Reviews – Page 522 – Wonderbox Metal

Fragile Existence – Cataclysms and Beginnings (Review)

This is the second album by Canadian Death Metal band Fragile Existence.

Featuring the extremity of Hate Eternal, the groove of 90s Death Metal and the Progressive tendencies of Death, Fragile Existence’s second album is 48 minutes of timeless Death Metal that pays homage to multiple Death Metal styles yet remains its own beast.

The songs are interesting and varied enough to hold attention while retaining the core heaviness of Death Metal’s angry bite.

Although they can pile on the blast beats when they need to, the songs are more about creating moods and telling musical stories than anything else. Cataclysms and Beginnings is full of mature songwriting in this sense, as these songs are very accomplished.

The vocals are mainly fleshy and deep; growls that are somewhere between a roar and a rasping shout. Staying at the deeper end of the grunting spectrum, the singer has a fluid aspect to his voice that stops him sounding completely guttural.

The guitars on this album are very enjoyable. Tasty riffs and licks abound, and the amount and length of some of the solos make me a happy camper too.

The Progressive elements in the songs work seamlessly with the more brutal aspects to create songs that are satisfying on both levels. The band have taken the time to craft songs that have a purpose and meaning, rather than just stringing riffs together for the sake of it. The rhythm guitars, drums and bass work together to further the needs of the songs and all instruments have their chance to shine, but only when necessary.

This is a very complete album and by that I suppose I mean that it has a lot of different facets to it and enough depth of composition and delivery to make a lasting impression. It reminds me, in some ways, of Helping the World to See by Vehemence. The albums are similar in many ways, and both take the listener on a journey through interesting and thoughtful Death Metal.

Cataclysms and Beginnings is a very thorough, engaging and impressive slab of mature Death Metal. Definitely one for you to investigate further.

Dew-Scented – Intermination (Review)

Dew-Scented are a German Thrash Metal band and this is their tenth album.

I hadn’t heard anything from Dew-Scented since their 2002 album Inwards, which was a good album to Thrash along to. As such, I was keen to catch up with them 13 years later.

13 years. Blimey.

Anyhoo, in the interim it seems that little has changed in the grand scheme of things. Dew-Scented still offer high-octane, spiky Thrash Metal and once again I’m more than happy to lap it up.

With a crisp, heavy production, the band tear through 55 minutes of chunky, aggressive Thrash, (including covers of Solstice and Repulsion songs).

This is a very riff-centred album. The songs are collections of hungry Thrash riffs, artfully threaded together into paeans to Metal. Ripping Thrash is the bedrock of their sound, but more emotive guitars provide some depth where needed. The band use melodies to their benefit; frequently subtle affairs, they’re used to enhance the feelings of a particular passage or section.

Guitar solos are plentiful on Intermination and I always love a good solo. This is a very guitar-oriented album and the songs just satisfy.

The vocals sound better than ever. The singer’s voice is aggressive and brutal, barking out the lyrics with angry abandon.

It’s good to hear Dew-Scented again. It also reminds me of why I enjoyed Inwards so much. I’d say that on Intermination they have tightened everything up; the added experience they’ve notched up over the years means that this is a highly focused album from a band that know themselves very well.

As heavy, aggressive Thrash Metal goes, this is definitely a winner.

The Juliet Massacre – Human Abuse (Review)

This is the second album by Italian Death Metal band The Juliet Massacre.

This is modern Brutal Death Metal/Deathcore

The vocals consist of pig squeals, deathgrunts, screaming and even the odd semi-clean.

The songs blend blasting brutality with breakdowns and the odd melodic passage. While it’s modern and energetic, unlike a lot of Deathcore bands The Juliet Massacre remember the Death Metal side of the Deathcore equation.

This will probably be a bit too “-core” for a lot of pure Death Metal fans, which is a shame as there’s a decent amount of brutality to be had here. The songs don’t let up and the album supplies the requisite hit of aggression.

I enjoyed this. With a slightly stronger sound and a little tightening up in the songwriting department The Juliet Massacre could easily ascend to the big leagues. Until then, I’ll still be listening to this again in the future.

For fans of Despised Icon, All Shall Perish, The Black Dahlia Murder and Job for a Cowboy.

Abyssal Ascendant – Chronicles of the Doomed Worlds – Part. I Enlightenment from Beyond (Review)

Abyssal Ascendant are from France and play Death Metal. This is their début album.

This is Lovecraft-inspired Death Metal that starts with ominous noises and otherworldly chants, designed to create an unsettling atmosphere before the Death Metal itself begins.

The band’s music is heavy and brutal, but not without atmosphere or nuance. This is Death Metal that has picked up a few creative flourishes along the way.

Elements of Cannibal Corpse, Nile and Morbid Angel conspire together, resulting in an album that has a lot to offer. Fast and brutal meets atmospheric and evil. The band do both very well. I like a band that can play ferocious brutality on one hand and then create dark, sinister moods with the other.

The singer has a terrifically deep growl that sounds absolutely abyssal. His voice fits the music perfectly and really drives the songs forward with a deathly charisma.

Tight, focused playing is apparent from the off and the drums keep everything in check. The production is very nice on this release; everything coalesces together in an unholy mass and all of the instruments are well-balanced against each other. Everything sounds great, with the drums sounding particularly satisfying and well-rounded.

This is a very impressive album, especially for a début release.

The Impala – Chapter One (Review)

The Impala are a Russian Post-Rock band. This is their début EP.

The band play Post-Rock that’s reflective and expressive, seemingly mirroring the lives of the band members and wearing their collective experiences openly.

The music has that ephemeral, fragile quality that a lot of Post-Rock has. Seemingly transitory and full of sunshine or some unknown cosmic essence, these tracks sparkle and fade during their brief playing time.

Apart from a brief section of spoken word there are no vocals. Instead, the music is the complete and only focus.

The music builds to crescendos and has many peaks and valleys to get lost in. Driving leads and hopeful melodies abound and the band members all seem proficient in their instruments.

Samples and other electronic accompaniments are used throughout, but these are largely subtle affairs and not overly obvious. They essentially work behind the scenes to add little extras to the songs that may not always be instantly noticeable but would be to the music’s detriment if they were absent.

At only 18 minutes in length this is a short release, but one that captures the imagination.

Check them out.

Demon Lung – A Dracula (Review)

This is the second album from US Doom Metal band Demon Lung.

Having really enjoyed The Hundredth Name, this new release promised much.

Demon Lung’s Metal is the Traditional Doom Metal variety. Taking the occult route, the band have produced 45 minutes of material that sparkles with an evil majesty.

The songs speak of midnight heresies and sacrificial rites. The music has dark atmospheres and melodies that seep into the brain and stay there, unwilling to move.

The singer’s voice is drenched in occult blasphemies and reaches new heights, (or depths), of worship. Her voice already sounded great on their début album and here she sounds even fuller and more emphatic than ever.

They pepper the songs with some upbeat moments of course, but ultimately this is all about the DOOOOM. The band know this, and that’s where the true power of this album lies.

Like their first album album, A Dracula features a strong production that gives the band’s music a very satisfying sheen. Coupled with the songs themselves, it cements Demon Lung as a particular favourite of mine in the sea of bands that play Traditional Doom.

After their enjoyable first release, Demon Lung return with an album that does them justice. A Dracula is a very enjoyable listen and is firmly recommended for all Doom Metal fans.

Right. Now, where did I put that goat…?

Allfather – No Gods. No Masters. (Review)

Allfather are from the UK and this is their début release of Hardcore/Sludge.

Allfather seem to have cornered the market on Punked-up Metallic discontent. They’re pissed off and have come to put the boot in, big style.

This is underground and raw; music that’s ready for a scrap and happy to get its hands dirty.

The songs on this short EP are tight balls of fury with guitars that fall halfway between murky Sludge Metal and Hardcore anger. Energetic and heavy riffs make up the bulk of this release and there’s no let up in the 11 minutes playing time.

Allfather do heavy very well, but they also write actual songs; these tracks have a good flow to them and are quite catchy and memorable. This is not heaviness just for the sake of it; this music is focused and directed so that the compositions have meaning and purpose.

An enjoyable and promising EP. The UK seems to excel at this kind of dirty, gritty Metal. More please.

A cross between elements of Crowbar, Gutworm, dBh, Raging Speedhorn, Labrat and the like.

No Trust – The Cycle (Review)

This is the latest EP from US Metallers No Trust.

We know No Trust from their début album Unfound, so it’s good to catch up with their latest offering.

I stand by my previous statements about this band – they’re still huge worshippers of The Riff and still come across as a blending of Dopethrone and Chimaira.

The singer’s raspy roar is back once more and continues to provide very satisfying vocals for the unfolding Metallic carnage. His voice works even closer with the music on this EP to produce songs that gel together nicely.

The guitars seem to buzz and rage through the playing time with that interesting combination of Sludge and Modern Metal that they play so well. The production emphasizes the Metal side of the equation, but the Sludge quality is brought out in the music from some choice riffing and the singer’s acidic snarl.

The songs are more developed this time around and the time between releases seems to have been well spent; overall, No Trust sound more confident and professional than ever.

Well, I’m very happy with this. A 31 minute blast of quality Metal is never to be turned down.

Give them a listen and prepare to unleash the fury.

Relentless – Night Terrors (Review)

This is the second album by US Heavy Metal band Relentless.

Their first album, Souls of Charon, was a very enjoyable slab of Heavy/Doom Metal. This new release keeps the flag flying for Traditional Heavy Metal and all but drops the Doom Metal aspect of their sound.

In fact, Relentless seem to have gone further down the NWOBHM route on Night Terrors. The songs are upbeat rockers that value a chorus and are a lot rougher than their old incarnation, both in attitude and delivery.

The recording is grittier and less polished too. The band almost come off as some undiscovered garage Metal band, lost to the mists of Metal history.

The singer adds her own character to the songs and hearing her on this release is quite a contrast to her more laid-back style on their début.

The songs are proper Metal songs, full of swagger and upbeat energy. If you are familiar with Old-School Heavy Metal then this is quite the feast.

A change in direction, certainly; rawer, Traditional Metal with more attitude. I wonder, what will album number three bring for Relentless?

Kingcrow – Eidos (Review)

Kingcrow are an Italian Progressive Rock band and this is their sixth album.

This is Progressive Rock that sounds to these ears not too far removed from a modern version of 70’s Progressive Rock with a bit more of a distorted guitar. The music has a similar feeling and immersive quality, only updated for the present day.

The songs are easily assimilated, with honey-dipped melodies and top quality Progressive riffing seemingly on-demand.

The playing is exquisite and their songwriting skills are highly developed and advanced, as would be expected for a band of their pedigree.

After six albums Kingcrow have nothing to prove and this is an album that’s put together extremely well. The interplay between the vocals and the guitars is well-judged and everything fits together flawlessly.

Modern Progressive Rock doesn’t always sound this professional, slick and polished, but there’s still an edge here and a hunger and depth to the songs. Kingcrow still feel what they’re doing, and this comes out in the music.

This is a really enjoyable album.