Metal – Page 87 – Wonderbox Metal

Desert Near The End – Hunt for the Sun (Review)

This is the second album by Greek Metal band Desert Near The End.

This is a Modern Metal album that doesn’t pander to clichés or Metalcore-isms. Instead, we get a firm, heavy base of Metal with lots of frenetic riffs and pounding drums.

The vocals are passionately shouted out above the roaring music. Emphatic semi-cleans and rougher shouts are impressively delivered throughout.

The guitars are played at speed and with great skill. Plenty of leads and solos are spread liberally around these eight tracks. The fusion of rhythms and leads creates an emotive tapestry that is pure, molten Metal at times.

The drums are especially energetic and sound like they’re played full-on, all of the time.

There’s a powerful Thrash Metal influence to the band, done in a modern way yet borrowing from the past. The same is true of a lesser Power/Speed Metal influence; almost as if Iced Earth were being channelled through Shadow’s Fall…which is not actually that bad of a description, come to think of it. Add in a bit of Grip Inc. and there you go.

Hunt for the Sun has a solid sound and the energy of the songs can leave you breathless sometimes.

This is an exceedingly interesting release as it perfectly balances an older passion and energy with the state-of-the-art delivery of a contemporary Metal band.

This is an album that has surprised me. So often these days bands like this either fall foul of the hero-worship of older bands or stray too far into generic Metalcore territory. This album is different. The band have an individual take on a heavily saturated genre and they’re left sounding fresh, exciting and vital.

A highly recommended listen – it’s time to support some real Metal.

Northland – Downfall and Rebirth (Review)

Coming from Spain, Northland play Folk-influenced Melodic Death Metal. This is their second album.

There are a whole load of different instruments used on this album in addition to the usual ones that form the Metal core. Keyboards, piano, flute and bodhran are all present, as well as guest musicians and singers.

Northland take all of these and wrap them up in a Melodic Death Metal delivery that successfully knits the Folk influences into a cohesive Metal whole so that the album flows nicely across its 11 tracks.

Downfall and Rebirth has a good sound that brings the Folk and the Metal components together so that you don’t feel like you’re listening to a band of two halves.

Harsh and clean vocals are both used, with the harsh vocals having quite a bite and the cleans being of the epic, stirring variety.

Epic and stirring are good words to describe the music as well, but not in the way that, say, Power Metal or certain strains of Black Metal can be. This is more of a journey to old lands that have been forgotten, and a reliving of the tales and deeds of heroes long past.

The songs are well-written slabs of Folk-enhanced Melodic Metal and whilst the clean vocals provide an extra layer of accessibility the band never stray too far into commercial territory; this is real Metal through and through.

I’ve really enjoyed this. It gets the balance between its jaunty, upbeat nature and its darker Metal soul just right.

Check out Northland and get ready for an epic adventure.

Whispering Woods – Perditus et Dea (Review)

Whispering Woods are from Romania and this is their second album. They play Symphonic Gothic Metal.

This style of music was all the rage in the late 90’s/early 00’s and I haven’t heard a band play it so full-on in quite a while.

Recalling bands like The Sins of Thy Beloved and Tristania, this is richly textured operatic Metal with keyboards and flute accompaniment.

And boy, does it take me back! I was listening to a lot of bands like this at one point and Whispering Woods would have easily fit in.

Perditus et Dea has a huge production and sometimes it feels like the guitars are hitting home like a hammer. Everything is ultra-clear and no expense seems to have been spared in helping the band realise their vision.

The powerful female vocals are expertly performed, clearly by singers of great skill and accomplishment. There’s a definite theatricality to these vocals that spills over to the music too, almost as if each song is an act in a play.

The songs themselves are well-composed and have a good balance between the theatrical and operatic elements and the hard Metal core of the band. One of the things I really like about Whispering Woods is that the Metal component of the band has a big presence and is not subordinate to anything else. For all of the ostentation and flair of a band like this, Whispering Woods are a Metal band first and foremost.

I find this is a style that it’s quite easy to sound generic in; Whispering Woods avoid this by good songwriting, some interesting ideas and a strong sound. That they don’t fall into the trap of simply aping what is, by now, a well-worn style is another mark in their favour; instead they take the genre template and infuse it with their own personality to create an veritable exemplar of the style.

If you’re not a fan of female fronted Gothic Metal then this is unlikely to sway you. If, however, you’re partial to the genre and like a bit of Doom and melodrama alongside it, then Perditus et Dea is one to check out.

Me? I’ve really enjoyed this, and I hope you will too.

Barishi – Endless Howl (Review)

Barishi are from the US and play Progressive Metal.

This is the latest EP, following on from their very enjoyable début album Barishi.

Here we have four new songs, clocking in at just less than 19 minutes in length. In an interview I did with their guitarist, Graham Brooks, he said that they wanted to explore a heavier direction in the future.

They’ve certainly done this on Endless Howl.

Again we have the mixture of angular riffs and melodic flourish; it worked well on their début album so it’s good to see it carried forward to this EP.

The songs are heavier, faster and are all-round more Metal this time though, which is something the band have successfully developed in their sound. The first song In the Hour of the Wolf doesn’t sound too far from At the Gates if they had a Progressive influence.

The heavily melodic nature of some of the music combined with the screaming vocals lends their sound a Black Metal/Shoegaze aspect which was entirely absent from their début. Smoke from the Earth is a great example of this and could almost be a Deafheaven tune.

The vocals still contribute harsh shouting screams, but this time they’re joined by the odd growl here and there. The growls are performed extremely well and the progression in screams is noticeable; they sounded perfectly good on the début but on this EP they’re even better. Completely gone are the clean vocals.

I’m glad that Barishi have incorporated more Metal without losing too much of what made them so interesting and individual in the first place. However, the Progressive and Jazz elements are less pronounced this time as something had to give due to the increased Metal influence. They are still there though in places and played immaculately, as always.

This is a very enjoyable collection of songs, showcasing a band that are truly finding their direction. Tight playing and focused songwriting means that the band sound even better than they did on their début.

The more Metal-oriented direction seems to have turned out to be a winner. Where do they go from here? Personally I would like to see their next release merge the Metal of their current incarnation with the more Jazz/Progressive tendencies of their début. If they manage to do this successfully then they’ll be untouchable.

Barishi have really impressed with this EP. An essential purchase.

Favourite Track: Snakeboat. Good songwriting and some strange, atypical atmospheric riffing that gets under your skin to create a tense and nervous listening experience.

Comaniac – Return to the Wasteland (Review)

Comaniac are from Switzerland and play Thrash Metal. This is their début album.

Boasting a crisp, clear sound where you can feel every bit of crunch, Comaniac sound remarkably fresh considering this is Old-School Thrash Metal.

The songs have a kind of used vitality to them; it’s a well-worn genre but the band play it well and with such passion that it’s hard to feel jaded around them.

The riffs are frantic and well written, with plenty of leads and solos thrown around to make things sound even more Metal than they already are.

Comaniac certainly know their Thrash. These songs could easily have been written in the 80s, although the 80’s Thrash bands never had such a crisp, modern production as this of course.

The singer screams out his lyrics with a kind of focused insanity, one step away from mayhem but controlled enough for the moment. It’s quite charismatic and makes a good impression.

Considering the fact that I’ve been a bit sated on Old-School Thrash for a while now I wasn’t expecting much from this but Comaniac have firmly won me over. The combination of Thrash know-how and a punchy, energetic sound makes for a great listen.

Turn on, turn up and Thrash out.

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.