Reviews – Page 577 – Wonderbox Metal

Mordbrand – Imago (Review)

This is the début album from Swedish Death Metallers Mordbrand.

I can’t help but have a soft spot for Swedish Death Metal, especially when played by actual Swedes, (although it doesn’t really seem to make much difference in the long run), and Mordbrand are no exception.

They play the style well with the trademark chainsaw guitars front and centre. They occasionally accentuate with some spooky keyboard effects which adds an interesting layer of atmosphere that’s really good. Add to this a very small Blackened influence to the riffs and you have an interesting and surprisingly refreshing take on a classic genre.

It’s little touches like this that show Mordbrand as not merely content to imitate past glories; they’re interested in the here and now as well as the past and as such this could almost be described as Modern Swedish Death Metal, if that didn’t sound like such an oxymoron. There’s no Deathcore or breakdowns here, don’t misunderstand; the recording is suitably rotten and the riffs more-classic-than-not; it’s just that they’re focussed on more than the past – they seem to be more interested in what Swedish Death Metal is and what it could become than only what it was.

In a world where this style of music, no matter how good, is essentially regurgitating older times, it’s great that bands like Mordbrand and Skinfather are doing what they can to move the sound forwards whilst still keeping that central core of what makes it so damn addictive.

Well worth a listen.

Strafk – Phaseshifting (Review)

Strafk are from Russia and play Black Metal.

This is Experimental Black Metal with an Industrial feel. The sound is a very nice one; warm and deep but tinged with a rougher, almost creepy vibe that complements what the band is doing well.

The dark and menacing guitars combine piercing, angular riffs with fuller sounding sections to have a good mix of the both. They seem to creep around the songs with nary a care in the world.

Slouching, at ease; this is Black Metal that’s unhurried and almost free form in its composition in some respects, although everything is held together by the drums on one side and the electronics/effects on the other.

Vocally we have sub-audible mutterings that, like the guitars, only loosely follow what is going on with the rest of the track. Like the guitars though, this lends things a feeling of freedom to explore the surroundings while the aforementioned percussion and noises stop things from wandering off too far.

This is the sound of a band experimenting with Black Metal; exploring the ruins at the base of the genre, collecting what remains of past travellers and using them as a basis for reanimation and a new creation.

I don’t know what they will end up with eventually but I’m quite happy to spend time with them as they build it.

Infecting the Swarm – Pathogenesis (Review)

This is the début album from Brutal Death Metal band Infecting the Swarm, who hail from Germany.

This is Death Metal with a sci-fi theme, and a suitable cover to match.

But what of the music? Well this is pure, unbridled, undiluted brutality and sheer wanton carnage. With a production as heavy as it is crushing the band tear through these nine tracks with all the subtlety of an explosion. A big explosion.

Vocally they follow suit with absolute pig-noise vocals that are so extreme they’re bound to divide. A lot of the time I find these kind of vocals awful and I can’t help but feel that the band in question would be better off with a different singer. Why? It’s because most of the time these pig-noise vocals just sound like deep belching and they just suck all of the brutality out of it for me.

Thankfully the vocals on Pathogenesis, although definitely teetering on the line, manage to keep an air of aggression to them and therefore don’t ruin what is, musically, brutal as Hell. It is a very fine line though, and although I can’t help but feel the songs might be improved by a proper savage bellowing I still find myself on the right side, (just), of approval, largely because the music is so ferocious that it carries them nicely.

And besides, sometimes it just works, you know?

So, vocal misgivings aside; this is brutal, (have I mentioned that word yet?), savage, brutal, heavy, brutal, crushing and brutal again.

This hits the spot for me. For the times when you absolutely need the most brutal, destructive music you can get, Infecting the Swarm are there for you.

Oh yes; this is brutal.

Brutal Blues – Brutal Blues (Review)

Brutal Blues are a Grindcore band from Norway and this is their first release.

The band play ferociously aggressive Grind that feels unhinged and dangerous. The music seems refined to the point of Mathcore and the musical assault is relentless.

The vocals are demented and inhuman, sounding as if someone is strangling a murderous clown in someone else’s nightmare and the howls and screams are bleeding through into your consciousness.

Coming across like a more maniacal mix of Discordance Axis and Association Area with a hint of early The Dillinger Escape Plan; Brutal Blues provide a hypnotically mental 15 minutes of inventive, interesting and effective Grind.

I haven’t heard anyone really play this style of music that became quite popular in the early 2000’s for quite a while. I’m reminded of bands like Botch, Luddite Clone, Uphill Battle, etc. only more extreme. It’s a welcome reminder of something I was heavily into at one point, always seeking out the latest band at the time, and I’m very happy to see that the style is alive and well in the hands of Brutal Blues.

A blast from the past and a warning shot to the future.

Konkeror – The Abysmal Horizons (Review)

Konkeror are a Death Metal band from the US.

This is their début album, almost 49 minutes of music – 8 originals and a Bolt Thrower cover.

When it starts it’s immediately impressive with the sheer musicality and flowing riffs; then the brutality kicks in and everything shifts up a gear.

Konkeror merge Death Metal with a Progressive/Thrash influence that allows the songs to have technical flourishes and melodic edges concurrently occupying the same space.

The songs are catchy and have lots of hooks, proving that just because a song might be Brutal or Technical doesn’t mean it has to sacrifice song structures in order to be so.

The recording perfectly balances a band that play both brutally heavy and subtly melodic. Everything sounds great and the sound allows the musicians the freedom to do what they do best.

The most enjoyable thing about this album is just how Metal it is; they are clearly Death Metal but add sprinklings of Progressive, Technical and Thrash Metal into the melting pot. Mix these all up with some great songwriting skills and all that’s left to do is sit back an enjoy as the band shred, rip and dazzle with the songs.

The songs are all of a decent enough length so that you have time to get your teeth into them, (or the other way around…), and there’s abundant opportunities for the band to demonstrate just how good they are.

Once you know about this album it’s important that you get it. If you’re into Death Metal and don’t get this album…well…I’m not sure how that’s possible…

Brilliant.

Abbey ov Thelema – Liber DCLXVI (Review)

Abbey ov Thelema are from Slovakia and this is their second album.

They play experimental, avant garde Black Metal. Highly orchestrated and complex, this is ambitious and bold as only the best Black Metal can be. Although saying that, Black Metal may be the underpinning starting point but it’s mutated and morphed far from it’s original format.

The tracks can be both chaotic and coherent; energetic and subdued; eclectic and considered. Sometimes it sounds as if The Dillinger Escape Plan had been consumed by Ebony Lake with Arcturus and Dødheimsgard overseeing proceedings.

There is clearly a lot of high class musicianship at play here, with everything arranged to exacting standards to create a whirling maelstrom of conflicting soundscapes that approach like furious waves and lash at the listener, never letting them rest or prepare for what comes next; the moment one onslaught of musical might crashes by the next tsunami of sound is about to hit.

It’s not all about the, (barely), controlled chaos of course, they also have calmer moments. These lulls act like buffers between the oncoming storms that they irregularly unleash.

This is not a band that will appeal to lovers of standard song structures and musical rules, but people who are looking for something a bit more adventurous should definitely check this out.

Ultimately this is a very hard album to describe as mere words don’t adequately do it justice. Abbey ov Thelema create a sort of demented majesty that really needs to be heard to fully appreciate what they’re about.

So strap yourself in, don the safety goggles, brace yourself and play at top volume.

Torch Runner – Committed to the Ground (Review)

Torch Runner are from the US and play Grindcore.

Well, well, well, if this isn’t some of the angriest, most abrasive Grind I’ve heard in a while. The relatively serene album art doesn’t really prepare you for the face-melting assault that lies within. It’s an impressively savage assault that’s clearly taking no prisoners.

The ferocity is allowed to reign freely and only tempered by the occasional more methodical passage where the savagery gives way to a more focussed and merciless heaviness that is no less murderous than the free-form viciousness that makes up the body of their work. Canon Cast is a good example of this as here the guitars slow down and are on a constant killing pace setting whilst the vocals spew hatred and the drums are doing all kinds of crazy stuff.

No, this isn’t pure speed, as that would be too easy; as fully paid up and qualified Grindsters they are well aware of the need for dynamics and variety in their songwriting and these tracks fulfil these requirements perfectly.

Even on the slower parts though the band never relinquishes the harsh nature of their being. No matter how fast or how seemingly uncontrolled they become they’re always focussed on the aggression; no matter how slow or how refined they play they’re always focussed on making the song nastier and heavier – there’s no Post-Grind here, just unrelenting musical destruction.

If you want my advice, and I know you do, go and get this now. Play it loud and become one with the frenzy.

Teeph – Solid Jobs (Review)

Teeph are from the US and play Hardcore Metal.

This is heavy stuff, in the style of Botch, early Cave In, Knut, Zao, et al. This style hit its biggest point in the late 90’s/early 00’s and Teeph sound like they would have fit in just right back then.

Solid Jobs burns with a refined anger and a timeless appeal of pure heaviosity. The songs are impressive and gather influences from a range of sources, merging them into a cohesive whole.

As well as the loud and heavy parts they also know enough about their genre to add in slower, more introspective sections so that they use light and shade to maximum effect.

Teeph also show a bit of a Sludge influence to some of their riffs, greatly enhancing their songs. There is even the odd Stoner riff detectable, such as at the end of Marijuana Chaos.

Vocally the shouting is strong and deeply satisfying; the singer rages and snarls and really hits the spot.

This kind of music takes me back and it’s great to hear a band do it so well. This is an outstanding EP – it’s like listening to an old favourite for the first time.

Highly recommended.

Malhkebre – Revelation (Review)

This is the début album from French Black Metallers Malhkebre.

Underground Orthodox Black Metal played with spite and venom.

The vocals are traditional Black Metal croaks that mix in some occasional chants and more ritualistic utterances and hymns to create an overall impression of worship or summoning of some hideous deity.

Revelation is ugly and unhinged, sounding only one step removed from losing its identity in a feral nightmare of debauchery and twisted filth. There’s nothing pretty or romantic about this form of Black Metal. This is all about the dark side, the underbelly of the scene. The occult feeling is strong but in a base, sacrificial way; rather than being shrouded in mystery or fog it’s shrouded in blood and gore.

For all of this though the band don’t truly lose themselves in a frenzy as they’re more than capable of holding back when necessary and playing slower, no less warped riffs and passages; Hystérie Révélatrice (Part II) is a perfect example of this.

Utterly devoted releases like Revelation are surprisingly rare these days. If you like your Black Metal primal and unadorned then this is for you.

Hyperborean – Mythos of the Great Pestilence (Review)

Hyperborean are from Sweden and play Black Metal. This is their second album.

We have 9 tracks here, one of which is a cover of (Don’t Fear) the Reaper by Blue Oyster Cult.

Hyperborean play Melodic Black Metal with bite and flourish. This accomplished band are comfortable playing both at speed and at a more mid-paced rate. Expressive leads and emotive riffs accompany some inhuman drumming to produce the kind of songs that bands like Naglfar and Satyricon would be proud of.

The vocals scream their rage into an empty abyss, occasionally venting into a deeper grunt to emphasise their disdain for all things full of life and hope.

The music is sharp and some of the riffs are surprising; they have a good sense of dynamics and a good ear for melody. They also incorporate more solos and leads than a lot of bands of this ilk and this sits on top of their hardened core making the songs seem to zip by in a colourful blur. And with a 54 minute album this is no mean feat.

This is really enjoyable Black Metal and I like that the band haven’t gone the safe route and simply regurgitated generic riffs that have bean heard a thousand times before; some of the mid-paced riffs especially hit the spot nicely and really get the limbs gyrating along with the tunes.

Quality band, quality album.

The video below is for the title track, and one of my favourites from the album. Give it a try.