VIDRES A LA SANG -

VIDRES A LA SANG - Same - XTREEM MUSIC
'Glass In The Blood' is named after a Catalan poem, where the band is based. This is a competent debut mixing a bit of the likes of Immortal with fast riffing that avoids being too simplistic and provides enough tempo changes to make it sound more like a death metal album. The six tracks run at almost 35 minutes, have Catalan titles but the band or label have decided to include translations right under the track titles. There is enough here to keep the listener interested through the average six-minute length of songs. There is the mandatory Slayer bit as with countless other bands in La Nostra Estirp; not necessarily the only thrashy influence on this release. Helped by its clear production Xtreem Music has now brought this originally self-financed album to a wider metal audience. - Anna Tergel

VIDRES A LA SANG - ENDINS - XTREEM MUSIC  
Back for a second time, still with six songs and Catalan titles (with accompanying English translation) Vidres A La Sang’s Endins starts with Amb Tota Rancunia (With All Resentment) and simple black metal riffs but switches into more technical realms and, perhaps surprisingly, one is reminded of Obituary in the song’s breaks and drumming. When all is said and done throughout its six minutes the song goes pretty much everywhere and includes everything from a guitar solo to Scandinavian style fast black metal riffs. Els Limits De La Creacio (Limits Of Creation) features more of the mix and takes the listener on a travel through the metal ages and styles. Identitat (Identity) starts off with mid-tempo heavy riffs giving it a doomy feel and is sometimes reminiscent of early ”˜90’s death metal of the likes of Thanatos, to name just one. Negri Desti, Roja Venjanca (Black Destiny, Red Vengeance) has a thrashier start and is generally faster than the song before it and features another an interesting and brief guitar solo. Torna Al Teu Clos (Back to Your Enclosure) clocks in at eight minutes and predictably includes longer atmospheric and slower segments and is sometimes dominated by Eloi’s deep, grunting vocals. Tots Els Paisatges Son Iguals (All Landscapes Are The Same) closes Endins with simple and formulaic black metal riffs and song structure inspired by the likes of Immortal et al. - Anna Tergel