Metal – Page 85 – Wonderbox Metal

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.

Expenzer – Kill the Conductor (Review)

Expenzer are a Swiss Metal band and this is their début album.

This is modern Thrash Metal with a sound that’s somewhere between Darkane, Dew Scented and The Haunted. Indeed, the final song is a The Haunted cover.

The songs are well written and done in the classic verse-chorus style. This makes for easily digested Thrash songs that are quite catchy.

The songs are riff-heavy and are full of shredding licks, leads and solos. It’s mainly a heavy assault, but the band do insert the odd touch of melody here and there. They don’t do this often, so it’s noticeable when they do.

Kill the Conductor has a tight production, with all instruments sounding good. The drums pound away and the guitars rage and crunch. The solos have a fluid, flowing feel, which is something I always enjoy.

This is a decent Thrash Metal album that has a workman-like ethic of just getting down to it; no nonsense, no frills. The style works in their favour and Kill the Conductor is 49 minutes of gratifying Metal.

Dew-Scented – Intermination (Review)

Dew-Scented are a German Thrash Metal band and this is their tenth album.

I hadn’t heard anything from Dew-Scented since their 2002 album Inwards, which was a good album to Thrash along to. As such, I was keen to catch up with them 13 years later.

13 years. Blimey.

Anyhoo, in the interim it seems that little has changed in the grand scheme of things. Dew-Scented still offer high-octane, spiky Thrash Metal and once again I’m more than happy to lap it up.

With a crisp, heavy production, the band tear through 55 minutes of chunky, aggressive Thrash, (including covers of Solstice and Repulsion songs).

This is a very riff-centred album. The songs are collections of hungry Thrash riffs, artfully threaded together into paeans to Metal. Ripping Thrash is the bedrock of their sound, but more emotive guitars provide some depth where needed. The band use melodies to their benefit; frequently subtle affairs, they’re used to enhance the feelings of a particular passage or section.

Guitar solos are plentiful on Intermination and I always love a good solo. This is a very guitar-oriented album and the songs just satisfy.

The vocals sound better than ever. The singer’s voice is aggressive and brutal, barking out the lyrics with angry abandon.

It’s good to hear Dew-Scented again. It also reminds me of why I enjoyed Inwards so much. I’d say that on Intermination they have tightened everything up; the added experience they’ve notched up over the years means that this is a highly focused album from a band that know themselves very well.

As heavy, aggressive Thrash Metal goes, this is definitely a winner.

Allfather – No Gods. No Masters. (Review)

Allfather are from the UK and this is their début release of Hardcore/Sludge.

Allfather seem to have cornered the market on Punked-up Metallic discontent. They’re pissed off and have come to put the boot in, big style.

This is underground and raw; music that’s ready for a scrap and happy to get its hands dirty.

The songs on this short EP are tight balls of fury with guitars that fall halfway between murky Sludge Metal and Hardcore anger. Energetic and heavy riffs make up the bulk of this release and there’s no let up in the 11 minutes playing time.

Allfather do heavy very well, but they also write actual songs; these tracks have a good flow to them and are quite catchy and memorable. This is not heaviness just for the sake of it; this music is focused and directed so that the compositions have meaning and purpose.

An enjoyable and promising EP. The UK seems to excel at this kind of dirty, gritty Metal. More please.

A cross between elements of Crowbar, Gutworm, dBh, Raging Speedhorn, Labrat and the like.

No Trust – The Cycle (Review)

This is the latest EP from US Metallers No Trust.

We know No Trust from their début album Unfound, so it’s good to catch up with their latest offering.

I stand by my previous statements about this band – they’re still huge worshippers of The Riff and still come across as a blending of Dopethrone and Chimaira.

The singer’s raspy roar is back once more and continues to provide very satisfying vocals for the unfolding Metallic carnage. His voice works even closer with the music on this EP to produce songs that gel together nicely.

The guitars seem to buzz and rage through the playing time with that interesting combination of Sludge and Modern Metal that they play so well. The production emphasizes the Metal side of the equation, but the Sludge quality is brought out in the music from some choice riffing and the singer’s acidic snarl.

The songs are more developed this time around and the time between releases seems to have been well spent; overall, No Trust sound more confident and professional than ever.

Well, I’m very happy with this. A 31 minute blast of quality Metal is never to be turned down.

Give them a listen and prepare to unleash the fury.

Relentless – Night Terrors (Review)

This is the second album by US Heavy Metal band Relentless.

Their first album, Souls of Charon, was a very enjoyable slab of Heavy/Doom Metal. This new release keeps the flag flying for Traditional Heavy Metal and all but drops the Doom Metal aspect of their sound.

In fact, Relentless seem to have gone further down the NWOBHM route on Night Terrors. The songs are upbeat rockers that value a chorus and are a lot rougher than their old incarnation, both in attitude and delivery.

The recording is grittier and less polished too. The band almost come off as some undiscovered garage Metal band, lost to the mists of Metal history.

The singer adds her own character to the songs and hearing her on this release is quite a contrast to her more laid-back style on their début.

The songs are proper Metal songs, full of swagger and upbeat energy. If you are familiar with Old-School Heavy Metal then this is quite the feast.

A change in direction, certainly; rawer, Traditional Metal with more attitude. I wonder, what will album number three bring for Relentless?