are doing it, and who want to a) get the most out of making music for themselves and b) get the most to the people that is possible from it. I would say, respectable!

Songwriting: 8
Originality: 7
Production: 8
Catchiness: 7
Artwork: 9
Lyrics: 8
Overall: 8/10

Order The Silent Vigil here.


“A lot of the lyrics on this new album are all very reflective of the world that we live in” – Karl Willetts (ex-Bolt Thrower, Memoriam)

Interview with vocalist Karl Willetts from Memoriam

Interview for Metalegion Magazine by Estelle on the 19th of February 2018

Hi Karl! First of all thanks a lot for being down to talk to me even at this late hour! My first question would be, what would you say is the most satisfying thing you’ve ever achieved along your career?

That’s a really good question, interesting. I haven’t been asked that one. It’s been lots, along the way through my 30 years of working within this industry. There’s been a lot of things that I consider to be high points. Those are quite genuinely often the firsts. The first time you’re doing anything is when you really achieve something, a milestone in the career. That’s what I always remember the most. So for me, even before I was in the band Bolt Thrower, I heard their music in the radio: That was a really big deal, my best mates’ band playing on the radio. But for me personally, I think recording the first album, that was a phenomenal experience.

bloodbrother tour 1990

Bloodbrother Tour (1990) [Photo from Tshirtslayer]

Also doing my first show, I remember doing my very first European tour which was back in the 80s-early 90s with Autopsy and Pestilence. The first time beyond our little island in the UK. That was a massive game- and life-changing experience, to realize there was such a big potential and big market for what we were doing. Such a lot of people enjoyed what we were doing beyond our small environment. So these were some of the early highlights of my career.

And gig-wise, when we finally got to Australia with Bolt Thrower. That was in about 1993-94, I was standing on the beach in Perth watching the waves crashing in and I thought “Well, this is quite strange. We actually got to the other side of the world playing this extreme kind of strange music and we’re even getting paid for doing this, this is amazing”. So yeah, those were the biggest highlights that come to mind. But at this point of my career doing Memoriam, everything is a big highlight. It’s an amazing experience. I’m very lucky to be able to do this at this stage of our lives. It feels like a privilege, to be able to do what we’re doing. And that’s really down to the support we get from the people, the fans, the followers, however you wanna call them. So we do appreciate they give us the opportunity to do this. And every day is a highlight at this point – it sounds cheesy but that’s the way it is.


Could you select up to 3 albums (it can be less or more, it’s up to you) from any genre that you consider your all-time favorites and tell me why you consider them personal highlights?


Antisect – In Darkness, There Is No Choice (1983)

In the late 80s, that’s when I started getting into extreme music. And what was happening in the UK back in those days was the kind of old anarcho crust grind scene. That’s really where my sphere of influence developed. It was a starting point for me in my career and my interest in extreme music. So I have to point to an album from a band called Antisect and their album called In Darkness There Is No Choice. That was a massive influence to me. It really set me on my road to my political point of view. This was also the time in which the whole tape-trading was going on, the precursor to the internet in many respects, global sharing of information on cassette tapes.



Also, back then I used to go to gigs regularly at a local pub. One of the bands back then that were really influential to me is Sacrilege, with Lynda “Tam” Simpson as the main vocalist and Damian Thompson as guitarist. Those two were an absolute massive influence to me musically. I was at a Sacrilege gig in around ‘87 and it was one of those lightbulb-moments when I was watching them: “I want to do this. I would love to be a band up there on a stage, doing what Tam’s doing.” I think that was one of the main catalysts for me wanting to be in a band. So I definitely have to name Behind the Realms of Madness from Sacrilege. One of my all time favorite albums.


And of course Slayer! When I heard the first offerings that they put out on Show No Mercy and Haunting the Chapel, those were the albums that were really influential. Specifically Haunting the Chapel had a massive effect on me. So those were the 3 protagonists. I think I’d probably have to include the Black Sabbath – Black Sabbath album, it has to be in the top 4-5 as well. They are the legends from my hometown and I am very proud of their musical heritage here in Birmingham.


Memoriam – The Silent Vigil (2018)

Now let’s talk about your new album coming out at the end of March, “The Silent Vigil”. It’s a pretty awesome one! This record is a lot less affected by sadness compared to “For the Fallen”, instead you’ve become more aggressive and raw. What did you have in mind?

Very perceptive of you. Definitely, I think as you noticed the first album that we released was a document of the time. As all albums are kind of recording the emotions that are going through your life at that point. And the first album was written as a tribute to our lives’ tragic loss of Martin (Kearns, drummer of Bolt Thrower from 1994-97 and 1999-2015 ed.). He’s the catalyst of why the band got together in the first place. The first album is almost a tribute to him directly. And that’s what all the actual songs contained. All the elements that are in there, they are written from a place of mourning, grief and sorrow. Sadness. That was the aspect of For the Fallen. And this new album reflects the way we feel again, it’s almost like a journey, a grieving process, effective by time. Time’s the thing that makes it easier ironically. And things change.

Could you try to describe the album’s identity?

This album I think goes onto the next stage of the mourning process. It’s a part where you’ve lost all the initial shock and the sadness and the sorrow, and you’ve got to get a bit more angry about the situation. So I think there’s a lot more bitterness and anger in this album, it’s a lot rawer as you say. Maybe even more emotional in some respects. There’s a different kind of raw emotion to this one, it’s a lot angrier.

The new album is moving into a new era lyrically as well, with themes that are a lot more reflective about the world that we live in. Lyrics about the real world, things that I think are important to talk about. War has been the center theme, that’s what I’ve written about. There might be a sub-context to the lyrical content involved but the main interest has always been about war. On the first album I did a couple of songs that were moving away from that area but with this new album, The Silent Vigil the lyrics are very different. They are beyond the formulas I’ve been writing in the past. There are songs on there that are based on real theories, real things that are happening in the world around us right now. By that I mean, there are songs on there that have a large amount of social-political comments about the world. They are very concerned about the global rise of the right wing and the fascist ideology which seems to be gaining a massive voice across the planet that we live in. And that really scares me.


Karl Willetts [Photo: Vivien Varga]

I think voice needs to be raised against it, we can’t just turn away and ignore what’s happening all over the world. As an artist, as a vocalist and as a lyrical writer I think it’s my position to stand up and say something about that. It’s important to me. And I enjoy that challenge of writing lyrics that are not specifically in my comfort zone. It’s quite good to be able to break free of these chains and have that kind of creative freedom, to be able to write about things I think are important. So along with the songs that have large elements of social-political content which are about equality, freedom, racism and all those issues, there are also songs on there which are about transition, about moving forward, about trying to create a new future. These things are very reflective of what the band is trying to achieve as well. That’s how I feel about what’s happening in my life. That’s what we’re doing with Memoriam, we’re moving from the past and trying to develop a new identity, our own band, our own thing.

Could you select a special song from The Silent Vigil and share your vision on it?

There’s a song on there that is about my personal experiences with my mother. Nothing Remains, that’s about the issues of dementia, a mental illness, which is a massive growing issue in the world within our aging population. That happened with my mother about a year ago and it’s been a devastating experience, not just for her but for me and my whole family. A massive impact. So I’d say a lot of the lyrics on this new album are all very reflective of the world that we live in: They are all based on real issues that are important to me.

That’s totally understandable.

But that’s just the lyrics, of course musically there is also a big difference to the first album: There’s lots of tones and textures and new ideas on this new album. I think the first album is great and as I said a document of the time but we were very much aware of the expectations on us to a certain extent; people were quite interested to hear what we are gonna do. There was a certain level of expectation on us so we wanted to say “Hold on. We’re not gonna be doing a Bolt Thrower Nr. 2 or a Benediction Nr. 2; we wanna do our own thing, we wanna create our own identity”. But at the same time, we were still kind of in the shadows and the chains of the past on the first album.


Memoriam (Karl Willetts, Frank Healy, Andrew Whale, Scott Fairfax)

So The Silent Vigil is moving forward – I think we’ve managed to come out of these shadows and create something that is more Memoriam-ish.
We are more comfortable with our own identity as a band right now and that’s expressed in different tones and structures of the songs. There’s lots of different varieties on there. The overall production is a lot warmer as well, we’ve used the studio this time with real amps in it. We feel the last album is great but certain elements are too overcompressed and maybe too digitalized in many respects, we’ve used quite a few samples on there. But we move free from those with the new album. The album has got a lot more warmth and depth to it. I think the reals amps enhance the rawness, the warmth and the depth of the music. That’s really been a big difference for us and we are very happy about the way it has come together. That was a long answer, wasn’t it? (laughs)

It was, but you answered some other questions of mine as well so I guess it’s a win-win situation!
Okay so I just love the album cover, it’s a typical mesmerising Dan Seagrave artwork with lots of details, beautiful colors and an old school death vibe. As far as I know with Bolt Thrower you’ve never worked with Seagrave, how did the idea come this time?


Some of Dan Seagrave’s works

That’s right, we’ve never worked with Seagrave with Bolt Thrower. There’s a little story about why we were using Dan Seagrave and it’s basically because we are trying to recreate that old school vibe with Memoriam. Call it a midlife crisis if you want but we are trying to recreate the feelings of energy, creativity and joy in how we felt when we were in a band for the first time. That’s the bottom line of what we’re trying to do with Memoriam. And I think we’ve achieved that by the book at this point. However, the reason we used Dan was because when we first got together as a band, we all sat down before we went into the rehearsal room and we thought “Right, let’s see what we all wanna get out of this band. What would be the greatest thing we could actually get from doing Memoriam?” I said I wanted to play at certain places in the world where I haven’t played before. I think (Andrew) Whale(, drummer – ed.) mentioned a few festivals he wanted to do; Frank (Healy, bassist – ed.) he wanted to record at certain studios… And Scott (Fairfax, guitarist – ed.) came along with the fact that before he dies, he wants to record an album which features a Dan Seagrave cover. So we managed to tick that box quite successfully, twice now. But yeah, we approached him and gave him a very brief idea of what to do and that’s how he came up with the first album cover which is absolutely amazing. And you may have noticed on the second album cover, following the theme of the actual contextual idea of the album – grief –, the album cover reflects that as well. On the first album cover the coffin is being paraded across the battleground – funeral procession. The album cover of The Silent Vigil shows the coffin in the center of focus, lying in state with all the minions and supporters, followers standing there and watching, paying homage to the fallen leader (whatever you wanna call him, whatever’s in there). So yeah, we’ve got an idea what we’re doing with this. So I’d say the album cover’s theme just reflects the process of grief.

Do you already have any plans in mind for the future?

We are all ready at the point where we are starting to work on Memoriam’s next album. We work in an incredibly fast pace. We have a trilogy in mind for Memoriam: We’ve already engaged Dan’s services and we’ll team up for the next album cover, too. We’ve got other ideas beyond these three albums as well but our intention is to move forward and get another album out at some point in 2019. To complete the trilogy.

That sound really good Karl! Looking forward to it.  

Yes, exciting times for us here in Memoriam! We’ve got a lot of gigs as well, doing a lot in between. We’re just enjoying every moment for what it is ‘cause we’ve realized that life is short and you don’t know what’s around the corner. So you have to take everything you can, roll with it and enjoy life. That’s what you have, just enjoy life to the maximum and have as much as you can, while you can. And we’re doing that.


Karl Willetts

Nice words, I’m happy for all of you guys! Some other subject now, as far as I know you have a Cultural Studies degree from the Birmingham University. It’s clear from all your lyrics and previous interviews that you have an interest in discussing about ideologies, ethnicities, globalization, and in general, politically engaged cultural issues.

Cultural Studies was the only school of thought in the 70s and it closed down ironically a year after I finished my degree course. I think they just realized it was kind of developing a lot of critical cultural thinkers and critical theorists. Which wasn’t doing the system any good, really. But yeah, I had a great time at Birmingham University. I did that because I left school with no real qualifications. When Bolt Thrower first started and was getting quite popular, I did a lot of A levels and my qualifications. And then when I left the band, I really wanted to go to university and experience that life. So doing that course was fantastic, it almost kind of contextualized the ideas and lyrics I’ve been writing previously. And made sense of them for me. It was a good grounding for me to get all these different ideas of social theory as well. There was lots of postmodern theory, classical social theory. I’ve also spent a year doing a bit of Russian culture, African studies and things like that. Issues of gender and race. So I think that’s really how it formulated my mindset and developed my ideas and maybe gave me the confidence to write the way that I do.

Did you ever think about working in a different field connected to your studies?

The ironic thing about Cultural Studies was that there was such a lot of deconstruction involved in what we did. I came away from the course thinking that academia generally is just a lot of self-justifying bullshit (laughs). Writing things about stuff and not really engaging with real life. That’s what I generally got from my degree course. So I never really wanted to pursue my academic career any further than what I did: I think the three years at university were more than enough for me. And I’ve taken away those ideas and applied them in a much wider context and I feel like that’s a better way forward.

For the end: What do you think is your most spoken sentence?

(Laughs) It has got to be a wrong word really, or like “War Master” or “World Eater” (laughs). I think my personal favorite line is the two lines in Powder Burns “Psychological technique / Invincible no pain”. Psychological technique, I really like that line for some reason. That’s one of my favorite lines I’ve ever written.

Tam Sacrilege

Lynda “Tam” Simpson of Sacrilege

I’m also particularly proud of the song Last Words on For the Fallen from Memoriam, which we did with Tam from Sacrilege. She came with the idea and that was a kind of crowning highlight moment. A highlight moment of my career that I forgot to mention! It was great to get her involved because she was the reason I wanted to do this in the first place. There are some lines in that song that are quite touching as well.

Thank you very much for your extensive answers and your time Karl. I wish you all the best on your way forward with Memoriam and have a good night!

It’s been really a pleasure! Thanks for you time and your support. Good night Estelle!

GOREMENT. Dark – Cold – Silent – Gloom


GOREMENT – The Ending Quest (1994)

Review by Estelle on the 6th of June 2014


  1. My Ending Quest
  2. Vale of Tears
  3. Human Relic
  4. The Memorial
  5. The Lost Breed
  6. Silent Hymn (for the Dead)
  7. Sea of Silence
  8. Obsequies of Mankind
  9. Darkness of the Dead
  10. Into Shadows

Genre: Death Metal

Label: Crypta Records
Country: Sweden
Year: 1994

Jimmy Karlsson – Vocals

Patrik Fernlund – Guitars (lead & acoustic)
Daniel Eriksson – Guitars (rhythm)
Nicklas Lilja – Bass
Mattias Berglund – Drums

endThe Swedish Gorement’s only album named The Ending Quest is exceptional in many ways. Firstly, the record was released in 1994, and even though there were still many fine death metal albums released after 1993, it wasn’t common that a death metal band put its first full-lenght record out in the middle of the ’90s. And secondly, the musicians are extremely skilled when it comes to songwriting and creating a special atmosphere, giving us a smashing shot of haunting melodies compounded into varied slowly rolling, louring, twisted riffs.

The guitars on the album are incredibly downtuned and the bass is quite prominent at most parts; these two elements are the ones that mainly define the obscure, gloomy atmosphere which almost chokes the listener in its stranglehold.

However, there is something soothing and comforting in the music. The elaborate songwriting and composing, the feeling that the album was a round, complex and complete musical experience, the neat variation of slowing, ‘flying-away’ and ripping fast parts, the depressive issues, also the appearance of acoustic guitar and sometimes clean vocals cause the listener to feel some kind of a strange acquiescence.

Even though Gorement is usually noted as a simple death metal band, I think it can easily be called doom/death because of the obvious doom influences, the dark atmosphere and the typical subjects in the lyrics. The words that we can sometimes catch while listening the songs totally describe the music and the feeling it creates: “dark”, “cold”, “silent”, “alone”, “gloom”, “slowly”, “endless”, “dying”.

The quite abstract, minimal-style cover fits the obscure, misty music and is catching our attention with its striking, conspicuous deep purple colour at the same time. The guttural, low tuned vocals also fit the overall sound, Jimmy Karlsson is one particularly talented and technical vocalist of the genre whose name everyone should remember after hearing the record. Lilja is emphasizeable as well: the bass is not only following the music well but it also shines in itself at the right sections; I would especially mention the bass lines in ‘My Ending Quest’ and ‘The Lost Breed’.

Gorement+2The songs quite differ from each other: there are some with the already mentioned clear(er) vocals, some where we can hear acoustic guitars that make an eerie but matching combination with the downtuned, dark guitar sounds, ones without any solo and one which seems to be instrumental for a while because of the lack of vocals. The most outstanding tracks could be the slow, peaceful ‘Sea of Silence’, and ‘Silent Hymn (for the Dead)’ with one of the most beautiful and depressing solos of death metal and with just a few lines sang in a clearer way.
The only common point in the songs in this case is probably the amount of mesmerizing riffs.

As ‘Into Shadows’ ends with the echoing guitar sound and voice of Karlsson, we simply feel like we heard something complex, massive and round – it’s like it slowly rolled along us like a huge, stiff, heavy stone. The structure of the songs, the timing, the track-order and the diversity created by mixing different elements into the music all prove that these precise, deliberate Swedish guys knew what to do when it came to making some old school death/doom metal music.

Outstanding tracks: My Ending Quest, The Memorial, The Lost Breed, Silent Hymn (for the Dead)


MORBUS CHRON. Crawling like a dreadful creature in the dark


MORBUS CHRON – Sleepers in the Rift (2011)

Review by Estelle on the 7th of May 2014


  1. Through the Gaping Gate / Coughing in a Coffin
  2. Creepy Creeping Creep
  3. Hymns to a Stiff
  4. Red Hook Horror
  5. The Hallucinating Dead
  6. Ways of Torture
  7. Dead Body Pile Necrophile
  8. Lidless Coffin
  9. Deformation of the Dark Matter

Genre: Death Metal
Label: Pulverised Records
Country: Sweden
Date: August 29, 2011

Robert Andersson – Vocals, Guitars, Lyrics

Edvin Aftonfalk – Guitars (lead), Vocals, Lyrics
Adam Lindmark – Drums
Dag Landin – Bass

morbus_chron-sleepers_in_the_rfitThe four-piece death metal band Morbus Chron was founded in 2007 and released their first album ‘Sleepers in the Rift’ in 2011. Three years later in February 2014 they came up with a completely different and apparently more evolved and more mature concept with their second record, Sweven – but that is a horse of another color (and possibly another review).
The Swedish death metallers’ debut is most likely my personal favorite death metal album of our recent years, along with Asphyx’s Deathhammer from 2012. Why?

Incredibly wicked overall sound, incredibly heavy classic riffs, incredibly well-worked-out sections – and all these in the spirit of pure old school death metal. They still don’t make a mistake with going to the extremes of this old school-mania or dealing too much with being flawless: even though each beat, each cut is reasoned, thought-out and well-worked-out, we can still clearly feel their ‘easy-goingness’ and passion towards the music they play. They don’t want or try to be perfect, they are simply excellent songwriters and musicians who do their thing naturally.

As the first song starts with the little piece of fitting scary music borrowed from the good old horror movies we immediately get the beloved frightening, dark atmoshpere which saturates the entire music, creeps into the darkest depths of our souls and awakes our love for the evil in us. ‘Through the Gaping Gate / Coughing in a Coffin’ is a nasty, raw and complex beast which simply stinks of dirt – similarly to all the other segments of the album.
Each song has a beginning, a main part and an end, filled up with varied, twisted, mesmerizing yet classic riffs, disgusting raspy, agonizing vocals and a filthy atmosphere. The riffs are quite thrashy at some parts (especially in the fast sections of the tracks ‘Creepy Creeping Creep’, ‘Red Hook Horror’ or ‘Dead Body Pile Necrophile’), however, Morbus Chron seem to reshape the thrashy riffs by playing them a little slower and uglier than a thrash band would have. Along with the thrashy speed and riffs we can also hear some stunning doomy parts similarly to Autopsy’s way of building them into their songs; and on top of everything there is a little rock n’ roll feel in the solo of ‘Red Hook Horror’, bringing in a slight element of fun in the band’s gore-based music.

Morbus+ChronThe unpolished production is a strong point of the album – it’s just as clear as it should be to make the music enjoyable and to keep the retro-feeling at the same time. The obscure, evil yet colorful and lively artwork is also highlightable: it catches our attention right at the moment we look at it, leading us to a mysterious and still cruelly realistic world.

With their dirty old school sound Morbus Chron present a tribute to legends like Autopsy, Nihilist, Entombed, Dismember, Grave or Carnage. Still, in spite of what you might expect, the album isn’t full of cliches. It is old school without ripping from its influences too directly – one thing is to take influences from classic bands and another is to use them properly and compose them into some ass kicking death metal tunes, completed with a labyrinthe of tempos and techniques plus a little hint of humour. They show they don’t take themselves as seriously as we might thought with song titles like ‘Creepy Creeping Creep’ or ‘Dead Body Pile Necrophile’, or by overdoing the hysterical coughing or gasping at times.

‘Sleepers in the Rift’ is one perfectly satisfying album for those who love the old school, and even though they know this is not something that will bring back the glory days, they crave for hearing those catchy, rotten and twisted riffs and classic gory, evil lyrics without photocopying the old legends’ way of playing.

Outstanding tracks: Through the Gaping Gate / Coughing in a Coffin, Creepy Creeping Creep, The Hallucinating Dead