Reviews – Page 473 – Wonderbox Metal

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.

Deveikuth – 0.∅ (Review)

Deveikuth are a French Funeral Doom/Drone band and this is their latest release.

Now this is some heavy stuff.

The first track starts off with some sickeningly distorted bass that seems to overwhelm everything else as maniacal vocals scream obscenities into a bucket. A dirty bucket filled with filth.

The striking vocals overlay the constant feedback howling and murky distortion of the tracks. Said vocals are unhinged and sound quite disturbed. Juxtaposed against the slow, unhurried music it creates quite an impression over the 12 minute playing time.

Track two is more of an ambient, mood-interlude, albeit one that lasts for six minutes. Strange sounds and odd noises accompany some semi-excited drums like something esoteric stalking something playful. Apart from a kind of spoken word bit near the middle, it’s instrumental and a nice change of pace and mood after the disconcerting menace of the first song.

The final song is the longest here at almost 17 minutes and shows the band in more of a build-release mode, with some extra atmosphere included too. Shrieking, wailing vocals accompany equally turbulent music as Deveikuth pull you under the water and hold you there, enjoying your gurgling demise.

This is a release that reeks of pain, anguish and warped sensibilities. It’s not for the faint-hearted and not for people that like clean, easily digested music.

Check it out.

Brimstone Coven – Black Magic (Review)

Brimstone Coven are a Hard Rock band from the US. This is their second album.

Brimstone Coven worship at the smoky altar of all things 60s and 70s. Black Sabbath, Pentagram and Led Zeppelin may be obvious reference points, but there’s more going on here than you might expect and Black Magic is a well-rounded release that is greater than the sum of its influences.

This album has a pleasingly authentic sound, both in the recording and the vibes that seem to come off the music in heady waves.

The main vocalist’s voice suits the music well and there’s lots of catchy singing going on here, which works well with the equally catchy music. The band also employ multi-singer harmonies and put these to good use.

The music is instantly familiar and it’s easy to get into this and feel a pleasant buzz emanating from it. The songs contain so many good riffs and warm melodies that every song has something pretty damn special to offer.

Black Magic gives us 55 minutes of music to entrance and captivate. If you’re in the mood for this kind of thing then it really is up there with the best of them. With top-drawer songwriting and a decent amount of variety and moods to explore, this is a very enjoyable release.

I’m not always a huge fan of music that takes its inspiration from this era, (although bands such as Witchcraft, Agusa, Ecstatic Vision and Greenleaf have been known to frequent my playlist from time to time…), but when it’s done well and with enthusiasm and passion as it clearly is on Black Magic, the result is infectious and hard to ignore.

Highly recommended.

Dead Eyed Sleeper – Gomorrh (Review)

This is the fourth album from German Death Metallers Dead Eyed Sleeper.

This has a very tasty sound, thick and heavy without losing clarity or definition.

The singer’s expressive growls and screams are ably performed and have an energy to them that’s undeniable. Powering along with passionate aggression and meaty delivery, he leaves an impression.

The same could easily be said of the music, actually; energetic, passionate and aggressive. The band’s take on Death Metal is familiar enough to be instantly satisfying yet differentiated enough to sound interesting and fresher than most similar bands. Elements of brutality rub shoulders with more involved technical and progressive flourishes that leave the band standing separate from a lot of their peers, which in my mind is no bad thing at all, nor is it an easy thing to achieve.

These five tracks are expansive forays into Death Metal, making the most of what the base genre has to offer, but fleshing it out with extra influences and snatches of mournful and dirge-like melody. These Doom-influences serve the band well, providing ample opportunity for them to show off their emotive side. When this is combined with the technical and/or progressive aspects of their sound it’s a heady combination that marks the band out for great things as far as I’m concerned.

At the end of these 29 minutes the play button is pressed again. It’s a hallmark of good music that you immediately want to hear it a second time and you also want more than just what’s contained on this album.

Very impressive and very recommended.

Systemhouse33 – Regression (Review)

Systemhouse33 are a Metal band from India. This is their latest album.

Their previous release Depths of Despair was an enjoyable, albeit brief, romp through all things heavy and modern, and Regression continues the theme but ups the stakes.

At a slightly longer 30 minutes in length, the band have further refined their blend of modern Metal and Metalcore/Hardcore/Death Metal influences into a potent blend of muscular aggression.

The singer has a harsh snarl that fits well with the music and doesn’t allow for any compromise. He plainly means business and I like what he’s selling.

The songs chug, rumble and bludgeon their way through the playing time and there’s a decent amount of catchy riffs and heavy melodies involved.

Although I liked Depths of Despair this is an all-round more cohesive, focused and superior release; perfect for when you want some heavy, crushing, upbeat, groove-based music. Without too much extremity, but also without going the other way into commercial, sanitised waters, Systemhouse33 have hit the right spot and Regression is actually a positive move forward.

For fans of Lamb of God, Meshuggah, Whitechapel, Skinlab, Machine Head, Testament, Merauder, etc.

Artillery – Penalty by Perception (Review)

Artillery are a Thrash Metal band from Denmark. This is their eighth album.

These Metal veterans return with another 54 minutes of old-school Thrash Metal.

The vocalist’s melodic cleans are straight out of a different era, and in the context of 2016 sound flawless and delivered with a skill and passion lacking in most similar bands.

Savage riffs and sterling solos are moulded around classic song structures. The band obviously know exactly what they’re doing from the outset and this is a ridiculously strong collection of tracks. Catchy, memorable and charismatic, these songs are seriously good. They also awaken such a powerful sense of nostalgia in me that I honestly don’t know what to do with. I’ll just listen to more Thrash Metal I suppose.

Some of the riffs and melodies on this release get the hairs standing on end and the overall feeling is indescribable in some ways. Being exposed to this much authentic top-grade Thrash Metal in one go should come with a health warning.

Well, this really has made me sit up and take notice. I pretty much hate the vast majority of the retro-Thrash movement with its stupidity and moronic nonsense, so it’s great to hear a band that were forged in the original era when this kind of thing was first born produce something so strong and worthwhile. This should put all of the idiotic posers in their place and demonstrates what a force to be reckoned with Artillery still are.

Taken with the recent release by Exumer, could 2016 be the year that reignites my love affair with Thrash Metal? It’s shaping up to be that way so far.

This is what Thrash Metal is meant to be about.