Wonderbox Metal

Intensive Square – Anything That Moves (Review)

Intensive Square are a Technical Metal band from the UK. This is their début album.

This is Technical Metal played with a love of both complexity and crushing rhythms. There’s a Hardcore side to the band that’s combined with a firm Metal base, resulting an album that combines elements of such diverse bands as Botch, Converge, Johnny Truant, Meshuggah, Circle Takes the Square, Pyrrhon, Today Is the Day, Scarlet, Frontierer, Sikth, Periphery and many others.

Featuring a splenetic vocalist who has a vicious screamed shout, these songs provide a satisfying ear-bashing while also catering to those who like a bit of technicality and complexity with their beatings. It doesn’t go too far down the complexity route though, as there’s plenty of big rhythms and grooves provided to get the listener moving and jerking around the place in strange movements.

The album lasts 45 minutes and provides a meaty feast for anyone into this kind of thing.

Give them a listen.

Virulency – The Anthropodermic Manuscript of Retribution (Review)

This is the début album from Spanish Brutal Death Metal band Virulency.

I really enjoyed their 2012 début EP, Unbearable Martyrdom Landscapes, so when this much-anticipated début album found its way to me, I knew I had to give it a thorough listening as soon as I could.

First impressions – I like the album cover as it just screams BRUTAL DEATH METAL at the top of its blood-ridden lungs. Nice.

So, delve into the pit of Virulency and what do we get? We get ultra-brutal Death Metal that’s nicely heavy and suitably extreme. This is not the kind of thing that Joe Public would like. At all.

Elements of Grindcore and the slam-Death Metal styles are to be heard scattered throughout these tracks and the relentless hammering of the music definitely hits the spot.

They have retained the tasty sound that they had on their EP, with a satisfying guitar tone and nicely balanced drums. You can even hear the bass, which is always good, especially as it is played well and does some interesting things; it adds a strangely-tense undertone to the music and is a welcome constant companion as you tour these depths of corruption and mutation.

The only real disappointment for me is the vocals, as these appear to have gone a bit more into the realms of pignoise squeals than previously. This is not a vocal style I massively enjoy as when it’s over-used it tends to rob a singer of all of their power when compared to actual growls. To be fair to the singer though, his vocals tread just the right side of ridiculous, and he retains enough vestigial strength in his voice to just about pull it off, which I’m very grateful for. It’s just that, for me, in an ideal world, actual growls would have been so much better. On the odd occasion that growls do appear on these tracks it’s like a filter has been removed and all of a sudden the band are complete. But hey, that’s just my taste.

Overall, slight vocal issues aside, this is still a very satisfyingly brutal 29 minutes, one that I heartily recommend you check out.

Neverworld – Dreamsnatcher (Review)

Neverworld are a Power Metal band from the UK. This is their second album.

This is the follow-up to their hugely enjoyable début album Visions of Another World.

Neverworld play their Metal full of leads, solos and lashings of rich melody. The band haven’t lost any of their ability to play, that’s for sure. This is definitely an album for people who enjoy solos, but I like that the technical playing is channelled into the needs of the songs too.

Keyboards add extra atmosphere where needed, but these are never overpowering or overly ostentatious; they do what is required of them, do it well, and don’t stick around unnecessarily.

Atmospheric, catchy, memorable, rocking, progressive – all of these words can be used to describe various parts of these songs and there’s enough quality content to keep the listener engaged.

It’s a pleasure to hear the singer’s voice once more. He remains in possession of a grand and powerful voice, one that’s equal to the task of keeping up with the equally grand and powerful music. He even seems to be developing a slight theatrical bent to his voice in a couple of places.

The songs are varied enough to warrant over an hour of playing time, yet remain cohesive enough to flow nicely and not sound all-over-the-place when it comes to album pacing.

The return of Neverworld is a pleasure to witness.

Primitive Man/Northless – Split (Review)

Both hailing from the US and both peddling versions of Sludge/Doom, this split between Primitive Man and Northless got me quite excited when I first became aware of it.

Primitive Man are up first, and readers of this site should be familiar with them from their previous releases Home Is Where the Hatred Is and Split with Hexis.

They offer a single track, Empty Husk, which is a generous 15 minutes long. In my opinion Primitive Man are one of the best purveyors of hate-fuelled Doom out there, and this track does nothing to change that view.

The band have a thick, heavy, sludgy guitar tone that’s just perfect for the kind of music they play. The huge riffs are claustrophobic crushers that seem to suck the air from the room and replace it with tar.

One of my absolute favourite things about the band is the singer’s voice – his growls are just so perfectly pitch black, so utterly cavernous and without hope, it’s truly frightening.

Empty Husk starts off slow and unfolds drenched in feedback and drum rolls. The dark, Doom-drenched atmosphere is built up and maintained, right until it can’t take any more and spills over into blackened blast beats that soon spend themselves in fits of bubbling hatred, only to slow down to a crawl once more, dragging out the misery and contempt for all to soak in.

Phew.

Northless’ side of the split is a similar length, (17 minutes), but divided into three tracks. Although they’ve never been featured on this site before, their enjoyable brand of Sludge Metal is always a welcome listen.

They’re less-Doom and more Sludge than Primitive Man, which is demonstrated in opener Deleted Heartstrings when it starts with a rip-roaring upbeat tempo that crashes through everything around it in its hurry to spread its dirt.

Theirs is a filthy cacophony of twisted, nightmarish sound that has surely been spawned in some deep, dark abyss somewhere. Northless’ music gives off a very real sense of chaotic suffocation; a controlled chaos that sounds dangerous and is likely to leave scars. The riffs can be quite angular and atypical, with a slight blackened tinge and a surprising level of complexity on occasion.

The singer’s blunt snarls sound callous and almost inhuman, but with just enough uncaring humanity left in to be truly disturbing. He stands aloft, leading the punishing Sludge with unerring vision, firmly set on his grim task of spreading misanthropy.

With each song slowing things down that little bit more than the previous, Northless culminate in their final track Wasted Breath. This is the longest of the three and spends its time building inevitably to a harsh and powerful conclusion.

An exceptional split that showcases the many talents of two of Sludge/Doom’s brightest, (darkest?), lights.

Essential listening for all lovers of hatred, misery and heaviness.

Blade of Horus – Monumental Massacre (Review)

Blade of Horus are an Australian Death Metal band and this is their début EP.

Now I don’t know about you, but with a name like Blade of Horus and furnished with the kind of exotic album cover that Monumental Massacre has, I have certain expectations of the band before I even hear a note.

At 22 minutes in length, this is a decent intro to the band and definitely leaves me wanting to hear more in the future.

Growls, shrieks and pig-squeals are the order of business for their vocalist, with the band sounding like they’re whipping him to ever greater heights of fury and devotion with every beat of the drum and pluck of the string.

The band combine brutality and technicality with some minor Deathcore influences to produce short and succinct tracks that go straight for the throat, yet also have enough about them to take the time to consider alternative ways of improving their murderous assault.

The songs are brutal enough to absolutely slay, but technical and complex enough to add a certain level of restrained chaos and further depth to the band’s impressive noise. Interesting riffs and ideas are showcased easily, and there’s a fair amount of stuff going on here despite the short length. Huge chugging riffs in the style of Dying Fetus effortlessly share space with complicated guitar-widdling the likes of Nile would be proud of.

Extra impressive is their ability to add in small sections of atmosphere into these crowded tracks, allowing them the space to incorporate melody and mood into the music, to great effect.

All of this helps create the impression of a band who really do have a lot to offer the discerning Metal fan.

So here we have another band who have seemingly come out of nowhere to impressively crush listeners everywhere with their enjoyable take on Extreme Metal.

Expectations met. Expectations exceeded, in fact.

Absolution – Temptations of the Flesh (Review)

This is the first EP from UK Death Metallers Absolution.

Having first formed in 1991, with a demo in 1992, this début EP is well overdue. This is Death Metal played with a love of the old-school, tempered by those who were there at the time and birthed into the present with a passion for the style.

These three tracks are song-based and take the time to select the most suitable riffs and beats for the music, rather than focusing purely on speed, technicality or anything else. The music gives the impression that a lot of consideration has gone into it.

Boasting a satisfyingly gritty production, this is on the rawer side than a lot of the more polished bands out there these days, but not so raw as to harm the impact of the music. I particularly like the drum sound and the drumming in general; it also makes me quite nostalgic, although I can’t quite put my finger on why, oddly.

The singer has a charismatic bark and draws out his screams quite nicely in addition to the more clipped shouts.

A short, enjoyable re-introduction to the Death Metal scene for the band; hopefully we’ll hear more from them in the future.

Omnihility – Dominion of Misery (Review)

This is the third album from US Technical Death Metal band Omnihility.

Their second album Deathscapes of the Subconscious stuck out in my mind for it’s complex blend of technicality and brutality, and this newest release follows the same path.

After an extremely atmospheric intro track that does absolutely nothing to prepare you for the coming onslaught, (although it is pretty damn good), Omnihility start as they mean to go on with ultra-technical Death Metal that doesn’t slack in the brutality department at all.

These songs are complex and punishing, pushing the extremes of the style to the limit, all the time demonstrating virtuoso playing and a keen eye for intelligent butchery.

The blast beats and double bass are physical enough to knock you down while the guitars attempt to play ALL OF THE NOTES AT THE SAME TIME. It’s a testament to the band’s ability that it’s not just one horrendous mess; instead we get well-thought out Technical Death Metal that hits all of the right spots.

Of course, once you get past my exaggerations in the previous paragraph, (only a bit…), Omnihility aren’t quite as insanely chaotic as some bands that play this style. The core brutality of the band keeps things from going too off the rails and there are enough simpler, heavier, groovier riffs plugged into the chaos here and there to make for songs that stay focused on the task at hand – ripping your face off.

Similar to the intro, there’s a break for the listener to catch their breath mid-album, with the track Within Shadows, which once again showcases the band’s atmospheric side.

The singer’s gruff, guttural growl continues to bounce like reflected lightning off the supersonic riffs, barking out from the music at a high speed. His is a very satisfying growl and one that allows the listener a constant focal point amidst the changing tides of rampant guitars and light speed drumming.

Phew. After 42 minutes off this you’ll need a sit down and a stiff drink.

Highly recommended.

The Mild – Left to Starve (Review)

The Mild are a Grindcore band from Italy. This is their début EP.

Here we have just under 11 minutes of grinding Hardcore action. It’s sharp, nasty and liable to leave cuts.

The vocals are high pitched screams that sound absolutely scathing. The singer sounds pissed and I suspect he’s not entirely happy about something.

Each song rips along at a fair old pace, slowing down occasionally to mop up any listeners who somehow think they can get away without a good ear-bashing.

The fact that the band feel comfortable adding in some slower and mid-paced sections around the speedy main bits in such short tracks is welcome. This makes for a release that’s nicely differentiated and willing to think about pacing and not just the next fast part.

When they take their collective feet off the accelerator their Hardcore influences shine through and I can imagine them being really enjoyable live; high energy and blasting aggression clearly go well together.

Most enjoyable. Well done chaps!

Interview with Communal Grave

Communal Grave’s recently released début album Solace in Violencia is chock full of melodic Death Metal with absolutely bowel-loosening vocals and a decent Thrash influence. I caught up with frontman Jamail to dig a bit deeper into the history of the band…

For those who are unfamiliar with your band – introduce yourself!

Hello Nigel I hope you are well, I’m Jamail Rafi the main man of Communal Grave. I do vocals, bass, lyrics and songwriting for the band.

Give us a bit of background to Communal Grave

We started back in 2006 in Karachi, Pakistan. It started with 5 guys but now only I, Nabeel (Guitars) and Asas (Drums) are the one carrying the metal movement forward. In the start we had no idea what to sound like; we just wanted to play metal. I remember our main influence was Pantera. We tried so hard to sound like Pantera in the beginning but fell on our collective asses (Haha). So naturally we gravitated towards a sound which combined Death Metal and Thrash Metal which came naturally to us. We made a song called “Anomaly” which became sort of like the anthem of the Karachi Underground. I remember everyone used to sing the song along with us and it was a time where bands didn’t do originals here. We played in the Karachi underground scene from 2006-2009 but after a while the gigs became scarce and the whole scene became a joke. We took a really long break after that and now are back to unleash our fury hehe.

What are your influences?

My influences are mainly 80s US/ German Thrash and a lot of Old School Swedish Death Metal, Swedish Thrash and the Gothenberg scene bands. Bolt Thrower, Hail of Bullets, Testament, Megadeth, Slayer, Kreator, Entombed, Dismember, Grave, Bloodbath, Unleashed, At the Gates, Arch Enemy (stigmata and burning bridges still kicks ass to this day!), Darkane, The Haunted, Carnal Forge etc. The list is really long but I have a deep affection for the nation of Sweden when it comes to metal.

What are you listening to at the moment that you would like to recommend?

Well last night I was streaming Brujeria live at hellfest 2012, it kicked mighty ass! Currently listening to Bloodbath – Grand Morbid Funeral, Firespawn – Shadow Realms, Insision – Terminal Reckoning, Bold Thrower – Those Once Loyal (a fucking classic).

How do you feel that you fit into the wider Metal scene?

As far as the whole metal scene is concerned, there are so many bands now that it’s easy to get lost in the abyss. But I would like to keep the focus on changing the Metal landscape of my own country and be a strong inspiration for the non-existent metal community here. I want Communal Grave to be a strong metal band to represent Pakistan.

Give us a bit of background to Solace in Violencia – any particular concepts or ideas you want to discuss?

We started working on the album back in 2008 or 09 but went on a hiatus. The album has a loose concept to it but it does not extend to the whole of the album. “The Killing of the Kings/ all of Monarchy” is the concept that I incorporated into the album. The Last Gasp of the Beardsman is about Saddam Hussein. Tormentor of Agonopolis is about Idid Amin Dada. Heavy Lies the Crown is about Bahadur Shah Zafar (Mughal Empire). The Protruding Tomb is about Peter Ludwig von der Pahlen and the assassination of Paul I of Russia.

Tell us about the album artwork

The artwork was done by me. It shows an amputated corpse suspended in mid-air in a black hole with the black hole/emptiness still eating and feeding off of him.

How do you go about writing your songs?

Well I write constantly. Sometimes an interesting riff comes to me then I start writing the progression of that riff and take the whole writing from there. Once the song is musically created I attach an idea behind it and write the lyrics. I ponder a lot on musical arrangements and the arrangement of different parts in the song. Being a sole songwriter on the band, it definitely has a draining effect on you but nonetheless a very satisfying experience too.

How did the recording process go?

It did not go very smoothly. I experimented a lot with different mics, different distortions, bass amplifiers to find the right sound. As I am the producer on the record I had to make sure that the sound is not comprised in any way. It took me 2-3 months just to find the right sound for this particular record. Juggling a day job and then recording on my free time.

What’s your favourite song on the album and why?

Heavy Lies the Crown because whenever we have played it live the crowd goes fucking nuts. It always becomes a pit of moshing chaos. The energy it channels the audience is just amazing.

What does the future hold for Communal Grave?

As for me I’m already working with my homie Nabeel’s band called Cardinal Sin which is a sister band of ours so be sure to check out Cardinal Sin’s début this year! And already working on Communal Grave’s follow-up full-length called “Preacher of Darkness” due to be out in 2017. So stay tuned and thanks for this wonderful interview Nigel.

Lycus – Chasms (Review)

This is the second album from US Doom band Lycus.

Lycus play the kind of hugely impressive and accomplished Doom that makes being into this kind of music worth it. Chasms is heavy, slow, full of dark atmosphere and is the kind of thing you can just get lost in.

The band combine Sludge, Funeral Doom, Post-Metal, Death Metal and Black Metal into their sprawling Doom-drenched sound.

The emotive guitars are frequently designed to wring out every last drop of negative emotion from the listener, dragging them deep down into Lycus’ gloom-lit domain.

Deep growling vocals sound huge and intimidating, while lonesome cleans add another aspect to the band’s delivery and allow them to explore other moods and feelings that wouldn’t necessarily fit well with growls.

The dark, doomy worlds that the band effortlessly paint across these 44 minutes are punctuated with moments of Black Metal violence that manage to not feel out of place at all, despite the change in speed and feeling.

A cello also appears infrequently, highlighting another sonic string to their bow, adding another layer of depth to their encompassing sound.

It’s these kind of touches that allow Lycus the freedom to do what they want and create the soundscapes that they feel reflect what they are trying to say. The fact that they do all of this exceedingly well is a huge bonus for the listener, of course.

It’s emotionally stirring stuff, and it’s hard not to get lost in the maelstrom and transported to the grim realms in which Lycus inhabit.

Despite how immediately enjoyable it certainly is, it’s very definitely a grower of an album though, requiring multiple sittings to properly appreciate its subtle and seductive charms. Once it has its claws in you though, there’s no escape. Into the chasms you go.