Wonderbox Metal

Morbo – Addiction to Musickal Dissection (Review)

Morbo are from Italy and this is their Death Metal début album.

Born in the Death Metal underworld, the sickening, diseased hulk that is Morbo has slowly been crawling and scratching its way towards the light for some time. It’s now finally ready to burst through in sprays of ichor and gore.

They embody belligerent Death Metal that is uncaring of what anyone thinks of them but still retains a surprising amount of festering melody and an ear for a good riff.

This is played in the classic style, where songs mattered and a good chorus or catchy verse was more important than speed-for-the-sake-of-it or ultra-technicality.

The sound is strong but not over-produced, and you can even hear what the bass is doing. It retains legibility and coherence whether the band play blast beats or whether they are playing crushing mid-paced riff-monsters.

The songs have character, propelled by the vocals that have the same kind of gravitas as those from the classic era where you immediately had your attention held by the sheer force of the singer’s will.

So listen to Addiction to Musickal Dissection and get swept up in the riffs and the general foetid aura of traditional Death Metal played with passion, integrity and an aura of pure sickness.

Infest – Cold Blood War (Review)

This is the fourth album from Serbian Death/Thrash Metal band Infest.

After a perfunctory intro the first track Destroyer of Their Throne starts up and I am momentarily confused – have I accidentally put on a Vader album instead of Infest? I over-exaggerate, (slightly), but the similarity, mainly in the vocal department, is startling.

Infest are not Vader clones of course. Musically they have other tricks up their collective sleeves and these conspire to create an enjoyable Metal experience lasting just under 30 minutes.

It’s an entertaining and speedy collection of Thrash-tinged Death Metal tracks that, yes, takes cues from Vader but also has some almost Hardcore influenced crossover riffs. I hear a bit of Pro-Pain to some of the chuggy guitars on occasion, as well as some Face Down-style Thrash and a bit of Malevolent Creation.

The production is strong and the bass is clear. The songs have a hard metallic sheen to them that accentuates their unyielding nature. They have a very immediate sound and always seem like they’re trying to get through the songs faster than they’re actually played, (if that makes any sense…?); there’s a sense of urgency to the album that gives it a vibrancy and life that some bands lack.

Good songs, good Metal. Hard, fast and straight to the point. I like.

Enola – The Light Fröm Below (Review)

Enola are from France and play Post-Metal.

This is the band’s first EP, although at 36 minutes it’s longer than some albums.

They start off confident and only get more so from here. Post-Metal is such a loose term for a lot of different potential sub-genres that all vaguely fit around the quite open-to-interpretation blueprints left behind by the masters – Neurosis/Isis/Cult of Luna.

After this it’s up to the individual bands to make of it what they will, and even combine with other genres and make wonderful things happen. This is one of the reasons it can be such a hotbed of talent and creativity.

So what of Enola then? Well, as stated above they have made their own way in this now crowded genre and have injected a bit of a Screamo/Hardcore element into the equation and could quite comfortably be termed Post-Hardcore.

The songs are big on melody and atmosphere, created by just the basic instruments. They’re played with a passion and an emphasis on musical exploration and expression of angst and rage tempered with something more subtle.

The Light Fröm Below brings to mind two recent releases I’ve reviewed – Eryn Non Dae and N. Tesla; Enola seem to share common ground with both bands while adding the aforementioned Hardcore influences into the mix.

This is a very accomplished and proficient band; confident too, as stated earlier, as the songs have a strong sense of self and direction you might not always expect from a first release.

The songs have heaviness with an in-built fragility. The vocals share this seeming dichotomy as they are largely rough and angry sounding whilst remaining emotive and open at the same time. There are also frequent spoken words and semi-sung parts that have a clear link to their Hardcore lineage. Clean singing is rare, but when it does appear, (first on The Door), it’s exceptionally handled.

This is a truly remarkable release, especially so for such a new band. It’s bands like this that always make me happy to be into this kind of music. This is a real treat. If this is only an EP then their first album should be devastating.

Do yourself a favour and get this.

Withem – The Point Of You (Review)

Withem come from Norway. This is their début album of Progressive/Power Metal.

It’s orchestrated, complex and obviously talented. This is melodic and colourful with frequent keyboard ostentation that recalls Pagan’s Mind at their sparkly best.

The songs make an impression with their enthusiasm and passionate Metal delivery. They’re well composed with lots to hold attention and frequent changes/alterations in the musicianship to keep things interesting. They do manage to keep this coherent enough to fashion into songs that have a direction though rather than just sounding like a mishmash of conflicting instruments.

The musicianship cannot be faulted and all instruments have the opportunity to shine. The leads and solos are represented well, as is to be expected with this style; the guitar riffs and rhythms are interesting and changeable; the drums are not just a backbone to the band as they seem to have a life of their own on occasion; the bass isn’t just going through the motions and is an audible enhancement to the tracks; and the keyboards…well they’re simply everywhere but manage to not get in the way at all. None of this would be possible of course if it wasn’t for the strong songwriting.

But what of the vocals? Well, the singer has the kind of voice that soars effortlessly and has no problem at all reaching the higher notes. It’s very fluid and sounds a treat.

This is a remarkable achievement from a band that are still relatively new. With this being their first release it’s an impressive one.

Interview with Norse

Australian band Norse have recently released the supremely tasty and atypical Black Metal EP Pest. Such a talented and bold release demands a closer look is taken at it. Let’s see what we discover…

Give us a bit of background to Norse.

Forge: The history of a band is never interesting to anyone really. All bands start in a similar fashion, with trials and tribulations along the way that are of no real concern to the listener.

If lineup changes and band statuses are your thing, maybe you’d be better off watching sports.

ADR: Norse has been reforged, as a weapon.

What are your influences?

Forge: For me, I am influenced by everything around me in nature. I work by myself in pine forests and will go days at a time without seeing anyone. When you’re this secluded, all the small things take up a bigger presence in your life and become a real inspiration.

My other influence is checking out all the shallow, rehashed and totally unoriginal bands and music in the metal scenes today. This gives me the will to rise above and create something that is unique to myself.

ADR: The complete isolation of the wilderness is highly inspirational. Contrarily, so too is witnessing the endless horrors people inflict upon each other and themselves. One can also draw great inspiration from the countless other miseries afflicting those here and across the world.

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

Forge: Bjork, Mount Kimbie, Marduk’s ‘Wormwood’.

ADR: Emperor, Gehenna – Unravel.
What did you want to achieve with your new EP?

Forge: I remember listening to bands when I was a kid and actually being scared by the music. It was an amazing experience! So naturally with Pest, to create music that confuses and unsettles was a big objective. I wanted to break every rule I could. I made the guitar do things it shouldn’t (and nearly broke it in the process of recording this EP) and I went against all the standard ‘performance’ rules of recording.

…by that I mean, I recorded guitars and bass and then mangled the takes, pushed them and tortured them until they transformed into the sound I was looking for. I don’t care what purists think or expect. This is art, not music created to the specifications of the ‘heavy metal handbook’.

ADR: To create an unnerving, chilling diatribe which is unrestrained by convention.

How do you feel it has progressed your sound since your previous album?

Forge: There is a big progression from ‘All is Mist and Fog’ to ‘Pest’, although it is a natural one. With the last album, I was crossing over from standard black metal ideas into more complex and unique compositions. Then I took the weirdest ideas from ‘All is Mist and Fog’ and stretched and skewed them until I arrived at the ‘Pest sound’.

It wasn’t an easy thing to do, as I had to constantly question everything I wrote. Why does it sound good? Is it because it sounds like something I’ve already heard? How can I make this unique? Etc.

In hindsight, ‘All is Mist and Fog’ was a very important album to write as it opened the door to a new way of approaching music.

ADR: ‘All is Mist and Fog’ is an excellent creation but Norse is constantly evolving. For ‘Pest’ everything was stripped back to reveal a raw, wounding sound and the result is a truly unique release which will take more than a few listens to fully appreciate.

Norse Are you happy with how it turned out?

Forge: Yes, ultimately. I was hating it for a while as it took me 3 years to write and record 6 songs. I recorded about 5 different versions of the EP until I was happy with it. I wanted the production to be wild and organic, but still have a certain clinical tightness and rigidity. I think a fine balance of technical execution mixed with raw aggression and emotion creates the ultimate atmosphere.

What can you tell us about the lyrics?

ADR: Dedicated fans will have a lot to relish and decipher in these lyrics. The freedom to delve into anything has led to the exploration of some warped and horrifying themes on ‘Pest’. Some weak individuals may find them offensive but this is black metal after all – extremity should not deter.

In my review I describe you as unusual and atypical Black Metal due to the non-standard riffs and structure of the compositions. Would you agree with this?

Forge: Yes, and I’m glad you picked up on this. However the problem with ‘unusual’ or experimental bands is 90% of it is garbage.

Being different just for the sake of it, with no overall goal or idea to work under is not what we are interested in at all. All we want to do is challenge ourselves and push the boundaries while still creating the best quality music we can.

How do you see your position in the wider Black Metal musical framework/genre?

Forge: We have never thought about or been bothered by it. I’m sure some time after the release of this EP it will be categorised, pigeonholed and labelled under some ridiculous sub-genre. People can’t help themselves.

How do you see your songs/direction developing in the future?

Forge: Honestly I couldn’t say. No Norse album has been the same, and I am proud of this. For the next release we have invited Shayne, our permanent session guitarist to help out with the writing. This will change the dynamic and bring a new element to the band. His technical capabilities are such that I can throw anything at him and he will be able to interpret it and convert it into a cohesive idea. He also has a very good creative side. I’m looking forward to the next album already.

What’s next for Norse?

Forge: Touring to promote Pest and then back into obscurity to start the next album.

ADR: Expect more hostility from Norse in the near future.

Tragodia – Mythmaker (Review)

Tragodia are from Italy and this is their third album of Progressive/Power Metal.

Featuring good songs and a strong sound, Mythmaker is an album that delivers the goods.

On the slightly heavier side of the spectrum, Tragodia recall bands such as Nevermore and Angel Dust with their thickened riffs and impressive vocals.

The band are melodic and tight, with some nice elements of Classic and Modern Metal finding a way into their sound on occasion. The Power Metal side of things is kept in check by the heavy guitars and the Progressive edge is felt in the musicianship.

The song structures themselves are the most important thing of course and this is an album that has all of the strengths of the genre but none of the weaknesses. This is quality Metal done right and played well. There are no slips into cheesiness or retro-worship. This is thoroughly state-of-the-art while dragging all of the essential classic elements of the genre into the here and now.

The singer is one of the best I’ve heard in a while. He has depth and range was well as being capable of full emotional delivery.

I’m just blown away by this album. Tragodia: Please receive your mark of A+ and go to the head of the class.

Funest – Desecrating Obscurity (Review)

Funest are an Italian Death Metal band and this is their début album.

After a perfunctory intro the band have at it; they specialise in Old-School brutality from the likes of Dismember, Autopsy, etc. This is primitive and heavy with a firm nod to the Swedish school of Death Metal but also acknowledging classic Death Metal in general.

The vocalist deserves special mention as he has a great voice; a firm, deep growl that’s as expressive as it is bellowing and cavernous.

The band make the most of their rich heritage by focusing on the value of each song and not neglecting substance for style. Each track contains what it needs to be an effective Death Metal beast and doesn’t ruin itself by wondering off into areas unsuitable or ill advised. There’s no fat here, just a lean Metal machine.

As followers of this site will know, I have a soft spot for Swedish-influenced Death Metal. It’s just so very satisfying and timeless. The grooves, rhythms and riffs all pound along with that chainsaw sound and the end result is Death Metal that hits the spot.

This is also a good description of Funest. This is an enjoyable album that I’ll be happily blasting out for some time.

Have a listen and see if you agree.

Abstracter – Tomb of Feathers (Review)

This is the debut album from US Sludge/Post-Metal/Doom band Abstracter.

This is a bit of a corker. Heavy, winding, aggressive but also refined when needed.

The harsh vocals are suitably caustic in nature and some slightly unusual cleans add a further layer to the music. The clean vocals offer unorthodox highlights and never take the obvious route with their melodies.

This is Post-Metal drowned in Sludge. The filth and grim disease of a forgotten underworld positively drips off the sound as it raises itself up from the dredges to pull down anyone nearby.

Unlike a lot of Post-Metal the Sludge portion of their sound means there’s very little nicety here. The band kick out the angry jams and boy do they know how to write a good riff.

The sound is earthy, organic and complements the rawness of the band extremely well.

Abstracter are a focused singularity of woe and rage, compressed so tightly that not even light can escape once they have it in their clutches. These songs are engaging and absorbing. How is it that this album wasn’t immediately brought to my attention the moment it was birthed by whatever unspeakable ceremony carried it forth?

This is a work of talented individuals who have made who-knows-what kind of bargains to have the much sought after ability to channel something very special into these three tunes. Each song has its own story and manages to be both a journey and a destination in its own right.

If they’re this good already in their very short career, who knows what they will accomplish next? I can’t wait to find out.

Enabler – La Fin Absolue Du Monde (Review)

Enabler are from the US and play aggressive Hardcore/Metal.

Songs, songs, songs! But I’m getting ahead of myself…

This has a good Hardcore coating with a solid Metallic core. The songs rip along at a aggressive pace and leave you struggling to keep up with their urgency and sense of life.

The music is very well written and the songs have a great sense of dynamics and raging melodics. The tuneful brutality and fast angry passages show an intuitive understanding of what makes a great song. The riffs are as impressive as the overall compositions are.

This is not merely an album but a collection of individual songs that raise the bar for any other band playing any vaguely similar style of music.

The vocals are mainly screamed but still largely legible and are the crowning achievement of a band that has already poured a lot of effort into the music. They are highly emotive and work very well with the music to complete Enabler’s snarly, rabid vision of musical heaviness.

The ultimate fate of any band playing in this genre is to be compared to the legendary Converge. The highest praise I can think of is to say that I can quite happily play Enabler alongside the masters and they more than hold their own.

This is a stunning release that the band should be very proud of. It’s sadly quite rare these days that a band produce an album where every song has its own identity and purpose within the a wider whole-album context. This is an achievement to be studied and poured over by lesser bands for years to come.

A strong contender for album of the year in my book.

Kilmara – Love Songs and Other Nightmares (Review)

This is the third album from Spanish Heavy Metal band Kilmara.

Kilmara play Melodic Heavy Metal with good songs and good vocals. The band have elements of Classic Metal and a more modern influence at the same time. On paper this juxtaposition sounds doomed to failure but they manage to pull it off smoothly.

The singer has an accomplished voice that is relatively restrained compared to some in this genre, and is all the better for it. He works with the rest of the song and the music and vocals have a synergy that is unforced.

The strength of any album like this lies predominantly in the songs themselves; if these are weak then there’s not much to fall back on like there is with some other genres. Kilmara obviously take pride in their songs and have lavished considerable attention on them it seems. This has paid off as each song is slick and Rockingly good. The only slight misstep is Alpha which sounds out of place with the rest of the album; more like something you’d find on some substandard Euro-Metal cheese band’s release. It’s not an awful song but its standards are lower than the rest.

The performance of the band can’t be faulted and there are plenty of solos and leads to get your teeth into. The top quality sound allows them to do their thing with impunity; a crisp, punchy production shows the band at their best.

This is a very enjoyable album. The honesty of the songs and some quality songwriting combined with a nice, modern crunch results in a meeting of the Old-School and New- in a way that works well rather than falling flat in one of the countless ways that such a clash could do.

If you’re a fan of Traditional Heavy Metal and like a modern sheen to your music then seek out Kilmara, you won’t be disappointed.