May 2014 – Page 3 – Wonderbox Metal

Voice of Ruin – Morning Wood (Review)

Coming from Switzerland, here we have Voice of Ruin.

A bit of an enigma this band in some ways; from the song titles I was expecting gore/porn-obsessed Death Metal but then the artwork is a bit unusual for that. Couple that with the band’s tendency to dress as farmers it tends to throw you a bit.

When you finally press play the style of music is actually a thoroughly modern Metalcore/Thrash influenced melodic Death Metal. From everything else about this release and the band, it’s quite unexpected.

Imagine Killswitch Engage and Lamb of God getting together to do a more extreme side band, (less commercial cleans, some blast beats, etc.); throw in a few modern Melodic Death Metal influences such as The Black Dahlia Murder and you should be there.

The sound is immense and state-of-the-art, with all of the instruments honed to crushing perfection and all aimed at utterly destroying. It does the music justice.

The songs are well written and have that thoroughly modern melodic crunch to them that will probably have just as many people running away from the band as running to them, such is the divisive nature of this kind of genre for some people.

It’s good though, very good, so don’t let preconceptions put you off discovering a talented band.

Valdrin – Beyond the Forest (Review)

This is the debut release from US Black Metallers Valdrin.

Valdrin play Melodic Black Metal; if you think of Dissection, Old Man’s Child, Dimmu Borgir and Emperor as your starting points you’ll get the right idea.

That’s not to say this is overly symphonic or orchestrated though; Valdrin may tip their toe in that genre of Black metal but they firmly live on the darker, harsher side of the Melodic Black Metal spectrum.

The orchestration and effects they employ are subtler than the more overt side of Dimmu Borgir and even Emperor, and are mere enhancements to the songs rather than the driving force.

The band know how to effortlessly mix aggression and melody, and have a good amount of variety in their compositions for this genre. They even employ a few solos; unusual for Black Metal but a very welcome addition.

The pure-blooded Black Metal vocals work well and complement the darkness of the music.

This is atmospheric Black Metal with none of the pomp and plenty of bite. It’s good to hear a few bands playing this style recently and bringing back the good old days of harsher Black Metal whilst still retaining some melodies and a sense of atmosphere.

Highly enjoyable.

Favourite Track: Beyond the Forest. Epic and empowering.

Interview with Nux Vomica

Nux Vomica’s latest, self-titled, album is one giant mass of quality. No need to say more than that. You should go and get it. So without further ado let’s find out a bit more…

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

I’m Just Dave, vocalist and percussionist. Not familiar with my band? Check us out here:

https://www.facebook.com/nuxvomicaband

Give us a bit of history to Nux Vomica.

We’re a punk band who learned how to play better, so now people call us “extreme metal”, which is appropriate considering how much Mountain Dew some of us drink. We started in Baltimore in about 2003, moved to Portland in 2006, had some lineup changes ending in 2008, and here we are. Our 3rd LP is out now and we have a slew of other releases. For the last year we’ve taken time off to work on other projects, and our guitarist Chris had a baby. This year we hope to get back to jamming and playing shows!

What are your influences?

This is a classic interview question, and in our case it’s so hard to answer. Here’s a very incomplete list of band members’ favourite bands: CRASS, VIOLENT FEMMES, PUBLIC ENEMY, MORNE, BLACK SABBATH, METALLICA, MISFITS, BLIND GUARDIAN, CEE-LO GREEN, DEVO, THE B-52S, PUBLIC ENEMY, DEAD MOON, THE RESIDENTS, LOW, DYSTOPIA, JUCIFER, QUEEN, MACHO MAN RANDY SAVAGE, JAY REATARD, HIS HERO IS GONE, AMEBIX, THE CURE…. I’m just stopping there.

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

THIN LIZZY – Live and Dangerous. Damn good house cleaning music!

What did you want to achieve with your new album?

We wanted to agree on anything. Since that was obviously not gonna happen, we figured we’d cram our songs full of so many ideas that they became almost 12 to 20 minutes long. Then we had to figure out how to put it all on an album that sounded cohesive. 5 years later, it’s out!
Are you happy with how it turned out?

Yes we definitely are. I think all the hard work and time we put into it is very apparent. No part of any song went unscrutinized by us. We got very meticulous about how we wanted everything to sound, and some of us went back in the studio multiple times to re-record parts. In particular the extra percussion was an issue. Trying to do what we do live sounded like a clusterfuck, so we scaled down the extra drumming. I think it turned out great.

What can you tell us about the lyrics?

“Sanity is for the Passive” is about the idea that being labelled “insane” to me means you are reacting correctly to your surroundings in this world. Being labelled “sane” means you have been successfully assimilated into the insanity. “Reeling” is about a guy I knew who almost drank himself to death. People had to break into his house and take him to detox. Empty vodka bottles were littered everywhere. I’m pretty sure he is drinking again these days. “Choked at the Roots” is basically my theory on how people started down the path to being power mad ruiners of everything. Overall this is very dark album lyrically. Read all the lyrics here:

http://punkrockmuppet.blogspot.com/

Give us a bit of information on the songwriting process.

Usually one person has an idea of the entire song structure and brings the riffs to practice and we all pick it apart and build on it. We rarely have a plan of the length of a song, we just let it grow and if it starts getting boring we start scrapping parts and re-working others. We spend a good deal of time on transitions between parts. We like to the longer songs to flow well and remain interesting. We try to avoid the typical “this part ends, the guitars bring in the next riff, everyone else joins in” way of writing punk and crust songs. The lyrics for these newer songs were largely written at practice while the band was jamming. That was because the songs started getting too long and complicated to just bring a bunch of lyrics I wrote and fit them in like I used to.

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

We have about four new songs, and we were working on more last year before we decided to take a break. The newer batch of songs are more thrashy and shorter than this LP, and people were really into them when we played em live. We also started playing a WAKE UP ON FIRE song that was never recorded. I think once we get back to jamming we’ll see where we’re going beyond that.

What’s next for Nux Vomica?

Practice! We haven’t played in a year. We need to re-learn our songs, shake off the cobwebs and get back to it. I think we’re ready.

Cheers,

Thanks!

Power Trip – Manifest Decimation (Review)

Power Trip are from the US and this is their début album of Crossover Thrash.

This is angry, violent Thrash Metal with a large Crossover influence that recalls the best of Old-School Hardcore, (Cro-Mags, Black Flag, etc).

The sound is huge and the drums sound as if each snare drum hit is a bomb exploding. The vocals are smothered in reverberation and sound as if they were recorded in a cave somewhere.

The songs are angry and buzzing with an energy that just screams, (literally), how passionate they are about their chosen path.

This is music that demands to be let loose in the live environment. Pick a song here and you’ll be able to rip and tear it up in the pit; stomp and smash to the pounding beats. One listen to pretty much any of these songs and you’ll want to get caught in a mosh all over again.

It’s as if the spirit of 80’s Hardcore was being channelled through the lens of gritty Thrash Metal. Power Trip are that lens.

Black Emerald – B.O.D (Review)

Black Emerald are from the UK and play gritty Metal with a Sludge edge.

The band have a Southern Metal/Sludge influence to their sound that adds some extra bite to proceedings. They also give us some solos, which is always welcome.

The sound is rough and raw but allows the spiky riffs to claw their way through. Rather than be held back by the primitive production the band make it work for them; they warp and distort it to their needs until it becomes little more than another sonic weapon in their arsenal.

The vocals are gruffly melodic with some harsher growls thrown into the mix now and again. They are assured and use interesting patterns and melodies. They are also confident enough as a unit to occasionally lay off the vocals for long enough to let the music do the talking and let the guitars lead the way.

There’s three songs here that act as a showcase for the band. Each song is a filthy juggernaut of underground Metal riffs and belligerent anger.

Blood Sport has a strong Sludge influence to the sound and is the audio equivalent of barbed wire.

The title track B.O.D features slightly higher vocals for some parts and has a bouncy, Southern feel to it that gives the track a Rocky edge, albeit one haunting the murkiness.

The final track Figure on a Barb Wire Cross is lumbering Rocker that crosses the previous two tracks to create a mutated rager.

Black Emerald have stumbled on a style that fuses Metal with an aspect of Sludge in such a way that it doesn’t sound done to death; it sounds quite fresh in fact. Hopefully this release will be the first of many, and I look forward to what comes next from this promising band.

Interview with Decembre Noir

Decembre Noir’s début album A Discouraged Believer is a polished Doom/Death Metal release, dripping with raw and bloody emotion. It has that mystery ingredient that lifts a band above the norm into the higher realms. We decided it was important to delve a bit deeper into the background of the album to find out what makes it tick…

Give us a bit of background to Decembre Noir

Hi, I’m Lars, vocalist from Decembre Noir. So I’d like to give you my reply!

We are 5 (nice) guys from East-Germany, from the region round Erfurt, the capital from Thueringia (one of the “states” from Germany). Besides our bandproject our “baby” – almost all of us have a normal life with job and own family.

What are your influences?

Katatonia, Opeth, In Mourning, October Tide, Swallow The Sun, My Dying Bride, Anathema and Paradise Lost! 😉

I characterize the style/sound of the album!

Dark + heavy = Décembre Noir!!! “A Discouraged Believer” is a fucking doom/death monster!

Our sound in the main has become some stronger and the structures of the songs who already has been available have changed to become much more better. More Death and Black metal elements and many melodies gave the songs their final outfit. Last but not least the classical influence from the cello. In private we all listen to different music and so it was used a little bit from all our musical tastes. The good combination is doing his work!

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

Haha, Katatonia’s “Brave Murder Day” ! I LOVE this album! Every song on this record is a Doom-Metal-Diamond! My favorite song on this album is “Brave” !!! Fucking great!!! I love it!!!

What did you want to achieve with your new album?

We want to have a solid mainstay in the metal-scene! 😉

We would like to play on the bigger festivals in summertime, lovely, but unfortunately for that year we haven’t got any acceptances. We hope it is possible next year because it must be a very special experience to play stages like With Full Force, Summer Breeze, Partysan, Hellfest or In Flammen!

Are you happy with how it turned out?

Absolutely!!! We are full of proud and very happy about our first album!!! We love this record!!!

What can you tell us about the lyrics?

So to speak we have a basic concept in our album „A discouraged believer“. You can speak about the classical main idea who you can find inside the album. Nevertheless every song is standing for itself.

It tells about the journey of a young man who is trying to find every day the meaning in his life and way. It seems he has reached a deadlock, only he is looking at the obstacles in his weekday, the typical problems which become more and more and can overtax someone and no idea how to change something, because he is get stuck somehow… So like in “Thorns”.

Our protagonist is searching for that, what we call “God”, but can’t find “Him” or any answers. That’s why he is discouraged, cause he has understood, that he can’t get any help from a “greater power” and he has to go his life way and find the meaning behind that all alone.

For instance in “Stowaway” is the theme suicide to see a chance for a new begin in life (But to forestall any critical readers or regarding this potential concerned or endangered people: Don’t panic, nobody from us will incite anybody for do that!!! Please do not misunderstand!). Much more is the thought what is standing behind that song, bother things who weigh heavily upon our mind to leave behind, finish with them and try to orientate to another direction respectively to find a better way to arrange the life.

On following song “Resurrection” the name is program It reflects the start in a new life.

For myself the album is one of my most personal things, what I have written yet in my life. Have putted lots of time and heart-blood in that album. So many people has fought in life with similar piled up problems, whether in job, relationship, family…and already we all were standing for the question, who is the meaning of all and finally comes to the result if you want life better you have to make a personal breakout and has to change by yourself a lot!

Decembre Noir Give us a bit of information on the songwriting process.

Already the songs before sounded really good and varied, but of course because of the teamwork with Ali they became much better! For us all that was an unbelievable experience! We have worked with diverse guest singers and musicians. For example one of my best friends Tele (guitar player of the German Pagan/Black metal band “Hangatyr”), who gave us some clean vocals for the songs “Decembre noir” and “Resurrection”. Alis girlfriend Katharina, who is singing with me in “Escape to the sun” a duet. Not to forget our lady on the cello, Nicole, who has shown her talent by the Darkwave band “Other Day”. Just that records with the Cello have been very interesting, for Ali too, because for him it was the first time to working with such an very nice sounded instrument. Mix a cello in your music and you will get an unbelievable atmosphere. We have experimented with Synthisounds too. You can be exciting about really great moments.

At least we are happy about the result of our job!

Well, we had a very special time and a lot of fun during recording and have to say we grew as musicians and band! We were much more glad, when Eike O. Freese (Dark Age) offered us to mix and master our album together with Ali in Hamburg! On that place a great “Thank you” to both and we hope we can mix and master our next album with Ali and Eike again!
How do you see your position in the wider Doom/Death Metal musical framework/genre?

We are a tiny star on the big metal-heaven! But we want to grow! Latest with the next album! 😉

What’s next for Decembre Noir?

Looking for gigs…Well till then we will use the free time to work on next songs. We have lots of ideas and material. Guess we will start again in autumn – with pleasure!

So you will hear from us – enjoy our album and stay heavy and dark!!!

Regards from Lars!!!

Thanks!

Morbo – Addiction to Musickal Dissection (Review)

Morbo are from Italy and this is their Death Metal début album.

Born in the Death Metal underworld, the sickening, diseased hulk that is Morbo has slowly been crawling and scratching its way towards the light for some time. It’s now finally ready to burst through in sprays of ichor and gore.

They embody belligerent Death Metal that is uncaring of what anyone thinks of them but still retains a surprising amount of festering melody and an ear for a good riff.

This is played in the classic style, where songs mattered and a good chorus or catchy verse was more important than speed-for-the-sake-of-it or ultra-technicality.

The sound is strong but not over-produced, and you can even hear what the bass is doing. It retains legibility and coherence whether the band play blast beats or whether they are playing crushing mid-paced riff-monsters.

The songs have character, propelled by the vocals that have the same kind of gravitas as those from the classic era where you immediately had your attention held by the sheer force of the singer’s will.

So listen to Addiction to Musickal Dissection and get swept up in the riffs and the general foetid aura of traditional Death Metal played with passion, integrity and an aura of pure sickness.

Infest – Cold Blood War (Review)

This is the fourth album from Serbian Death/Thrash Metal band Infest.

After a perfunctory intro the first track Destroyer of Their Throne starts up and I am momentarily confused – have I accidentally put on a Vader album instead of Infest? I over-exaggerate, (slightly), but the similarity, mainly in the vocal department, is startling.

Infest are not Vader clones of course. Musically they have other tricks up their collective sleeves and these conspire to create an enjoyable Metal experience lasting just under 30 minutes.

It’s an entertaining and speedy collection of Thrash-tinged Death Metal tracks that, yes, takes cues from Vader but also has some almost Hardcore influenced crossover riffs. I hear a bit of Pro-Pain to some of the chuggy guitars on occasion, as well as some Face Down-style Thrash and a bit of Malevolent Creation.

The production is strong and the bass is clear. The songs have a hard metallic sheen to them that accentuates their unyielding nature. They have a very immediate sound and always seem like they’re trying to get through the songs faster than they’re actually played, (if that makes any sense…?); there’s a sense of urgency to the album that gives it a vibrancy and life that some bands lack.

Good songs, good Metal. Hard, fast and straight to the point. I like.

Enola – The Light Fröm Below (Review)

Enola are from France and play Post-Metal.

This is the band’s first EP, although at 36 minutes it’s longer than some albums.

They start off confident and only get more so from here. Post-Metal is such a loose term for a lot of different potential sub-genres that all vaguely fit around the quite open-to-interpretation blueprints left behind by the masters – Neurosis/Isis/Cult of Luna.

After this it’s up to the individual bands to make of it what they will, and even combine with other genres and make wonderful things happen. This is one of the reasons it can be such a hotbed of talent and creativity.

So what of Enola then? Well, as stated above they have made their own way in this now crowded genre and have injected a bit of a Screamo/Hardcore element into the equation and could quite comfortably be termed Post-Hardcore.

The songs are big on melody and atmosphere, created by just the basic instruments. They’re played with a passion and an emphasis on musical exploration and expression of angst and rage tempered with something more subtle.

The Light Fröm Below brings to mind two recent releases I’ve reviewed – Eryn Non Dae and N. Tesla; Enola seem to share common ground with both bands while adding the aforementioned Hardcore influences into the mix.

This is a very accomplished and proficient band; confident too, as stated earlier, as the songs have a strong sense of self and direction you might not always expect from a first release.

The songs have heaviness with an in-built fragility. The vocals share this seeming dichotomy as they are largely rough and angry sounding whilst remaining emotive and open at the same time. There are also frequent spoken words and semi-sung parts that have a clear link to their Hardcore lineage. Clean singing is rare, but when it does appear, (first on The Door), it’s exceptionally handled.

This is a truly remarkable release, especially so for such a new band. It’s bands like this that always make me happy to be into this kind of music. This is a real treat. If this is only an EP then their first album should be devastating.

Do yourself a favour and get this.

Withem – The Point Of You (Review)

Withem come from Norway. This is their début album of Progressive/Power Metal.

It’s orchestrated, complex and obviously talented. This is melodic and colourful with frequent keyboard ostentation that recalls Pagan’s Mind at their sparkly best.

The songs make an impression with their enthusiasm and passionate Metal delivery. They’re well composed with lots to hold attention and frequent changes/alterations in the musicianship to keep things interesting. They do manage to keep this coherent enough to fashion into songs that have a direction though rather than just sounding like a mishmash of conflicting instruments.

The musicianship cannot be faulted and all instruments have the opportunity to shine. The leads and solos are represented well, as is to be expected with this style; the guitar riffs and rhythms are interesting and changeable; the drums are not just a backbone to the band as they seem to have a life of their own on occasion; the bass isn’t just going through the motions and is an audible enhancement to the tracks; and the keyboards…well they’re simply everywhere but manage to not get in the way at all. None of this would be possible of course if it wasn’t for the strong songwriting.

But what of the vocals? Well, the singer has the kind of voice that soars effortlessly and has no problem at all reaching the higher notes. It’s very fluid and sounds a treat.

This is a remarkable achievement from a band that are still relatively new. With this being their first release it’s an impressive one.