Wonderbox Metal

Chiral – Abisso (Review)

Italy’s Chiral return with a new release in the form of this EP.

I previous encountered this band on their Eternal Winter demo and was suitably impressed. At only 10 minutes in length it was an enjoyable listen of frozen Black Metal, and as I said at the time, I have been looking forward to hearing what comes next.

Well the wait is over, as now Abisso is here; this time delivering us 22 minutes of music to feast on.

Things start off slow and atmospheric with Alto I: Disceso Nel Buio, which really, really does it for me in establishing a mournful but almost martial atmosphere. The vocals this time around are even more bowel looseningly deep than previously.

Alto I: Oblio is fast and razor sharp and the vocals are high shrieks that can cut flesh at 100 paces. Frozen melodics quickly give way to soft acoustics that have almost and Opeth-vibe to them before we’re back in the fast lane once more. Propelled by atmosphere and driven by a love of Black Metal, this is a great track. As a bonus, you can even hear the bass doing some great things.

Track three is Alto II: Abisso; at almost 12 minutes long this is the main event, so to speak, of the EP. This once more explores the waters of 70’s inspired Opeth-style acoustics with some nice leads making an appearance. The atmosphere doesn’t let up and the dirgy sounds build and morph into a more Blackened landscape with ease. Vocals streak like static across this icy tundra and the entire song really hits the spot.

Finally we have Alto II: In Assenza, which at just over 1 minute in length is an outro of sorts.

Elite Black Metal.

So, another win for Chiral.

Idols Plague – Nursery Crimes (Review)

Idols Plague are from the US and play Hardcore.

This is short and to the point; 14 minutes of energetic, stripped down Punk. It may be a short EP but it captures the attention quickly and wastes no time in displaying its wares.

It’s heavy, nasty and all of the things that Hardcore should be. The songs are a blur of speed and groove with the band knowing when to put the foot on the accelerator and when to ease off; they really exploit the groove-laden riffs in this manner.

The band mix a few different styles with their Hardcore, as there is a strong rust element to their sound but also a bit of Classic Grindcore, more Modern Hardcore and even the odd hint of Crossover Thrash.

The songs are surprisingly catchy, both vocally and riff-wise. The vocals are suitably unhinged and desperate-sounding, as if he’s screaming and shouting for his very life. They’re timelessly Hardcore in that they flit between sounding Old-School and sounding Modern, ultimately performing equally well no matter how he employs his lungs.

The band are loose and underground enough to sound very natural, with nothing forced or contrived. This, coupled with the songwriting, means that this release sounds very fresh. The merging of the different styles into the Crust Punk sound adds a deeper shade of murk to a band that’s essentially song-focused, really bringing home the quality of the tracks and impressing with their vitality and longevity.

Rolling through a town near you like a freight train, I give you Idols Plague. Listen loud.

Inanimate Existence – A Never-Ending Cycle of Atonement (Review)

Inanimate Existence are a Technical Death Metal band from the US.

An exotic intro and equally exotic album cover set the scene for this otherworldly adventure in brutality and technical wizardry.

Long songs and fretwork dexterity are the order of the day here, although the band never lose sight of the aggression and brutality that is the hallmark of Death Metal.

A good sound means that all of this frenetic widdling can be appreciated and the drums are punishing, proficient but not overpowering. I mustn’t neglect the bass either, as it’s actually audible and has a part to play in these tracks. There are also some shredding solos and leads.

The singer’s vocals growl and grunt like a windswept vortex causing destruction wherever it goes.

Slower parts occasionally appear, allowing the band to show restraint and to maximise the moments of atmosphere they foster. They also experiment with percussion, lighter moments, Progressive Metal and even some female vocals. These parts enhance the songs making them more than they might otherwise be, as well as stopping them becoming too repetitive or predictable.

The songs are highly enjoyable and expertly crafted.

Top quality.

Frozen Ocean – The Dyson Swarm (Review)

This is the eighth album from Russian band Frozen Swarm.

The band play atmospheric Black Metal/Ambient.

They open with Syzygy which is a wonderfully composed piece of Dark Ambient that sounds straight out of a science fiction film and is a great piece of music.

The second track CE-4 starts in a similar vein until the addition of drums and light Black Metal-esque guitars add a gentle beat to the emerging aural tapestry.

Vocals are present, very much low-key and used like another instrument.

The Sci-Fi/cosmos-themed album is powerfully atmospheric with Black Metal, Electronica and quasi-Industrial sounds merging with a cinematic soundscape to create and involving and absorbing journey into deep space and beyond.

This album has surprised and impressed me.

Mortals – Cursed to See the Future (Review)

Mortals are from the US and play Black Metal. This is their second album.

This is a Crusty form of Black Metal that takes the Darkthrone sound and kind of crosses it with a band like High on Fire to create something a bit different yet recognisable instantly.

This is an album of long songs that are primitive but not in a negative way. There is a sort of primal power to the riffs and energy that the band offer the listener.

The vocals are serrated rasps that call out to the darkness and the terror within. They’re ably produced and a satisfying listen, the same of which can be said for the album as a whole really.

The song lengths give the Darkthrone-esque riffs time to germinate and seed, allowing the band to develop them fully.

The tracks are bleakly emotive and hit the spot whether the band are playing fast and sharp, slow and dirge-like or mid-paced and rocking. Whatever, it all hinges around razor sharp riffing and a guitar tone to die for.

A very nice release indeed. Old-School Black Metal with a helping of Sludge and arrogance. Just what the doctor ordered.

Ultramantis Black – Ultramantis Black (Review)

From the US, Ultramantis Black play Hardcore Metal.

The first thing to take in is the album cover, which is very striking. There’s something about it which appeals to me greatly.

Ultramantis Black is a wrestler in his day job, so to speak, and it seems he’s decided to have a stab at some angular, angry Hardcore. I’m glad he has as this is 13 minutes of testosterone and fury.

Reference points? Luddite Clone, Deadguy, the Dillinger Escape Plan, Converge, Burnt by the Sun, Association Area – abrasive, inventive, atypical and full of rage.

Vocally he has a thin, piercing semi-shriek that’s buried low in the mix and sounds Punk as fuck. It’s different to what I was expecting and a welcome surprise. The best way I can think to describe it is a snarl, pure and simple.

The vocals being lower in the mix allows the music to take centre stage, and it’s strong enough to do this. For a man who is probably used to being the centre of attention it’s a brave and confident move, but the band of assorted miscreants he has assembled to spread his message know their stuff so it’s an understandable one.

The songs twist and turn, rage and subdue, burn and fade and then it’s over. 13 minutes is not a long time. Alternatively, 13 minutes is a very long time in a choke hold, which this is the aural equivalent of.

Repeated spins show this release to be an ungentle grower, as the guitar riffs become more familiar and the unexpected song directions become easier to navigate.

I have a long-running soft spot for this kind of music stemming from a period years and years ago when I was absolutely obsessed with it. I still love it now and it’s always great to hear it done so well.

You can see why a label as prestigious as Relapse snapped this up – this is right up their street and is of the highest quality, especially for a début release.

Give this a whirl and prepare to be floored.

Favourite Track: Sentience. The mid-paced highly emotive main riff brings me out in goosebumps.

Doom:VS – Earthless (Review)

This is the third album from Doom:VS. Coming from Sweden this is a one-man project featuring a guest vocalist.

This is bleak and sombre Death/Doom Metal that’s haunting and beautiful despite, or perhaps because of, the misery and anguish it portrays.

The album slowly unveils under a cloud of desolation and heartbreak. Mournful riffs seem to slide out of hidden openings and colossal growls give a solid and forceful outlet for the emotive music.

The guitars are rich and textured, as one would expect from a release such as this. The music works well to evoke the necessary feelings of woe and despair required from this style of Metal and yet also manages to find beauty in the negativity.

There are no weaknesses with the recording and the songwriting is top notch. In fact, unless you just don’t care for this style of music you’ll be hard pressed to find any real flaws here.

Taking cues from My Dying Bride, as it’s pretty impossible not to do for this type of Metal, they also pay attention to other areas of the Metal globe and have hints of bands like Agalloch in the mix.

One of the best things about this album is that it never gets boring, stale, dull or repetitive, which is no mean feat for a genre that’s essentially slow and melodic. This is a testament to the talent of Doom:VS and the album sails by in a blur of emotive dirges.

Along with bands like Eye of Solitude and Decembre Noir, Doom:VS are one of the very best bands in the Doom/Death genre now.

Immerse yourself in their despair.

Defilementory – The Dismal Ascension (Review)

Defilementory are from Denmark and play Brutal/Technical Death Metal.

The album starts with a melodically-brutal intro that shows off some sludgy riffs with frenetic blasting drums. It’s an unusual piece and a welcome turn of events to the usual lacklustre album intros that a lot of bands peddle.

As the album unfolds it becomes clear that the intro is no mere anomaly and Defilementory are a band who are not afraid to throw in some more experimental riffs and atypical sections to their songs. Taking cues from an unholy mixture of bands like Gorguts and Severe Torture, this is a seamless blend of Technical Death Metal and wanton Brutality.

Atmospheric riffs rub shoulders with heavier, chugging sections whilst the drums and bass gel everything together into a rotting mass of putrid gore.

Bands like this are a joy to listen to as they’re taking the standard Death Metal template and invigorating it with good ideas; it sounds fresh yet at the same time staying true to what Death Metal is all about.

The singer is no slouch either; as the band riff and heave their way around the savagery he produces a very satisfying deep growl.

Sometimes the technicality/experimentation gets in the way of the actual song, but rather than this be a fatal flaw it merely refocusses the attention so that the atmosphere and mood of the tracks become more important than traditional song structures. This becomes even more apparent on subsequent spins; the warped melodies and twisted structures come into their own as you become more familiar with the material.

Defilementory have produced an interesting, ambitious and enjoyable record. May they continue on this darkened path less-travelled for many an album to come.

Favourite Track: The Mask of Anatomy. The different influences click perfectly into place on this.

Deathwhite – Ethereal (Review)

Deathwhite are from the US and play Melodic Metal.

A short acoustic intro, (the title track), sets the scene before launching into the first track proper When I (Wasn’t) You. It’s clear that bands like Katatonia, Paradise Lost and Anathema are influences and Deathwhite make the most of this legacy whilst making their own mark with these inspirations in mind.

The tracks are emotive and expressive, with instruments played with real feeling. Due to the style the songs sound instantly welcoming; the melodic nature of the riffs; the Doom Metal tinges; the clean singing almost angelic; it’s a heady package.

The riffs have a Post-Black Metal feel to them in addition to the aforementioned influences; these are set against a backdrop of heartfelt vocals that are like liquid silk floating delicately on the sea of Melodic Metal. Said riffs act as soft waves and the drums are ripples from gently dropping rain.

The plaintive tones and singing combine to make a carefully crafted set of songs that pluck at the heartstrings whilst still retaining a healthy, heavy, Metal persona.

25 minutes of quality Metal written and performed to a high standard. Recommended.

Vastum – Patricidal Lust (Review)

Vastum are from the US and play Death Metal; Patricidal Lust is their second album.

How’s that for some album artwork, eh? What’s all that about then? Top work.

Vastum specialise in Old-School Death Metal with a dollop of Doom and Crust thrown in for good measure. Incantation and Autopsy should be your first reference points. Vastum are their own entity of course and they play this style of Classic Death Metal remarkably well.

The songs are harrowing tales of the dark side of humanity and the music is the perfect representation of this.

Each track is well-written and everything on this release sounds powerful and ancient. The singer bellows with fervour and the music rages and dirges in equal amounts.

The solos are well executed and add spice to the Doomy riffing. Leads add colour and overall these songs have a lot of substance to them, with the longer length of the songs allowing the band to cram a lot in.

As the Classic Death Metal style goes this is a strong album full of good songs. Put this on your list of albums to get this month, you won’t regret it.