After a much-maligned previous full length, Morbid Angel are back with a new lineup and 48 minutes of classic death metal. Continue reading “Morbid Angel – Kingdoms Disdained (Review)”
The new Warfather album – The Grey Eminence – is a focused, atypical take on death metal’s savagery; a thinking man’s brutality that still knows how to let loose and blast out a good tune. It’s a very catchy and memorable album that impresses on first exposure and merely improves the more you listen to it. Vocalist/guitarist Steve Tucker tells us more…
Introduce us to Warfather!
Warfather consists of myself on guitar and vocals, Jake Koch on Guitar and Bryan Bever on Drums, I played the bass on the album, however we will use a live bassist that also does some vocals with me.
What are your influences?
I believe the Influences in Warfather would be Old school metal and Thrash, early death metal.
Name five things you’ve listened to recently that you’d recommend
Warfather’s debut album Orchestrating the Apocalypse was a bit hit and miss. Although it was, overall, an enjoyable affair, over time it revealed itself to be a little unfocused in places and had a rather thin production that didn’t do the music any favours.
Two years later, enter The Grey Eminence. First off, there are no problems with the production this time round. On this latest release it’s thick, chunky and muscular, just as it needs to be. Being produced by Erik Rutan, I would expect no less. Continue reading “Warfather – The Grey Eminence (Review)”
His voice doesn’t disappoint on Orchestrating the Apocalypse and he puts in a fine performance full of character and passion. He has a clear, deep growl that nonetheless retains legibility of the majority of the lyrics.
Warfather play Morbid Angel-influenced Death Metal with a lot of ideas and interesting touches. Inventive rhythms, melodies, effects/sounds and even some choral vocals all appear in places. It’s clear that even though they play what is at its core Brutal Death Metal, they are not interested in limiting themselves and instead take the time to add a bit of experimentation into the mix. All of which is very welcome and adds a kind of pseudo-operatic theme to the album.
The tracks are full of expert guitar work; complex riffing, chaotic time-changes and a plethora of solos and flourishes. Each song is seemingly cobbled together from random bits of an Extreme Metal nightmare, and somehow given coherence by a sheer force of will of the musicians involved.
A challenging album that I feel is destined to be misunderstood by many; this is varied, interesting and recommended to anyone who likes a little bit of something different with their Metal.