Anathema – Page 6 – Wonderbox Metal

Deathwhite – Solitary Martyr (Review)

This is the second EP from US Melodic Metal band Deathwhite.

We’ve met these before on their début EP Ethereal. Katatonia, Paradise Lost and Anathema remain prime influences but once again Deathwhite put their own spin on things.

The songs have a confidence and maturity about them that belie the band’s youth; these are the songs you would expect from a group that had been together for many more years than this. These are well-written tracks that wear their influences on their sleeves and yet don’t sound derivative.

I can easily imagine these tracks being played on a large stage. The melodic nature of the band stands up to scrutiny well and this is a memorable, catchy collection of songs.

It’s all very easy listening and just seems to melt out of the speakers. The singer’s voice in particular is soft and enticing.

My only complaint with solitary Martyr is that it could do with a little more variety as it relies a little too much on the heavy/light approach that was so popular in the late 90s/early 00s, but this is really only a minor thing as ultimately these songs are very enjoyable.

Check them out.

Piah Mater – Memories of Inexistence (Review)

Piah Mater are from Brazil and play Progressive Death Metal. This is their début album.

This is Progressive Death Metal that’s expertly played and produced.

If you take Opeth (old) as a base template and then add in some more Progressive influences, (Wolverine and some aspects of Anathema spring to mind), then you’ll have a good idea of what Piah Mater sound like.

The singer has a top notch voice. His clean vocals are well performed and have the requisite amount of personality to them. His growls are deep with a slight rasp and work well with the melodic music.

The songs twist, wind and curl their way through the playing times. Quasi-melodic angular riffs meet Progressive melodies and it’s clear that Piah Mater obviously know exactly how they want to sound.

Memories of Inexistence is a very enjoyable 58 minutes of Progressive Death Metal that is easy to like and easy to recommend.

If you dislike the direction that Opeth have taken over the last few years then Piah Mater can help to soothe your discontent. This is an album that’s a return to the roots that Opeth put down, only updated for the present day.

Give them a listen.

Code – Mut (Review)

Code are from the UK and this is their fourth album.

It seems that Code have undergone somewhat of a transformation since 2013’s Augur Nox; gone is the Avant-Garde Black Metal, instead being replaced with Progressive Post-Rock.

Their new incarnation is akin to a cross between Red Sparowes, Anathema, Autumnblaze, Green Carnation and Radiohead to my ears. It’s a change in style that seems to suit the band as it sounds like a natural fit.

The music is stripped back but expressive and emotive nonetheless. The relatively short songs contain a lot of content in a short space of time; one would almost expect music of this nature to be double the length but most of the tracks here are about 3-4 minutes in duration.

The vocals are similar in style to their past versions, albeit less extravagant and with greater fragility. His voice has an internal power to it though that again reminds of the singers of Anathema and Autumnblaze.

The songs seem to tell a story and pull the listener into their world. The soundscapes Code create are involving and forbidding; they’ve managed to create a sense of carnival-esque awe and wonder for the listener to explore through Post-Rock textures and Progressive Rock workouts.

I applaud the band for their willingness to update their sound, and although I will miss their past style they’ve amply proven to me with Mut that they continue to create rich and engaging music.

A triumph.

Dehumanize/Nihilism – Something Old, Something New, Something Borrowed – Split (Review)

Dehumanize and Nihilism are both French Death Metal bands. They’ve conspired together to unleash this split on the world and have clearly given it some thought rather than just chucking some old songs together; each band has contributed two new songs, a new version of an old song and a cover of one of the other’s. As ideas for splits go it’s better than most.

We start off with Dehumanize, who offer us 16 minutes of sharp Death Metal.

Dehumanize have a good amount of both savagery and brutal melody in their sound. Solos and leads are used well and there’s lots of meaty guitar action.

Their style incorporates an Old-School feeling as well as some Thrash influences in the riff department.

This is an interesting collection of tracks and, for whatever reason, I enjoy each one more than the previous. This culminates in their final song Don’t Be Scared with it’s driving rhythm guitar and subtle melodies that combine with some brutal thrashing and an emotive vocal performance. It’s almost as if you’re watching the band warm up – the start of their side is good but it definitely improves as it goes along.

After Dehumanize, Nihilism have 20 minutes to show their stuff.

Nhilism’s Death Metal is rhythmic and Old-School. It’s primitive and atavistic with an underground sound and vocals that sound like they’re issuing forth from a daemonic cavern. Interestingly though, the band aren’t above using semi-clean vocals when they need to; this, coupled with some nice melodic/atmospheric work, lends them an air of early Amorphis/Anathema/Sentenced on occasion.

The songs have a fuzzed up bounce to them and a rotten energy that’s undeniable. The Old-School is strong with these, and the more interesting elements of atmosphere and harmonies make the band even more compelling than if there were just playing Old-School Death Metal alone.

An enjoyable split from both bands.

Falloch – This Island, Our Funeral (Review)

Falloch are from the UK, and this is their second album. They play Folk-tinged Post-Rock.

This is the kind of album you’d listen to when trying to relax at the end of a hard day, or when you want something light and non-invasive to tinkle away in the background.

Falloch specialise in nature-inspired songs that take the slow route and utilise the build/release nature of Post-Rock to carve out their ethereal sounds.

This Island, Our Funeral is somewhat of a mix of bands such as Agalloch, Anathema and Blueneck only with more of a Post-Rock style and an elemental, windswept feel.

Guitar melodies and leads conjure images akin to the album cover and the organic production has some steel to it despite the nature of the music.

The vocals are well-performed with layered harmonies and angelic tones. The singer’s voice is well judged and fits the music well; it shares the same Folk-edge that the music does and the vocal melodies seep out of the speakers like honey.

Falloch have crafted an album that attempts to forge an emotional connection with the listener and its success largely depends on how receptive the listener is to what they have to say. They clearly believe in what they’re doing and I think they’re definitely worth a listen or two. Have at it.

Dust Sculptures – Far Above The Pines (Review)

Dust Sculptures is a US Post-Black Metal band consisting of one person – this is his second release.

An album like this would be a very impressive achievement even if it was the product of a full band, never mind that this is all from one person. The musicianship and songwriting is first rate.

This is a blend of Black Metal, Shoegaze, Progressive Rock and Post-Rock; the various elements are skilfully combined into this release so that you never quite know what exactly you’re going to get next, yet it all gels together and flows seamlessly from one part to the next, from one song to the next.

All of the genre/sub-genre tags above essentially let you know that this is an album that takes a Black Metal base and builds it into something more. The songs have real depth and lasting power. There is a lot of music to explore here and that feels like the essence of the album to me; an exploration through an unknown wilderness.

Soft, crooning clean vocals share space with tortured screams and Blackened agonies. Like the instruments the vocals are perfectly judged and performed flawlessly.

Shades of modern-day Anathema can be heard alongside Blackened parts. Post-Metal highs and Shoegaze wanderings rub shoulders with blast beats and dark melodies. Progressive keyboards and chaotic riffs work together to build sound structures greater than the sum of their parts.

It’s clear that a lot of care, love and attention has gone into the making of this album. Every last part of it has had a lavish amount of focus placed on it and this has resulted in an album that’s a true revelation.

This is for fans of expressive giants like Deafheaven, Enslaved, Wolves in the Throne Room, et al.

Albums like this don’t come along very often and when they do they spirit you away on a very special journey. Let Dust Sculptures be your guide.

This is one for the album of the year pile, methinks.

Get this.

Ophis – Abhorrence in Opulence (Review)

This is the third album from Germany’s Ophis. They play Funeral Doom Metal.

For the most part this colossal album is a slow-moving beast of depression and negativity, encapsulated in morbid Doom Metal.

Ophis do have a Death Metal influence, however, which rears its ugly head now and again, most noticeably on the final track Resurrectum.

The songs are long and the mood bleak. There is no light in the world of Ophis, only varying shades of grey and pain.

For reference points think bands such as Monolithe, Eye of Solitude, (old) Anathema, (old) My Dying Bride, etc.

The band boast a crushing production that allows the slowness to unveil at its own pace. The strong drum sound underpins everything whilst the guitars chug and wail. Plaintive melodies and downbeat auras pervade everything, with these being overlain by the deep growls of the vocalist.

This is a long and involving album that lasts the course and doesn’t get boring. The added Death Metal influences mean it doesn’t become stale or one dimensional and the songs have enough top riffs and melodies to satisfy fans of this style.

Ophis have produced an album that may be rooted in everything miserable and depressing but that I, for one, find really enjoyable and worthy.

Check them out.

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.

Grey Skies Fallen – The Many Sides of Truth (Review)

Grey Skies Fallen are from the US, and this is their fourth album of Progressive Metal.

The band combine a form of Anathema relaxi-prog and a Melodic Death Metal influence with sharp, rasped vocals and heroic cleans. On paper it looks a bit incongruous but in practice it works surprisingly well.

It’s a tribute to the talent of the band that they can combine the soft introspective nature with the heavier Metal parts of the songs and have it sound cohesive and complete.

Elements of Nevermore and Septic Flesh clash with the aforementioned Anathema influence, add to that a bit of Doom and Melodic Prog…basically they have a lot of fingers in a lot of pies and are talented enough to pull it off.

Subtle keyboards accompany the sometimes epic riffs to create a larger than life atmosphere that also manages to stay compact and manageable as the band flex their musical muscles.

The songs are well composed and have a real feeling of grandeur to them. The music is very operatic in scope and ambition, which means it’s a very satisfying listen.

Grey Skies Fallen have produced an album that demands closer inspection. Check them out and hear what they have to offer. You won’t regret it.

We All Die (Laughing) – Thoughtscanning (Review)

This is a sublime Progressive Metal album that consists of just one 33 minute song named Thoughtscan.

Useful starting reference points for this band are Green Carnation, Katatonia, Anathema, etc. although they have enough individuality to exist on their own merits.

This release takes the listener on a journey through splendour and horror; through new life and decay; never knowing where it’s going to stop but knowing that the experience is more important than the destination. And We All Die (Laughing) do so love to provide a great experience. Whether the parts of the song are quiet and considered, or heavy and energetic, they have a firm grasp on the quintessential essence of what makes this kind of music so appealing to Progressive Metal fans – being transported to somewhere else.

There are subtleties and nuances in abundance in this release, as well as stand-out moments that instantly grab you and soul-searching melodies and harmonies aplenty.

A thoroughly ambitious debut release that largely succeeds in reaching its goals and sets itself up nicely to build on this epic effort in the future. As a collaborative effort between two artists in their own right, I can only hope they work together again on this project as there is more to be had here; more to be explored and the veil torn back to reveal more hidden wonders.

Listen intently and absorb completely.

http://listen.kaotoxin.com/album/thoughtscanning