Reviews – Page 547 – Wonderbox Metal

The Dead – Deathsteps to Oblivion (Review)

The Dead are an Australian Death/Sludge Metal band and this is their third album.

The Dead are not your typical Death Metal band. This is Death Metal with an added Sludge Metal aspect. This means the songs are longer than normal, (the shortest here is 6:06), very heavy and full of mountainous Sludge riffs that could crush the life from the unwary.

The unholy marriage of Death Metal and Sludge is so complete that it’s truly hard to know how to categorise them – are they Death Metal with a lot of Sludge, or are they Sludge Metal with a lot of Death? It doesn’t really matter of course as ultimately they’re their own beast and one that has created a joyfully miserable album of filthy heaviness.

Glacial riffs and heavy guitars pour out of the speakers whilst pitch-black growls tear through all defences, deep enough to make your ribcage wobble.

It’s not all death and destruction though. The Sludge aspect of their sound means that they get to explore other musical climates that not many normal Death Metal bands get to explore. Here we’re talking about lighter moments, where the band get to ease off the distortion and add more subtlety into proceedings.

This is slow, ponderous music yet strangely carries great nuance with it. These are complex songs in the sense that emotionally they carry great weight in addition to the heaviosity of the more obvious aspects of their sound.

This is a terrifyingly unique blend of Death and Sludge Metal that should be on any Heavy music fan’s to-get list.

Wormwood – Wormwood (Review)

This is the début album of Wormwood who are a Sludge band from the US.

Wormwood play abraisive and caustic Sludge that eats away like acid and is every bit as disfiguring.

The songs aren’t long but they don’t need much exposure to be proven toxic.

Heavy and covered in contagious filth, Wormwood are like the bastard offspring of Today is the Day, Rabies Caste, Khanate and Eyehategod.

It’s ugly, crushing music that’s no good for your health and yet is strangely addictive regardless. The songs infect with their virulent strand of aural disease and you find yourself thinking of them when you least expect, usually when the night is in full swing and the negative thoughts are swirling. Wormwood is the soundtrack to hopelessness and woe.

The songs are surprisingly catchy and their relatively simplistic approach of groove-based, heavy Sludge is tried and tested yet by no means less effective because of it. Eyehategod may have originally wrote the book but bands like Wormwood keep adding pages.

Wormwood lack Eyehategod’s Southern tinge of course, and theirs is a sound that shares aspects of Today is the Day and Rabies Caste in particular, as mentioned above.

A warm, yet musty, analogue sound coats all of the songs like a soft, ripe, fleshy exterior. It sounds good.

At only 18 minutes in length this is a release that doesn’t outstay its welcome; one to definitely keep returning to.

Highly recommended.

Black Sachbak – No Pay No Gain (Review)

Black Sachbak are a Thrash Metal band from Israel and this is their début album.

This is Crossover Thrash with an Old-School vibe and some furious riffing based on early Metallica.

The album boasts a good recording and the sound the band have is spot on for this kind of thing.

The band can obviously play, with the music being executed perfectly and the solos dispensed at lightning speed.

The singer has quite a versatile voice and is certainly full of character and personality.

Whether you enjoy this or not depends on your tolerance level for this particular sub-genre of Metal I suppose. Personally I’m not the hugest fan of the retro/crossover/humour/party/whatever Thrash as I appear to have had my fill of the style. Having said that though, Blach Sachbak do this at least as good as some and better than most.

Give them a listen and see what you think.

Inter Arma – The Cavern (Review)

Inter Arma are from the US and this is their latest EP. Although calling it an EP is a bit of a stretch; at almost 46 minutes it’s pretty much an album.

Oh and did I mention that the entire running time is comprised of just one track? No? Well I have now.

I’ve not heard Inter Arma before, although I’m aware of them by reputation, so this is something that I was eager to listen to.

It starts off gently, with almost 3 minutes of soft, acoustic sounds, before the heavy guitars hammer down like Thor’s own wrath. Inter Arma play a highly talented form of Sludge/Post-Metal/Doom Metal. Ultimately it’s a Doom behemoth that takes in a variety of different genres and subgenres throughout the length of the song.

The Cavern is a very involving and captivating listen that has been masterfully put together with lots of thought to the weaving of the different elements into a complete tapestry of sounds.

Vocally, we get pretty much everything; cleans, semi-cleans, shouts, screams, growls; it’s all present and correct.

The song transitions through various phases and it’s complex and endearing. The band have invited a plethora of different guests onto the EP which only enhances the feeling of something truly special unfolding in front of your very ears. The guests all add something different, (female vocals, violins, synths), and their contribution is valued and integral.

The pacing and dynamics of this song are just astounding. This is the kind of Progressive Metal masterpiece that you always wanted Isis, Neurosis or Cult of Luna to do.

As the song progresses it takes in all available moods, from slow and despondent to psychedelic and expansive, to subtle and coy, to raging and tumultuous. This is an incredibly detailed journey into foreign soundscapes and as tour guides extraordinaire Inter Arma are well placed to blow your mind with their shockingly good display of songwriting. The performance and musicianship is flawless too.

Inter Arma take the Post-Metal template of the masters, (Isis/Neurosis/Cult of Luna), combine it with the extra-dimensional quality of Mastodon, layer it all in their own unique personality, add lots of individual flourishes and quirks and serve up scalding hot; The Cavern is here and it’s a delicious treat.

Stunning.

Mandatory – Catharsis (Review)

This is Austrian band Mandatory’s second album. They play Melodic Death Metal/Metalcore.

Mandatory play clean Melodic/Modern Death Metal with some Thrash elements thrown in.

Catharsis comes across as mixing elements of Lamb of God, Illdisposed, Darkane and Arch Enemy…kind of a cross between the European melodic style and the North American modern Metalcore style.

Their melodic sensibilities are finely honed and this is mixed in with heavier moments.

The vocals are mainly deep growls but some spoken word sections and melodious cleans are used occasionally too. These are kept to a minimum though and are not overused.

Mandatory’s sound is big, clean and crisp, as you would expect for a band of this ilk. The songs play out quite nicely and the slightly-longer-than-average length of the tracks mean that the band take the time to explore where and what they want to.

Have a listen.

Obliterations – Poison Everything (Review)

Obliterations are a Hardcore band from the US.

Obliterations play Punked-up, rage-fuelled Hardcore that spits and claws its way out of the speakers.

This is violent music that has an angry disposition and a bad attitude.

The Punk riffs are infected with energy and the music is a natural combination of the Old-School and New. The riffs themselves have an older flavour but the crushing production and fiery vocals are much more modern. Taken together they give Obliterations a very enjoyable sound.

Vocally the singer shreds his way through these high octane songs with the passion and intensity of a lifer committed to the cause.

This is a quality release that’s just under 30 minutes of heavy, angry Hardcore. It’s also a great way to start your day.

Play loud.

For fans of Poison Idea, Discharge, Black Flag, All Pigs Must Die and Converge.

Sidious – Revealed in Profane Splendour (Review)

Sidious are from the UK and play Symphonic Blackened Death Metal. This is their début album.

Sidious have a gargantuan sound that recalls Dimmu Borgir at their aggressive best filtered through the purifying lens of Death Metal’s barbaric heart. If you blend together Dimmu Borgir and Behemoth the resulting ooze will no doubt coalesce into something that wouldn’t be a million miles away from Sidious.

Thick riffs are thrown around with abandon and spiralling drums pound out ritual beats to a backdrop of epic symphonic terror and dark magisterial horror.

This is music for a grim apocalypse that isn’t slow, isn’t pretty and that no-one will survive.

The keyboards and effects are used effectively to highlight the aura of brutal terror that the band create. In a true merging of styles Sidious have the trappings of Symphonic Black Metal wrapped around the molten core of carnage-seeking Death Metal.

Revealed in Profane Splendour is a collection of powerful songs that draw on the rich heritage of both major contributing styles to produce an album that’s a real dark delight to listen to. It’s forthright and confident whilst having a depth about it that flows from well-structured songs and well-composed threatening atmospheres.

It rumbles, it bellows, it curses, it destroys.

Listen loud.

Black Jesus – Everything Black Everything Dead (Review)

Black Jesus are a Death Metal band from Australia and this is their début album.

This is Old-School Death Metal with a Crust influence and a filthy sound. There are elements of Black and Thrash Metal to their sound as well, but this is buried under the mountain of corpses that their Death Metal onslaught has created.

Most of the songs are quite short and to the point, generally hovering around the 3 minute mark. But that’s fine, as Black Jesus don’t need any crazy ostentation or filler; theirs is an older, purer style of Metal that goes for the throat and piles on the beatings.

The production may be the aural equivalent of a graveyard but it’s still a powerful sound they have nonetheless. The music is sufficiently dirty and grimy for a band like this yet with a clear drum sound and tasty, chopping guitars Black Jesus come off well.

The songs are memorable and there are a some good riffs on display. Angry and Crust-fuelled belligerence powers the songs along and the band never let up with their deadly attack. The Thrash influence keeps things spiky and Black Jesus never enter friendly territory as everything is full of hate and rage.

Everything Black Everything Dead is a testament to these Australian’s passion for all things dead and rotten. Get on board with Black Jesus and embrace their Death Metal assault today.

Unsaint – Watch Them Bleed (Review)

Unsaint are from Poland and play Death/Thrash Metal. This is their second EP.

I enjoyed Unsaint’s début EP so this latest one is a welcome listen.

Unsaint’s chosen style of Metal is a combination of Death and Thrash Metal. Some of it has a modern sheen to it that recalls bands like Lamb of God, whilst other parts harken back to bands like Kreator with their aggressive brand of Thrash.

The singer has a personable growling shout that works well with their particular style. It’s gruff and aggressive but not totally indecipherable.

The instruments are well-played and there are some nice solos and leads on the songs. Sharp riffs and tight drumming make for songs that are focused and directed.

Watch Them Bleed has a good sound that allows the band to make the most of their energetic Metal anthems.

This is a nice collection of songs that showcase the band’s aggressive Thrash style.

Have a listen and see what you think.

Epitaph – Crawling Out of the Crypt (Review)

This is the début album from Italy’s Epitaph, only a mere quarter of a century or so after they first formed…

Epitaph play Doom Metal, Black Sabbath-style, with a decent amount of Heavy Metal thrown in. It’s ancient and grand sounding, with mystery and the occult bleeding out of every wicked pore.

Resolutely Old-School, this is nonetheless infused with vitality and interest as if fresh out of the mortuary. You can always tell a good album when you can quickly point out individual songs because each one has its own feeling or unique twist to the formula.

You can tell that some serious time and effort has gone into this album as each song has character and style. The album feels very complete and has a lot of personality to it.

The musicianship is at an advanced level, as is the songwriting, with the tracks being very well developed. Dynamics, pacing, hooks and melodies; all are here in abundance.

Each instrument is represented clearly, even the bass, and the subtle keys add further atmosphere to what is already a strong selection of riffs and song structures. The guitars are heavy and the beats are solid.

The singer has a strong voice that handles the tunes with ease.

Epitaph may have only just produced their début after such a long time, but now that they’re here they have the potential to become a force to be reckoned with in the Metal scene.

Let’s hope that this isn’t the band’s epitaph, and let’s hope album number two doesn’t take as long.

Highly recommended.