Rock – Page 32 – Wonderbox Metal

Half Gramme of Soma – Marche au Noir (Review)

Half Gramme of Soma are from Greece and play Hard/Stoner Rock. This is their latest EP, their second release.

Half Gramme Of Soma have a sound that rolls out of the speakers with earthen grit and a confident gait.

This EP has a warm sound that makes the guitars come alive with a glorious fuzziness. The production is top notch and thankfully the songs match the sonic quality levels.

The singer’s voice is all gravel and character. He has a powerful voice that’s like a slightly dirtier version of the singer of Disturbed. It sounds great and the performance level is always high.

These songs speak of a confident band who know what they want to do and know exactly how to go about achieving their goals. These are very mature compositions that may sit neatly in the Stoner Rock genre but also borrow from others, such as Hard Rock, Modern Metal and Doom.

This refusal to play entirely by the Stoner template works entirely in their favour and as such Marche au Noir has a lot of different flavours across its 5 tracks. From the upbeat opener Marche, to the jaunty/doomy juxtaposition of Hitch Hike and the crowning centrepiece Cage, this EP has more to offer in 5 songs than most bands of this ilk do in 10.

Marche au Noir is a decent length EP at 25 minutes that showcases the band’s ample talents.

Definitely a recommended 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.

Sativa – 100 Years After Never (Review)

Sativa are from Bulgaria and this is their latest release. They play instrumental Post-Rock.

This is winding Post-Rock with a nice Progressive Rock edge to their sound. There’s also some Psychedelia and Stoner elements to their sound that essentially mean 100 Years After Never is a very relaxing, easy listen that washes over you like a rippling tide.

That’s not to say it’s all calm sailing as the band ramp it up a bit when they need to, but there’s no real heavy aggression here or anything of that sort.

Ethereal Post-Rock guitar blends with down-to-earth bass to create a listening experience that’s tranquil and charged at the same time. Sativa do well in this combination of beauty and gritty realism and the songs on this EP are nicely judged.

With the Stoner connection it’s the usual thing to make lots of comparisons to deserts, etc. but the reality is that Sativa have got somewhat of a watery vibe going on in some ways. This is especially strong on track 3, which gives the distinct impression of bubbles…

Maybe it’s just me, but I can hear it, I swear…

Overall this is a neat little EP that hits more times than it misses.

Recommended.

Karma to Burn – Arch Stanton (Review)

Karma to Burn are from the US and this is their sixth album. They play instrumental Stoner Rock.

Karma to Burn are one of those bands that I’ve been aware of ever since they first came out, but for some reason I’ve never actually heard them. As such, Arch Stanton is my first experience of them.

This is riff-heavy Stoner that is not lessened by the lack of vocals. If anything it improves things as it allows both the band and the listener to concentrate on the music exclusively.

Karma to Burn have an ability to write relatively straightforward Stoner songs that have a good energy and vibrancy to them. They quickly capture the listener’s attention with their riffcraft and easily hold it with emotive fretwork and enjoyable, easy-to-digest songwriting.

The album’s just under 38 minutes long and the playtime just melts away as the band do their thing and the listener gets drawn in.

A thoroughly enjoyable romp through the land of the riff.

Aenemica – Empty Inside (Review)

Aenemica are from Germany and this is their début album. They play Progressive Rock.

This is modern Progressive Rock that has influences from both Progressive Metal, Modern Rock/Metal and even a splash of Djent to some of the riffs.

The singer has a voice that’s soft like silk and flows like liquid gold. He’s instantly engaging and very listenable. His voice is very versatile and the harmonies and tunes used are infectious and very more-ish.

The songs are a merging of the more modern, commercial style of Rock/Metal, (incorporating elements of Djent and Stadium Rock), and a more classically influenced Progressive Rock style. It’s played and delivered extremely well so that they successfully blend the different aspects of the music into their sound. The result is one that’s pretty much pure aural candy.

Imagine a combination of Evanescence, Device, Queensrÿche and Pain of Salvation; it’s quite a combination but it works together well.

The focal point is clearly the vocals though. Personally I’d like to hear the music slightly higher in the mix so as to create an equal emphasis on the music/vocals, but this is only a small complaint really.

Aenemica are a worthy addition to the world of tuneful Metal. Have a listen.

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.

Einherjer – Av Oss, For Oss (Review)

Einherjer are from Norway and this is their sixth album. They play Viking-influenced Black Metal.

This is an album that has a lot of variety in it. We get melodic, almost martial Pagan-influenced interludes, scorching fury, rhythmic sections, colourful leads, mid-paced workouts, subtle keyboards, lots of interesting instrumentation and experimentation, blistering guitar solos and a cold Black Metal core.

Black Metal screams, shouted group vocals/chants and other vocalisations are included across these 44 minutes.

The band have a quirky, almost jaunty feel to them in places. Some of the rhythmic riffing may have that Black Metal sheen but they also have a more upbeat feel to them as well, recalling bands such as Countess and Sigh being played by Darkthrone or Satyricon, perhaps.

They also have a bit of a driving Rock influence to some of the guitar leads and solos; sometimes it’s just so damn Rocking you can feel the wind in your hair.

I like that each song has its own identity and the band keep things interesting by incorporating a whole plethora of different ideas and sub-styles into their central Black Metal vision.

The album whirls by in a blur and is over before you know it. Av Oss, For Oss is a very strong album and a big achievement for Einherjer.

Give it a try and see what you think.

Alexanred – Always Active (Review)

Alexanred are from Finland and this is their début album. They play Industrial Rock/Metal.

This is catchy and atmospheric Industrial/Electonica-tinged Metal. If you think of bands like Neurotech and Deathstars, remove the Black Metal side and mix this with a Nine Inch Nails influence instead, you’ll have a good starting point for the band.

The tracks mostly hover around the 3 minute mark meaning that the songs are largely to the point and hook the listener in quite quickly. The music is quite emotive and has an atmospheric quality to it that recalls some of Devin Townsend’s work on occasion, (but only occasionally).

Always Active has a professional sound that befits music of this nature. It’s a powerful and driving sound that seems to push the songs along as much as it works for them.

The vocals vary from whispered, semi-spoken word parts to sung cleans and to event the odd shout. He sounds at his best when he’s singing though, as the spoken parts seem a little forced/repetitive sometimes.

This is a good début album, and if Alexanred can build on this then the next album should be very good indeed.

Atriarch – An Unending Pathway (Review)

Atriarch are from the US and this is their third album. They play Blackened Doom Metal.

Atriarch play a curious mix of Doom and Blackened Gothic Rock. Neurosis-style Doom and dark-Stoner sensibilities combine with almost-Darkwave Pop moments and Blackened influences. The juxtaposition of the two is handled well and is an uncommon approach. The band have certainly developed their own style in this regard and are to be applauded.

Each of the tracks take elements of these influences and blend them together to greater or lesser extents so that the resulting album has a unique character and flavour to it.

Genre-shifting in mid-song is a hard thing to do well and not many bands attempt it for this reason. Atriarch have not completely mastered it but they’re definitely more proficient at it than most. There is a lot of variety, interest and depth to these songs because of how good they are at merging their differing influences and distilling them into something that works well for the listener to enjoy.

An Unending Pathway is the kind of album that is unexpected and abnormal. Some people won’t take to their individuality, of course, but I believe that as long as the music’s good anything a bit different should be embraced and supported.

Atriarch are a bit different, their music is very good indeed and therefore you should embrace and support them. Off you go.

Manes – Be All End All (Review)

Manes are from Norway and this is their fourth album.

Following on from their last release Teeth, Toes and Other Trinkets, which was an anthology, this is the first new Manes album in seven years.

Manes play a beguiling blend of artistic Rock, Darkwave Trip Hop, Avant Garde and 80’s-style Pop. It’s subtle, charming, disarming and insidious.

These songs have a laid back quality to them that’s almost detached from the actual music; as if something has been created by the music that hovers just out of view yet its effects can be felt by a lasting aura of deceptive comfort and false familiarity. This lends the songs a certain flavour of the otherworldly and the different.

There is a low-key catchiness to the tracks as well. Again, it’s a subtle affair, as even though the songs obviously contain hooks the first time you listen to them, it takes multiple listens for them to fully work their magic. Such is the nature of all great albums that have true longevity and depth.

There is so much to experience here. Manes create across a vast canvas using a rich palette of colours. There’s a lot that’s easily missed on first glance and only after taking it in for a good amount of time can you really appreciate what they have done here.

The singer’s captivating vocals are on strong form and the bleak-yet-uplifting-yet-not melodies that he uses complement the instruments perfectly adding layers of emotion to already emotive and layered songs.

This is music for dark nights and even darker activities. This is music that drips with soul and is ethereal in nature.

Fans of bands such as Arcturus, Ulver, Lethe, Dødheimsgard, Green Carnation, In The Woods…, etc. will lap this up, and with good reason.

It’s time to enter the world of Manes.