The Zenith Passage are a Technical Death Metal band from the US. This is their début album.
Featuring former and current members of The Faceless, Oblivion, Fallujah and All Shall Perish, you already know that there’s a wealth of talent behind this band before you even press play.
The aforementioned bands also give you an idea of what type of material that The Zenith Passage play too; combining the modern/futuristic Death Metal of The Faceless and Fallujah, complete with keyboards/electronics and otherworldly atmospherics, gets you a pretty good idea of how Solipsist sounds.
The music is mostly frenzied extremity combined with seasoned atmospherics that’s both highly melodic and brutally sharp. Guitars shift and turn while the drums are an endless exploration of blast beats, double bass and maniacal rhythms.
As should be expected from the people involved in this, the level of musicianship is absurdly high. With so many complex guitars parts, twisting melodies and outright mind-ripping axe-shredding, Solipsist doesn’t leave the listener wanting in the technicality department. That the mayhem is occasionally punctuated by more atmospheric and relaxing moments just serves to make the extremity all the more powerful.
The singer has the kind of rapid-fire bark that suits this type of frenetic music. He seems almost in a race to keep up with the speed of the guitars, and although he’s always destined to fail at this, it doesn’t matter as the trying is the important part.
If you’re a fan of the style of music that The Faceless play, but prefer their earlier material which had less/no clean vocals, then I would heartily recommend you check this out. Hell, if you’re a fan of techdeath at all, I would recommend you check this out. Basically, check this out.
Sourvein’s latest album Aquatic Occult is surely one of the most enjoyable records to come out so far this year. I managed to catch up with mainman T-Roy and went a bit deeper into the waters…
For those who are unfamiliar with your band – introduce yourself!
Aloha. I am T-Roy I sing and play guitar for Sourvein among many other things.
Give us a bit of background to Sourvein
Well we started in the Cape Fear 23 years ago and we been on the road every since bringing our sound world wide and released many records and still going for it 100%.
What are your influences?
There’s a lot man, everything from Black Sabbath to Howling Wolf to Bad Brains and Amebix to Blue Cheer and Peter Tosh, Blackflag to Bauhaus to Kiss.
What are you listening to at the moment that you would like to recommend?
The new Witchcraft album Nucleus is awesome!!!!! I wanna tour with them…Low Desert Punks, Black Power Flower is rad…and new Goatess album and Iggy Pop’s record. Om is great…Yeah to name a few.
How do you feel that you fit into the wider music scene?
I feel we a straight up and have a good live show and the music can do the talking. I feel given the right opportunity and right setting we can fit in anywhere people like a good rock show.
Give us a bit of background to Aquatic Occult – any particular concepts or ideas you want to discuss?
It’s an idea I had a loose theme of the ocean mysterious and to me that’s what Aquatic Occult means. It’s written in abstract word play and metaphors surrounding the island I am from and the ocean’s creatures. And tales of pirates, sunken ships, hurricanes and castaways.
How do you go about writing your songs?
It starts with a riff or lyric and I just build from there or if someone else has a riff I arrange it to fit my vocals. But it I usually like to start with the music. Sometimes I have lyrics ready or times I have to make them fit. It’s whatever is best for the song.
Was there a conscious decision to keep the songs relatively short, or did that just happen naturally?
Well on some yeah they are interludes like Mermaids and Bermuda Sundown. But some others just came out that way then I noticed we could put more songs in to show different sides and thats something new for us, we usally keep em around four minutes but I don’t like songs too long anyway. Some of my favourite songs from growing up are under two minutes. Like Corrosion of Conformity’s Kiss of Death.
Tell us about the album artwork
It was a vision I had of things that inspired the lyric. All the different elements are in there they all go to the songs and music other images I used are from the island I am from and the Cape Fear river. But artist Jordan Barlow took my sketches and really brought this thing to life. He’s a amazing artist from New Orleans, he tattoos and does other art. He also just did a album cover for High on Fire. We been working together on this for a few years and he really nailed what I wanted.
How did the recording process go?
It was hard work but anything good is going to be. We had some ups and downs but that’s part of it sometimes you just keep rolling. We made it happen no matter what. Mike Dean is great to work with…It really went well though pretty organic in the way it flowed. I thought I worked hard on the lyrics but they also flowed pretty smooth all and all it was a very enriching experience and a pleasure.
What’s your favourite song on the album and why?
Umm, I don’t know that’s hard. I have a few but I’d have to say Capsized. Because I wrote the riffs on my porch and Reed Mullin destroyed that song on drums. And my good friend from the hometown Dave Capps is on it he was the guy already doing in town so he inspired me a great deal so it was awesome to come back and get him on this album. That means a lot to me. It’s a kicking track as well.
What does the future hold for Sourvein?
Support Aquatic Occult. Looking into booking a tour in the UK and Europe now and the USA. So we are touring soon as possible, I wanna go to Australia and Japan. Promoters get in touch. We also want to do one of those metal cruises. Also want to hurry back to the studio already got five songs smoking and to be honest it’s some of my favourite riffs ever so I am looking forward to backing up Aquatic Occult very soon. We are looking forward to everything…Thanks T-Roy
Omophagia are a Death Metal band from Switzerland and this is their second album.
Playing a brutal and precise version of Death Metal, Omophagia know how to pen a good riff and a memorable song.
Alongside the speed and brutality there’s also some nice technical aspects to the songs as the band know their instruments well.
Included also are some very enjoyable solos and leads, and the band aren’t afraid of including some melody here and there. There’s a militaristic, impersonal feel to some of the heavy riffs which is deftly counteracted by the colour and warmth that the solos, leads and slices of melody provide.
These songs are well-composed and the band show a keen awareness for structure and pace. I like that they know how to use the rhythm guitars to great effect, always making sure to inject them with energy and rhythmic memorability. Rather than peeling off throwaway filler riffs, it feels as if the different parts of these songs have been thought over in detail. Combined with the mechanistic and relentlessly pounding drums that track with the guitars, it makes for an effective and efficient rhythm section.
The vocalist has a rapid-fire voice that barks out deep growls in a clipped, decisive manner. His voice is very satisfying and alongside the well-recorded music these songs hit the spot quite nicely.
Omophagia have the full package, and In the Name of Chaos is one of the more fully-rounded Death Metal releases I’ve heard of late.
This is the third album from Brazilian Sludge/Stoner Metal band Monster Coyote.
With a colossal and crushing sound, Neckbreaker holds nothing back. The album is aptly named, let’s just say that.
Living in the same hinterland between styles that is inhabited by bands such as Ilsa, Serpent Eater, Northless, Colombian Necktie and the like, Monster Coyote play heavy, nasty music that’s too upbeat to be Doom, too gnarly to be pure Metal, and too rocking to be Death Metal. It’s somewhat how you might imagine Mastodon would sound if they had fallen in love with heavier, nastier music after their first release, or maybe Clutch if they developed a love of Sludge Metal.
The singer has a formidable roar that doesn’t let up. His caustic, gruff tones are a joy to listen to as the music rumbles and chugs its way through the 40 minutes of playing time.
The music is all about the crushing riffs and relentlessly aggressive heaviness. What separates them from some of their peers though is that instead of fusing this with Doom or Hardcore, they instead choose to fuse it with a Stoner Rock sensibility that means these tracks are all endowed with high energy and furious vitality.
The band know their stuff when it comes to playing and some of the longer tracks give them ample opportunity to develop their art. The drums in particular are a really satisfying listen, all rolls and pounding beats.
Emotive without being weak and strong without being brutish, Neckbreaker is the perfect recommendation for anyone into heavy, aggressive music that knows how to rock the fuck out.
Job for a Cowboy are a US Death Metal band and this is their fourth album.
On this release Job for a Cowboy have refined their Death Metal further, adding a progressive sheen to their technical assault. Ambitious and bold, this is a game-changing release for the band in many ways, demonstrating that they are willing to do what it takes to reinvent themselves on their own terms.
The solid and modern Death Metal core of the band remains, but on Sun Eater this is complemented by additional ideas and different flourishes to what they have tried before, including nicely wandering basslines and progressive Metal explorations that truly flesh out their sound more than in the past. On Sun Eater it seems they have really pushed the envelope with their experimentation.
It’s really good to see a band that are not content to stay the same with every release; while still retaining their own identity the band have moved forwards with their style and embraced a more Death/Cynic aspect in addition to what they have previously done. This enhanced songwriting is apparent throughout this album.
The songs are complex, varied, layered and have a lot going on. Entwined melodies and eccentric grooves create all manner of intriguing soundscapes. The bass, which is always something I love to hear, is a major player in the band’s updated sound.
Note should also be made of their singer. Although he’s always had a charismatic growl, his performance on Sun Eater is probably his most diverse and enjoyable yet, with his growls and screams being flawlessly delivered and well-judged. His engaging vocal rhythms remain intact, even though the music has morphed and mutated around them.
Due to the above, Sun Eater offers less instant gratification than its predecessors, but repeated spins shows this to be a positive thing as the album grows on you like a plague, (in a good way).
Having successfully fully transitioned to this new progressive Death Metal style, this album is hugely impressive.
For fans of Obscura, Gorguts and the like, this is damn near essential.
Beseech are a Gothic Metal band from Sweden and this is their sixth album.
Since reforming in 2012, this is the band’s first release in 11 years, after their last album Sunless Days in 2005. I always really enjoyed Beseech’s older work when I was in the mood for it so was looking forward to hearing their newest music.
Immediately as the first song Beating Pulse starts it’s like they’ve never been away, with sterling melodies and emotive vocals from both male and female singers. It’s a strong opening.
The Beseech of 2016 have refined their sound so that they now pay homage to their earlier work, but have also added something new and, dare I say it, better than what came before. There’s a bit more of a Rock vibe to parts of this album than there was previously, and this has replaced certain overly-Gothic aspects of their sound in some ways. I don’t have a problem with this though, in fact I think it makes for a stronger album overall.
Beseech were always quite an emotive and textured band, but they appear to have developed this even further on My Darkness, Darkness. There also seems to be a bit more subtlety and nuance here than before; although this is not something they were really lacking, it’s just a deeper part of their sound now.
Essentially this is Beseech 2.0; better, leaner, hungrier and more refined than before. Experience and time appears to have aged them like a fine wine, and this collection of songs is very enjoyable indeed.
I’m very pleased with this. Rather cynically I honestly expected some form of half-hearted rehashing of old glories, (not sure why), but instead the band have impressively produced an updated, fresh and wonderfully emotive release that has quite floored my jaded expectations and is currently swamping my brain with quality tunes.
This is the fourth album from these US Sludge/Doom veterans.
Sourvein return with an aquatic-themed album, it seems.
The band play their sludge with a raw energy that seems to tap into something primeval and old, probably something lurking in the deepest waters in the darkest ocean.
With a heavy sound that’s warmly analogue, these songs have a kind of retro vibe to them that manages to eschew any of the normal bullshit trappings that such a term usually involves. Rather, what we have here is music that’s honest, visceral and not afraid to get dirty, (wet?).
The songs have groove and melody, both of which are used well throughout the playing time. It’s an endearing mix of influences that combine on this release, with everything from Electric Wizard, Eyehategod, Black Sabbath, Acid Bath and Mastodon making it into the melting pot.
Short tracks don’t outstay their welcome, and Sourvein know how to flourish a song with a relatively short playing time for maximum effect.
There are some quality and earthy, (aquatic?), guitar solos included, alongside a bass that just sounds really, really good.
The singer reveals himself to be quite versatile, with clean and rough singing, as well as throaty shouts used where necessary. He has a lot of presence and charisma, which can also be said of the songs as a whole. Taken together the music and the vocal performance make for a very strong collection of tracks that are both catchy and memorable.
Well, this is very, very enjoyable. Sourvein stick out from the crowd as having something a bit special and being a bit different from the norm.
This is the fifth album from this Ukrainian Death Metal band.
Here we have 39 minutes of brutal Death Metal in the USDM style, influenced by the likes of Suffocation, Dying Fetus, Severe Torture, etc.
This is a release that has a satisfying and dense sound, crushing and maiming all around it. The band can play too, and are given ample opportunity to show off what they can do.
The vocals on this release are just the right side of pignoise, so that the singer still has power to his voice rather than just sounding like he’s got a bad case of the burps. He sounds on top form.
The songs are ultra-brutal exemplars of the style and unless you’re just not a fan of this kind of stuff then it’s hard to find fault with their delivery. With decent riffs and good structuring, the tracks on Denial of the Scriptures make for an enjoyable listen and this timeless form of Death Metal is easy to get on board with.
Blast beats are accentuated by mid-paced aggression and even small hints of barbaric melody here and there; these are few and far between though, added to some of the riffs on occasion to sharpen them up to a killing point.
This is a solid and gratifying Death Metal release from a band that have honed their craft over time. Denial of Scriptures has had the excess fat mercilessly chewed off so all that is left is a lean, mean killing machine.
These songs have some decent riffs, with some quite memorable parts to them too. I also enjoy some of the more atypical guitar parts where the band consciously seem to be making an effort to try something a bit different.
The music is quite involved and atmospheric, coming across as well-thought out and the kind of thing you would normally hear from an instrumental band, rather than one which does have a vocalist like Starchitect do.
Speaking of vocals; the singer uses harsh shouts to get his point across and his voice does the job nicely, fitting into the typical Post-Metal framework. His voice is used quite sparingly, increasing my impression of them as an instrumental band, (which they aren’t, of course).
Effectively building up a tapestry of overlapping guitar-based sounds and melodies set to a thumping beat and with the odd coarse-vocal, Starchitect have produced an enjoyable 58 minutes of music.
Plebeian Grandstand are a Black Metal/blackened Hardcore band from France and this is their third album.
If you haven’t encountered Plebeian Grandstand before, then strap yourself in and prepare for violence. The band are a veritable explosion of grim aggression and antagonistic intensity.
Twisted riffs and dark melodies are encased in a solid black approach that merges the band’s Hardcore nature with a blackened corruption that seems to seep into every part of the guitars. The blasting drums are intent on nothing but causing harm and the bass is a malevolent rumble that underpins everything else.
The singer’s deranged screams form an integral part of the blasting mayhem and his is an intense performance.
The songs combine Black Metal and Hardcore into a dissonant, maniacal amalgamation that is pure viciousness embodied. As time goes on it seems that Plebeian Grandstand are embracing their Black Metal side more and more, to the point now on this album, (as well as their previous one), where it’s actually quite hard to describe them as a Hardcore band as has been done in the past.
Either way, this is another top-drawer release from a band that just keeps getting better and better with every release.
The Zenith Passage are a Technical Death Metal band from the US. This is their début album.
Wonderbox Metal 