Reviews – Page 492 – Wonderbox Metal

Persecutory – Perversion Feeds Our Force (Review)

This is the début EP from Turkish Black Metallers Persecutory.

This is ugly music for fans of Archgoat, Black Witchery, Von, Watchmaker and the like. Combining dirty, evil Black Metal with enough Blackened Thrash to give it extra bite, Persecutory waste no time in establishing themselves as true purveyors of darkened brutality and nastiness.

Sometimes Blackened Thrash leaves me a little cold, but this is more Blackened than Thrash and Persecutory deliver a very tasty noise that’s furious and aggressive.

The vocals are a combination of rabid screams and infectious growls, both serving to emphasise the cutting music.

Fast blackened melodies are included alongside some very tasty riffs. It seems that the band have quite a talent for making both riffs and melodies extremely satisfying, and these tracks certainly hit the spot because of it.

I like how these songs are written and that the band know how to inject pacing and energy into them, avoiding the one-dimensionality that can sometimes plague this kind of music.

An impressive first release. Here’s to the future!

Natanas – Eram Numquam Amicum Vestrum (Review)

A one-man Black Metal act from the US; this is the latest release from Natanas, although at the prolific rate he releases material, it might not be by the time I’ve written this…

I’ve enjoyed watching Natanas progress in the relatively short time since its inception, (here, here, here and here), and it’s always a pleasure to listen to the latest horrorful dirge that the man unleashes on the world.

Eram Numquam Amicum Vestrum is a little different than previous releases. It still shares a lot of the same hallmarks, but this time it’s a bit angrier and more Black Metal. That might sound like an odd thing to say, considering all of his releases have been Black Metal, but I suppose I mean it’s a bit more traditionally Black Metal – although a lot of Black Metal fans would probably still blanch at this as his work remains on the raw, underground, under-produced side of things.

The music is Doom-laden, filth-ridden Black Metal that carries an artistry to it despite the primitive veneer that it wields like a sharp stick. The rhythm guitars somehow find a way to be mournful and rabid at the same time, while the leads add a lot of rich content to the songs and provide a pointed outlet for all of these emotions. The screamed vocals are some of his best to date; understated and low in the mix, but still totally despondently savage.

The tracks are less songs and more essays on how to channel anger and sorrow in musical form in an atavistic and cathartic way.

I think this is probably my favourite Natanas release, actually. Although I really enjoy the more experimentally dark nature of his other work, this album has more coherence and focus about it, resulting in an album that has a lot going for it. Traces of his previous work remain, of course, and these add extra flavour to the album, ensuring that it doesn’t become stale or one-dimensional.

If you’re the kind of person who gets off on raw, underground Black Metal then this is a must.

Illusions Dead – Celestial Decadence (Review)

Illusions Dead are from Finland and play Blackened Death Metal. This is their début album.

The style here is based on Death Metal with a Black Metal influence to the guitars, allowing the band access to a wider array of melodics and auras than a pure Death Metal band.

High screams form the bulk of the vocals, although deep growling vocals do appear as the main form of attack on some tracks. The singer’s growls are very well performed and he has the kind of voice that’s easy to enjoy. The high screams are equally competent though, and very enjoyable to listen to, although it would probably be even better if a few more of the growls were used here and there, but that’s just me.

The songs are well-written and there’s a lot to enjoy across these 42 minutes. The band seem to understand pacing and texture, with the songs having a lot more depth than is the norm for the style. I especially like songs such as Revolution (Celestial Spheres) where the band extend the music into almost progressive spheres to add further substance and meat to the music.

Leads and melodies are used well and not overly relied upon at the expense of brutality; there’s a nice balance of the two. When combined with the emotive qualities of the rhythm guitars it makes for a compelling collection of tracks.

The album has a good sound that’s rough around the edges in the right ways. Combined with the strength of the music it makes for a very satisfying package, all-in-all.

This is a really strong release. It offers something more than just straight-ahead Death Metal and is an extremely meaty feast of Metal delights.

Very impressive.

Primitiv – Immortal & Vile (Review)

Primitiv are an Indian Death Metal band. This is their début album.

As the name might suggest, Primitiv play old-school Death Metal that’s on the, (ahem), primitive side.

It’s also on the riffy side, and who doesn’t love a good riff? Actually, the word primitive is misleading, because although it’s true in a way, this is also not your typical old-school Death Metal release either, sounding fresher and more modern than a lot of similar bands. Modern old-school Death Metal? Now there’s a thing…

So what’s different about Primitiv? Well, for one thing, the songs have an energy to them as they stomp all over the place. There’s also a fair amount of variety on these tracks, with different sub-styles and types of riff being showcased.

Some of the riffs have a Sludge/Stoner Metal feel in places, which is quite unexpected, although it should be noted this is not a huge part of their sound. At other times we get a more Bolt Thrower-type delivery, cementing the old-school feel even more. Sometimes a hint of the Swedish style appears…it’s a compelling mix across these 31 minutes and Primitiv show that they can turn their hands to many an influence with the aim of creating their crushing Death Metal out of the most effective weapons available.

Melodies, leads and solos all appear where they’re needed and the songs pound along at a decent pace. It’s all added to by a strong, clear and clean production that allows them to sound absolutely immense. As the focus is very much on the guitar riffs, these have a heavy, precise tone that devastates all around them. It must be noted that the drums and bass sound equally impressive though.

The singer has a formidable roar that still manages to sound legible on occasion and carries character deep within its depths.

The combination of the older style with a newer production and a Sludge/Stoner tinge to some of the riffs allows Immortal & Vile to avoid the accusations of staleness and rehashing of past glories that inevitably accompany most old-school Death Metal releases. This album sounds fresh and infectious, even if the core style is as old as it gets.

Unless your tastes run strictly to the ultra-technical, fast or modern, Immortal & Vile is a must listen.

Thy Worshiper – Ozimina (Review)

This is the latest EP from Thy Worshiper, who play pagan/folk Black Metal.

The band’s previous release Czarna Dzika Czerwień is one that I really enjoyed, so this EP I was eager to hear.

Featuring music that’s heavy on percussion and non-standard instruments, (such as didgeridoo, darbuka and djembe, to name a few), Thy Worshiper continue their individual and characterful melding of folk, pagan and Black Metal influences into their enticing brand of music.

These tracks are rich and layered songs that cover themselves with emotion while providing enough substance and grit to back it up, ensuring that they have produced a real collection of songs and soundscapes, rather than novelty or throwaway music.

Vocally, the female vocals sound even more beautiful and powerful than before, and combined with the rhythmic pulsing of the music are a real highlight. The male vocals remind me of those of The Meads of Asphodel in places on this release more than on their previous album, which adds a different slant for me.

Clearly a lot of work has gone into arranging and composing this EP, and the end result speaks from the heart and burns as deep as fire.

Another sterling release from this important band.

Bosque – Beyond (Review)

Bosque is a one-man Doom band from Portugal. This is his third album.

This is mournful, slow Funeral Doom that’s wonderfully despondent and drenched in desolate negativity. The music reeks of isolation and loss.

The guitars have the timbre of a Black Metal album, but enslaved and put to work down the Doom Metal mines. This lends Bosque quite a distinct blackened feel while still staying mainly in the Funeral Doom camp.

There’s a severe minimalism here too, fed further by the Black Metal aesthetics, that manages to successfully convey a huge amount of darkly emotive themes with limited tools.

The vocals are low-in-the-mix cleans that sound completely anguished and forlorn. Their sorrowful delivery reminds the listener in no uncertain terms that everything is pointless and nothing has any meaning, other than what is given, and even that is probably worthless.

The songs are quality exemplars of the style and it’s easy to get lost in the misery on Beyond.

It’s rare that you hear Funeral Doom quite this nihilistically bleak and delivered with such conviction.

Recommended.

Favourite Track: Paradox.

Zlang Zlut – Crossbow Kicks (Review)

Zlang Zlut are a Swiss Rock band. This is their second album.

So here we have something a little bit different for you. Zlang Zlut are a two-piece featuring a drummer/singer and an electric cello player. Unexpectedly, this isn’t some strange left-field experimental release, but a full-on hard-rocking bunch of songs for fans of AC/DC and the like.

The singer has a lot of charisma and injects the full force of his personality into these tracks. He comes across as one of those people born to sing in a Rock band, and this very much comes out in the music.

The songs are simple Rockers that are upbeat and instantly enjoyable. The cello is similar enough to a guitar to make the transition to Zlang Zlut’s music easy, but different enough to give the band their own sound. Some of the cello solos even give the songs a Country-twang, which is not entirely a bad thing, believe it or not!

This isn’t novelty music though, far from it; these are well-written songs that are chock-full of hooks and catchy melodies. Zlang Zlut clearly know how to write a good tune.

This is feel-good music and listening to this album does exactly that – it makes me feel good. The cello shows itself to be a very versatile and nuanced instrument, adding something special to these songs.

Very enjoyable and very recommended. Check this out.

Atrocious Abnormality – Formed in Disgust (Review)

This is the second album from US Brutal Death Metallers Atrocious Abnormality.

If you like the classic sound of Death Metal à la Cannibal Corpse, Defeated Sanity, Severe Torture and the like, then you’ll love this latest release from Atrocious Abnormality. This is ripping Death Metal with lashings of brutality and bloodshed, all delivered in 31 minutes of riff-hungry carnage.

Atrocious Abnormality really have got their songwriting abilities dialled in. As paragons of brutality these songs also have a whole slew of memorable riffs and just enough melody to cause the guitars to stick out without sacrificing any of the ugliness. Top work.

Each of these tracks do exactly what you’d want this type of Death Metal song to do. Here we have complexity and technicality without going too far down the rabbit hole; simple, heavy riffs without becoming too basic; catchiness without over-familiarity; speed and groove intertwined…Formed in Disgust really has a lot to offer the discerning Metal fan.

I’m very happy with this release. I love a good slab of timeless Death Metal, and Atrocious Abnormality have delivered. It’s especially pleasing as it’s quite easy for a release of this nature to come across as stale and boring – just a repeat of what’s come before. What’s nice about Formed in Disgust though is that the band somehow manage to breathe fresh life into the style they play through sheer force of will and decent songwriting skills.

I heartily recommend this one – get your fill and do it now.

Battle Path – Ambedo (Review)

Battle Path are a Progressive Blackened Doom band from the US and this is their third album.

After two extremely gratifying releases, Battle Path are back with a slight change in direction. This time the band have shifted to a more experimental version of their sound, adding keyboards and synths to create expansive songs with an increase in atmosphere.

The blackened bile is still here though, it’s just now wrapped up in a Progressive Metal coating that gives it quite a 70s sheen in some ways, although not properly of course as they didn’t have Black Metal back then. But if they did…

The crushing Doom is still here too. It’s also swaddled in atmospherics that makes everything sound grander and more epic than the band’s previous work. It’s heavy, emotive and devastating.

In reality, of course, there’s no clear delineation between the Black Metal and Doom aspects, with everything flowing and merging together quite nicely. The band have merely added to this already potent cocktail with keyboards/synths, as well as some Post-Metal influences here and there, reminiscent of Cult of Luna, (as embodied on the instrumental title track, for example); in some ways the band are mirroring Cult of Luna’s development into more experimental pastures that offer a wider, more expansive musical scope. Battle Path and Cult of Luna don’t really sound like each other though, it should be stressed, but they do seem to be on similar journeys in some respects.

Vocally we get harsh, blackened screams for the most part, although these are added to by some bowel-shakingly deep growls on occasion. These are used relatively minimally compared to a lot of bands, with the music being allowed to do the talking for the most part, even when the serrated screams are ringing out.

With this album Battle Path have improved and progressed on their already impressive sound and have produced an album that shows a band truly coming into their own. The added progressive elements have enhanced and improved their core delivery so that Ambedo is a truly wonderful listen.

I loved Battle Path before this, and it seems that I love them even more now.

The Great Curve – Something Grand Is Dying (Review)

The Great Curve are from the US and this is their second release. They play experimental/Progressive Rock.

The Great Curve play an interesting and richly-coloured form of Rock that involves a complex blend of technicality and emotion.

The music has a certain cinematic quality to it and could easily be viewed as a soundtrack of sorts. The tracks are synth, keyboard, strings and piano-heavy, featuring layers upon layers of instrumentation and vocalisations. This is Progressive Rock in the truest sense, sharing common ground with 70s sci-fi-influenced greats, albeit updated for the current era.

The singing on these tracks is used purely as another form of instrument that blends in with the overall musical framework. There are no “lead vocals” as you would expect from most bands, (well there are, they just blend in with the music so well). This leaves the band in the curious position of kind of being an instrumental band, but with vocals, (as odd as that sounds).

This is just one of many contradictions and juxtapositions that the band heartily embrace in order to get the sound that they have. Another example of this is that The Great Curve sound, in some ways, like a Djent band only without any of the Djent guitars. Yes, I know that also sounds odd, but it’s a strong impression; the band have the technical drumming, electronic enhancements and experimental mindset that good Djent can have, but without any of the Djent guitar riffs that mark the style so well as to make it an easily-stale sub-genre.

So, if you take a Djent band, (minus guitars), add a Devin Townsend influence, add a science-fiction-esque influence, add a touch of the instrumental, (maybe Russian Circles or Cloudkicker), wrap it up in Progressive music and frame it as a soundtrack…it’s a good start to understanding The Great Curve.

Or you can just give them a listen, which I heartily recommend.

There’s a lot to enjoy here, so much so that you’ll need a few spins to properly appreciate just how good this is. For all its initial impact, it’s definitely a grower too, like all of the best music really. Something Grand Is Dying worms its way into your head and stays there, subtly working away at its own agenda. Before you know it you’re returning to it again to revel in its sense of grandeur.

Hopefully, this grandeur isn’t dying; hopefully it’s just getting started. Hopefully, there’ll be more where this came from in the future.