Heavy Metal – Page 38 – Wonderbox Metal

Soul Remnants – Black and Blood (Review)

Soul Remnants play song-based Death Metal with a nice thrashy edge to it. Predominantly USDM-style, they are not afraid to mix it up with the occasional keyboard highlight, some slightly more Black-Metal-esque passages, variety in vocals, etc. Eight minute epic Dead Black (Heart of Ice) is a perfect example of this. Mixing Death and Thrash is not too uncommon; less common however is integrating the odd Black Metal riff or section into the boiling pot, especially when it works well and seems natural.

Working with the confines of the Death Metal genre this is a surprisingly diverse album. They can, (and do), blast with the best of them of course, but they also do more than just that. Melodic, emotive passages sit comfortably next to brutality and harshness. Some good lead work over a solid structure of riffing and percussion means that they are clearly in touch with their thrash side while comfortably remaining of the Death Metal camp.

And there are some galloping riffs here! It’s hard to fault this album when it comes to the riffs and the feelings they evoke. Whether they are going for the throat or want to convey a sense of crawling malice they hit the spot. Solid songwriting and dynamics elevate this album higher than most.

This is the band’s second album – based on this release I wish them many more in the future.

Black Altar – Suicidal Salvation (Review)

Polish Black Metal band Black Altar start things off nicely with a bit of atmospheric piano, and when they’re ready they kick it up a gear and come out blasting.

This is Black Metal with a healthy amount of keyboards and orchestration, but it is used to create a dark atmosphere and accentuate the Metal, rather than swamping it with unnecessary pomp and overdone theatrics. The orchestral interludes work well also; minimalist and dark. In short, they have the mix right.

Whether mid-paced or faster, they have a good sense of rhythm and an ear for a good melody. The mid-paced parts of Pulse ov the Universe for example, are as good as anything Samael have ever done, with the faster parts being a bit more reminiscent of Marduk, or some such. There is even a guitar solo, that rarest of Black Metal things. Possibly my favourite track on this EP, but there is plenty to like here.

A well recorded and played sound complements the release well, and allows the band to sound tight and professional, without sacrificing the feeling of Black Metal darkness and awe that they foster so well.

I look forward to seeing what else this band are capable of. Based on this EP they know their art and I for one admire it.

Switchblade – Heavy Weapons (Review)

Well this is a cracking good listen. Israeli traditional Heavy Metal played by 5 guys who were obviously born to be Metal.

Switchblade have been around since 2005 but this is their first album. As they say – good things come to those who wait.

Top quality guitar riffing and guitar heroics place this firmly in the First Class section. Nice leads abound and each and every solo is well thought out; all backed by a very competent rhythm section.

Bands like this live or die by their songwriting and thankfully the band are no slouches in this department. I enjoy every single song on this album without exception, and each one feels like it has its own identity and purpose.

The singer has a voice dripping with Metal that perfectly fits the band with plenty of power and presence. Sometimes a band of this ilk with good songs and a good sound are just let down by the disappointing pipes of their vocalist and I’m happy to say this isn’t the case here.

This is such a great album that it would be tempting to say something like “They don’t make them like this any more” but the fact is they do; you just have to find them! How many excellent bands are overlooked purely due to being an unknown name, or because they’re unsigned or on a small record label, or because geographically they’re not from somewhere people traditionally think of when they think of Metal? These bands deserve your support, none more so than a quality band like Switchblade – you may not have heard of them before but they deserve a place in your collection. True Metal has rarely sounded this professional, or just this damn good.

Final Curse – Way of the Accursed (Review)

Sometimes all you need is some good old-fashioned Thrash Metal. Final Curse deliver.

A strong, punchy recording means that the guitars crunch, the drums pound and the vocals hit the spot. Their brand of Thrash takes its cue from the Bay Area and has the riffs to prove it.

The vocals are very good – clear but with bite; the singer really enunciates his words and has his own character and so avoids the faceless-frontman-syndrome that plagues some bands.

Final Curse have also realised that speed is not the be-all and end-all of Thrash. They can Thrash out with the best of them when required of course, but mostly their song structures and tempo are more considered; based around the needs of the guitar, rather than having the drums set the pace. There are some lovely leads on this album – these are also considered and well-played.

Overall a very satisfying Thrash Metal album, with a foot in the past and an eye on the future.

Dotzauer – Deep (Review)

Italian Post-Metal band Dotzauer have released their first full length album Deep, which is a concept album about drowning. Viewed in this light the music can be seen to have a watery-feel, from a light tide to a full-on tsunami roar.

The songs ebb and flow, like waves crashing into each other before cancelling each other out and returning to calm in the aftermath. The subtleties of light and shade – the meat and veg of Post-Metal – are used to great effect by the band to create the watery soundscape that describes the last moments of someone being taken to the depths to their final resting place. Water Buries the Skyline is a good example of this where the mellow sections in particular give the impression of idling, waiting for the inevitable to happen; while the more muscular, heavy parts are more of a wild thrashing against the inevitable.

Vocals are predominantly shouted, with the singer having a good quality bellow on him. However there are also the occasional clean/cleaner vocals as well, which add a bit of variety and depth to the music.

Favourite track: Air Hunger. Starting off gentle with clean vocals the track gets progressively harsher and more frantic as time goes on, mimicking the lack of air and the desperation that this brings.

A quality album from a little known band. Time to get to know them better.

Craven Idol – Towards Eschaton (Review)

From the foetid corpse of Black Metal we have a surprisingly fresh release from this UK band, who also have a nice sideline in Thrash.

This is a strong album. In every sense of the word. A distinct sense of force and musculature pervades this Black Metal release. Fast, blasting, relentless. This release is all these things and more. This reminds me of the famous Abyss studio-era Black Metal onslaught, where bands such as Dark Funeral and Marduk unleashed their hells on the world. Craven Idol, spiritually, share common ground. And to be fair I’ve missed it!

Songs show good composition, instruments are played well and throats are screamed raw – exactly what you would want from this album. Thrash riffs and more traditional Heavy Metal influences are also incorporated into their sound, all of which help the album to gallop along at a highly enjoyable pace. Not only that though; these influences allow Craven Idol to side-step the problem of being too one-dimensional which has sometimes weakened many a furious Black Metal album.

This is Black Metal with its finger on the pulse just long enough to know when you’re dead.

Israthoum – Black Poison and Shared Wounds (Review)

Israthoum play Black Metal and, (since their relocation), come from The Netherlands.

This album has a dark, grim atmosphere powered by the Darkthrone-esque Black Metal and the suitably hateful vocals that are positively dripping with scorn and strength of purpose. This is underground Black Metal played well by people who know the genre inside out.

Speed, aggression and darkness are emphatically delivered by a band who obviously believe in their calling and are passionate about their art. That’s not to say this is purely a blast-a-thon; they do lower the tempo from time to time as the song requires.

Vocals are as you would expect – tortured and blackened; sounds such as no human should be able to make.

Dredging up the darkest of emotions and altered states to deliver a sermon of hatred to an eager flock; Israthoum are Orthodox Black Metal’s dark missionaries come to spread their corrupt gospel. Will you listen?

Ferocity – The Sovereign (Review)

Hailing from Denmark, Ferocity play Death Metal with style and skill. This is contemporary Death Metal that combines intricacy, brutality, melody and controlled aggression to get its message across.

There are blastbeats aplenty, but also mid-paced and slower sections showing off The Chug and other assorted riffs that make this album instantly familiar but also most welcome. Relatively diverse, (within the Death Metal genre of course), Ferocity display influences from various different sub-genres of Death Metal without ever being confined to just one of them. Here and there you’ll find elements of modern, US, brutal, technical, mid-paced and hyperblast Death Metal all sharing the same album, and even the same song. In my book this can only be a good thing, especially as in the case of Ferocity it works and doesn’t sound just mashed together.

There are some very nice riffs on this release and some good moments in the songs – a welcome grasp of dynamics by the band of when to go melodic, when to go full throttle, when to ease off, when a solo is required, etc. all within a solid Death Metal framework.

Ferocity live up to their name but are not limited to it – there is more than just blind brutality here and that makes The Sovereign a better album. Recommended.

Iron Kingdom – Gates of Eternity (Review)

Canadian Heavy/Power Metal with plenty of ambition and ideas.

A useful starting point would be Iron Maiden/Iced Earth with more Power Metal-style vocals. Epic melody, memorable riffing and considered song-structure are all contained in these songs, as well as plenty of solos and atmosphere.

These guys really do know how to play their Metal! The band are very adept at their trade, whether it is during more atmospheric, classical moments, or going full-on Metal with duelling guitars and galloping drums. Either way they are very confident, talented musicians, and this comes across in the songs.

The singer belts out the tunes as would be expected of the Power Metal style, with the vocals soaring above the music with a high degree of gusto. The vocals, and the music in general, are well-recorded and sound very organic. The drums and bass in particular have a very warm, live sound that is a pleasure to listen to.

Favourite track? It has to be the penultimate song; the 15-minute epic Egypt (The End Is Near). A triumph.

Like a satisfying Metal meal in a commercial-Metal famine, if you long for traditional Heavy Metal with some tasty Power Metal thrown in – then this is a nine-course meal that is bound to hit the spot.

Merciless Terror – Vile Extinction (Review)

Hailing from the UK – Merciless Terror play Thrash-heavy Death Metal and it’s a joy to listen to; they don’t make them like this very often any more!

This album has a real late 90’s/early 00’s feel to it that fills me with a sense of nostalgia; at the same time however this is a modern take on it as the sound and energy is distinctly 2013 and exists purely to demolish the listener with its brawny bludgeoning.

An old-school vibe with a modern production, (reminiscent of Malevolent Creation as a reference point), this absolutely crushes everything in its path. Plenty of speed and brutality, but with a matching grasp of dynamics and the need for songs and hooks; this harks back to an era when brutality was not the be all and end all of this genre.

With many stomping riffs to be had and a general feeling of strength-through-guitar-power everything seems in place to worship the riff, fast or slow. And why not?

Vocals are not standard cookie-monster style, more a shouted-bark. This works well and also has a nice amount of variety, incorporating screams and some almost Black Metal-ish shouting at times.

Do yourself a favour and check out Merciless Terror as soon as you can.