Wonderbox Metal

De Profundis – Kingdom of the Blind (Review)

This is the fourth album from UK Death Metallers De Profundis.

After 2014’s EP teaser Frequencies, (two tracks of which make an appearance on Kingdom of the Blind), this album fleshes out their Progressive/Technical Death Metal sound to a fuller 52 minutes.

The band continue with their technical Death-worship and have created an album that’s a comprehensive overview of their Death Metal worldview. Like their heroes, De Profundis make sure that the song is never lost within the technical framework and have the talent necessary to play such ambitious music. Like the wonderful Execration, they are doing their best to keep the spirit of Death alive while putting infusing the style with their own personality and spin.

De Profundis like their songs technical and involving, with plenty of syncopation and off-kilter ideas amidst the blast beats. The songs are all around the 5-minute mark, or longer, giving the band ample time to show off what they can do. The performance levels are high and the entire package is very accomplished. I must also mention the bass, especially; I really like what the bassist contributes to these songs.

The deep vocals are like thunder claps and punctuate the songs like bruises. These help to provide a different identity for the band than if they had opted for higher, more Death-esque vocals, and act as a blunt counterpoint to the sharpness of the music.

Kingdom of the Blind is an impressive release from a band who are not content to be average.

Highly recommended.

My Silent Wake – Damnatio Memoriae (Review)

This is the eighth album from the UK’s My Silent Wake. They play Doom Metal.

This is Atmospheric Doom that takes elements of bands such as, (older), My Dying Bride and Paradise Lost and works them into its own melancholic, gloomy soundscape. There’s a Gothic component to their style, as well as some Old-School Death Metal elements wrapped up in their sound.

Although they have their share of slower sections, for the most part this is not agonisingly slow Doom that crawls along at a minimal speed. No, this is Doom Metal with plenty of groove, mid-paced momentum and Metal riffs, and the Death Metal influence helps the band keep things moving.

Screamed/rasped vocals are the main mode of lyrical delivery, although the odd clean and semi-clean does appear here and there. They’re performed in a really engaging manner, and their real strength is in how they work with the guitars to seamlessly ensure that the songs are greater than the sum of their individual parts.

There are a lot of really tasty, captivating riffs on this release. Combined with the interesting vocal delivery and vocal patterns the two work together to hook and snare the listener. Before you know it you’re nodding along and getting into it quite easily.

The music is enhanced by keyboards and effects that add to the atmosphere, although these are quite subtle and the main show is carried off via the interplay between guitars and vocals.

My Silent Wake’s latest album is full of top quality Doom that harkens back to the early 90s without wallowing in nostalgia or backwoods glancing; it’s simply a sound of the era, impressively realised in 2015.

Have a listen and let the band work their dark magic.

Nuclear – Formula for Anarchy (Review)

This is the fifth album from Nuclear, who are a Thrash Metal band from Chile.

Opening straight off the bat with a strong sound, Nuclear reveal themselves to be fast-paced Thrash Metal. Taking cues from bands such as Kreator and Slayer, this is a much more aggressive Thrash than we normally get to see and all the more powerful because of it.

The riffs are tight and sharp, showing a reverence for classic Thrash, but also a personal touch that allows the band to throw in a few different flourishes here and there. The drums pound and never let up, while the bass is actually audible on occasion.

The vocals are angry snarls that are similar enough to the singer of Slayer to sound familiar but individual enough for that to not be an issue in any negative way.

Each of these songs sounds like it’s on fire. There’s a passionate energy that hangs around them like a blaze and it’s so damn hard to sit still when the band are just Thrashing out with passion and style; the tracks are well-written and have lots of hooks.

Catchy and aggressive Thrash Metal? That’s the best combination it seems.

These days I find I tire so easily of Thrash, as it seems to be largely populated by bands who go the Retro/Old-School/humorous route, and while there’s nothing inherently wrong with that it’s just so easy to become stale playing those styles. Nuclear, however, have reminded me why Thrash, in the right hands, is so damn essential. In a similar way to Alkira, Dew Scented and Algebra; Nuclear are a Thrash band that have gone all out in the aggression stakes resulting in an absolute winner of an album.

Here we have a band who have thrown out all of the nonsense and produced an album that straight-forwardly rips its way through the running time with relish, enthusiasm and above all, talent. This is aggressive, raw and utterly, wickedly delightful.

If you find yourself on the more jaded side of things when it comes to Thrash Metal then I heavily advise you to check out Formula for Anarchy. Maybe it can relight the passion for Thrash Metal in you.

I really can’t say enough good things about this album. Simply check it out and get ready for a wild ride.

Sarpentra – Supernova (Review)

This is the début album from Russian Death Metal band Sarpentra.

If you think of bands such as Nile, Behemoth, Melechesh and Septic Flesh you’ll be on the right lines. This is aggressive, atmospheric and dark Death Metal that’s further enhanced by choirs, orchestration and operatic vocals.

The core of the band is fast and brutal, with deep growls and blast beats leading the way. This is tempered by the atmospheric side of the band, which reins in the brutality, (or tries to), so that the band’s grander and more cinematic side can come to the fore.

The technical brutality of the band blurs by as they indulge their atmospheric side and the two taken together merge into something really special. They may not be the first band to play this style but they sound like they’re doing it on steroids. While some Death Metal bands dabble in their Classical components, here they’ve been taken to the nth degree. It’s as if Therion had created reinterpretations of Nile songs and then asked Behemoth to perform them.

These are songs that have real presence to them. It’s undeniable. There are so many stand-out moments on this album that it’s hard to credit. The lightning-speed playing combined with the exotic melodies and the orchestral bombast…it’s a heady mixture and Supernova is nothing if not ambitious.

A lot of hard work has clearly gone into writing and recording these songs and it’s all paid off handsomely. This is an album that feels like a tour of a strange new land, one that’s ripe with danger but worth exploring nonetheless.

Very impressive and very, very good. Make this a high priority listen.

Estuarine – Lucid/Entheogen (Review)

Estuarine is a one-man band that’s currently based in Sweden. This is the second album from his project.

This is Extreme Metal that’s rooted in differing elements of Death Metal with a pinch of Black Metal to produce a concept album that deals in the subject of psychoactive substances. The first 6 tracks are regarding their modern use, while the last 4 tracks deal with their traditional usage.

The music is a mix of Progressive and Technical Death Metal with a subtle modern Black Metal influence. If you think of Extreme Metal bands such as Zyklon, Between the Buried and Me, (minus clean singing), and Mithras then you’ll have an idea of the kind of landscape that Lucid/Entheogen inhabits.

On the first half of the album the songs have a delightfully brutal method of attack that sees the Technical Death Metal aspect take the lead, with the Progressive Death Metal aspect coming second. Slower/lighter introspective parts, occasionally bordering on Post-Metal territory, add flavour and depth to the music, although the extremity is never far behind.

On the second half the roles are reversed somewhat, with the Progressive Metal aspects shifting to the fore and the Technical mayhem relegated to a close second place. It’s a subtle shift in many ways, but it is noticeable and results in songs that are longer, more expansive and a bit less brutal, (although this is relative as everything here is still highly aggressive and technical overall).

The vocals alternate between growls and screams. The growls are convincing enough, but it’s the screams that sound particularly good to me.

The recording is a good one and everything sounds solid and in your face. Sometimes the production on one-man projects can sound a bit flat or one dimensional, but this is certainly not the case here.

Although by no means perfect, this is still better than most. Ambitious, forward-thinking and brutally proficient; Lucid/Entheogen is an impressive accomplishment and anyone who has a penchant for interesting and individualistic Extreme Metal should make a beeline for it as a priority.

Really, really enjoyable and extremely highly recommended.

Favourite Track: Towards Infinite Kaleidoscopic Dimensions.

Fredag Den 13:e – Domedager (Review)

Fredag Den 13:e are from Sweden and this is their third album. They play Hardcore.

This is aggressive music that’s fuelled by Crust and and d-beat Hardcore. If you like bands such as Skitsystem, Disfear and Martyrdöd then you’re in for a treat here.

Fredag Den 13:e have plenty of groove and rhythm to their sound and a strong recording brings out the best of them. Everything is solid and immediate, which is the kind of impact a band of this type requires.

The songs are catchy and emotive, which is a lethal combination. There are great riffs in abundance and the band have a large amount of energy that they siphon into the songs. A lot of the guitars feature aggressive melodies that sound quite apocalyptic, so much so that Domedager could almost be the soundtrack to the end times after civilisation has fallen.

The singer has a scathing voice and he screams his way through these 36 minutes like a focused ball of rage that nonetheless manages to convey emotion and charisma alongside the vicious diatribes.

One of the things I love about this release is that the songs have this relentless energy that drives them forward. Add to that the emotive, dynamic riffs and songwriting…well, we have a winner here for sure.

This is not a band I was aware of prior to writing this review, but it turns out they could be one of Sweden’s best kept secrets. It’s time to change that – listen to Fredag Den 13:e and get ready to be impressed.

Captain Cleanoff – Rising Terror (Review)

This is the second album from Australian Grindcore band Captain Cleanoff.

Here we have 16 tracks in a brief and violent 21 minutes. Napalm Death and Terrorizer are your instant points of reference for Rising Terror and it lives up to these lofty expectations by demolishing everything in front of it in a tidal wave of raw savagery.

The songs are fast and furious, with everything dedicated to the Grindcore assault, although it frequently stops short of becoming a complete blastfest.

These short and nasty tracks are all brutality and teeth, snarling and gnashing their way through the seconds like a hungry predator. The main exception to this high-speed delivery is the final track Threads, which is more of an atmospheric track; slower and Sludgy, (and at just under 5 minutes long it’s pretty much 25% of the album).

There’s a lot of d-beats involved on Rising Terror, as well as it having a Hardcore energy. Good groves and riffs are used and Captain Cleanoff have a clear understanding of dynamics within the Grindcore template.

The vocals alternate high-pitched acid-drenched vocals with deeper growls. The latter sound rough and angry while the former sound insanely psychotic.

This is an enjoyable 20 minutes from a band with a solid sound and style who know how to get down to business and get the job done.

Recommended.

Barrows – Swine Race (Review)

Barrows are a Canadian Grindcore band and this is their début album.

This is sophisticated-yet-ugly Grindcore that’s added to and fleshed out by Brutal Death Metal elements, resulting in savage Deathgrind the likes of which will be too extreme for most.

The songs combine rhythmic, pulsing mayhem with blasting carnage and insane guitar torture. There actually is occasional melody involved in their assault too, albeit of a twisted, warped variety.

There’s a lot going on in these songs as the band chug, Grind, blast, groove and rip their way through the 29 minutes on this album with vicious glee and crazed enthusiasm. It’s all about the brutality, but with a surprisingly varied attack. The point is, Barrows are a multi-dimensional band with many different facets to their offensive rather than just playing ferociously fast.

The vocals are a fierce collection of grunts, screams and pig-noises that are enough to scare away all but the most hardened of Extreme Metal fans. The singer’s performance is not to be faulted and he frequently sounds like about 100 maniacs all at the same time, which is no mean feat.

Sort of like a cross between Cattle Decapitation, Pig Destroyer and Circle of Dead Children; Barrows have produced quite a stunner of an album, which is up there with the latest Maruta release as a prime example of quality Deathgrind.

Essential listening for all fans of Grindcore extremity.

Magister Templi – Into Duat (Review)

This is the second album from Norwegian Heavy Metallers Magister Templi.

A strong sound heralds an album that’s an enjoyable mix of Heavy Metal with a pinch of Traditional Doom Metal thrown in for spice.

Good riffs and strong melodies abound on Into Duat. The songs are well-developed slabs of Metal that have enough dynamics, energy and thought put into them to stand up to close scrutiny.

The singer’s voice is like a siren, soaring above the rest of the music. His voice is piercing and has a definite presence among the energetic guitars and earthy drums. A band like this would flounder with bland, uninspiring vocals, but thankfully we don’t have to worry about that as their singer is quite accomplished at what he does.

A theatrical element raises its head on occasion, but not in an overly ostentatious way. It’s an added string to their bow that gives them a well-rounded feel.

The recording is professional and tight; it’s a strong production with a warm, analogue sound that is like fine, aged whiskey. This, coupled with the songs themselves, results in Into Duat being a very satisfying listen indeed.

Overall this is a very interesting cross between Iron Maiden, Black Sabbath and Jon Oliva’s Pain. It’s a really entertaining listen and one that has enough longevity and depth to it that I’ll definitely be coming back for more in the future.

https://www.facebook.com/pages/Magister-Templi/102129379880020

Cattle Decapitation – The Anthropocene Extinction (Review)

This is the eighth album from veteran US Death metal band Cattle Decapitation.

Based on the concept of humanity dying out due to its own actions, Cattle Decapitation return once more to show that Death Metal can be savage and intelligent at the same time.

Cattle Decapitation’s take on Death Metal is an ever-developing one that seems to only improve over time. Pretty much a Progressive Death Metal band at this point, they still have a core of Brutal Death Metal with a touch of Grindcore, but this has been expanded upon and augmented by Progressive and melodic components, all without sacrificing the essential extremity of the band.

The vocals are impressively delivered and the singer proves he has a versatile and vicious palette of vocalisations to work from, be that grunting nastiness, utter pignoise, hateful screams or strange, mutant, melodic semi-cleans that sound like a strangled Devin Townsend. This latter statement may not sound very complimentary but it is; they’re very emotive in an inhuman way.

The music ranges from the ultra-brutal, to the meaningfully melodic, to the Progressively expansive, to the dynamically riff-heavy, to the atmospherically apocalyptic. It’s a multifaceted and interesting sound that manages to surprisingly accomplish two very important and hard-to-do-tasks – the first is that it manages to remain extreme, regardless of all of these other additions and excursions; the second is that it manges to do this while having an emotional depth that is simply lacking in a lot of bands, never mind Death Metal ones. These are songs that can actually cause an emotional response from the listener, as well as simply being great to bang your head and stamp along to.

This is 46 minutes of quality Death Metal that’s not afraid to do its own thing. Cattle Decapitation are one of those rare bands that really do just get better with age.

An essential listen.