Metal – Page 87 – Wonderbox Metal

Twilight Zone – The Beginning (Review)

This is the début album from long-running Heavy Metallers Twilight Zone, who are from Italy.

As I’ve said before, one of the most important components of bands like this is the singer; the vocals can make or break the band for me. Twlight Zone have a very capable singer with a strong voice and an able set of pipes, so I’m happily placated. The vocals are easy to enjoy and the singer hits the various highs and the lows without issue.

The music is Classic Heavy Metal with plenty of bluster and verve. Colourful leads and emphatic riffs are the order of the day and they have a decent amount of variety so that it doesn’t become too repetitive or one dimensional.

The band have a very slight Thrash influence to some of the guitars here and there as well as a bit of a Hard Rock style to their sound in places. Mainly though, it’s pure Heavy Metal.

The Beginning has a rather underground production for this style of music, but it does add an earthy earnestness and honesty to their sound. I really like the bass sound – it has an Iron Maiden-like presence and adds to the songs a fair bit; particularly noticeable on Death Swarm.

The songs are enjoyable and well written, with a good few hooks to snag the listener. If you enjoy this style then you could do a lot worse than checking out Twilight Zone for some resolutely Old-School Classic Heavy Metal.

Give them a try.

Lord Dying – Poisoned Altars (Review)

This is the second album from US Sludge Metallers Lord Dying.

This is all about worshipping the riff and following the path of everything heavy.

Oh, and the album cover is just perfect.

Lord Dying shout and bellow their way through these 8 tracks with belligerence and a confidence born of too much alcohol and a natural ability. They know they’re better then most so why shouldn’t they show what they’re capable of?

If you’re a fan of Crowbar, High On Fire, Red Fang, Mastodon, The Obsessed, Orange Goblin, etc. then you’ll no doubt find a lot to enjoy here.

Essentially mixing High On Fire and Crowbar, Lord Dying provide a lot of meat throughout this 37 minute album. It’s not purely a riff-fest either as the band do concentrate on songs more than just stitching different guitar parts together.

The singer has a throaty snarl that has character and recalls a younger, angrier Crowbar singer. He also has a knack for catchy rhythms and vocal patterns that mark the brain like jagged grooves.

The attitude exuded from these tracks is as palpable as the riffs themselves. This is a visceral band that you feel you can almost touch, although I can’t help but imagine them being quite toxic if you did.

Very, very nice. Feel the poison flow through your veins and revel in it.

Caelestia – Beneath Abyss (Review)

Caelestia are from Greece and this is their second album. They play Melodic Metal.

Well this is interesting. Superficially another Gothic/Operatic European Metal band, there’s actually more to Caelestia than that.

They combine elements of that sound with Melodic Death Metal and Progressive Metal to create an altogether more interesting beast than what you, (or me), might have been expecting.

The album is a mixture of these aforementioned styles, meaning that Beneath Abyss is not a listen that gets stale. This is a bigger than normal compliment actually, considering how easy it is for Gothic Metal bands to be quite generic. But of course, this is where the other influences come in.

Another very positive thing about the band is the main female vocals; the singer has a strong voice that definitely has her own personality stamped onto it and manages to avoid simply aping some of the bigger female vocalists out there. She has a versatile and powerful voice that oozes professionalism and quality.

Her voice is joined by choral backing vocals and harsher male shouting, as well as a guest spot from the singer of Soilwork.

These are enjoyable songs and the combination of the European Metal styles into one package gives Caelestia an identity of their own that differentiates them from the majority of their peers who play similar styles of music. It also lends the songs more depth than they’d otherwise have if the bite of the Melodic Death Metal or the musicality of the Progressive Metal were removed.

A very good listen. Check them out and see if you agree.

Solanum/Epi-Demic – Passages to Lunacy – Split (Review)

Solanum and Epi-Demic are both from Canada and both play Crossover Thrash Metal.

Solanum start us off with just under 18 minutes of aggressive Thrash.

Their contribution is underground and sharp, with a sound that wastes no time in ramming home their aesthetic.

This is Old-School, genuine and really rather good. I have a low threshold sometimes for Crossover Thrash, especially when done in a Retro style and I think this is one of the saving graces of Solanum; there’s no Retro nonsense here, just good, old-fashioned Thrashing out.

The other thing which earns them big marks is the fact that they can actually pen a decent song. The riffs are enjoyable rip-fests that tear along the road with the hungry appetite of the biggest gas-guzzler.

Oh, and the singer has a very satisfying bark to him as well.

Solanum have won me over.

Up next are Epi-Demic, with a shorter total duration of 13 minutes.

Epi-Demic are just as raw and intense as Solanum, and like Solanum they too dispense with any of the Retro nonsense and just concentrate on some lovely Old-School Crossover.

If anything, Epi-Demic’s sound is even more underground and aggressive than Solanum. Their riffs have more of a Hardcore feel to them in places too, although they still know how to Thrash it out with the best of them. Indeed, some of the guitar rhythms here are very tasty indeed.

You could pretty much land at any point in any of these songs and hit something good, but I think overall my favourite is Famine, with its combination of sharp, tight riffs and frenetic leads…or maybe Nuclear Dream with its swirly, twisting guitars…there’s a lot of good stuff on these four songs.

The singer has a higher voice than that of Solanum although it’s still aggressively based and hits the right Crossover tone.

So, Epi-Demic have also won me over.

If you’re looking for a quality Crossover release without any of the novelty bollocks then snap this up quickly.

Mass Punishment – Proving Ground, Vol. 1 (Review)

Mass Punishment are from the US and play Thrash/Groove Metal. This is their début album.

Mass Punishment play their Metal with an overdose of muscle and with reference to the big hitters of the scene – Pantera, Machine Head, Sepultura, Hatebreed, etc.

This is Metal that takes no prisoners as it relentlessly stalks the battlefield for targets. On the surface of things it seems that a band like this might not have much to offer other the listener than some brawny riffs and angry anthems, but on closer inspection Mass Punishment surprise by having a lot more to them than just the basics.

For a start, the song lengths are longer than the norm for this type of music, with the average track spanning the 5-7 minute marks. This means that the band never rush themselves and give themselves the space to demonstrate what they can do.

So, amongst the brutality and heavy riffs, spread out across these song lengths, what makes Mass Punishment better than mere Pantera rip-offs?

A few things, actually. Let’s have a look –

Passion and integrity. They may be inspired by some of the masters but they are definitely doing their own thing.
Songwriting skills. The guys know how to write an enjoyable song. Lots of them.
Metal. Their songs also incorporate elements of a cleaner Metal style that’s not quite Power Metal but certainly isn’t pure brawn and muscle. Think Old-School Anthrax with soaring vocals meets a bit of a more Euro-Metal style. There’s no Melodic Death Metal, Gothenburg-style or anything like that; this is more melodic Thrash I suppose, but one from the finest pedigree and history.
Modernity. The band know how to incorporate some of the heavier and more extreme advances in Metal that have occurred since the mid/late-90s, which I think is Mass Punishment’s spiritual home. Influences from the best that Slipknot and Metalcore have to offer are incorporated where necessary. But only the good stuff.
Diversity. This is no one-trick pony. For every face-shredding part there’s the also nuance and subtlety; they have struck a good ratio between the two. They know how to rage and destroy but they also know how to inject melody and light into their attack. Just listen to The Desert Rogue.

All accounted for, Mass Punishment successfully take the Metal template that was established over 15/20 years ago and completely own it as their birthright.

I need to mention the singer as well. A band like this needs a charismatic, personable vocalist who is diverse and intense enough to match the power of the music. Thank fuck they have this, otherwise Mass Punishment would be an exercise in wasted potential. Phew.

This is a very holistic, complete album. Each song has its own identity, purpose and place on the album. It’s a great thing to hear.

Well, I’ve been hugely impressed with this. Considering the height of the bar in this style I haven’t heard Groove Metal done so damn well in ages. I really hope that this band can get some much needed exposure to the wider Metal scene as Proving Ground, Vol. 1 has a lot to offer any Metal fan.

Had they been born decades earlier when this style was at its height they would no doubt be huge. Having said that; Mass Punishment, and the music they represent, are still very relevant and more people would do well to listen to them.

Top work.

Ghost Season – Ghosts Like Her (Review)

This is the latest EP from Ghost Season who are from Greece. They play Modern/Alternative Metal.

The band have a strong, professional sound and waste no time in grabbing the attention of the listener.

This is Modern/Alternative Metal with clean vocals and easy harmonies. Imagine a Heavy Metal band that were more influenced by Modern Alternative Metal and the New Wave of American Heavy Metal than anything from the European scenes and you’ll have an idea of where Ghost Season are coming from.

In fact, the only real nod to the European scene is Ghost Season’s inclusion of a good amount of guitar solos, which is something that’s less prevalent in the previously mentioned styles and something that I’m very glad they incorporate into their sound.

Don’t let references to the NWOAHM fool you though, as apart from the occasional backing vocal there’s no real shouting, nor is there any angry pseudo-Hardcore breakdowns here; the singer has a fluidly melodic voice and the music has a good, hearty Modern Rock influence to it.

These songs slip out of the speakers like they wouldn’t harm a fly, but then Ghost Season’s intention isn’t to threaten. The band aim to make music that’s melodic and polished without losing its passion and vibrancy. For the most part it succeeds and Ghosts Like Her is an enjoyable collection of tracks.

The band sometimes remind me of a modern interpretation of 90’s Alternative Rock and even with the thoroughly modern sheen of Ghosts Like Her I can’t help but feel vaguely nostalgic when listening to it.

Give them a listen and see if they hit that right note for you.

Favourite Track: Need.

Greensleeves – Inertial Frames (Review)

Greensleeves are a Brazilian Progressive Metal band and this is their second album.

This is quality Progressive Metal with a proper Metal edge. The band aren’t afraid of being a bit heavier than the norm and the songs make the most of this, mixing the forthright nature of Metal with the wandering, exploratory Progressive edge of the style.

If you like bands such as Dream Theater, Threshold, Pagan’s Mind and Nevermore then Greensleeves should be your thing too.

The singer has a really, really good voice; coming off somewhere between the singers of Pagan’s Mind and Nevermore his voice rises to the challenge again and again. Frequently the weakest link in bands such as this is the singer and I’m very pleased to say that isn’t the case here.

The songs are very well played, as you would expect for a band in this genre, and there are plenty of leads and solos to satisfy. I should compliment the chunky rhythms also; as mentioned previously they’re heavier for the norm and certainly bring out the Metal aspect of their sound.

Decent melodies and layered harmonies combine with thick guitars and melodic know-how to create exemplars of the style.

There are 12 tracks in total and they’re all composed so that the album as a whole is a very good listen. At over 72 minutes in length it’s a long listen but one that’s very rewarding.

I’ve really enjoyed listening to this and will continue to do so again and again in the future.

Definitely one to check out for your next Progressive Metal fix.

Cold Snap – World War 3 (Review)

Cold Snap are from Croatia and this is their third album. They play Modern Metal.

World War 3 is a surprisingly varied album for what it is. I was expecting a straight Metalcore band for some reason, and although they have this side to them there’s more to Cold Snap than just this.

Mix Metalcore with a bit of Nu-Metal and you’ll have an idea of what Cold Snap are attempting here. Elements of Korn, Disturbed, Slipknot and Machine Head can be heard.

After Nu-Metal effectively stopped existing, (as far as I am concerned), a very long time ago it’s actually quite refreshing to hear something like this again, especially when it’s actually done quite well and without the majority of the generic nonsense that plagued the style.

So as I was saying; Cold Snap have a fair degree of variety in their sound and don’t simply repeat the same formula every song. Similarities exist between tracks of course, as is the same for most bands who play one style, but within their chosen framework they do attempt to mix it up a bit.

The singer has a decent voice and doesn’t fall too foul of the various vocal pit-falls that this style can have. Overall he gives a good performance.

The band are at their best when they let the Euro-Metal influences come to the front. Sections of some of the songs have influences from bands like Nevermore, Darkane and Soilwork, and these are the most enjoyable parts for me.

It’s quite a nostalgic listen in some ways; it’s a familiar style but without being overly so, probably because I haven’t really listened to anything like this in a while. If World War 3 had come out about 15 years ago Cold Snap probably would have been quite big.

If Nu-Metal is a best-forgotten nightmare for you then this will probably not float your boat, but if you want to hear a modern take on it with a beefy, professional production then check out Cold Snap and see what you think.

For myself, this has definitely grown on me and I’ll be spinning this again in the future.

Kouzin Bedlam – Longing for the Incomplete (Review)

Kouzin Bedlam are a Finnish Heavy Metal band and this is their début album.

This is expressive Heavy Metal that’s enhanced with keyboards as well as some Progressive Metal and Power Metal streaks.

Their sound is a very enticing one that mixes elements of bands like Queensrÿche, Iron Maiden, Kamelot and Queen. It’s very listenable and has instant character and appeal.

Longing for the Incomplete is a very strong collection of songs. The band know how to play and everything comes off silky smooth and ultra-polished, but with the important accolade of not losing the band any of their life or colour.

The music is textured, rich and involving. There are lots of hooks and bucketloads of catchiness. The songs have memorable melodies and tunes as well as many interesting ideas and a great deal of variety.

All in all these songs are ridiculously good! In some ways it’s hard to believe that this is a just a début album as the level of songwriting here is stellar.

The singer has a great voice that’s capable of dealing with anything that’s required of it. Pretty much any style is within his range and his performance on this album is staggeringly good.

When this style of Metal is done well it takes me back to when I was getting into music for the first time and everything seemed so exciting and new. Kouzin Bedlam fill me with the same kind of feeling; not so much because of nostalgia, but just because of how damn good this is!

This puts me in mind of Trinity Road by All Seeing Eyes; Kouzin Bedlam don’t particularly sound like All Seeing Eyes, but the comparison is apt as both bands have recently released a pure blinder of an album. Had I listened to this album earlier then it definitely would have featured in my 2014 end of year list.

What a great album by a great band. Essential listening.

Trial – Vessel (Review)

Trial are a Swedish Heavy Metal band and this is their second album.

Trial play Classic Heavy Metal full of songs and steel.

The vocals are melodically clean and employ some very nice harmonies. The singer belts out the tunes with power and class. I really like his voice.

The songs on Vessel are very well written and performed. Trial are a clearly a professional band with a high quality threshold. These tracks are memorable even on their first spin and subsequent listens really allow them to get under your skin.

Trial have elements of Epic Heavy Metal, which comes out in the longer length of some of their tracks, as well as a slight Traditional Doom Metal feel to some parts of the songs.

There’s a good amount of variety on this album and the band show they have what it takes to produce enjoyable songs no matter what tempo they play.

Each song has a lot of content and there’s no filler to be found at all. They save the best track for last with the 13 minute epic Restless Blood. Quality.

The production is modern enough to be crisp and punchy but warm enough to not rob the band of any of their heart.

Trial are at that perfect sweet spot between old and new, giving them a timeless air. This is Heavy Metal as it should be played in 2015.

Vessel is a really enjoyable Metal album and I definitely recommend getting your hands on it.