Left Hand Path

Left Hand Path

Track Listings

1. Left Hand Path

2. Drowned

3. Revel in Flesh

4. When Life Has Ceased

5. Supposed to Rot

6. But Life Goes On

7. Bitter Loss

8. Morbid Devourment

9. Abnormally Deceased

10. Truth Beyond

11. Carnival Leftovers [*]

12. Premature Autopsy [*]

Tracks:

Left Hand Path
Drowned
Revel In Flesh
When Life Has Ceased
Supposed To Rot
But Life Goes On
Bitter Loss
Morbid Devourment
Abnormally Deceased
The Truth Beyond
Carnal Leftovers
Premature Autopsy

Amazon.com

Over the years, Sweden's Entombed has evolved into one of the most original and uncompromising metal outfits, incorporating elements of hardcore and garage rock into its brutal wall of sound. But when it first started its trail of terror in 1990, Entombed was just another poorly produced death metal band. Left Hand Path features some startling tempo shifts and daunting lacerated throat howls, but it only hints at the brilliance the band would later discover on albums like Wolverine Blues and To Ride, Shoot Straight, and Speak the Truth. That said, tracks like "When Life Has Ceased," "Morbid Devourment," and "Abnormally Deceased" are as good as most anything by Morbid Angel, Death, or Dissection, and will surely appeal to ravenous fans of all things fetid and depraved. --Jon Wiederhorn

Customer Reviews:

Beginning A Revolution.......2007-06-17

I think it is safe to say that the Swedish basically dominated the extreme metal scene in the 90's, with bands emerging such as Dismember, Unleashed, Eucharist, At The Gates, and, of course, Entombed. You may think of Entombed nowadays as a band that mixes death metal with rock and roll (a.k.a. "Death n Roll"), but back in the early 90's, on their days on Earache records, the band played solid and excellent death metal that was different from the Florida hot bed that spawned Death, Morbid Angel, Obituary, Nocturnus, etc.

Thus, we have "Left Hand Path", released in 1990. The guitars here are tuned to a raw sound that is hard to describe, and the raw production makes them stand out as well. I also must say that this has some good drumming as well. Solos are executed perfectly. Riffs? You got them!

Overall, a great death metal album that is definitely a classic in my books. If you enjoy this, make sure you check out these albums as well:
"Like An Everflowing Stream" by Dismember
"A Velvet Creation" by Eucharist
"The Red In The Sky Is Ours" by At The Gates

Clandestine is a must have.......2006-10-06

This album is a must have for any music-lover of the dark metal ways.
In my opinion there isnt a bad track here at all--from beginning to end this album rips through you and leaves you wanting more--Wait no more mortals, BUY THIS ALBUM!

As close to perfection as possible..........2006-04-17

It doesn't get much better than this. Everything about this album is done perfectly: the guitar tone, the vocals, the lyrics, the drumming, the song writing, even the goddamn cover artwork. This is my favorite death metal album from what I have seen so far. It's an album that Entombed never really topped either. They came close with the next one, then had a decent album, then have been putting out crap ever since.
The infamous sunshine studios guitar tone sounds perfect, as is the rest of the production. Unlike many other death metal albums, for better or for worse, this album really has a sense of space, which is reflected in the cover artwork. This is accomplished by the song writing, different instrumentation, and most importantly the vocal effects and techniques. L G Petrov uses what I like to call an "atmospheric growl" for lack of a better word. It was being used before this, at least by Obituary, but this album really perfects it. Essentially, it starts off soft and gets louder and then echoes. The guitars also have an echo to them which adds to the effect of giving a sense of space.
The lyrics are very good as well. Unfortunately, only a few of them are available. I really wish these guys would publish the lyrics as well as the tabs! They also have a sense of humor about the whole thing, but never come across as goofy or just plain silly. They were originally called Nihilist and some of the lyrics really reflect nihilistic values in a humorous sense. In the song "But Life Goes On," the lyrics right before the chorus are "Continue to seek and you will see/Life is your worst enemy!" This rivals "Wanting to die is your reason to live" (Slayer - Postmortem) in terms of being nihilistic in a funny way.
Let's have a look at each individual song since each one has something to contribute to the album:

Left Hand Path 10/10 - What a way to start off an album. This song is an epic classic. It starts off with a scream followed immediately by a snare drum hit, giving the impression of someone falling down into the depths of insanity, or perhaps the chasm on the cover. This also sets the precedent for the sense of space the album has. Immediately after, the listener is crushed with power chords that introduce you to the guitar tone and then two mini solos right off the bat to let you know that these guys mean business.
The song continues at a fast pace for a minute and then slows down. This album is full of tempo changes to keep things interesting. Soon after this, we hear the first atmospheric growl, giving a sense of space and atmosphere. Then we hear somewhat of a hardcore breakdown (at least to what my sense of an actual hardcore breakdown is!) Basically, the guitars get really chunky. After another atmospheric growl, we hear a guitar solo, which unlike the lyrics or most other death metal bands, isn't really nihilistic in an atonal sense, but is rather thoughtful and has a feeling to it, instead of being just plain fast and brutal.
After this the song picks up it's pace again, throwing little solos at you one after another. Then it slows down again, giving you an atmospheric growl. This is where things start to get interesting. The band introduces the melody which is actually the theme from the movie series "Phantasm." I believe it's played on a synthesizer or something, but it doesn't sound artificial. It sounds eerie and has a latent evil quality to it. This is where the cover comes in handy. They have really captured the feeling of this part of the song in the cover; it's atmospheric, eerie, spacious, evil, rich vibrant. Take a look at it when you are listening to this part of the song. The left hand path beckons. Apparently the left hand path is a metaphor for the way of the devil or something like that. A close look at the tombstone reveals the epitaph "REST IN FESTERING SLIME." We are really just beginning going down the left hand path. We are about to find out what hidden pleasures lie beyond, over the bridge, through the strange blue mist and over the horizon.
While we are drawn in by the Phantasm melody, a guitar suddenly slams with a power chord, which gives a different, slower melody over the Phantasm melody with plenty of pick slides, creating an interesting harmony. Soon the guitar takes over and the synthesizer is taken out. This is where the epic solo starts. Once again, it's not really atonal, but has a real feeling to it. It isn't technically self indulgent either: it has slow parts and fast parts, but is never difficult just for the sake of showing off. When it's over, the melody is continued by the guitars, which fade out, but only slightly, so there is actually a last note which gives you a sense of closure and completeness, rather than fizzling out like some 80s pop song by fading into oblivion.

Drowned - 9/10 - This song starts off with a fast jarring riff to snap you out of the trance the last track put you in. Then just as suddenly as it started, it stops for a moment. One guitar comes in with a fast, descending riff which is joined by the second at the end. They play a slower, more open, and not as percussive riff after this. At the end there is a nice pinch harmonic and of course the atmospheric growl. This sense of space created by the slow open riff and growl is contrasted by the suffocating fast riff played at the beginning. This is where you really start to settle into the record.
The song basically switches back and fourth between the fast and slow riff, making things interesting. Near the end it gets really slow and heavy with plenty of atmospheric growls, once again making a sense of space, followed by some good solos. After this the song picks up at full speed again. All of the elements of the song, the vocals, drums, guitars, are going at full speed but then suddenly stop to end the song. I guess you could say at this point the metaphorical drowning is over. After the fast thrashing parts of you trying desperately to swim, and the slow parts of you slowly suffocating to death, your brain has finally died.

Revel in Flesh - 10/10 - This song has such a great groove to it. The simple alternating drum beat is the basis of the song, but it departs from this so many times is various ways that it sort of entices the listener to want it to come back. This is probably one of the best use of alternating tempos and song structures I have ever heard.
The song starts off with some power chords, then the main riff, and then they both come together with the drums. Just try not head banging to this part or at least tapping your foot (I find myself doing the later more, not that it makes it any worse.) The slight stops, the palm muting of the guitars, and the use of the drums are thrown at you in a different way at the end of almost each time the riff is played. This great sense of groove continues into the chorus, followed by a usual brief pause, and then goes back to the verse, back in the same groove.
At the end of the second verse, it repeats the chorus, and then gets really interesting. There is a great atmospheric bridge, supported by the atmospheric growl, then some great guitar effects with an overdrive pedal, some whammy bar, and reverb. After this, we have another great hardcore breakdown for the second part of the bridge. It's really chunky, then gives a power chord in place of two chunks of guitar, followed by some melodic riff work to round it out. This interestingly makes your head hang on the down swing, since there is an emphasis on the last part.
At the end of the second part of the bridge, Petrov growls REVEL IN THE FLESH which is a great way to kick off the awesome solo. Just try and not play air guitar to this one. At the end of a thoughtful and melodic, yet uncompromising solo, it once stops for a moment. Then it stops for another moment. They are just playing with you now. They know you want to hear them main riff again, since it has such a great groove. It finally does and Petrov reinforces it with a perfectly used grunt. Yet they still make it interesting. After you hear the riff three more times, they use more palm muting and a different drum pattern to make things interesting, and then it falls back into the groove. The groove continues to the end, giving some different drum patterns and then finally a scream by Petrov and then the song ends with a tremolo bar crushing the last note and then letting it back up again.
When Life Has Ceased - 9/10 - A drum fill starts off this song followed by a great sense of groove similar to the last song. Just try and not head bang to this one either. Once again, the atmospheric growl is used. The first line of the lyrics is "when life has ceased" which just seems delightfully morbid to me and is repeated at various points in the song. It then goes to the chorus which is moved on by some great grunts ("ye-uh".) It goes back to the verse again, then the chorus. The bridge is up next which is slow and heavy. It gives you six notes, and then plays them again with the drums reinforcing them to make them more brutal, a technique really used best in track 8, "Morbid Devourment."
The song then picks up a bit, then slows down even more, with the usual atmospheric growls. It then picks up the pace again, followed by some good solos. After the solos it continues on, seeming like it could end at any second and then finally does with a grunt that is echoed and gives it a good sense of finality.

Supposed to Rot - 8/10 - This song if pretty short (only about two minutes long) and has a pretty good sense of groove like the last two songs. It starts off with the drums then an interesting riff, then a little fill, followed by the main riff. The verse continues on followed by the chorus, which is introduced by Petrov growling "you're supposed to rot." Once again, Entombed show their slightly humorous take on death metal. He says it again to introduce a sort of non solo, which is just a trill note on the guitar. It then goes back to the verse, followed by a brief pause, then Petrov growling "your supposed to rot...yea", which ends the song, sort of. The tremolo bars are used to modulate the pitch and show off the guitar tone at the end, much like the end of Revel in Flesh. I think they mainly used this to put the song over the two minute mark though.
This song doesn't have as much to offer as the songs preceding it, but it's certainly not annoying or boring by any means. It's still has a good feel to it, and is kept short since the ideas behind it are relatively simple. It's strategically put here because the next song is so damn good.

But Life Goes On - 10/10 - This is one of Entombed's first songs. It's really simple, but it's a lot like Mutilation by Death, or Black Magic by Slayer, or Black Sabbath by Black Sabbath, in that it's not the most complicated or even best song that they have written, but it really gives a great sense of the band's sound in one song.
It's one of those no nonsense songs that doesn't start off with a drum intro and doesn't have any time changes, but is great in a simple way. The riff is chaotic in a way and is basically a lots of notes play really fast in an atonal fashion reinforced by power chords at the end. For the most part, it follows the traditional verse/chorus song structure and doesn't have many tempo changes.
Most of all though, the lyrics make this song. Fortunately, they are readily available on this site. "But why should I go to heaven /And who's to say I'll enter HELL", with the two power chords emphasizing HELL! This is followed up by the first chorus, which doesn't give you the best part of the song right away, but then goes back to the verse, and then the chorus again. This time at the end, the phrase "Continue to seek and you will see/That life is your worst eneMY!" It's so cheesy, but there is such an eerie sense of calm in the moment between the two phrases, and such utter conviction in how it is said. Sure it makes no sense, but you can still get the idea of what he is saying. It can also be viewed as nihilistic since it makes no sense. Petrov also screams the last syllable, which I am having trouble replicating really, but is still fun to sing along with. This line can really be seen as the apex of the whole album, which is pretty much in the very middle of the middle song. If there was an Entombed shirt which said "Continue to seek and you will see..." on the front and "Life is your worse enemy!" on the back I would buy it.
After this, there is a great bridge, with the obligatory atmospheric growl, followed by the solos. At the end of the solos, the main riff is reintroduced and the verse starts again, it ends again with instead I'll enter HELL" and then the chorus with "Life is your worst enemy" again. This time, the last syllable is sort of turned into an atmospheric growl, since it starts off soft and then gets louder. This is followed by a quick interlude with four ascending riffs and then a satisfying grunt to end the song.

Bitter Loss - 10/10 - This song starts off with some power chords, joined in by some melodic riffing, and then, like some many other death metal songs with were probably influenced by this, the obligatory bass mini solo, which is used perfectly. It is followed by a power chord, and then it gets into a great groove. I always get this song confused with Revel in Flesh since they both have the same great sense of groove.
There are plenty of small little halts in the tempo, just like Revel in Flesh. It does this through the first verse, then also in the chorus. It settles back into the second verse. Once again, the lyrics aren't available and hard to decipher, but I know one of the lines in the second verse is "rip you all to shreds!" which is delivered particularly well.
After this it goes into the bridge, which has a few good grunts here and there. It then goes into three or four more different bridges which shows the complex winding song structures this album has. Over one of these, it gives a good solo, then lulls for a moment, then gives a really great melodic solo. During this solo, I find myself equally intrigued by both the solo and the riff that supports it so I find myself listening to on and then the other.
After this it settles back into the verse, after a brief lull, which basically brings it back home. At the end Petrov, keeps repeating what I think is "It's just a momentary loss," but of course I am probably wrong since the lyrics aren't available. This is followed by some melodic riffing. At the end off each riff, it seems like the song is going to end, and then after three times it finally does with an extra power chord at the end.
Morbid Devourment - 9/10 - The song starts off slow and heavy with an atmospheric growl, then it suddenly stops completely for a second, then it comes back with the tempo increased by the slightest amount. Once again, you want to headbang to this since it has such a great sense of groove. It eventually slows down, then speeds up. Next it pauses and gives us nine notes played twice each in so it's more of a tremolo type thing, which set us up for something interesting later. It then goes back to the main groove, and then back to the same nine notes again. Right after the nine notes are played the way it was the first time, two each, and then Petrov yells GO and the notes are now power chords played once each and supported by the drums so it gives you more of a sense of getting punched in the face. They go back to playing them tremolo a couple more times, with a good scream, and then suddenly slow it down, then pick up the pace slightly and add a blast beat. This is followed by the solos ending the song, then an interesting "bleh" which is echoed to give a sense of space and an ending to the song.

Abnormally Deceased - 8/10 - This song starts off slow and then picks up the pace. This song doesn't have as much to offer really, but a nice "DIE!" keeps you engaged. It's pretty much the typical verse/chorus/solo structure, and isn't really bad, but it doesn't have much going on that is special like the other songs.

The Truth Beyond - 9/10 - This song is somewhat epic, like the first one and is a good serves as a bookend like the first to keep things memorable. It starts off a little slow then has some nice dual pick sliding action and then picks up the pace. This song gives an intelligent critique of organized religion, and fortunately the lyrics are available, but it sort of shoots itself in the foot when it talks about dissecting Jesus Christ, which is fine by itself, but I was hoping that the whole song would keep the theme of being critical but instead mixes in some brain dead gore, which once again is fine on it's own, but sort of undermines the song here.

Carnal Leftovers - 8/10 - Here we have the first bonus track. This song has some time changes and is pretty good, but doesn't nothing really worth pointing out.

Premature Autopsy - 9/10 - ATTENTION CANNIBAL CORPSE FANS: This song has the riff that Cannibal Corpse ripped off for their number one hit "Hammer Smashed Face!" Listen to the two songs and compare the main riff. They are damn near identical. This album was released AT LEAST two years before Tomb of the Mutilated, so it's obvious that Cannibal Corpse ripped this song off, like they rip everything off. It's also interesting that it's pretty much Cannibal Corpse's best, most notorious song and for Entombed it's just a bonus track. Yet at the same time Cannibal Corpse is more popular. Life's not fail I guess.
I do appreciate how CC did give actually point out that the riff sounds like you were actually pounding someone's face in, but Premature Autopsy is still a pretty cool name. Entombed also use a different vocal style here. The vocals sound more processed and it gives some nice variation from the same voice you have been hearing the whole album. It's a pretty straightforward song with an interesting scream at around 2:05 that gives the album a great sense of finality. It continues on for a little more, with some good grunts and some good solos and finally ends with a lull and then a crushing power chord.

So there you have it. Looking at the other reviews, it seems that not enough people have this album, so more people should get it. It's pretty much a buy or die situation.

Total Brutality!!!.......2006-04-17

The 1st release from Entombed, "Left Hand Path," is an all time death metal classic. Not just in death metal, but in metal in general... I like every song on this CD, & this is one of my fav. death metal CDs. I listen to this one constantly! The 2nd one, "Clandestine," is good too, but I think this one a a bit more brutal in my opinion. Honestly, I didnt like the vox in Clandestine as much as I did in Left Hand Path. It was actually Nicke Anderson (formerly on drums) who did the vox on Clandestine, & I dont know... I just didnt like them as much as LG's vox... he's definitly the man for Entombed. But seriously... just listen to the 1st song, the crushing title song, & you'll be blown away, & I LOVE that creepy outro...! Death metal doesnt have to be totally blindly fast & technical to be enjoyable as this CD proves just that. Highlights are the title song, "Drowned," "Revel in Flesh," "Suspossed to Rot," & the brutal final song "Premature Autopsy" which has some really kick-a$$ & evil sounding vox! Kinda reminds me of Glen Benton in Deicide, with all that demonic shreeking while he screams... anyway, this CD is becoming harder to find, so get a copy when & if you can, its totally worth it & if you have to have an least one Entombed album in your collection, this one should be it.

kick but metal.......2006-02-01

if you like carcass, bolt thrower , napalm.. this is right up your alley, don't hesitate buy ,listen ,slam danse ,have fun.

Average customer rating:

Very good reading, but not the best, of really lovely music
Wonderful music, but I'm not sure I like the interpretation
Absolutely breath-taking
Firkusny redraws a misguided portrait.

Leos Janácek: Piano Works
Leos Janacek , Rudolf Firkusny , Rafael Kubelik , and Members of the Bavarian Radio Symphony Orchestra
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Im Nebel: IV. Presto-Andante-Tempo I-Adagio-Vivo-Andante-Tempo I-Adagio - L. Janacek
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Capriccio: IV. Andante-Maestos vivo-Tempo I-Allegro-Grave - L. Janacek

Customer Reviews:

Very good reading, but not the best, of really lovely music.......2004-02-16

As a long-time fan of Janacek, I know this recording from LP. It is quite well played, and is one of the only recordings out there of Janacek's wonderful and generally neglected piano works. My only problem with it is that I also have a recording of some of this music (also on LP, and not available on CD, alas) by Ivan Moravec. Like many of Moravec's recordings, that one ruined anyone else's interpretation for me - it is delicate, nuanced and in places capable of moving one to tears. Firkusny's playing is more straightforward, maybe a trifle colder, but the quality of the music still comes across.

Wonderful music, but I'm not sure I like the interpretation.......2003-01-18

Janacek is one of my favorite composers; I am currently learning "On the Overgrown Path" on the piano. I bought this CD based on the glowing reviews on this site.
I myself don't much care for Firkusny's style. I am only a student. More importantly, I think, I am an American; perhaps I'm too ignorant of Czech style to appreciate the interpretation. That said, I want more clarity. I want the rubato to be more overt. I love the music, but I want it to be more overwhelming---I really like the Guarneri Quartet's interpretation of the string quartets.
I'd be interested in hearing Schiff's interpretation of this music; I'm not sure I'd recommend Firkusny unless you are a scholar or a true devotee of Czech style.

Absolutely breath-taking.......2000-06-20

This is, simply put, one of the best CD sets out there. Janacek truly had a gift for writing piano music, and, equally so, Firkunsky had a gift for interpreting them. Every piece on these discs is a gem, from the peaceful "On the Overgrown Path" to, my personal favorite, the intense and mature "Capriccio", these CDs have no weak points. If you are at all a fan of Moravia's greatest composer, or if you are looking for an introduction to his works, this is a can't miss.

Firkusny redraws a misguided portrait........1999-01-15

These are the first Janacek CDs I have purchased. Previously I heard some of the operas and had been only mildly interested in the great Czech. From those earlier experiences I had drawn a certain image of Janacek that these CDs have forced me to reimagine. "On The Overgrown Path" is performed with such simple warmth that it is overwhelming. "Reminiscence", according to the CD jacket, was Janacek's final work. It is an historic half a minute. The two movement sonata - the last movement to which Janacek apparently tore to pieces and hurled into a river - is a wonderful blend of Czech morbidity and intermittent promise. This is an awesome release that any pianophile absolutely must own. I would have given it ten stars if I could.

Janácek: Chamber Music & Orchestral Works

Average customer rating:

Janácek: Chamber Music & Orchestral Works

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Janácek: Instrumental & Orchestral Works

Average customer rating:

Stunning
Lesser known Janacek at bargain price
Great addition to the library

Janácek: Instrumental & Orchestral Works

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Tracks:

Pohadka: I. Con Moto - Mikhail Rudy/Gary Hoffman
Pohadka: II. Con Moto - Mikhail Rudy/Gary Hoffman
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Presto in e - Mikhail Rudy/Gary Hoffman
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Reminiscence
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On The Overgrown Path: Series 1/1: VII. Good Night!
On The Overgrown Path: Series 1/1: VIII. Unutterable Anguish
On The Overgrown Path: Series 1/1: IX. In Tears
On The Overgrown Path: Series 1/1: X. The Barn Owl Has Not Flown Away
Po Zarostlem Chodnicku: Series 2/2: I. Andante
Po Zarostlem Chodnicku: Series 2/2: II. Allegretto
Po Zarostlem Chodnicku: Series 3/3, Paralipomena: I. Piu Mosso
Po Zarostlem Chodnicku: Series 3/3, Paralipomena: II. Allegro - Vivace
Po Zarostlem Chodnicku: Series 3/3, Paralipomena: III. Vivo
Three Moravian Dances: I. Ej, Danaj!
Three Moravian Dances: II. Celadensky
Three Moravian Dances: III. Pilky

Customer Reviews:

Stunning.......2004-01-16

Leos Janacek (1854- 1928)was one of classical music's true mavericks. His music ranges has a wide emotional spectrum and endless rhythmic interest. This 2 CD selection of his lesser-known chamber and instrumental works is exemplary. All artists have a strong feel for the motif style development and the quirky nature of the music. Mikhail Rudy gives very fine renditions of the beautiful Z Ulice Sonata and V Mlach, both of which deserve to be much better known. He mixes an innate feel for the music with seemingly limitless virtuosity. The first disk contains Janacek's important cello work Pohadka (Fairy Tale), here performed admirably by Gary Hoffman. The account of the beautiful 1922 Violin Sonata by Pierre Amoyal and Rudy is simply the best on record. These two artists capture the folksy and rhapsodic nature of the work and convey it with great flair. The two piano concertos are also vintage Janacek, written late in his career. The 1925 Concertino is a highly enjoyable piece, again played with warmth and sincerity by Rudy and accompanied very well by Sir Charles Mackerras (one of the world's leading Janacek specialists) and soloists from the National Opera Orchestra of Paris. Finally, the Capriccio for left handed pianist and a very eccentric ensemble of piccolo/flute, two trumpets, three trombones and a tenor tuba (1926). Rudy is exemplary as usual and the brass playing is very fine indeed. Particular mention should go to the Tenor Tuba player in the third movement. This is a very difficult and exposed solo for the instrument and it's played extremely well here. The only qualms I have with this performance is that the flautist has a rather thin sound. Otherwise this is a thoroughly enjoyable piece played with great feeling. This is one of the best collections of Janacek's music around, get it while you can!

Lesser known Janacek at bargain price.......2002-08-24

This is a must have for all who love Janacek's unusual music. You get to hear rarities in truly competent and moving performances. Pianist Mikhail Rudy is ideal. Sir Charles Mackerras' immense affinity for Janacek's oeuvre is almost legendary by now and quite rightly so. Cellist Gary Hoffman and violinist Pierre Amoyal nicely complement these high level renditions. Now available on EMI's Double Forte, i.e. 2 CD's for the price of one. All DDD.

Great addition to the library.......2002-06-13

For the purposes of my review, I'll stick to my specialty - the piano music. Rudolf Firkusny's readings of this music have long been the standards; he studied piano with Janacek (an odd choice - he wasn't much of a pianist), and his style for Janacek reflects the peculiar style of his teacher, as well as having a magnificent sweep of color. No one else could play the Sonata 1.X.1905 with such an incredible swath of colors. Since then, though, Janacek has become one of the best-played composers today; it is very difficult to find a bad recording of his music, and particularly the music for piano. Between the readings of Andsnes, Goode, and Schiff, there are several fantastic recordings to choose from.

Enter Mikhail Rudy, who continues this happy tradition, not without some issues. The Sonata 1.X.1905 is first up on the CD dedicated to the solo piano works; the tempi are in a good midrange for projecting the scope and meaning of this intense music, the range of dynamics is superb, and his phrasing is glorious. This is technically very awkward music, by the way. The only complaint I have is that he does not observe some of the microscopic, but crucial rests that Janacek notated in the second movement. (To be fair, Firkusny doesn't either.)

Next up is V Mlhách (In the Mist), which the writer of this review played during his time at Oberlin Conservatory. In Rudy's hands, the first movmeent flows beautifully, with a little bit of physical resistance felt in the rubato; the second movement could, again, benefit from a closer look at Janacek's rests; the third movement is glorious, mournful and sentimental without going over the edge; unfortunately, it does not end well, as the fourth movement is very loud, brittle and harsh, and the melodic line is often broken to the point that it is unrecognizable. Even when played smoothly, it is still the hardest of the four to hold together, and it really does not help that Rudy bangs through it.

Tracks:

Left Hand Path
Drowned
Revel In Flesh
When Life Has Ceased
Supposed To Rot
But Life Goes On
Bitter Loss
Morbid Deceased
Abnormally Deceased
The Truth Beyond
Carnal Leftovers
Premature Autopsy

Album Details

Remastered Edition with New Packaging.

Customer Reviews:

The Debut That Spearheaded Swedish Death Metal.......2002-03-20

Nihilist, the precursor to Entombed started by Nicke and Alex, had actually been doing a pretty good job of making waves during the late 80's in Sweden. Their first demo, which also coincidentally featured Morbid members L.G. and Uffe, impressed the head of Earache Records so much that Nihilist looked to be on a promising road to being signed with them. However, due to inner-band turmoil they soon called it quits, although three days later Nicke, Alex, Uffe, and L.G. decided to get together for good under the name Entombed. In no time at all the three track "But Life Goes On" demo was bashed out and shipped to Earache. And to once again use the tired, old cliché - the rest is history. The Swedish counterpart to the American Death Metal movement had begun.
"Left Hand Path" was recorded in about one week in December of 1989. It was an intriguing time in Sweden, where handfuls of bands were experimenting with heavier sounds that were heard in the rest of the world. American Death Metal had broken wide open years before with Death and Possessed (among a few notable others). What made Entombed a special affair was the band's insistence on not relying solely on the strict American Death Metal palette for inspiration. They were more intent on fusing some of the defiant aesthetics of punk/hardcore as well as keeping it heavy (really, really heavy...) by writing memorable riffs rather than relying on sheer speed at every turn to make a name for themselves. Also important is the fact that "Left Hand Path" was one of the earliest Swedish albums to defined the revered and coveted "Sunlight Studio" sound that permeated most Death Metal albums released throughout the 90's in that country. Yes, it really was that influential.
What made Entombed's debut an essential listen when it was released in early 1990, and what made it an immortal classic in Metal thereafter, was the eerily sadistic atmosphere it presented. The way that each track was written put such focus and emphasis on the value of great riffs and how they could be arranged to sound vaguely familiar, yet completely fresh. Hence, a listener might be able to fleetingly point out one of Entombed's influences, but barely comprehend just how they'd drag SO MANY influences from so many different genres and styles and blend and stitch them seamlessly. And on top of all that, tuning down their guitars added to the immense weight and jarring intensity of every sadistic cut. For example, in the title track alone there are allusions to sludge-infested Death Metal somewhere between early Death (the band), Carcass, and Autopsy, and then emotionally crushing Doom Metal that would rival any Sabbath-inspired acts to this day. Nicke's insanely precise pounding and L.G.'s gravelly guttural throat finish off any doubts or petty concerns about the validity of Swedish Death. Obviously, since this album wouldn't still be so well-respected to this day if this weren't the case, the aforementioned vicious brilliance doesn't just begin and end with the first track - each of the cuts that follow brandish an immediacy and hunger that's just as antagonistic and hostile as the last.
Simply put, "Left Hand Path" was the beginning of an era - especially in Entombed's homeland, where this was the likely text that tons of bands heavily and eagerly studied to learn how Death Metal should sound. Ironically, Entombed's promising start was not necessarily a prediction of their own `left hand path" so to speak. L.G. did not appear on the band's very successful follow-up "Clandestine", although he would return soon after. Yet by "Wolverine Blues", their third album, they had definitely taken a very different direction. While Entombed has since released some extremely amazing and brilliant "death-n-roll" (as it's often called...) albums, such as "Morning Star", "Uprising", and the aforementioned "Wolverine Blues", they never returned to the familiar territories of their classic genre-defining debut. Listen to it with a sense of nostalgia if you must - but make no mistake, "Left Hand Path" is still as vital, fresh, and commanding today as it was in 1990.

A Deathmetal Classic Thats Stood out........2001-04-13

The debut album from Entombed blew the minds of about everyone that was fortunate to hear it when it was released via the Classic 'Earache ' Label in 1990.

It was one of the Forefather albums that was to gorge together what was to later beknown as the 'Swedish Sound'.

Buy without compromise if u missed it first time.

This newer edition cd with 2 extra tracks is much better musically, but there is no new information, for starters there is no mention of who or when the Remaster was done. I Think The Earache people Could have done better.

Take a look + a listen to the (Re)cently re-released & ravish looking 'CARNAGE - Dark Recollections' CD as well. Before LeftHand it too was Groundbreaking & HEAVY!!

Both albums have Astonishing & Groundbreaking Album Artwork By The Then (Young) Dan Seagrave.

great!!!.......2000-10-08

If you're into death metal, and you have never heard of this one???? What? It's a must and you gotta have this one! Well, I prefer their old days...NIHILIST, but this first offering from ENTOMBED established "death metal" genre along with MORBID ANGEL, CARCASS, AUTOPSY among others. Anyway, "Left Hand Path" is one of the greatest death metal albums all the time. It was recorded in 1989-90, 10 years ago.... But it's still fresh. Even if you have the original one, you gotta have this remastered edition!