The Grand Leveller

Some well-established bands in metal maybe blend a little too well into the scene they originated from, pioneered, and inhabited. They have a degree of historical recognition shed upon them, and are always treated as relevant when brought up, but seldom are actually brought up as their own entity. One of the best examples of this phenomenon is Benediction, a band largely taken for granted in death metal. They're at the very heart of the UK scene, notably fostering Napalm Death's most enduring vocalist and eventually providing a vocalist for Bolt Thrower (both more well-recognized bands). It actually seems like this band only comes up tangentially when discussing the latter British pioneers, which is very disappointing considering how well the Dave Ingram-fronted lineup introduced on The Grand Leveller functions independently.

Ingram, who is today a notable vocalist in the death metal scene, certainly carries this 1991 effort pretty far thanks to his distinctly gruff and deranged tone, but he isn't inherently better or worse suited to Benediction than his predecessor in Barney Greenway. Both vocalists were relatively inexperienced at the time of joining Benediction, but they were primal and convincing in their delivery, belting out the lyrics in a memorable fashion. Despite the apparent interchangeability of the two frontmen at this time, The Grand Leveller nonetheless comes off as a steady improvement from the 1990 debut, Subconscious Terror. While the musical style here is generally still the same mid-paced, hardcore-tinged, early Celtic Frost-influenced death metal that defined the debut album, the sequencing of the riffs is more thought out this time. With that said, this seemingly subtle improvement to the song structures benefits this release far more than it would if Peter Rew and Darren Brookes were not the consistently strong riff writers they are - everything they play contributes heavily to memorable songs on The Grand Leveller, and this is a massive part of why I see it as the deadliest Benediction offering.

To put the latter claim into context, most of the Benediction lineup featured here would shift towards a faster-paced, more typically "brutal" sound on their 1993 album Transcend the Rubicon; the aforementioned guitarists would turn away from the atmosphere-driven style of the first two albums and even the 1992 follow-up EP in favor of sheer moshability, Dave Ingram's vocals became more of a full-on growl rather than the measured, varied, and unpredictable style here, and the overall production job was significantly more crisp. Now, TtR is a fantastic death metal album, especially for 1993, and none of these aspects detract from it - it goes hard. It is, however, not the most authentic nor the most essential Benediction experience. This band's writing style thrives more on tension-and-release and I would say that their best works such as TGL are a prime example of why "old school" death metal is commonly considered somewhat slower-paced than its modern counterparts. Examine tracks such as opener "Vision in the Shroud" or fan favorite "Jumping at Shadows"; ambiance is set with dreary melodies before the heavier rhythms enter the fold. Eventually, these buildups prove to be rewarding, giving way to moshable sections based on both power chord and tremolo riffs. This is a key example of the riff sequencing being applied outstandingly here.

Furthermore, the production on this album does not sound crisp, professional, or smooth by any stretch of the imagination - it is very muddy and decrepit sounding to the point of being a potential turn-off for new listeners. In fact, the average even semi-professional death metal demo released in the 2010's and onwards likely sounds better than the original mix of this studio full-length. However, the far-reaching benefit of the decrepit production style is that nothing is lost despite not being excessively pushed up in the mix either. Regarding this Benediction effort specifically, it is substanial sounding in a very organic way. The bass consistently contributes heavily to the infectious nature of the guitar riffs, and Ian Treacy's drumming is allowed to shine; you can tell he has both endurance and restraint as a drummer. When the time comes to belt out the textbook, pummeling UKDM beats, Treacy's performance is as satisfying as you'd hope. One of the faster-paced cuts from this album, "Opulence of the Absolute" is a good example of this for most of its playing time, but it too nonetheless slows down after a tremolo break, in order for the formidable guitar duo to dish out more eerie melody (this time bringing to mind some of the contemporary work of Autopsy). This is a top-tier instance of dynamic songwriting in death metal, as is "Born in a Fever", albeit inverting the latter approach to tempo shifts.

The Grand Leveller is very much the type of album you'll appreciate heavily if you are particularly really into the "old school", mid-paced, and less produced style of death metal. It also shines within the context of the UKDM scene, but even there it is partially overlooked despite its influence and the quality of its songs. Eerie, foreboding, and unnerving with its overtone, and generally more deranged, decrepit, and uncouth than Bolt Thrower's contemplative approach - all of which makes Benediction's musical personality unique in death metal. Recommended companion pieces for The Grand Leveller that seem to match its sullen tone would be the debut albums of Wombbath and Morta Skuld.

Crushing death metal from the UK, Benediction play a death metal remnant of classic Autopsy and Bolt Thrower. They released their debut in 1990 titled, “Subconscious Terror and would quickly release their follow up a year later titled; “The Grand Leveler”.

The sound on “The Grand Leveler” showcases the epitome of what OSDM was all about at the time: one dimensional, gruff vocals with thick and catchy riffs played over a hefty dose of pounding drums. The song writing and structures of the songs here allow for the OSDM elements to be showcased adequately, while also providing the proper medium to display some of the band’s more technical traits as well. The album is steeped in a dissonant and hazy sound, one that gives off an almost underground feeling to the music. However, this is a byproduct of the excellent production, which creates such a gritty atmosphere all the while, giving each musician their fair share of the limelight.

The guitars carry a simple sound, yet Peter Rew and Darren Brookes do a wonderful job creating a number of well executed harmonies. The leads on this album are numerous and have the ability to quickly captive the listener attention. One listen to riffs on “Gravewurm” or “Senile Dementia” give a perfect examples of the thick and distorted sound of the era, but they are so much more than single note chugs that simply plod throughout the song. Instead, the riffs, which by themselves are quite memorable tend to be broken up by well-placed guitar fills. These fills, provide both an equally catchy display of guitar work, but also serve as a nice alternating rhythm and pace that prevents the songs from becoming redundant. There are also some short and almost thrash like solos to be heard throughout as well, that go hand in hand with the ferocity of the main riffs and up-tempo drum beats.

Speaking of drums, if I’m being honest, I would say that they sound as though they are just a rise and repeat version of themselves on most songs. Don’t get me wrong, their presence is more than felt throughout the album, as they hammer away upon the listener each song. It’s just that, there are not many uses of double bass kicks, nor much in the way of furious blast beats that were all the rage at the time. Not that either are required for s successful sound, but other than some snare blasting and cymbal pounding, the drums come off as very one dimensional. That being said, what they lack in their addition to the rhythm department, they more than make up in sheer force. As I mentioned, the production of the album allows every instrument to come through on its own and this holds true with the drums as their powerful sound, albeit lacking diversity, is easily detected. The bass is another instrument to benefit more from the production rather than songwriting. For the most part, the bass can be heard plucking along with the guitars, but they don’t really mix things up too often, but again the production brings them into the light, allowing their thick and bouncy sound to help compliment the leads.

The vocals here are dark, deep and gruff. They bring a no nonsense attitude to the table that really bring the sound of the entire album together. Dave Ingram’s voice carries a certain raspy, bleakness that make them sound almost like elongated growls. They truly are scary in nature, which fits perfectly with the OSDM sound. Like everything else, the production puts Ingram’s vocals center stage, which keeps the listener engaged as they are heard over top the many riffs and melodies the “The Grand Leveler” has to offer.

If you are looking for a prime example of what OSDM can accomplish with a simplistic concept, strong song writing and competent musician, then look no further than “The Grand Leveler” Benediction shows just how far the basic elements can take an album and that not all death metal needs to be overly complex or a mind altering experience to be enjoyed. Aside from a few minor quips with the drums and bass, this is a fine showing of OSDM done right and any fan of the sound will not be disappointed.

Highlights: ““Gravewurm” “Senile Dementia” “Opulence of the Absolute”

Into the Abyss of Oblivion

Benediction is a name that is not as heavily bandied around insofar as early 90s death metal is concerned, perhaps in large part due to the saturation of the style in Sweden and certain key parts of U.S. This is unfortunate given that the band was equally as competent as its competition and definitely a boon to anyone who liked the style when it was based more so in menacing melodies and infectious riffing rather than exaggerated brutality. But while the band's full studio out put during the 1990s are worthy of any death metal head's consideration, it wasn't until their sophomore effort "The Grand Leveller" in all its odd imagery and dark demeanor that the band's signature sound truly came into being.

The majestic quality and morbid atmosphere that this band creates is definitely a collective effort, but there is something to be said for Dave Ingram's vocal contributions to the fold. He occupies a rather intricate middle ground between the middle ranged bark character of John Tardy and Chuck Schuldiner and the deeper grunts and groans of Glen Benton, which definitely plays well against a deep, heavy, chunky yet crisp and organized musical backdrop. The combination tends to be possessed of a greater unity on the 3rd album "Transcend The Rubicon", but even with the denser and slightly muddier guitar tone heard on here and the resulting greater affinity it holds with early Obituary, Ingram's angry vocalizations fit in masterfully.

While most of this album is steeped in the slower grooving character mixed with maddened frenzies of thrashing beats and tremolo riffing right out of the "Scream Bloody Gore" approach, this album differs a bit in terms of atmosphere. Occasional keyboard and studio effects not all that different from what would be heard on coinciding efforts out of Messiah and Darkthrone occur at some key points both at the album's onset (a tolling bell in the distant reminiscent of Black Sabbath's debut but also with menacing voices whispering incoherently and a more advanced set of notes that manages to conform to doom practices) and on a few subsequent songs in the form of droning chords behaving like a distant choir, though with less frequency and greater subtlety than the 2 aforementioned death metal bands' early 90s offerings.

When dealing with the actual meat and potatoes of the songs themselves, the band is marked by an approach that is consistent almost to a fault. The intermingling of slower grooving sections with pummeling chug riffs vs. the faster, mid 80s Slayer-inspired thrashing is marked by a somewhat moderated sense of build up through mid-tempo bridge sections, as underscored in the epic opener "Visions In The Shroud". This formula is repeated quite often within the song and makes it fairly easy to mistake one song for another at first listen, though a careful listening will reveal songs such as "Graveworm" as lingering a bit more in slow territory before starting to cook, whereas "Opulence Of The Absolute" spends most of its duration channeling the spirit of Schuldiner's most speedy and primitive of thrashing early death metal offerings, contrasting itself only with a slightly more adventurous usage of the two guitar arrangement beyond brief shredding passages and playing with melodic/harmonic ideas a bit.

If one were in the market for only one Benediction album and is so disposed to the conservative, early 90s approach to the style, it's advisable to pick up "Transcend The Rubicon" first as it has a slightly more varied and intricate approach. Nevertheless, this album nips at its heels and should definitely be sought by all whose budget will allow it. This is an album based primarily in tradition, though in its day it wasn't as much of a throwback as it would have been had it come about a couple years later when its slightly superior follow up came into being. All the right elements are in place for a terrifying experience that, unlike nowadays, wasn't solely reliant on graphic gore and mutilation to get its point across and knew the value to a broader approach to conveying dreadful imagery both musically and lyrically.

Shortly after the release of Benediction's "Subconscious Terror" in 1990, Barney Greenway exited the band to join Napalm Death. Following this departure, the band found Dave Ingram to fill his shoes, and I would argue this was actually for the benefit of the band. While "Subconscious Terror" was indeed a decent outing, it was hardly anything that could tangle with the best of the band, that being this album, released to the world in October 1991.

I wouldn't necessarily say that Benediction were looking to reinvent the wheel here, for there isn't a huge difference between this and its predecessor except perhaps a noticable improvement in the songwriting. The songs are still mostly mid-tempo, relying on groovy, catchy riffs and fairly straight forward compositions. Ingram's barks here are a bit more menancing than Greenway, perhaps less vicious, but more suiting to the music as a whole. The production also aids things, its plenty heavy without being overly processed, sporting a particularly gritty and grimey sound.

For highlights, you could go with pretty much any song here and you'd have a winner. "Visions in the Shroud" begins with an ominous intro before moving into some familiar grooving territory, coming off as one of the catchier songs here. "Graveworm" is more of the same, while "Jumping at Shadows" is perhaps the darkest and most interesting song here, complete with a quote from a letter written by David Berkowitz, better known as "The Son of Sam," the man who committed murders as commanded by his neighbor's demon possessed dog. Definitely adds a certain eerie nature to this song, which the dark atmosphere captures perfectly. Its perhaps one of my favorite Benediction songs of all.

The CD version of this album also contains "Senile Dementia" and a Celtic Frost cover in "Return to the Eve." Both songs are nice to have, but neither one really steals the spotlight here from the original material. This said, "Return to the Eve" was a nice choice for this band to cover, paying tribute to a pioneer in extreme metal and they manage to add their own character to the song.

"The Grand Leveller" is quite the gem in old school death metal. Its certainly nothing flashy by any means, just hammering some sweet grooves and catchy riffs in a very workman like manner, devoid of any real ambition or forward thinking. At the same time, its excellent stuff to just blare out of your speakers and headbang to. The band has always been something of a lightweight counterpart to Bolt Thrower, but that in itself is hardly a bad thing as far as I'm concerned.

First I must say that I'm very content with my decision to give Benediction's sophomore effort a chance after listening to the highly mediocre "Subconscious Terror." After hearing all the talk of how these guys were similar to Bolt Thrower (My favorite death metal band), I was extremely disappointed with my first impression of these guys, but luckily "The Grand Leveller" is light years ahead of Benediction's previous effort. Everything about this record is better: the songwriting, riffs, vocals, solos, drumming and everything else.

On "Subconscious Terror" everything seemed so bland and predictable. I don't recall any moment where my head was banging or I was intrigued by a single solo or riff. On this record, however, Benediction decided to change things up structure wise. Not every song is written in the same fashion, and there is plenty of variety to be found here, riff-wise anyway. The undeniable Bolt Thrower influence is present once those doomy melodies on "Jumping At Shadows" enter the fray, while "Opulence of the Absolute" features some great tremolo sections that would make the American masters proud, as well as some midpaced riffs that are absolutely crushing. "The Grand Leveller" is most reminiscent of the band's fellow countrymen (and woman) in it's creeping, midpaced mayhem but the title track here shows off the band's ability to go at much faster tempos and it sounds awesome.

Even though the debut full-length of Benediction featured the legendary Barney Greenway of Napalm Death fame, the vocals on "The Grand Leveller" fit the music much better. Dave Ingram's vocal performance here adds a darker atmosphere to the sound, whereas Barney didn't really add anything to the music, he was just growling in front of the already mediocre music. The drumming on here isn't much to brag about, but it did it's job just fine so no complaints here. The bass is pretty good throughout, thumping along audibly while also providing some nice fills on the intros to "Born in a Fever" and "Jumping At Shadows."

Some might complain about the overall comparison of Benediction to the more well known Bolt Thrower because it makes them seem like a subordinate, but it's definitely a compliment. "The Grand Leveller" is a fantastic death metal record and one of the best to come from the UK, so if you haven't heard these guys then you now have some homework to do.

Highlights
"Jumping At Shadows"
"Opulence of the Absolute"
"Undirected Aggression"

Originally written for Nightmare Reality Webzine.
nightmarerealitywebzine.blogspot.com

Before death metal turned into a lollipop piece of trash genre, and before Benediction turned to crap, they put out this Behemoth of an album.

This album is heavy as fuck. Sabbath must have rubbed off on their contemporary countrymates seeing as Benediction, Electric Wizard, Napalm Death, Bolt Thrower, and many more at one time destroyed like no other.

The tone of this album is really what makes it. It's also the only Benediction album to get it right. Downtuned guitars, very good drum sound, and Dave Ingram's godly vocals. I like his stuff better than any of the other singers for Benediction or Bolt Thrower, he's an underrated vocalist in my book.

The album is a bit slower in some parts, but it also gets very fast- it's mixed tastefully. Check the 2 minute mark in "Opulence of the Absolute" for some uncomprising headbanging action.

Graveworm is a highlight here, as is the opener, Vision in the Shroud. Most of the songs follow the same formula, and you'll hear the same drum beat in every track. It's not necessarily a bad thing, but it really isn't foreground music. This is the ultimate album to let play while doing something else.

This should appeal to any metalhead with a bit of taste. It's a very heavy album that fits in with the best of early nineties death metal. There really isn't much else to say; the disc is worth many listens.