Metal – Page 83 – Wonderbox Metal

Suppression – Chained and Dragged (Review)

This is the début EP from New Zealand Metal band Suppression.

This is Groove Metal in the vein of Lamb of God, Vision of Disorder and Dead Earth Politics.

The vocals vary between clean singing and shouts. The cleans are a little more muted than the norm and work really well as understated enhancements or choruses – somewhat akin to the Vision of Disorder singer’s style. The shouting is similar to the Lamb of God singer, only not quite as deep. Both sound good and do their jobs well.

The music is riff-heavy and groove-laden, although the band still find space to insert melody and leads where necessary to give the songs an added dimension. They also have guitar solos, which is always something that I appreciate.

Supression tread the line between the commercial and something a bit rougher. Their style is of the sort that bands like Lamb of God, Vision of Disorder, Chimaira, etc. played just before they got bigger. This doesn’t mean that Suppression will also hit the big time, of course, but given the right label backing and a tightening/tidying up of their sound it’s at least possible.

I have enjoyed this EP and it shows great promise for the future.

Check them out.

Favourite Track: Fuel the Pit.

Seven7 – The Follower (Review)

This is the third album from UK Progressive Metal band Seven7.

This is Modern Progressive Metal that’s big on riffs and melodies.

These songs are clearly well-thought out and are well-balanced between classic song structures and more adventurous Progressive explorations. Down-tuned riffs and heavy guitars work alongside lighter, introspective moments and a Rock sensibility that gives the songs an energetic vibe.

At 50 minutes in length, there’s a lot of different influences and ideas on The Follower. Under the overarching Progressive Metal aegis the band are able to work in a whole manner of different elements from a whole host of different genres and sub-genres, from Metal, Rock and otherwise. The amount of variety on display is still consistent with their overall Progressive core, and it takes the learner on a very involving journey.

The singer has a powerful voice and presence, coming across as somewhat of a mix of the singers of Metallica and Alice in Chains. His singing is dark, infectious and merges with the music symbiotically throughout this album. His vocals are flawlessly executed, much like the music itself.

In some ways this makes me nostalgic for the inventiveness of commercial Metal in the 90s. Seven7 sound like a 90s band updated for the current age. It’s as if a fledgling Nu-Metal band was consumed by the spirit of Progressive Metal, transported forwards in time a few decades and then unshackled and let loose. Don’t let the Nu-Metal tag fool you though; it’s part of their sound but doesn’t define them. The Follower is intelligent and passionate music that shares part of Nu-Metal’s once-essential vitality and incorporates this into Progressive Metal just enough to energise it.

There’s a lot to enjoy on this release and the band have worked hard to craft a collection of songs that have emotional depth and maturity while at the same time featuring enough instant energy and impact to snare the listener.

Highly recommended.

Designs of Chaos – The Darkest Storm (Review)

Designs of Chaos are a UK Metal band and this is their second EP.

This short 3-track release is a 14 minute statement of intent from Designs of Chaos, and it’s clear that they mean business.

This is Modern Thrash Metal in the style of Lamb of God, As I Lay Dying, et al. It has a rightfully powerful sound, as befits bands of this nature, and sounds punchy and direct.

One of the good things about The Darkest Storm is that while bands of this ilk can easily fall foul of having too commercial a sound, Designs of Chaos largely avoid this by having a more thoroughly Metal and aggressive approach than many. Yes, the band operate in this more-commercial side of Metal more than they don’t, (such is the nature of the style), but they do it with a more aggressive and downright Metal approach than a lot of their more commercially-minded peers. This is clearly music played for the love of it and not to be the next one-hit wonder.

The songwriting is good and the riffs and structure of the songs hit the spot. I like that this has the immediacy necessary for this style but also leaves room for a bit of depth in the guitar department to allow for a more satiating musical meal, rather than one which was satisfying on first listen but quickly left you wanting something more. The band clearly want to incorporate a bit of substance to their songs and this is only to be encouraged.

Each of the songs are upbeat and feature enough speed to get the head banging and enough groove and heaviness to keep it moving.

The singer has a nicely brutal voice with the shouting and yelling coming thick and fast. It’s a raw and aggressive approach which adds a sharper edge to the band than if they would have opted for a nicer or prettier style. Some of the vocals, backing and otherwise, approach Death Metal levels and it all works really well. There is no clean singing.

Although not perfect, this is still better than most bands of this Modern Metal style and Designs of Chaos have shown massive potential and promise on this EP.

I really enjoyed this. The UK has birthed yet another band to keep a firm eye on. Let’s see what they do next.

Iron Kingdom – Ride for Glory (Review)

This is the third album by Canadian Heavy Metallers Iron Kingdom.

After enjoying their second album Gates of Eternity, Ride for Glory promised much. Once again we’re treated to Iron Maiden/Iced Earth-style Heavy/Power Metal that’s epic and embraces fully everything about True Metal.

The solos and leads are shred-tastic and everything is flashy, ostentatious and overblown. Although they don’t reach the totally over-the-top heights of a band like Freedom Call, (one of the best), it doesn’t seem to be for the want of trying.

The vocals are just as histrionic as the previous album and work just as well with the music.

Iron Kingdom know their style very well and Ride for Glory is the complete Heavy Metal care package. Loving attention has been lavished on this release and the songs may not be perfect but what they sometimes lack in creativity is more than made up for with passion and zeal.

Unless you’re completely allergic to fantasy/mythology-inspired Heavy Metal it’s hard not to like this. The band have an enthusiasm for their subject and genre that is positively infectious.

Give them a try.

Deathwhite – Solitary Martyr (Review)

This is the second EP from US Melodic Metal band Deathwhite.

We’ve met these before on their début EP Ethereal. Katatonia, Paradise Lost and Anathema remain prime influences but once again Deathwhite put their own spin on things.

The songs have a confidence and maturity about them that belie the band’s youth; these are the songs you would expect from a group that had been together for many more years than this. These are well-written tracks that wear their influences on their sleeves and yet don’t sound derivative.

I can easily imagine these tracks being played on a large stage. The melodic nature of the band stands up to scrutiny well and this is a memorable, catchy collection of songs.

It’s all very easy listening and just seems to melt out of the speakers. The singer’s voice in particular is soft and enticing.

My only complaint with solitary Martyr is that it could do with a little more variety as it relies a little too much on the heavy/light approach that was so popular in the late 90s/early 00s, but this is really only a minor thing as ultimately these songs are very enjoyable.

Check them out.

Nergard – A Bit Closer to Heaven (Review)

This is the second album from Nergard, a solo project from Norway that features a multitude of guest singers and musicians from bands such as Aeon Zen, Amaranthe, Pagan’s Mind, Primal Fear, Withem and others.

The songs are Melodic/Power Metal with a side of quality Rock.

The combined experience and talent of the various singers means that there’s no issue in the vocal department. The myriad styles of the different vocalists all add something to each track and no guest is wasted or under-used. It’s not a complete testosterone-fest either, as we are also treated to a few female singers whose presence raises the bar.

The multiple singers give the album a diverse feel while the music and production gives it a cohesiveness that is necessary to avoid it sounding like a compilation. The singer of Aeon Zen appears on many of the tracks, either doing main or backing vocals, so he remains a familiar thread throughout, too, helping to keep things stitched together.

The songs are well-written and are chock full of hooks, catchy melodies and harmonies. Each song has its own character and personality, and this is further enhanced by the vocal variety.

The brain behind the outfit plays drums, bass and keyboards, with everything else being handled by one of the many guests. The musicianship is first-rate and there are enough solos included for the guest musicians to get their teeth into.

At 45 minutes in length it doesn’t outstay its welcome and overall A Bit Closer to Heaven is a really enjoyable listen. The songs grow on you even more upon repeated listens and I know I’ll be spinning this again and again in the future.

Recommended.

Die Krupps – V – Metal Machine Music (Review)

Die Krupps are from Germany and play EBM/Industrial Metal. This is their eighth album.

This is music that’s catchy and can carry a good beat. For easy and lazy points of reference think Rammstein and Nine Inch Nails.

The songs incorporate a wealth of electronic and Industrial elements into the tracks and these form the basis of the band’s sound; an electronic base with guitars built on top.

There are some good grooves on this release and the songs give the listener plenty of excuses to bounce along to the energetic music.

Die Krupps are a veteran band that have influenced a whole host of other groups and on V – Metal Music Machine they clearly know what they want to achieve and how to do it. These songs are written and performed by experienced hands and this comes out strongly in the music.

Most enjoyable – check out the latest from Die Krupps.

Stillnes – Sin Destino (Review)

This is the second album from Spanish Thrash Metallers Stillnes.

Wow. Now that’s an album cover. GIANT MONSTER ALERT!

Thrash Metal is a funny beast these days, with most bands seeming to opt for either an ultra-modern approach or an Old-School Retro one. Stillnes are one of the odd ones out as they opt for something in the middle.

This has elements of the Old-School but it’s not some puerile Retro nonsense. Theirs is a more balanced approach that has a modern sheen but not overly so; they come across as a nice mix of old and new that would fit nicely in many different Thrash eras. Ultimately they belong to themselves and this is what I like about them.

The band have a straightforward approach to their Thrash and play largely mid-paced with a good energy and plenty of melody. They are perfectly capable of unleashing a more aggressive attack when they need to, but for the most part it’s choppy riffs and good rhythms that lead the way.

The singer has a decent voice and there are plenty of solos and leads peppered around the release.

Somewhat of a cross between Trivium and Metallica; there’s not a lot to dislike on Sin Destino and it’s an enjoyable listen.

Check them out.

Regicide – Fall of an Empire (Review)

Regicide are from the US and this is their début album. They play Thrash Metal.

This is Thrash Metal mixed with a bit of New Wave of American Heavy Metal, resulting in energetic Thrash that’s largely Old-School but has a touch of modernity to it to give a little bit of an edge.

The songs are simple Thrashers played with a clear passion for the genre. The band recreate the old feelings with ease and this could easily be an album that has simply been lost to the mists of time and recently uncovered.

The songs are well-written and are obviously a labour of love for the band. They work well and have a youthful vigour to them, speaking of earlier Metal times and simpler Metal pleasures.

The singer’s voice is halfway between clean and gruff, sometimes changing between the two types and sometimes occupying the middle ground.

The recording is earthy and a bit muted, but it gets across the message of the band. I can’t help but feel it would have benefited from a stronger sound to give it more presence and forceful impact though, as sometimes it seems as if the songs are being smothered by the production.

Sound issues notwithstanding, this is a good album that has a lot to offer Thrash Metal fans.

Have a listen.

Nightbreed – Nightbreed (Review)

Nightbreed are a Greek Thrash Metal band and this is their début album.

This is aggressive Old-School Thrash Metal in the style of Kreator and Exodus. It’s ugly, raw and not for the weak.

This is not for Retro-Thrash fans, nor is it for modern Thrashers who are used to huge, gleaming productions. This is for people who like the original Speed Metal template and are quite happy listening to a band who sound like they recorded this in the 80s and then sat on it for a few decades.

The singer has the right kind of angry snarl for the style. He seems to ride the riffs on waves of attitude and never misses an opportunity to add a belligerent edge to his voice.

The music is fast and furious. Solos are included, obviously, and these are well-played and most enjoyable. The riffs seem to lash out like barbed tentacles. The drumming is a relentless pounding that seems to only let up as the songs die off.

The songs blur by in a fit of rebellious fists, spikes and horror. The attitude and style is palpably Thrash Metal and the band don’t lack for presence.

If you’re looking for Thrash Metal that’s true to the original aggressive style then look no further and check out Nightbreed.