Wonderbox Metal

Prospekt – The Colourless Sunrise (Review)

Prospekt play Progressive Metal from the UK and this is their début album.

The band are heavier than most of this ilk, and it serves them well. A tight, modern production brings out the shine in them and they play with skill and precision. All of the instruments are punchy and crisp.

I think I detect a bit of a Djent influence in some of the guitar riffs as well. Not overly so, but it’s there nonetheless, adding a certain something extra without becoming overpowering and generic, as Djent so easily can.

The musicianship is exemplary throughout and there are some blinding solos flying around.

These are enjoyable songs that have a glut of ideas and flourishes across the 9 tracks. Most of the songs are on the longer side, as befits a Progressive band, but they never lose their way or become meandering or dull.

The singer has a fluid, melodic voice that can compete with the best that Power Metal has to offer. His vocals slide across the Metallic riffs and keyboard embellishments like liquid light.

This is an album to encapsulate the listener; one you can quite easily sit back, listen to and enjoy the meaty riffs, melodic vocals and crisp atmospheres that the band produce.

Top work, especially for a first album. A bright future dawns.

Júlio Stotz – Suspended in Reverie (Review)

Júlio Stotz is from Brazil and plays piano-heavy instrumental Progressive Metal.

I’m not a massive fan of Djent, as I find most Djent bands become really generic really quickly; however the Djent influence on this EP is more of a side-dish than the main meal and as such it works for this release instead of against it.

These tracks are largely relaxed and laid back; they know exactly what they want to achieve and know there is no point in rushing things. Even when the larger than life guitars and double bass are blaring out the songs retain a serene atmosphere.

The compositions are clearly from a musically mature mind and the juxtaposition of the ambient and classical sounds with the Djent influence works well.

This EP is four songs in 17 minutes and is a worthwhile listen for anyone looking for some atmospheric mood Metal.

Give it a try.

Chain of Dogs – Burning Bridges in a World of Death – De Ep’s en nog get mieë (Review)

Chain of Dogs come from the Netherlands and play a mix of Folk and Thrash Metal. This is a compilation release combining their earlier EP’s Bridgeburners and Deathworld, with extra tracks added.

This is excitable music full of varied instrumentation and Folk-inspired melodies. Mandolin, violins, whistles and acoustic guitars all make regular appearances, each doing their bit to enhance the songs.

Each song appears to be a veritable powerhouse of Folk Metal and each one brings something a bit different to the mix; each one an extra idea for the band to get their teeth into.

Vocals are mainly half-sung, half-shouted combined with rougher-cleans that are characterful and work really well. There is a wealth of vocal variety on offer though.

The songs are very enjoyable and have a high catchiness value. These are infectious songs and it’s easy to find yourself getting carried away with them without realising.

Enjoyable.

Obelyskkh – Hymn To Pan (Review)

This is the third album by Germany’s Obelyskkh and they play Doom that’s crushing and visceral.

They have an extremely full, heavy sound; like they’re about to birth a special kind of monster into the world.

As well as super-heavy Doom they are also adept at adding a bit of melody into the proceedings to further the depth and richness of their sound. I particularly enjoy these moments in The Ravens where it reminds almost of Agalloch.

Take the Pagan side of Agalloch, mix with some Post-Metal Neurosis elements and wrap in some demolishing Doom and you’re close to the Obelyskkh sound.

The vocals are very impressive; powerful, strong, forceful, full of charisma and with good range and variety – not a weak link to be found.

Importantly these are not just collections of riffs they are actual songs, with plenty of hooks to grab the listener and draw them close. They are, dare I say it, catchy in a lot of ways.

Each track is expertly constructed and well thought-out; designed to create a highly impressive collection of Doom that’s damn near essential for anyone with even a passing interest in this genre.

Compared to most bands this is an album that’s on another level entirely. Prepare to meet one of your new favourite bands.

Dead In The Dirt – The Blind Hole (Review)

Dead In The Dirt play Grindcore and do it from the US.

The band throw out highly aggressive Grind with short songs and even shorter tempers.

With a solid sound that’s so sharp you could do someone an injury, the songs blast out of the speakers covered in bile and thoughts of execution.

I do so love this kind of Grind! Heavy and fast at the same time; taking the blueprint and class of a band like Nasum and mixing it with bits of Sludge, Crust, Brutal Truth and Converge.

Take any selection of songs on the album and you’ll find a fair degree of variety. Sometimes it sounds like Eyehategod mixed with Deathgrind, (Strength Through Restraint), next it sounds like Uphill Battle if they totally gave in to their Grind influences, (Idiot Bliss), and then it sounds like a Hardcore Crust Brutal Truth, (You Bury Me).

Amazingly the band manage to perfect the balancing of frenetic, ultra-intense speed with heaviness and brutality in a way that most bands fumble, but Dead In The Dirt manage to make seem easy and the most natural thing in the world.

Better Grind you won’t hear in a while.

Nux Vomica – Nux Vomica (Review)

Nux Vomica are from the US and play Sludge/Doom.

The songs are long and the guitars are heavy and raging, for the most part at least.

There is a healthy Crust influence to the Metallic Sludge that the band play, which gives them an extra vitality to their sound. The recording is clear and warm with a solid sound that lets everything come through the speakers just right.

The vocalist is savagery incarnate and seemingly a very angry man. He screams bloody hatred over the electrifying Metallic storm that is raging around him.

Nux Vomica certainly have anger and hatred in spades, but they also have the ability to play more restrained and considered sections, which makes the dynamics of the songs so much better than if they were just pure aggression.

This has the anger and brutality of Metallic Hardcore/Crust tempered with the epic soundscapes of the Post-Metal elite. The result is a tour de force of exciting music that should appeal to any Extreme Metal fan.

This is superlative stuff.

Morbider/Abyssus – From the Abyss Raised the Morbid (Review)

This is a split release between Death Metal bands Morbider and Abyssus.

Morbider are up first. They are from the Czech Republic and play Death Metal inspired by the Swedish Old-School, although I can also hear the songwriting skills of a bit of Avulsed in their style as well.

They contribute 4 tracks to this release and they’re all solid slabs of well recorded, well played Death Metal with a nice chainsaw sound and plenty of atmosphere; the mid-part of No More Life is a case in point. Good ideas and good execution; Morbider impress.

Abyssus are from Greece and play a more primitive and darkly primeval version of Death Metal than Morbider, with even a bit of a proto-Thrash influence.

They contribute 5 slightly shorter songs to the split, one of which is a Sodom cover. The songs are simple but effective, with an Old-School feel and the obvious passion to back it up. The riffs are ripping and have a good feeling to them and the band Thrash along at a welcome speed.

A very enjoyable split from two good bands. Check them out.

Beehoover – The Devil And His Footmen (Review)

Beehoover are from Germany and are a drum/bass combo specialising in a peculiar brand of Stoner Doom.

The drumming is unrestrained and energetic, while the bass is inventive and fiddly. Their music sometimes reminds me of a stripped down Tool toying with technical Stoner riffs. Complicated and simple at the same time.

The vocals are quite unusual sounding; free-form and loose and very individual; although slightly reminiscent of Mike Patton in style if not in sound. The vocals infect the complex musicianship like an afterthought that has nonetheless grown in the spaces between the notes and developed into an undeniable part of the intricate structure of the songs.

Beehoover manage to fit a lot of stuff into songs that, in the hands of other bands, might be 15 minute epics; in Beehoover’s hands though they typically last about 4-6 minutes are certainly don’t suffer due to this fat-trimming.

This is an uncommon band who provide an uncommon listening experience; they are all the better for it.

If you fancy something unusual and interesting this could be for you.

Noble Beast – Noble Beast (Review)

US Power Metal band Noble Beast are about to unleash this self-titled album on an unsuspecting, unworthy world.

Straight from the off they make a mark with their brand of epic Power Metal, full of sweeping harmonies, electric riffs and boundless feelings of Metal and enthusiasm for epic adventures.

The band remind powerfully of European Power Metal, especially Freedom Call. As such, this is proper Power Metal and certainly not for the average person. It’s refreshing to hear this kind of music done well, and not descend into parody or just plain worthlessness.

With this in mind the singer is slightly unusual in that a lot of the time his voice is deeper than the norm for this kind of music. It may not be as high as one might expect, but this is, of course, no bad thing. He has a great set of pipes and is more than capable of belting out a ripping tune; his vocals are professionally delivered and he puts in an excellent performance. Higher vocals accentuate his deeper ones and overall the effect is gripping and rousing.

The songs are epic, stirring and make you want to stand on mountain tops, sword in hand, defying the Gods. That’s right.

The album features well written songs with good musicianship and a quality recording. The songs are catchy, have plenty of hooks and are smothered in leads and solos.

This is a quality release of pure, unadulterated Power Metal with a heart of molten heroism. If you’re looking for adventure and high thrills you’ve found it.

Along with the recent Burning Shadows, this has firmly reinforced my love of Power Metal.

Dead Earth Politics – The Queen of Steel (Review)

Dead Earth Politics are from the US and play modern Thrash/Groove Metal.

This is southern-tinged Modern Metal in the style of Lamb of God, et al, only with a slightly more Metal twist and some nice melodic choruses. Look at the album cover. Look at the song titles. There is no weak pseudo-Metal here.

Said melodic choruses are not of the sickly, saccharine variety; instead they’re all about the Metal and owe more to Pantera than the more modern Metalcore clones.

The riffs are good and the songs have plenty of energy. The band also don’t shy away from solos, which is always a welcome thing to hear.

The vocals are modern Metal shouting, combined with the aforementioned cleans with some even verging on Power Metal territory. Almost.

I’ve seen this band described as a cross between classic Metal and New American Metal and I think this description fits. Either way this short 3 track EP has the songs to play in the big leagues and is clearly the result of talented minds.

An enjoyable EP, and if they can harness this energy and songwriting finesse then whatever upcoming album they may be working on should be well worth a listen. Based on this release I’m looking forward to what they do next.

A modern take on fantasy Metal? Works for me.