April 2014 – Page 6 – Wonderbox Metal

Sioux – The One and The Many (Review)

Sioux are from the US and play Stoner Metal.

Imagine a band like Mastodon had gone full on Stoner Metal and you’ll have the right idea. Sioux inhabit this special place, where the foundations of Stoner are laced with exquisite vocal melodies and spikes of aggression to create wonderfully enjoyable songs full of pace, dynamics and life.

Each of these tracks sparkles with an inner light that comes from a core of pure molten Metal, distilled though layers of desert Rock.

The vocals are reminiscent of Mastodon in places, as mentioned, but never in a plagiarised way; merely a shared debt to captivating melody and depth of voice.

All of the six songs that make up this 28 minute release are well written and hold attention easily. The band have lots of ideas and the talent to back it up with hooks and powerful arrangements.

Sioux may very well be your new favourite band.

Interview with Akrotheism

Akrotheism have recently released Behold the Son of Plagues, which is a stark reminder of the power and glory of atmospheric Black Metal done in a non-symphonic way. With a path born of both nostalgia and forward-thinking, Akrotheism are certainly leading the way in this genre for my money. Words were exchanged below…

For those who are unfamiliar with your band – introduce yourself.

Akrotheism consists mainly of four beings. Aeon, Naos, Schism and Dagwn. Also Scythe helped us in the recordings of our début album and in some live shows until now.

How did you form?

Our concept started to shape in the midst of 2012 when Aeon, Naos and Schism decided to share their common principles and ideology about black metal both for the music as much as the philosophy behind it. Later, Dagwn came to complete the circle of Akrotheism embodiment.

What are your influences?

Significant role on our creations plays our listenings which varies from 80’s classic heavy metal to late black metal, and dark ambient. Apart from the musical field, humanity, religion and society has a great impact to our minds so as to make us express our selves in the way that is described in our album.

What are you listening to at the moment that you want to recommend?

Svartidaudi, Nightbringer, Dosdsengel, Acherontas, Mgla, Black Altar, Deathspell Omega are some of the bands that we are listening this period and we would recommend them to all those who are interesting in releases which are aggregated in all levels.

Give us some background to the creation process of Behold the Son of Plagues.

After our formation we gathered and started to combine some compositions that we had individually. The final composition though came during the recordings while several ideas was added on. The recordings completed at Devasoundz studios while the mixing and mastering took place at the Necromorbus Studio by Tore Stjerna. After that we asked from Timo Ketola to take care the cover art and from Marco Marov two inlay illustrations. Our logo also came later from Daniel Desecrator.

What can you tell us about the lyrics?

The lyrics are born through our daily contact with the society. The corruption of the mankind, the exploitation of human minds by religion and the sterile hopes to be saved are issues that constrain us to write about them and express our perspective.

In my review I say that you are taking the best parts of the mid-90’s Black Metal elite and making them your own. Would you identify with this statement?

The truth is that many of the bands of the second wave of black metal have affected our music as much as the new ones that I mentioned before. I would say that I agree partly with your statement in your review since I don’t find any similarity with Cradle Of Filth.

Are you satisfied with how the album came out?

Yes we are absolutely satisfied with the whole result and with Odium Records which released it. We feel that it supports us and we are thankful for that.

Would you do anything differently?

Any decision about the album taken after a mature thinking from all of us. Both musically and visually as well. So I think that everything is as we wanted to be.

What is your aim with Akrotheism – what do you want to achieve?

We have no other aim than continue to exist. For us its the necessity to express our dark feelings and thoughts. Its like a purgation for our souls.

What does the future hold for you? Thanks!

We plan to do another split release with Ars Macabra and Septuagint and after that we want to focus on our second album. Thank you very much for the interview!

Thanks!

Fisthammer – Infallible (Review)

This is the second album from US group Fisthammer, who must surely have one of the best names ever.

Fisthammer deliver us Death Metal with a lot of different influences at play throughout the 10 tracks on this album.

Sometimes it’s a bit of a Blackened influence on some of the riffs; sometimes they play something from the Technical Death Metal genre; sometimes they have a Progressive tendency; sometimes an Old-School vibe creeps into proceedings; sometimes a melodic section uplifts and inspires; sometimes a furiously modern breakdown/riff rears its head; sometimes an acoustic/softer passage relaxes things…I could go on but suffice to say Fisthammer are no one-trick pony.

All of these diverse elements are woven around a thoroughly brutal Death Metal core and swathed in a filthy yet powerful production and drenched in unholy blasphemy. Such a range of ideas and quirks could lead to a lesser band sounding a bit sloppy or unnatural, but Fisthammer give a coherent performance throughout and consistently deliver exceptional songs.

And exceptional songs they are – there are simply so many highlights it’s just silly. It’s hard to identify a favourite, although at this precise moment, (and it changes quite frequently), I favour Automation of Flesh as it’s just got an absolutely amazing riff in it. Listen to it. You’ll know the one I’m talking about.

Calling your album Infallible is a risk in some ways, as it opens up the band to easy attack had they released something sub-par. However, as they have released what will probably be referred to as a Death Metal classic in years to come, it instead gives people like me an easy way to compliment the band. Yes; this album is Infallible in both name and nature.

Overall this is inventive, interesting and basically incredible.

Get. This. Now.

Near Death Condition – Evolving Towards Extinction (Review)

This is the third album from Swiss Death Metallers Near Death Condition.

This is very brutal and very heavy, just as we like it. Coming across as a mix of Hate Eternal, Immolation, Behemoth and Morbid Angel; Near Death Condition have all the essential ingredients of a very filling and very tasty meal.

The vocalist is the proverbial icing on the cake. Whether he is growling or screaming his voice is immense and immediately engaging.

The songs are ultra-brutal with the blast beats played to precision and the guitars aiming to utterly destroy. They have lots of slower riffs that speak of an Immolation/Morbid Angel influence of slightly unusual structures that work very well. The band also throw in some more restrained sections with solos and even a bit of Behemoth-style orchestration here and there.

Near Death Condition offer us the complete package and Evolving Towards Extinction is the kind of album any Death Metal fan should relish getting their teeth into.

Pilgrim – II: Void Worship (Review)

Pilgrim play Doom Metal and come from the US. As the name suggests, this is their second album.

The band play a classic form of Black Sabbath-inspired Doom Metal that has a vaguely retro feel, but not overly so like some bands of this ilk.

Pilgrim have an epic feeling to their songs, but not in the same way that Power Metal can be epic, or Black Metal can be; this is more in the form of a terrible majesty and awesome horror, frightening but enlightening to behold. The tracks definitely have that otherworldly feeling.

The vocals are highly accomplished and are stronger than the average for this kind of band; the singer has range, depth and nuance.

The second song Master’s Chamber is the longest and my favourite of the 8 tracks on offer. It is slow and steady; a winding collection of gargantuan riffage that could move mountains with its heaviosity and burn heavens with its occult aura. This isn’t merely Doom, but DOOOOOOOM!

It’s important enough to say again.

DOOOOOOOM!

That’s better.

This album’s a bit of a belter really, the kind of album where the riffs suck you in, slooowly chew you up and slooowly spit you out. Slow isn’t their only speed and they know when to raise the tempo and rock out a bit when the mood is right. And you’d better get out of their way because when they do they mean business.

Pilgrim rule.

Interview with Rauhnåcht

Rauhnåcht have recently released their latest album Urzeitgeist which is a dark treat to listen to. It was a pleasure to ask some questions to this elusive entity. So stick the album on and soak up the atmosphere from the songs while you read the responses below…

For those who are unfamiliar with your band – introduce yourself!

Rauhnåcht is an Alpine Black Metal band from Austria and exists since 2010. I am active in the Black Metal scene since 1992 through my other band Golden Dawn. With Rauhnåcht I try to create a pure, nature-based atmosphere with hypnotic song structures and strong focus to the myths of the Alpine region.

Give us a bit of history to Rauhnåcht.

In 2010 I met Max from the Alpine Folk band Sturmpercht. I was fascinated by the atmosphere of their music, so I created the first Rauhnåcht songs on the basis of samples out of Sturmpercht albums. I also went to a cave with some simple traditional instruments and a field recorder to record some basic tracks and background effects that can be heard on many Rauhnåcht songs. I really like the special atmosphere this process brought to the first Rauhnåcht album „Vorweltschweigen“. In 2011 and 2012 we also released an EP called „Waldeinsamkeit“ and a split-EP with Sturmpercht. Rauhnåcht have played two live gigs with session musicians so far.

What are your influences?

Basically it’s still the same music that made me start composing songs more than 20 years ago – the pioneers of the second Black Metal wave from Scandinavia, as well as the mighty Bathory. Today I don’t really get inspiration by any current bands, I am rather influenced by the mighty nature of my home country and the emotions I feel when I walk up on the mountains.

What are you listening to at the moment that you would like to recommend?

I work at my own recording studio and so I have to listen to a lot of music every day. At the moment I master some obscure old Folk records from the 70ies. When I don’t work on studio projects I am almost happy to have silence around me. I recommend all young metal heads to get in touch with the roots of this music, when records didn’t have all the same generic plastic sound as today.
What did you want to achieve with your new album?

I think it is the wrong attitude for an artist to have some kind of „achievement“ as desire when composing music. I want to transform my emotions into music and want to be satisfied with the result, that’s all. Oh yes, and I wanted to write acceptable German poems as lyrics for the first time.

Are you happy with how it turned out?

There are always details of the sound and the arrangements that you would like to alter. But there is also a point where you have to lean back and say, ok, it is good as it is. Full satisfaction with my music is never possible for me, otherwise I wouldn’t have any will to continue.

What can you tell us about the lyrics?

They reflect a pure, traditional, nature-based view on life. I often use myths and descriptions of nature as metaphors for this ideal puristic lifestyle. I want to show the way back – people should think for themselves about all possible aspects of this.

Rauhnåcht Picture Give us a bit of information on the songwriting process.

Most of the time I start with a field recording, a sample of a traditional instrument or just the sound of water or wind to evoke a certain atmosphere. When this atmosphere fulfills me, I start to play guitar riffs around that. I record everything I compose immediately, sometimes I even start to mix during the songwriting process. Then I arrange all the rest. Good songs are written quite fast, at least the central ideas of them. When I struggle with the structures or with certain parts, its a sign for me to delete the song idea. That’s not always easy, especially as I am a one man band. For me the most demanding and rewarding aspect of writing music is, that it is creative and structured at the same time.

In my review I state “Rauhnåcht evoke the same feelings of mystical grandeur that bands like Emperor and Gehenna were so good at playing back in the 90′s” – what are your thoughts on this?

The first Emperor album was for sure an inspiration for me when I was young, also early Satyricon, Burzum and of course Bathory. I think I can’t deny these roots and I don’t feel ashamed for them. I think that the era between 1992 and 1997 was the strongest Black Metal era, of course mainly manifested through the Scandinavian bands. When bands like Dimmu Borgir and others became „big“ and the modern production techniques started to get easily accessible, the true spirit within Black Metal music faded.

Some of the subtle instrumentation and effects aid the songs in their formation but only become apparent on closer inspection. Was this a conscious decision?

Of course it was. As I mentioned, I usually start my songwriting with field recordings and effect sounds. Sometimes this is no longer necessary as soon as the rest of the tracks is recorded, but often I just leave that in the background to keep this subtle atmosphere. Think of a forest with its natural undergrowth and thicket.

How do you feel you fit into the Black Metal scene?

Personally I don’t feel any link to the Black Metal scene anymore. The way people create or perceive music has changed during the years, in my opinion there is much less dedication in the scene. Most people regard music as just another hobby in between drinking beer and playing computer games, bands come and go, every nerd can create „bedroom Black Metal“ with a guitar and a computer. So I have enough Black Metal around me through my works as producer and my own music, but don’t feel like belonging to any scene.

How do you see your songs/direction developing in the future?

I will focus even more on a hypnotic, meditative structure and sound without losing the raw Black Metal energy.

What’s next for Rauhnåcht?

Many walks through hidden paths in the mountains for inspiration. In autumn there will be a split album with Sturmpercht called „Zur Ew’gen Ruh“ on CD and double LP (probably also in a wooden box). Thank you for the opportunity to talk with you and hails to all fans of individual Black Metal music!

Thanks!

King Parrot – Bite Your Head Off (Review)

King Parrot are from Australia and play a combination of Thrash Metal and Grindcore.

Harsh and energetic; this is the sound that greets you upon pressing play and the first song Bozo rips itself out of the speakers. Kind of like a more Thrash Metal-influenced Pig Destroyer; the songs are short, 2 minute-ish slabs of spiky riffs and throat-damaging screams.

Speaking of the screaming vocals – they’re demented, chaotic and absolutely insane; the perfect counterpoint to the focused assault of the music.

There’s no denying the sheer exuberance on display here. The band are no one-trick ponies however; they have a fair amount of ideas and relative variety within these 17 tracks and the high-octane ride is fuelled by a powerful rhythm section that propels the songs along at frenetic velocities.

They know a good riff when they shred one; mixing crunchy Thrash attacks with melodic licks and chuggathons the band have a firm grasp of dynamics and make the utmost of their short playing time to get the most out of each song.

35 minutes of Thrashgrind nirvana.

Frozen Dawn – Those of the Cursed Light (Review)

Frozen Dawn are a Spanish Black Metal band with a penchant for all things Swedish.

The band are influenced by bands such as Watain, Naglfar and Dissection, and as such the guitars are scything and icy, with the vocals as sharp as a barb and a solid rhythmic underpinning.

Frozen Dawn have a good grasp of melodics and the tunes melt through the hands like thawing snow.

A lot of these songs are surprisingly catchy; tracks like Blackened March have infections guitar riffs and Blackened grooves to die for. This is a theme repeated throughout the 53 minutes of this enjoyable album.

The band ably create the atmosphere of a Blackened winter’s day, with ice crystals as far as the horizon.

A good album, and recommended. Give them a listen.

Deformatory – In The Wake of Pestilence (Review)

In The Wake of Pestilence is the début album from Canada’s Deformatory.

Deformatory play Technical Death Metal and they play it well.

The songs are heavy and blur by in a dazzle of intricate technicality and blasting drums. They don’t forgo a decent bit of melody when necessary either though, although other times the emphasis is firmly on pure fretboard brutality.

These Canadians have taken the blueprint drawn up by bands like Cryptopsy and Yattering and from these plans created their own castle of Death Metal impenetrability.

The musicianship is first rate and the playing may be technical but it doesn’t smother the soul of the band; the songs have intricate but involving structures. The band know when to simplify things as well, as sometimes you just need to feel the guitars!

The vocalist is a guttural joy to listen to; deeply satisfying and deeply bowel-loosening. He has a very impressive voice.

This is an excellent example of Technical Death Metal done right. Listen to Deformatory.

Helmsplitter – Enraptured by Suffering (Review)

Helmsplitter are from the US and play a filthy blend of Black and Death Metal.

Boasting a powerful sound the band waste no time in attacking everything around them with fierce blasting and razor sharp Blackened riffs.

The band’s songs combine many different aspects of Metal; predominantly Black and Death, but also elements of Sludge, Thrash and Crust. This means that we end up with a very dark, dank album that has the darkness of Black Metal, the brutality of Death Metal and the songsmithing of classic Metal.

There are catches and hooks aplenty in these songs, all delivered wrapped in barbed wire and with snarling vocals. The band know how to write an enjoyable song and vary tempos, styles and delivery to suit their nefarious needs.

There are stand-out moments in pretty much every song. Some examples; Panzram is the shortest song on the album and has blasting and belligerence written into its DNA; Aura of Suicide has a Hellishly good groove-based Darkthrone-esque riff that’s enough to blow away all-comers; The Ground Bleeds Sorrow piledrives along before splitting off into rumbling psudo-Southern groove; the list could esily be expanded to all 11 tracks here.

44 minutes of quality, well-written Metal; enraptured by Helmsplitter.