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By JEFF MAKI
As with 2007's Wolves, Germany's Deadlock remains very metal but experiments with other styles such as rap, jazz and even more techno on Manifesto, their third album for Lifeforce Records. This is added to a band already containing elements of melodic death metal, metalcore, female clean vocals, male growls and synthesizers. Too much can be overkill, as the opening techno/rave sequence of “The Moribund Choir vs. The Trumpets of Armageddon” and the ending two minute hip-hop stylings of “Deathrace” both seem awkward and out of place. Aside from these minor gripes, Deadlock has released another heavy, aggressive album, even if it doesn't fully live up to Wolves.
Wolves was one of Live-Metal.Net's highest rated albums of 2007. In my review, I questioned where Deadlock would go from there having seemingly used up all of their arsenal crafting a brilliant album. What blew me away on that album was the orchestration and heavy techno-crunch clashing with the heavy guitars and dual-vocal attack—not to mention some decent song,s as well. With Manifesto, Deadlock keeps much of the same Swedish melodic death metal sound, though it seems thrashier and faster this time around, no doubt trying to keep pace with hordes of other extreme metal bands. [FIRST NAME?] Weniger's role as the female lead increases more and more with each album, and she holds her own with an alternative-like screaming style. However, there is little variation in her singing and most songs—save for her solo performance in the ballad “Altruism”—are rather predictable. The death growls of Johannes Prem are grim and downright scary, creating a “beauty and the beast” combo like no other. You name it and it's all here—almost every known element going strong in heavy metal music today and then some. At times, Deadlock goes overboard, but overall Manifesto is a dynamic, exciting album from a young, up-and-coming band just begging for exposure.
Standouts include “Martyr to Science,” “The Brave/Agony Applause” and “Temple of Love.”
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