November 2015 – Page 5 – Wonderbox Metal

Ram – Svbversvm (Review)

Ram are a Swedish Heavy Metal band and this is their fourth album.

This is Classic/Traditional Heavy Metal with a solid sound and songs aplenty.

The style of the music and the singer’s commanding voice takes me back to the days when I was first discovering Heavy Metal. This is straight-ahead Metal with enough influences from the likes of Judas Priest and Iron Maiden to keep any Metal fan happy, although it should be stated that Ram have enough personality of their own to avoid Svbversvm coming across as pure hero-worship.

The songs are catchy and do have hooks, but it’s not quite as obvious an affair as you might imagine. Although these elements are here, Ram seem to take more pride in creating songs that work holistically and create a good Metal atmosphere, rather than concentrating on the specifics of individual song parts. This is not to say they don’t have decent riffs and choruses, (they do), but it’s the song as a whole that’s important rather than just parts of it. For me, this approach works and increases the longevity and depth of the songs.

Having said all that though, songs like Holy Death are just pure wonderous aural-sugar and catchy as fuck, so there you go.

The singer’s style and his performance is resolutely Old-School, with his projected attitude and confidence being almost as important as his vocal skills. He knows how to sing that’s for sure, but like the music the emphasis is on feeling and delivery, rather than shiny harmonies and sing-along choruses; after all, this is resolutely Heavy Metal, not Power Metal.

Thankfully they have chosen to present all of this in a solid production that doesn’t over-emphasise the Old-School nature of their style. It’s a thoroughly modern recording that has enough grit and dust to ensure they don’t come across as too polished, while still giving the songs the respect and power they deserve. It’s well-judged, as too much one way or the other would have been to the album’s detriment, I feel.

I like this kind of Heavy Metal; yes there’s a nostalgia factor to it, but ultimately this is a contemporary Metal band existing in 2015 and producing quality music for fans of the classic style. The fact that they do it very well is a bonus.

At 50 minutes in length, this album is a very enjoyable listen and Ram are a most welcome addition to my music collection.

Hail!

Tine – The Forest Dreams of Black (Review)

This is the début album from US Symphonic Blackened Death Metallers Tine.

Blackened Death Metal is a funny beast. Frequently just a Death Metal band with some added Blackened spite, you also occasionally get a Black Metal band with some added Deathly brutality too. Very occasionally, however, you get bands that actually combine both styles in a convincing, equal way.

Tine are one such band. Combining the darkness and atmosphere of Old-School Black Metal with Death Metal’s feral core, The Forest Dreams of Black is a feast of spectrally enhanced Metal that takes elements of bands such as early Emperor and Behemoth to create 53 minutes of emotive Blackened Metal.

The Symphonic elements are nicely understated, making sure that they don’t overpower the rest of the music. They add and enhance, rather than overtake or smother. One of my all-time favourite Atmospheric Black/Death Metal albums is Depresy’s Sighting, so it’s a big compliment that The Forest Dreams of Black puts me in mind of this.

The music is clearly a passionate and personal affair for its creators, and this shines through in the music with a dark, poisonous light.

I have really enjoyed this release. There’s real feeling and atmosphere here, with an underlying emotional intensity that’s hard to ignore. The two different genres both come out in the songs in different ways and the commanding vocals are full of presence, bringing everything together to a charismatic focal point. A satisfying sound that isn’t too polished rounds off the impressive package and I am left with fond memories of a walk through a dark and dangerous forest, one that I’m happy to revisit again and again.

Highly recommended.

Moloken – All Is Left to See (Review)

This is the third album from Swedish Atmospheric Sludge/Post-Hardcore band Moloken.

This is Cult of Luna/Isis-inspired Post-Metal that has been combined with Converge-style Post-Hardcore to create individualistic songs that are sharp, nasty and boiling with heated darkness.

Caustic, throat-shredding screamed vocals provide a brutally simple focal point to the apocalyptic music. The band are here to sow darkness and reap pain. Their music is a dense, claustrophobic affair, ripe with urban decay and full of disturbed interest for the observer to become upset by.

Varied and nuanced, there are a lot of good ideas on display throughout these 29 minutes and Moloken make the most of the relatively short playing time by filling the album with bleak sounds that captivate and enthral.

Equal parts Sludge, Hardcore and dark atmosphere, All Is Left to See is enjoyable and recommended.

Carnivorous Voracity – The Impious Doctrine (Review)

This is the début album from Spanish Brutal Death Metal band Carnivorous Voracity.

Making a strong opening statement of intent with their album cover, Carnivorous Voracity proceed to deliver almost exactly what you might expect over these 36 minutes.

It’s very hard for me to dislike Death Metal like this. It’s savage and nasty, but with enough songwriting savvy to make sure that the music doesn’t become too one-dimensional. This is an important point, as a lot of bands of this ilk are essentially one-trick ponies, no matter how enjoyable.

With The impious Doctrine the band have ensured that there are enough elements of a few different types of ugly brutality included to keep things fresh and interesting. Brutal Death Metal forms the core of the release, but there’s sprinklings of Classic, Modern, Slam and Technical Death Metal thrown into the blender. It all makes for a very satisfying album.

The songs hit the mark, they really do. Although not a band who are primarily about hooks and catchiness, there’s a surprising amount of good hooks on here regardless, and overall this is a very strong album.

The recording is solid and everything sounds slick and professional. The blasting drums and face-smashing riffs are in-your-face, tight and focused.

The vocalist veers between lethal growls and ugly pigsqueals; being very proficient in both he never puts a foot wrong in his delivery.

Yes, this is a very, very nice release. TIME FOR FULL VOLUME CARNAGE!

For fans of Cannibal Corpse, Cryptopsy, Origin, Defeated Sanity, Coprocephalic, Analepsy, etc.

Extreme Noise Terror – Extreme Noise Terror (Review)

Extreme Noise Terror are a Grindcore band from the UK and this is their latest album.

This is a band that have been around for a long time and know a thing or two about ugly brutality. This is Old-School Grind with a firm Hardcore/Punk base that lends the tracks a nervy energy and attitude.

The songs are like short, violent bashes to the head. This is a good thing, honest. It’s raw, uncompromising and savagely delivered.

Each of the tracks is like a shot of adrenaline, with the high-octane Punk riffs and the pummelling drums acting in concert with the frenetic vocals to produce maniacally destructive music.

The dual-vocal assault is belligerent, hostile and unrelentingly antagonistic, frequently straddling the line between murderous and downright frenzied and chaotic.

One of the great things about a band like this though is just how catchy some of these songs are. Sure, they’ll never be a radio hit, (why would they want to be?), but in our rarefied world of Extreme Metal these songs have more hooks than most.

30 years (!) into their career and it’s heartening to see a band like this still so vital and vibrant. Turn up the volume and blast this out for all it’s worth.

Disenchanter – Strange Creations (Review)

This is the début album from US Doom Metal band Disenchanter.

Having enjoyed their previous EP On Through Portals, this album is a welcome chance to catch up with the band and see how they have taken advantage of having a full-length release.

Well, here we have 55 minutes of quality music; on this release the production is heavier and more professional, the playing crisper and tighter without losing their easy-feeling style, and the songwriting skills have been honed to a fine, sharp point.

Disenchanter play Doom Metal with a good Stoner component, which means that the songs almost roll out of the speakers with an easy confidence and a self-assured air.

The singer has a rich, powerful voice that seems to have a natural presence all of its own, irrespective of the warm, heavy riffs that frequently accompany it. Her voice is strong and compelling.

My favourite tracks are the longer ones, which take their time to build and explore their musical horizons more than their shorter, more upbeat brethren.

Female-fronted Doom Metal is something I’ve been enjoying more and more recently and Disenchanter are a really good example of why.

Recommended.

Escape Is Not Freedom – The Truants (Review)

Escape Is Not Freedom are from the US and play Alternative Metal. This is their début EP.

5 songs, 28 minutes.

I like this band. They’re playing a style that’s a bit harder to pigeon hole than most, and I haven’t really heard much too similar to this for a long time.

The band this reminds me the most of is Fudge Tunnel, only with slightly harsher vocals. If you know Fudge Tunnel at all, then it will give you a good idea of Escape Is Not Freedom’s sound. If not, then think slightly-muted and unusual Alternative Metal, done with a Noise Rock background and a raw, underground Grunge influence, before it became a big thing. Add in a few elements of Therapy? at their more Alt-Rock and a pinch of Helmet, and you have this EP.

The songs are a satisfying listen, taking me back to the 90s in many respects. If you’re looking for a few more modern references though, think a less-Sludge version of Kowloon Walled City mixed with a bit of Russian Circles.

The slightly-muted delivery is an interesting one as it is frequently presented by large riffs and energetic guitars, so how they manage to retain that subtlety and understated-edge that Fudge Tunnel did so well is beyond me. It’s partially down to the production, but also the feel of the songs themselves. It’s a very hard-to-achieve juxtaposition, but when done right, it works.

This won’t be to everyone’s tastes, (which is a silly thing to say in many ways, as you could literally say that about any band), but I have enjoyed it; not only due to the fact that it’s a little different, but also just due to the strength of the songs themselves.

If you’re looking for something a little outside of your normal comfort zone, try Escape Is Not Freedom on for size.

Vision Lunar – Luna Subortus (Review)

This is the début EP from Vision Lunar, a one-man Atmospheric Black Metal project from Canada.

This is minimalistic Black Metal, atmospheric and haunting in its beauty and emanating an aura of darkness that’s softly broken by pale moonlight.

It’s a subtle affair, more interested in setting a scene and encouraging the listener to feel for themselves the primordial power of the night, rather than bluntly stating its intent with crude blasting or ugly vitriol.

The first song leads you in gently, while the last track lets you out slowly. In the middle is the main event; cascading Blackened riffs, producing a veritable sea of darkness that the moon gently glides above.

There are no vocals to sully the purity of this midnight exploration, only the atmospheric mood-setting of the guitars.

It’s a short release; at just under 12 minutes in length it’s a mere introduction to the vision of this particular artist. It’s worth setting aside the time to get to know it though, as its charms are insidious and rich in emotive qualities.

Listen and gaze up at the night sky.

Insanity – Visions of Apocalypse (Review)

Insanity are a Death Metal band from the US. This is their second album.

Featuring a sharp Old-School sound, Insanity’s brand of Death Metal is from a much older era, harking back to the 80s period. Death are a clear influence, (pre-Progressive Death Metal), and Insanity are equally as sharp in their delivery. Add this to a simpler, more straight-forward Death Metal style, à la early-Deicide, and you have honest songs that hit the spot more often than not.

Shining leads and solos make frequent grabs for the limelight and the drummer keeps a machine-like performance going throughout.

There’s decent variation within their musical framework and the songwriting concentrates on songs first and foremost. The combination of simple riffs with more-complicated solos, leads and guitar parts makes for a compelling listen. There’s also a slight Thrash Metal influence which means that Visions of Apocalypse has a lot to offer the listener.

The singer’s voice is somewhere between a scream and a growl, nailing down the feeling of Classic Death Metal in my mind.

This is a really satisfying album that I’ve enjoyed more than I expected to; a convincing display of Classic Death Metal in 2015 from a band who were around and active when it was all originally happening. In hindsight, how could this album be anything other than a victory?