Death Will Tremble – Departures EP


For those still battling the Doom Metal withdrawal bouts, Death Will Tremble has heard your cries and have gifted you the self-released Departures EP. If 2016’s Mona left you with an itch you can’t seem to scratch, Departures is the remedy you seek. However, that payoff comes with a price: it’s just one new song. Sure, it’s a 14-minute song so I guess you’re getting the most bang for your buck, but boy did I want more.Continue reading


REVIEWS ROUND-UP: Week 47/48 Five Finger Death Punch, Silent Descent, InAir, Felix Hagan and more…


 

The Ghost Cult album roundup is back in town, for your vulgar delectation, though we’re taking a different approach this week and grouping together some of the less-“heavy” releases that are polluting our ears; it’s a walk on the lighter side of the Ghost Cult coin…
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Sumo Cyco – Opus Mar


One of Canada’s best-kept secrets will be exploding into the music world once again as Hamilton, Ontario’s own Sumo Cyco drop their second full length album since establishing in 2011. Opus Mar (Self-Released/Pledge) was produced by their very own lead guitarist Matt ‘Md13’ Drake and renowned producer James ‘Lerock’ Loughrey, known for his work with Skindred and Joss Stone.Continue reading


Allfather – Bless the Earth With Fire


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Bless the Earth With Fire (Static Tension) is a relatively short first album from Rochester UK quintet Allfather but, my God, is it an utter brute. Played at a largely sedentary pace, the Sludgy sensibilities are offset by Hardcore-flavoured guitars which boot the monstrous bedrock squarely up the arse at frequent intervals.

Opener ‘Raskolnikov’ is the first of four fairly brief tracks which nevertheless crush boulders whilst fired with a rampant anger: its howling solos giving the bone-grinding, occasionally shredding riffs some emotional substance and lightening the slurring emphysema of vocalist Tom. The repeated roar “I’m a murderer!” is truly nerve-twanging, the rhythm and squall rising in turn to give the full threatening effect.

It’s a sound that brings to mind the bludgeoning hostility of Hang the Bastard, whilst possessing more invention and vitality. Follow-up ‘The Bloody Noose’ displays more vicious weight before dancing buzzsaw riffs awaken a marauding monster, sure to whip up pits everywhere. The Hardcore Thrash of ‘Mouth of the Beast’ subsequently rips along yet retains a remarkable heaviness, its colossal coda terrified by manically squealing leadwork; whilst the diseased Stoner of ‘Dark Actors’ attracts comparison to High on Fire, almost matching the Californians’ mammoth intensity with a mid-section of pulverising riffs and drums.

The rather splendidly-titled, eleven-minute closer ‘Death, and Hell Followed With Him’ is an epic which again displays the full flourish of the band’s creative hand. Wonderfully emotive and often atmospheric without ever losing potency, and with a perfectly timed quickening, it does however highlight the slight flaw in the make-up. Tom’s unflinching scour is often suited to the task yet sometimes appears tired and limited, always seeming more effective when the scream is employed – which is all too briefly. Thankfully here it’s overshadowed by marvellous instrumentation which gives fans of all Metal persuasions something to revel in.

The Bandcamp version has a bonus track, ‘Blood Red Sunset’, which barrels along at a medium pace, its devilishly groovy riffs and wailing solo ensuring rambunctious fun. Altogether Bless the Earth With Fire displays Allfather’s near-ideal balance of Goliath’s size and David’s lightning-quick devastation to the full.

7.5/10.0

PAUL QUINN

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War Iron – Precession of the Equinoxes


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From highly-rated Belfast quartet War Iron comes a morose, ponderous noise infected by the pure evil of Andrew ‘Baggy’ Bagwell‘s nefarious, slurring rasp. Dual leads pluck the heartstrings at intervals through the crushing riff and crawling, titanic rhythms of ‘Bludgeon Lord’, the opening track of third album Precession of the Equinoxes (Independent). A warm, crackling production heightens the sinister feel and prevents the quickening bridges from exploding into a full-on Death assault; instead applying the reins enough to make one marvel at how such a precariously-balanced pace is kept.

The desolate peal of ‘Summon Demon Scream the Abyss’ is initially accompanied by a penitent chorus before that terrible lascivity seeps over the body; a funeral groove, twisting with the slowing power and weight of a dying anaconda. Baggy’s repetitive early vocal has the sneering perversity of ex-Lord Mantis‘ screamer Charlie Fell, the track fizzing and swelling with all manner of sadistic sorrow. The introductory bass notes of the title track cause concussion, some unsettling low growls whispering around the floor before the most fetid scream tightens the sphincter: whilst colossal, almost Blackened riffs make the tension nigh-on unbearable. Oddly-pulsing leads at the mid-section combine with bone-crunching rhythmic gymnastics and brutal chops to the coda, all the while staying close to the Doom template. Closer ‘From Napalm Altar’ sees a return to that funereal hostility: the intermittent quiet moments filled with eerie language, setting the teeth on edge for the forthcoming bludgeon; every chord, note and single beat flung from Thor’s Hammer; the accompanying roars and rasps the embodiment of despair and terror.

Finally, the UK has a contender in the Blackened Doom market. Although the winding noise of an Indian or Coffinworm is absent, it’s replaced by an Ophis-style mournful tolling which adds to the ominous feel rather than detracting attention from it. The resonant, single-kick sequence closing this fine, startling album chills the spine, and leaves the feeling that nothing good will ever happen again. To Serpentine Path: if you want to scare the shit out of people at a snail’s pace, this is how you do it.

 

8.5/10

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PAUL QUINN


Wilderun – Sleep at the Edge of the Earth


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Sleep at the Edge of the Earth (self-released) is the second album by Wilderun, a Folk Metal band from Boston, Massachusetts. They aim to not only play Folk Metal that can hold its own against the great European bands, but that also incorporates some of the American Folk traditions.

The opening number, ‘Dust and Crooked Thoughts’ immediately brings about that folky feel with acoustic guitars and running water, and is a very serene opening to the album, mirrored by the beautiful ‘Sleep at the Edge of the Earth’ that closes the album. Following on the introduction come the bulkiest bit of this album: the tetralogy of ‘Ash Memory’. These four songs are connected but all have their own distinct feel. ‘And So Opens the Earth’ is very bombastic, while ‘Hope and Shadow’ is very peaceful and gentle. ‘Bite the Wound’ is out and out Metal, while ‘The Faintest Echo’ has a very dark sound. Besides this wildly varying but effective tetralogy, I especially like ‘The Garden of Fire’, which is a very heavy song and has really interesting melodies and lines that really caught my attention.

Sometimes when a band tries to merge all their favourite styles of music together they end up falling on their face, but not so with Wilderun. For me the key word of this album is balance. They highlight an acoustic guitar in the midst of an onslaught of metal, and add all the heavy edges to an atmospheric folk section. The different vocals styles – regular vocals, chant-like vocals, and grunts – are always in perfect harmony with the music they feature in, and that’s exactly the way I like it. In fact, I frequently found myself grinning with joy at a particularly good riff or vocal line, because this album is a lot of fun.

 

8.0/10

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LORRAINE LYSEN


Nader Sadek – The Malefic: Chapter III


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This is a curious proposition. With previous albums and now this EP release The Malefic: Chapter III (self-released), Nader Sadek is a death metal super-group which has seen a variety of members on its releases, all curated by its namesake, one Nader Sadek, who has worked as stage artist for the likes of Mayhem and Sunn O))).

On this latest reincarnation, the personnel includes Travis Ryan of Cattle Decapitation on vocals, Rune Eriksen (Mayhem), Martin Rygiel (formerly Decapitated) and Flo Mounier (of Cryptopsy fame). Following on from the album In The Flesh (Season Of Mist), which was an impressive slice of death metal if lacking in some cohesion and clear production, this latest EP does see some refining. The production here has a lot more clarity and precision without sounding sanitized, whilst musically it sounds a united and flowing piece, and more straightforward in nature. The vocal contributions of Ryan truly stand out, further showcasing his presence as one of death metal’s most versatile and powerful voices.

A crisp, impressive EP which will admittedly won’t turn the genre on its head but represents a good exhibition of the talents of those in its ranks. Not a world beater, but worth a listen.

6.0/10

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CHRIS TIPPELL


Verse Vica – Endeavor


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By now there is an over saturation of progressive/tech metal bands on the market. With a rich diversity of bands under the banner with a wide range of sounds and styles, it is definitely a genre in rude health, thus as a result there is seemingly a conveyor belt presenting more and more by the minute. Asheville, North Carolina’s Verse Vica are one of the latest crop of acts who have to stand out from the herd. Luckily there is evidence of something special about them.

Although debut album Endeavor (Independent) doesn’t show innovation in leaps and bounds, it does show a band with a youthful and energetic outlook yet with heads wiser than their years. Album opener ‘Airyth’ has a luscious, mellow tone which gradually builds with a little more power before ‘Cities 1: Cerulean’ kicks straight away with ferocity. Throughout this marries huge melodies with splatters of guttural growls and dynamic shifts in pace.

There is a sign of weakness here and the vocals of Spencer Brunkhorst are bit of a dampener, proving one dimensional during the growled passages and a little lacklustre at times in the singing when it should prove more commanding.

Tech metal is never going to be a sub genre which will never be considered cool, and Pokemon references (Cerulean and Saffron) are hardly going to help Verse Vica shake the geeky tag. But in a sub genre which is all about technique, these newbies have it in abundance.

Besides who doesn’t love Pokemon anyway?

 

8.0/10

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CHRIS TIPPELL