Reviews – Page 522 – Wonderbox Metal

Equaleft – Adapt & Survive (Review)

Equaleft are from Portugal and this is their début album. They play Groove Metal.

This is modern Metal with a modern Thrash edge and a love of all things heavy and chuggy. Think Lamb of God, Sepultura, Hatebreed, etc. and you’ll be on the right lines.

Having said that though, Equaleft are definitely at the heavier, less-commercial end of the Groove Metal spectrum. It’s clear that the band’s main focus and passion lies with the heaviness and the Metal, which is only to be encouraged of course.

The vocals are angry and flit between throaty shouts and raspier screams. I like that they’re quite relentlessly aggressive and the vocal assault does well to keep up the intensity throughout.

This is a very riff-oriented release. Now, where most bands of this ilk fall down is by an over reliance on done-to-death Metalcore riffs and too many breakdowns. Pleasingly, Equaleft don’t overplay this aspect of their sound and instead mainly concentrate on beating the listener’s skull in with brutal riffs and heavy guitars that are more 90’s Metal than 00’s Metalcore.

Another couple of areas that set them apart are those of speed and melody; they can put their foot on the accelerator when needed and also inject some melody into the proceedings. Both aspects stop the album from becoming a one-dimensional riff-fest and allow for some increased dynamics. And they also allow the heavier parts to sound even heavier, which is never a bad thing.

This is a very promising début. Groove Metal can be a tricky thing to master and Equaleft are well on their way to high levels of proficiency with this release.

Recommended.

Six Feet Under – Crypt of the Devil (Review)

Six Feet Under are a Death Metal band from the US, although it’s highly likely that they need no introduction. This is their eleventh album.

This album is slightly different to previous releases as it’s somewhat of a collaboratively written effort between Six Feet Under main man Chris Barnes and Cannabis Corpse’s bassist/vocalist.

How has this changed things? At first glance not a lot, but on closer inspection there are some subtle alterations to Six Feet Under’s Death ‘n’ Groove style this time around.

Some of the riffs are a little more complicated, (just a little), there’s a little more aggression, a pinch of extra speed and a little more fun. Not fun in the ridiculous, novelty way, but fun in the Autopsy-covered-in-bowels style of macabre fun. You know, graveyard fun.

Also, some of the riffs just have a bit more Metal to them, Death-style almost. Not all, but it’s noticeable in places.

These ten tracks are catchy and laden with enough barbed hooks to stick into anything. The songs continue to batter and bruise their way through the running time with all of the finesse of a wrecking ball, of course. But would we want it any other way? No way.

Ultimately Six Feet Under are the kind of band you either take to or don’t. Of course you can realistically say that about any band, but Six Feet Under certainly do seem to be one of those groups that people either love or hate.

I think that Crypt of the Devil will do very little to convince those who have already decided they don’t like the band. For those of us who are fans though, it’s similar enough to the normal Six Feet Under output to sound reassuringly familiar; however the small but important alterations to their sound due to the collaborative songwriting mean that they come across fresher and hungrier than ever.

After two decades of Death Metal Six Feet Under are still going strong. Crypt of the Devil is yet another solid slab of mid-paced Death Metal that’s meaty enough to satisfy that craving for rotten, putrid flesh that I know you all crave.

Turn the volume up and get ready to bang your head once more.

Demonical – Black Flesh Redemption (Review)

Demonical are from Sweden and this is their latest EP. They play Death Metal.

I’ve always got time for a bit of Swedish Death Metal, and this latest EP by Demonical serves as a suitable ambassador of the style for anyone who’s unlucky enough to be unfamiliar with it.

That Swedish chainsaw presence is accounted for, as are the dark melodies and heavy grooves that so endear the style to so many.

Demonical do this proud sub-genre justice and these four songs are exemplars of the style.

The riffs are superb and everything is heavier than Hell. The drums crash like explosions and the vocals are so deeply satisfying it’s a joy to hear.

Each track here is very well-written and really hits the spot. Swedish Death Metal gets by on songs, rather than speed/brutality/extremity/technicality/etc. just for the sake of it, and these songs are tight, precise, very heavy and instantly appealing.

Swedish Death Metal has its detractors of course, and as such not everyone will be as gushing about this as me. The thing is though, even if you have had your fill of the style, I fail to see how this can’t relight the passion you must surely have felt at one point for it. I mean, deep down, everyone likes this kind of stuff really, I know they do. What’s not to like?

But I digress. I’ve not encountered Demonical before, but based on Black Flesh Redemption it seems like this has been a crying shame as this EP is really damn good.

At only 17 minutes in length and containing more quality Death Metal than most bands manage in twice that, this is an EP that you must add to your collection.

A firm essential purchase for all Swedish Death Metal fans. For all Death Metal fans, in fact.

Heathen – Heathen (Review)

Heathen is a one-man Black Metal band from Norway and this is his second album.

This is Atmospheric Black Metal played with an Old-School flavour and swamped in darkness.

Here we have 53 minutes of music that is authentic Norwegian Black Metal; recognisable enough to be instantly appealing and enticing enough to hold attention.

This is in the lo-fi style and sonically everything just fits perfectly. This is the kind of sound that Black Metal was born to.

Musically the brain behind the outfit is extremely talented and these compositions are very advanced. A lot of bands either concentrate on riffs or atmospheres but on this release we get a decent amount of both.

Quality riffs lay a bedrock on which the moods evolve and dark atmospherics unfold slowly and malevolently.

The pace picks up as well so as to provide variety but even here the aim of the increased speed is to also increase the impact of the feelings that are evoked.

The vocals are high pitched static screeches that are barely audible above the guitars. In effect they act as another layer to the music and it’s like someone is trying to scratch your eyeballs out with sound.

What can you say about an album like this? It needs to be experienced. This is the kind of Black Metal that keeps you in love with the genre.

An absolute must.

Obsequiae – Aria of Vernal Tombs (Review)

This is the second album by US Black Metallers Obsequiae.

Aria of Vernal Tombs is the follow up to their first album, Suspended in the Brume of Eos.

The album features a cover that is dear to my heart as it depicts Valle Crucis Abbey, a place I’ve been to many times. With that in mind I happily pressed play and the band didn’t let me down.

Obsequiae return with another round of medieval-influenced Black Metal. They play Melodic Black Metal and have refined their melodic attack by improving on the already well-defined melodies from their début.

The production means that Obsequiae sound bigger, better and bolder this time around, but it’s not just that; the music sounds more confident and sure of itself. Something has clicked somewhere and Aria of Vernal Tombs is even more enjoyable than its predecessor.

Medieval instrumentation adds authenticity to the tunes and it merges seamlessly with the Metal. You can almost imagine this kind of Black Metal being a popular form of music all those centuries ago…almost…

This release is a nice and natural progression for Obsequiae and I hope they continue to develop in the future. The longest song here is just under 5 and a half minutes in length but I can easily imagine them writing involved songs twice that length. Here’s hoping.

For now though, slip on Aria of Vernal Tombs and become immersed.

Mindflair – Scourge of Mankind (Review)

Mindflair are from Germany and this is their second album. They play Grindcore.

Furious blasting Grindcore with heavy, tar-like slower bits interspersed; Mindflair make this extremely easy to like.

It’s a well recorded 25 minutes with everything sounding clear and heavy.

The riffs are infectious and actually quite catchy for a Grind band. The songs themselves may be short but they’re long enough and contain enough content to make a good impression.

This album is extremely listenable. Their assault has a Punk-aesthetic mixed with a southern Sludge-tang that gives them an easily digested flavour.

The tracks are memorable and have a good mix of blast beats and groove. The playing is tight and Scourge of Mankind ticks all of the boxes for a superlative Grindcore release.

The vocals alternate between static-like screams and blunt shouting. Harsh and unforgiving, just like we like.

Somewhat of a cross between old Napalm Death, FromTheAshes and Soilent Green’s acidic Sludge/Grind, this is quite the treat and I really can’t say enough good things about it.

Oh but this is a good one. Fans of extremity everywhere – you need this.

Gruesome – Savage Land (Review)

This is the début album by US Death Metal band Gruesome.

This is a supergroup of sorts, featuring members of Exhumed, Possessed, Malevolent Creation and Derketa. Gruesome exist purely to pay homage to Old-School Floridian Death Metal, with specific reference to the early work of Death.

It’s clear from the very start that they have everything in place to achieve this.

The sound is an authentic Morrisound one, only polished up a bit and without actually being recorded there.

The music is straight out of the Old-School Death handbook, complete with galloping drums, sharp riffs and leads/solos aplenty.

Savage Land excels in the songs though; without good songs this album would fall flat as being rather pointless. Thankfully though, listening to all of those Death Metal albums from an early age has done wonders for the band and this is a really enjoyable album that almost seems to reanimate the corpse of Death, if only for a little while.

In fact the spirit of Death is felt strongly throughout these 36 minutes. It seems to be lurking wherever you look, the riffs, the drums, the solos, the vocals, the choruses, everything really; deeply infused into the songs.

In another band this might be seen as a bad thing, but in Gruesome it’s so honest, so pure, so well-realised that Savage Land just comes off as a triumph.

Turn the volume up and give this a listen. If you’ve ever been a fan of early Death then I defy you not to enjoy this.

Ecferus – Prehistory (Review)

This is the début album by Ecferus, a one man Black Metal project from the US.

This is Black Metal that’s somewhere between the Cascadian type and the more dissonant style of Black Metal.

The songs feature emotive riffing that seems to wind around on a journey, searching for something that was lost long ago. It’s marvellously composed.

The thing that I love about Black Metal like this, (well, one of the things), is the sense of exploration and wonder that it brings me. This is well-thought out music that is more than just a collection of riffs, it’s about atmosphere and feeling in the widest sense.

The pieces of music contained on this 36 minute release provide the listener with a musical framework wrought from the Blackest Black Metal from which they can feel the wonder and awe that the artist clearly feels about the universe and our existence.

A decent amount of variety is incorporated across these 4 tracks and there’s a lot to absorb here. Even the faster sections are dedicated to providing the listener with a thoughtfully emotive experience and taken holistically every song works hard, (though effortlessly), to engage and stimulate.

Ecferus are a great example of all that is right and healthy with the Black Metal scene in 2015.

An essential listen, I feel.

The 69 Eyes – The Best of Helsinki Vampires (Review)

The 69 Eyes are from Finland and play Gothic Rock.

This is a pretty epic Best Of album, spanning 28 tracks across 25 years. Most bands will never be that prolific.

I haven’t actually heard The 69 Eyes before but they’re certainly a band I’ve been aware of.

As is the case with Best Of albums like this it’s essentially a greatest hits package, and the quality of the songs reflect this.

It shows a remarkable consistency over the band’s long career. Times, style and fortunes may shift and change, but a good song is a good song regardless.

These are catchy, memorable, Gothic-infused Rock songs with personality and choruses aplenty.

The singer has that kind of deep, charismatic voice that is essential for this kind of music and it’s easy to see why he has captivated so many hearts over the decades with his vocal performance.

There is a lot of music on this release, almost 2 hours in total. But even given the constraints of the genre there’s a decent amount of variety here, with everything from up-tempo rockers, moody slower songs and outright ballads getting a chance to shine. The band have suffered no shortage of inspiration over the years, that’s apparent.

From my own point of reference, they combine elements of HIM, Ashbury Heights, Mono Inc., Paradise Lost, Tiamat, Type O Negative, Moonspell and Sentenced; although I’m well aware that it’s probably the other way around in reality.

With such a wealth of riches in one package, if this is your kind of music then it’s hard to go wrong with The Best of Helsinki Vampires.

I’m sold. Sign me up.

Irk/Wren – Split (Review)

This split is made up of two bands from the UK. Irk play Noise Rock and Wren play Post-Metal/Sludge.

Irk are first with four tracks totalling 13 minutes.

This is angular, Mathcore-style Noise Rock. The bass has a good, heavy presence and drives the music forwards. It maintains a constant, prime position throughout the recording.

The vocals are impassioned and kind of fall halfway between shouting and some form of demented pseudo-singing. It’s an acquired taste yet works well juxtaposed against the solidly-constructed, almost mechanistic music.

The band have the feel of a DIY punk band only with edgy grooves and a detached riffing style.

They remind me of a cross between Hawkeyes and Association Area with a bit of Sultans of Ping FC mixed in. It’s a good, jagged ride they take the listener on and it’s certainly a memorable one. I think the vocal style won’t be for everyone but if it works for you then there’s a lot to enjoy here.

After this it’s now down to Wren to play us out. They offer up 3 tracks totalling 16 minutes.

Theirs is a murkier, slower sound than Irk. Wren take the Post-Metal/Sludge template laid down by Neurosis/Isis/Cult of Luna and make their own mark on it with impassioned playing and heavy riffs.

Walls of heavy guitars mix with transcendent Post-Metal melodies and a Sludgy core. There’s a high level of emotional content to a band like this and it’s all powered along by the relentless heaviness of the guitars.

Shouted vocals make an appearance on the second song and seem to merge with the guitars, providing pointed highlights to the aural onslaught of the six-stringers.

These are very enjoyable songs and if you’re a fan of the heavy Post-Metal style then Wren deliver in spades.

This split is a little unusual when compared to a lot that get released as the bands involved are quite different from each other. It’s a recommended listen for sure though, featuring two bands that show a lot of promise for the future.

Favourite Track: An Approach by Wren. The best is saved for last. Driving, heavy riffs, emotive violence and reflective chaos. Class.