April 2016 – Page 6 – Wonderbox Metal

Monster Coyote – Neckbreaker (Review)

This is the third album from Brazilian Sludge/Stoner Metal band Monster Coyote.

With a colossal and crushing sound, Neckbreaker holds nothing back. The album is aptly named, let’s just say that.

Living in the same hinterland between styles that is inhabited by bands such as Ilsa, Serpent Eater, Northless, Colombian Necktie and the like, Monster Coyote play heavy, nasty music that’s too upbeat to be Doom, too gnarly to be pure Metal, and too rocking to be Death Metal. It’s somewhat how you might imagine Mastodon would sound if they had fallen in love with heavier, nastier music after their first release, or maybe Clutch if they developed a love of Sludge Metal.

The singer has a formidable roar that doesn’t let up. His caustic, gruff tones are a joy to listen to as the music rumbles and chugs its way through the 40 minutes of playing time.

The music is all about the crushing riffs and relentlessly aggressive heaviness. What separates them from some of their peers though is that instead of fusing this with Doom or Hardcore, they instead choose to fuse it with a Stoner Rock sensibility that means these tracks are all endowed with high energy and furious vitality.

The band know their stuff when it comes to playing and some of the longer tracks give them ample opportunity to develop their art. The drums in particular are a really satisfying listen, all rolls and pounding beats.

Emotive without being weak and strong without being brutish, Neckbreaker is the perfect recommendation for anyone into heavy, aggressive music that knows how to rock the fuck out.

Highly recommended.

Job for a Cowboy – Sun Eater (Review)

Job for a Cowboy are a US Death Metal band and this is their fourth album.

On this release Job for a Cowboy have refined their Death Metal further, adding a progressive sheen to their technical assault. Ambitious and bold, this is a game-changing release for the band in many ways, demonstrating that they are willing to do what it takes to reinvent themselves on their own terms.

The solid and modern Death Metal core of the band remains, but on Sun Eater this is complemented by additional ideas and different flourishes to what they have tried before, including nicely wandering basslines and progressive Metal explorations that truly flesh out their sound more than in the past. On Sun Eater it seems they have really pushed the envelope with their experimentation.

It’s really good to see a band that are not content to stay the same with every release; while still retaining their own identity the band have moved forwards with their style and embraced a more Death/Cynic aspect in addition to what they have previously done. This enhanced songwriting is apparent throughout this album.

The songs are complex, varied, layered and have a lot going on. Entwined melodies and eccentric grooves create all manner of intriguing soundscapes. The bass, which is always something I love to hear, is a major player in the band’s updated sound.

Note should also be made of their singer. Although he’s always had a charismatic growl, his performance on Sun Eater is probably his most diverse and enjoyable yet, with his growls and screams being flawlessly delivered and well-judged. His engaging vocal rhythms remain intact, even though the music has morphed and mutated around them.

Due to the above, Sun Eater offers less instant gratification than its predecessors, but repeated spins shows this to be a positive thing as the album grows on you like a plague, (in a good way).

Having successfully fully transitioned to this new progressive Death Metal style, this album is hugely impressive.

For fans of Obscura, Gorguts and the like, this is damn near essential.

Beseech – My Darkness, Darkness (Review)

Beseech are a Gothic Metal band from Sweden and this is their sixth album.

Since reforming in 2012, this is the band’s first release in 11 years, after their last album Sunless Days in 2005. I always really enjoyed Beseech’s older work when I was in the mood for it so was looking forward to hearing their newest music.

Immediately as the first song Beating Pulse starts it’s like they’ve never been away, with sterling melodies and emotive vocals from both male and female singers. It’s a strong opening.

The Beseech of 2016 have refined their sound so that they now pay homage to their earlier work, but have also added something new and, dare I say it, better than what came before. There’s a bit more of a Rock vibe to parts of this album than there was previously, and this has replaced certain overly-Gothic aspects of their sound in some ways. I don’t have a problem with this though, in fact I think it makes for a stronger album overall.

Beseech were always quite an emotive and textured band, but they appear to have developed this even further on My Darkness, Darkness. There also seems to be a bit more subtlety and nuance here than before; although this is not something they were really lacking, it’s just a deeper part of their sound now.

Essentially this is Beseech 2.0; better, leaner, hungrier and more refined than before. Experience and time appears to have aged them like a fine wine, and this collection of songs is very enjoyable indeed.

I’m very pleased with this. Rather cynically I honestly expected some form of half-hearted rehashing of old glories, (not sure why), but instead the band have impressively produced an updated, fresh and wonderfully emotive release that has quite floored my jaded expectations and is currently swamping my brain with quality tunes.

Check this out.

Sourvein – Aquatic Occult (Review)

This is the fourth album from these US Sludge/Doom veterans.

Sourvein return with an aquatic-themed album, it seems.

The band play their sludge with a raw energy that seems to tap into something primeval and old, probably something lurking in the deepest waters in the darkest ocean.

With a heavy sound that’s warmly analogue, these songs have a kind of retro vibe to them that manages to eschew any of the normal bullshit trappings that such a term usually involves. Rather, what we have here is music that’s honest, visceral and not afraid to get dirty, (wet?).

The songs have groove and melody, both of which are used well throughout the playing time. It’s an endearing mix of influences that combine on this release, with everything from Electric Wizard, Eyehategod, Black Sabbath, Acid Bath and Mastodon making it into the melting pot.

Short tracks don’t outstay their welcome, and Sourvein know how to flourish a song with a relatively short playing time for maximum effect.

There are some quality and earthy, (aquatic?), guitar solos included, alongside a bass that just sounds really, really good.

The singer reveals himself to be quite versatile, with clean and rough singing, as well as throaty shouts used where necessary. He has a lot of presence and charisma, which can also be said of the songs as a whole. Taken together the music and the vocal performance make for a very strong collection of tracks that are both catchy and memorable.

Well, this is very, very enjoyable. Sourvein stick out from the crowd as having something a bit special and being a bit different from the norm.

You gotta get this, or Poseidon will be pissed.

Fleshgore – Denial of the Scriptures (Review)

This is the fifth album from this Ukrainian Death Metal band.

Here we have 39 minutes of brutal Death Metal in the USDM style, influenced by the likes of Suffocation, Dying Fetus, Severe Torture, etc.

This is a release that has a satisfying and dense sound, crushing and maiming all around it. The band can play too, and are given ample opportunity to show off what they can do.

The vocals on this release are just the right side of pignoise, so that the singer still has power to his voice rather than just sounding like he’s got a bad case of the burps. He sounds on top form.

The songs are ultra-brutal exemplars of the style and unless you’re just not a fan of this kind of stuff then it’s hard to find fault with their delivery. With decent riffs and good structuring, the tracks on Denial of the Scriptures make for an enjoyable listen and this timeless form of Death Metal is easy to get on board with.

Blast beats are accentuated by mid-paced aggression and even small hints of barbaric melody here and there; these are few and far between though, added to some of the riffs on occasion to sharpen them up to a killing point.

This is a solid and gratifying Death Metal release from a band that have honed their craft over time. Denial of Scriptures has had the excess fat mercilessly chewed off so all that is left is a lean, mean killing machine.

Recommended for all fans of brutality.

Starchitect – Results (Review)

Starchitect are from the Ukraine and this is their second album. They play Post-Metal.

Starchitect’s music is a cross between Memories of a Deadman, Cult of Luna and Russian Circles.

These songs have some decent riffs, with some quite memorable parts to them too. I also enjoy some of the more atypical guitar parts where the band consciously seem to be making an effort to try something a bit different.

The music is quite involved and atmospheric, coming across as well-thought out and the kind of thing you would normally hear from an instrumental band, rather than one which does have a vocalist like Starchitect do.

Speaking of vocals; the singer uses harsh shouts to get his point across and his voice does the job nicely, fitting into the typical Post-Metal framework. His voice is used quite sparingly, increasing my impression of them as an instrumental band, (which they aren’t, of course).

Effectively building up a tapestry of overlapping guitar-based sounds and melodies set to a thumping beat and with the odd coarse-vocal, Starchitect have produced an enjoyable 58 minutes of music.

A recommended listen.

Plebeian Grandstand – False Highs, True Lows (Review)

Plebeian Grandstand are a Black Metal/blackened Hardcore band from France and this is their third album.

If you haven’t encountered Plebeian Grandstand before, then strap yourself in and prepare for violence. The band are a veritable explosion of grim aggression and antagonistic intensity.

Twisted riffs and dark melodies are encased in a solid black approach that merges the band’s Hardcore nature with a blackened corruption that seems to seep into every part of the guitars. The blasting drums are intent on nothing but causing harm and the bass is a malevolent rumble that underpins everything else.

The singer’s deranged screams form an integral part of the blasting mayhem and his is an intense performance.

The songs combine Black Metal and Hardcore into a dissonant, maniacal amalgamation that is pure viciousness embodied. As time goes on it seems that Plebeian Grandstand are embracing their Black Metal side more and more, to the point now on this album, (as well as their previous one), where it’s actually quite hard to describe them as a Hardcore band as has been done in the past.

Either way, this is another top-drawer release from a band that just keeps getting better and better with every release.

Whitechapel – Our Endless War (Review)

This is the fifth album from US Deathcore/Metal band Whitechapel.

Whitechapel have progressed over the years from their more Death Metal/Deathcore roots to something these days that is half Deathcore and half modern Metal, taking influence from the NWOAHM and djent styles and infusing them with a Deathcore aggression and heaviness.

They’ve generally slowed things down a bit too, emphasising catchiness and rhythm rather than speed and brutality, as was once the case, (although even back then they had a certain level of catchiness that was lacking in their peers). Due to their background though they’re more than capable of speeding up when they need to, adding that extra edge to the delivery, and I’m pleased that the blast beats haven’t been totally dropped from their repertoire.

As mentioned above, there’s more of a djent influence on their albums of late, and this is still true on Our Endless War. I’ve stated in the past that djent is a very easy style to be mediocre at, and I’ve said the same about Deathcore too; it’s a testament to Whitechapel’s ability that they take the strengths from one and use it to offset the weaknesses of the other. The result is music that blurs the line between both, taking the best aspects and combining them with the aforementioned NWOAHM parts to create memorable songs that pound and smash their way through the playing time.

Although Whitechapel are mainly about the chunky grooves and heavy riffs, the included melodies and leads should not be discounted or dismissed. These frequently provide a more emotive hook for the listener and add a lot to the songs in comparison to the more obvious rhythm guitars. This side of the band also serves to remind that when they’re not unleashing huge breakdowns and the like, Whitechapel can really play.

The singer’s clipped growls are still deep and roaring, and he shows a nice rhythmic awareness a lot of the time that fits in well with what the music is doing. Occasionally he slips into the even deeper deathgrowls of old, and it’s a joy to hear.

For me, this album is definitely a grower. For all of the immediacy of a band like this, it takes time for the rhythms and melodies to properly infiltrate your brain. When they do you’ll find that the band have produced a surprisingly memorable and enjoyable album.

Highly recommended.

Unru – Als Tier ist der Mensch Nichts (Review)

Unru are a Black Metal band from Germany and this is their début album.

This is a 36 minute trip into the harrowing world of Unru, taking in nightmarish soundscapes and dark, evil worlds.

Unru play Black Metal that’s the stuff of horror. Chaotic, discordant and destructive, the music on this release is more like the sounds of the abyss as channelled by the possessed.

I’ve enjoyed Unru’s work thus far, (such as their split with Paramnesia), and Als Tier ist der Mensch Nichts shows the band moving into even murkier and more aggressive territories, although they can still create a heavy atmosphere when they want to.

Although harsh and bleak, there are hints of melody and shade beneath the pitch black hatred and barely-contained rage that constitutes these songs. Alongside the blasting Crust-fuelled bile that the band regularly spew forth, dark atmospheres are explored and developed, with these deviations in particular sounding keenly emotive. Doom-workouts and murky noise-assaults add yet another layer to their sound and Unru basically spend their time on this release impressing the Hell out of me.

The vocals are howling screams, utterly deranged and full of so much loathing and contempt that it’s possible the singer is no longer sane or even human. Like something unnatural wailing into the void, his performance is first-rate and sounds near-physical in its impact. When this is also joined with deep growls it’s enough to get all of the hair on your body rigid and standing to attention.

Unru have not disappointed with their first album, and I’d highly recommend this to all fans of blackened darkness.

Funeral Moth – Transience (Review)

This is the second album from Japanese Funeral Doom band Funeral Moth.

Funeral Moth’s music is comprised of sparse, slow riffs that create atmosphere through space and elongated emotion rather than outright heaviness or pure distortion. It’s a slightly different approach than most artists of this ilk adopt, but one that sees the two long tracks on Transience work a, (miserable), treat.

The band this reminds me of most is Earth, if Earth played Funeral Doom and had growled vocals.

The music is introspective and gloriously woeful. It tempts you to lie back and trance out, while the sombre, mournful melodies carry your consciousness off and your body slowly settles into its place in the cold, wet, uncaring soil…

Throughout this slow decline of sentience we get the aforementioned deep growls churning in line with the music. These are both quite traditional in delivery and also subtly different, having a roughness to them that seems sparse and minimalistic, also in line with the music.

A dreamy, seductively calming way to spend 40 minutes. Enjoy.