Why is melodeath cool to hate?

Jester Race is Iron Maiden on steroids just like Deicide is Slayer on steroids. Only good melodeath album btw, for that reason

What's wrong with Slaughter of the Soul tho? Not their fault that became the default meloshit afterwards.
It's a good album.

Do you fault Darkthrone for being the quintessential "basic" black metal band that talentless hacks ended up ripping off for damn near 30 years now?

I like it too and more so than Heartwork, which is the one metal fans jerk off more
>Only good melodeath album btw
Red in the Sky is Ours?

Checked and based
Slaughter of the Soul sucks and more than half of At the Gates fans have never heard Red in the Sky is Ours all the way through once.

Red in the sky is not melodeath

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>What's wrong with Slaughter of the Soul tho?
not the guy you replied tho and although I like Slaughter of the Soul it's literally the McDonald's of melodeath. Not because it has been mimicked a lot, but becasuse it was composed like fast food metal.
It's a like fucking punk album. They found one formula that worked and wrote the same song 12 times over. It works so well because it is definitely the most straightfoward and "metal" of the three classic melodeath albums (SotS, Gallery, Jester Race), but it's also definitely the least soulful of the three for that exact reason.
It's like they tried to write a pocket-sized Metallica album. Also Andy Larocque's solo in Cold is the best 30 seconds of the album

I was wondering why it didn't suck compared to their other work

>What's wrong with Slaughter of the Soul tho?
This void of passion in media product form represents a complete deterioration in composition and concept for this band: an obvious over-simplification to pander to the lowest common denominator. The "sell-out" album in a nutshell. The fact that the lead single "Blinded by Fear" was completely finished in a half hour during a rehearsal (according to the band) just goes to show how much effort was put into this recording, a far cry from their earlier Alf Svensson (ex-guitarist) spearheaded recordings. Gone are the progressive compositions that felt like reflections of scenes from a story in the form of sound, replaced by commercial metal techniques held in a radio song format. The fact that the promo pic used for this album shows the band sitting around a table drinking beer further shows this was nothing more than the byproduct of jaded alcoholics scheming to make quick cash on what was trendy at the time (the commercially successful routes Carcass and Entombed traveled with their vapidity might have influenced this decision).

Despite what the artwork might suggest, there is no grand scheme here as lyrics have taken a turn for the worst - sounding like a meme reiterated multiple different ways than a story. Shouting incessantly in a raspy voice about social ills, religion, and depression delivered through an angsty "Life Sucks!" manner. It's not unlike the ones Machine Head would later popularize with the song title being shouted ad nauseum for the chorus. The cliff-notes version to most of this would read something like: "life sucks - suicide, religion is bad - suicide, it's like nothing is really real man - suicide, suicide suicide, suicide, suicide suicide". Whereas their old lyrics had a place in the narrative of that albums concept, here they read like they took one idea and regurgitated it 9 different ways to "get it over with". I suppose these lyrics serve the function of this album well considering the drive-thru fast food restaurant television commercial jingle like nature of the music.

Everything has devolved. Nothing here isn't something that wasn't already done by more successful bands. The music has been reduced to bouncy and mechanical rhythm riffs with cheesy melodies. Warmed over "happy" rock harmony 101 generic heavy metal fodder is interrupted by staccato chugging patterns on the bottom end string as a tide over for the next recombination of notes from the same typical heavy metal scales. The only difference here from other bands that use similar techniques is the down tuning and guitar tone having a typical "Swedish" tone (which, despite having recorded a demo and album at Sunlight Studios, was something this band never had - another commercial move perhaps?). The way this music was written recalls Metallica's Blackened with added Iron Maiden inspiration appearing in the "catchy harmonies" and galloping riffs.

Everything is done in a verse-chorus format to the point of nauseating repetition. Here, it's obvious how this album influenced metalcore. "Mad at the world" verses, "sad at things" choruses, and happy "raise your fists in the air! HEY! HEY!" bridges with bluesy heavy metal solos show the same ideas being assembled into the same structural format. It's a formula that gets tiresome by the 3rd track, which features a guest solo by Andy Laroque that adds nothing to the song that the band themselves weren't already doing on the previous tracks. The only variation comes in the form of a few Pantera-esque mall grooves like those in World of Lies, Suicide Nation, and the end of the title track (band claims it was a Trouble influence); a heavy metal-ized parody of an early Dismember riff (Under a Serpent Sun) and a clean guitar break (Unto Others), but these are quickly thrown out for the same mindlessly formulaic repetition. A couple instrumentals also appear, one sounding like a hippie camp fire song (I was half expecting a drunken voice to yell out "HEY-E-EE-YEAH! UNFORGIVE-E-IN!") and another which sounds like a castoff from the Duke Nukem 3D soundtrack with it's repeating drone of midi synthesizer chords.

This is not even a good gateway album because the droning repetition, mechanical assembly line manufactured riff craft, and faked emotional appeals would make metal seem boring to the curious. There is no emotion wrapping itself around the riffs to fit the theme of songs (like how even the vapid Terminal Spirit Disease had), just mechanical processes toward mainstream recognizable "aggression" (like the shouting of "Go!" in the title track which recalls a Pantera level doofus mentality) and "bittersweetness". Here it is obvious that without the imagination of former guitarist Alf Svensson, At the Gates is a very typical band that makes very typical music dressed up in a way that would appear "unique" to the Machine Head fans who wouldn't know anything about death metal and has thus, been falsely declared a classic (Kerrang readers loved this album because of the marginal increase in quality over their typical Chaos AD listening habits). This media product is just that - a product, and a vapid one at that. No higher function than "get down and boogie/raise your fists" and thus no different from the wigger/dance culture mentality of music like Machine Head or Britney Spears in pandering to the lowest common denominator with their doofus mentality noise.

I strongly recommend seeking out their first demo/ep Gardens of Grief and The Red in the Sky is Ours album and steering clear of this album. A depressing display of wasted talent that is analogous to the vacuity found in everyday modern life and culture (done before Iphones and Facebook no less). Avoid this Necrolord cover (made stupid with the awful re-imagined logo that looks stolen from a Sega Genesis box cover) adorned platter of sonic diarrhea like the garbage it is. Hopelessly vapid.

Every song sounds the exact same. Identical BPM throughout the entire album. Every riff on the album sounds nearly identical to the last. It's "melodic" Death metal, but the album only has 1 melody.

Because it's not melodic