All posts by Alec Vanthournout

Wroht_band

Review: Wroht – Worship Rot

With their debut album, Bay Area death metal quintet Wroht are only going to reach new heights for themselves and garner an ever-growing fan base due to the quality of this debut.

news-wroht-worshiprot

What stuns you upon a first listening of “Worship Rot is Wroht‘s great maturity in structuring a song, considering that this is their first full-length. In a year where we saw and are about to see tons of great death metal releases, these Americans have added a great value to the genre, all while keeping the flag flying high. Word of warning though as this is not for everybody and the weak. Only those who can withstand brutal, uncompromising, chaotic, and destructive and a horrific extreme metal need apply.

Across the record’s twelve tracks, Wroht show what they’re capable with controlled chaotic force and malignant intention. It’s cavernous, monstrous, claustrophobic, and downright nasty. Mixing together groove metal with straight-up death metal, while adding elements of crushing doom here and there, this is music that’s not for the unwary. Steeped in the aesthetics of black metal’s corrupted skin, while having a certain atonal death metal power, Wroht merge these two styles together seamlessly. The grim doom elements here are comparatively less-used, but enhance the music when they appear with further levels of darkness.

Grab “Worship Rot from Bandcamp here. For more info about Wroht you can follow them on Facebook.

Rainburn

In Focus: Rainburn – Insignify

Indian prog rockers, Rainburn, have taken on an ambitious project for their second ever release “Insignify,” tackling a concept that deals with “issues of existentialism, the significance of human life, narcissism, craving importance, insecurity, and the search for reason.

Rainburn - Insignify

Musically, while “classic prog” certainly fits, the album draws in elements from across the contemporary prog scene. Mainman Vats Iyengar’s versatile and engaging voice is ideal for this type of storytelling and there are catchy hooks galore across the album, from the refrain of “Merchant of Dreams” through the gentle harmonies of semi-ballad “Mirrors” to the riff-laden “Suicide Note.” The band can wig-out a bit too, as they prove towards the end of “Someone New” and “Elusive Light,” in the explosive choruses of the otherwise jazzy album closer “School of Atlantis.”

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Third & Delaware

Review: Third & Delaware – Generations

“Generations,” the first EP by metalcore act from Dallas, THIRD & DELAWARE, has invoked multitudes of emotion through my ears, to my heart, and back again. Despite the overproduction and the always-hated clean vocals, this record turns out to be more passionate and sincere than I could have imagined.

Third & Delaware - Generations

Closely contained by singles “Innocent by Association” and “Ardor”, “Generations” packs a number of tasty tunes. From the start of “Heart of Fire,” the screams are more hardcore, the guitar meatier, the wall of sound thicker. This continues throughout the EP.

People will always be picky with their clean vocals and I can understand that, but sit down and not only hear, but feel the music running through you. In addition to the great message this album holds, it is really heartfelt, and I can never get enough heartfelt music. These guys have plenty of talent, and even with the problems of overproduction, this release will really speak to a lot of people, because it’s a trip that may heal your heart.

“Generations” is available now via Bandcamp.

Salvation's End

Album Review: Salvation’s End – The Divine Wrath of Existence

Just when I thought all of the fresh talent in prog metal was hiding towards the more extreme side of the spectrum, I am introduced to this band, the Detroit, MI based Salvation’s End. Although I was expecting SE to fall into the same rut of Dream Theater or Symphony X that so many melodic prog metal bands do, the change of pace here is refreshing, and while not an entirely new breath of fresh air than what I have already heard in the style, Salvation’s End do plant themselves as one of the last vestiges of hope in a style that I personally think got tired over a decade ago.

Salvation's End - The Divine Wrath of Existence

My personal cynicisms for melodic prog metal aside, Salvation’s End are a truly impressive act, and the fact that I find myself so endeared to them with all things considered should be a testament to their strength as an act.

Musically, Salvation’s End’s music is heavy at times, but always melodic, and resists the temptation to become an overly technical wankfest a la Dream Theater. Instead, Salvation’s End bases their debut album, The Divine Wrath of Existence, around the long lost art of proper songwriting; their music uses sometimes complex musicianship, but it is always based in a tight composition, and this really grabs my attention. The vocals here are often the center of attention atop tasteful instrumentation, the atmosphere is kept somewhat melancholic throughout, and — coming as a surprise to someone that was expecting a metal album — tastefully mellow. Salvation’s End is instead heavy prog rock throughout most of this, although I would have to say that the vocals keep a metallic tinge to the music. The vocal delivery by Rob Lundgren on The Divine Wrath of Existence is something refreshing.

The songwriting here is generally the highlight of the release. Everything is beautifully produced and polished, but the sound stays organic; a sure sign of a successful studio job. The songwriting really caught my attention from the first listen onwards though opening “Death of Reason” and its follow-up “Languorem” are two of the most memorable tracks here, using some lively riffs to create a hook. The title track makes perfect use of those mid-to-high-register vocals that Lundgren does so well The highlight moments on The Divine Wrath of Existence are brilliant. The album is one of the most consistent releases I have heard since the beginning of the year. It gets me excited to see what else that the band has in store.

Get The Divine Wrath of Existence from Bandcamp.

Peter Royburger (Devcord)

Album Review: Devcord – Dysthymia

Devcord is a progressive death metal project from Austria, founded by composer and multi-instrumentalist Peter Royburger. September 1st, 2018 brought the release of a debut album Dysthymia.

Many of Devcord‘s songs here enter incredibly melodic acoustic passages and give the listener a break from the huge metal riffs that pound eardrums. Royburger screams intense, powerful metal growls and still shows his ability to sing clean, beautiful vocals when needed. 

Devcord - Dysthymia

As far as the death metal section of the Devcord formula goes, the riffing is original, powerful, and tight. Often, the bass will follow the guitar riff if it isn’t a chordal riff. Lead guitar parts harmonize and create an extremely evil and dissonant aura about them. The harmonizations are mixed much better and often sit on top of the guitar riff, not heard unless the listener tries to find them. Typically, Devcord allows the riff to be heard by itself for a few repetitions with the lead guitar soloing before Royburger enters with his powerful metal growling. When it is time for a full out guitar solo, he lets all hell break loose. He covers the entire fretboard and plays tastefully. Unlike so many metal guitarists, Royburger knows how to make an enjoyable solo rather than playing as many notes as possible within 3 seconds. They usually extend the color tones (3rd, 7th, 9th, etc) of the chords and create jazzy melodies, or as close to a jazzy melody that a death metal band can get.

The melodic acoustic side of Devcord is in some ways better than their metal sound. The guitar patterns, again, are the instrumental theme, but the bass often creates a hidden countermelody with the guitar. Peter sings beautifully, and if Devcord produced an album entirely made of these dark, brooding acoustic passages, he would never be expected to be able to scream, let alone scream well. His tone is dark, warm, and round, like the perfect euphonium. The chord progressions are often dissonant and dark. 

Putting these two formulas together creates a full, epic release that sets the stage for the follow up and breakthrough album. Each song on Dysthymia comes with a new energy and aura about them. Song formats never follow anything typical, and listening for the first time is often mind-blowing because of the unexpected climaxes, transitions, and virtuosity in every second of the album. 

Dysthymia has a potential to put Devcord in the direction of becoming one of the greatest metal projects in the coming years. My recommendation would be to treat the album as a single unit, under which circumstances it plays best, although individual songs can be satisfying. Each time I listen there is something new to discover — all in all, a story worth rereading.

Stream Devord‘s Dysthymia here, and follow the project on Facebook.

Wayward Dawn

Album Review: Wayward Dawn – Soil Organic Matter

Soil Organic Matter is the second full-length release from Denmark-based band Wayward Dawn, providing ten tracks of uncompromising and very much 100% death metal.

From opener ”Requiescat in Pace” to closer “Thy Name Is…,” this outfit plies the listener with agonised strains which develop into gruelling yet melodic heaps. Imagine a thicker, denser mixture of Lamb of God and Bloodbath in those thrashier segments as each track builds with suspense to become a hammering tool of brutality where you’re force fed those vocal gargles and accessibly yet gnarly structures.

Soil Organic Matter

As one would expect, there’s very much a groove death metal feel throughout. The vocals range from snarling rasps to deep, guttural coughs. And there’s a great variation of pace too, the title cut being a prime example of the band and their flexibility as they race with haste and aggression, melodiously carving grating strands of death / thrash and coating them with those sickly vocal smears.

Soil Organic Matter is a solid effort throughout, although the flavour isn’t necessarily old-school; at times there’s more of a mid-to-late 90s style of gushing death metal.

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Abhiruk Patowary

Album Review: GAIA – Aerial

Everyone can agree that it is becoming increasingly difficult to find new talent in today’s modern metal scene. In recent years, there has been a huge rise in the number of so called ‘metalcore’ bands (half the time I think that people are misinformed as to what metalcore actually), with bands left, right and center ripping one another off, bringing nothing new or exciting to the table.

However, India based metalcore project GAIA are far removed from the trends that plague the current metal scene. The band, founded by multi-instrumentalist Abhiruk Patowary, is about to self-release debut album “Aerial” on September 20th. The best way to describe their sound would be something that fits in between the style popularized by bands such as Periphery and TesseracT with a mix of melodic passages. The fusion of hardcore and metal is quite astounding; the amount of talent these guys possess is utterly ludicrous at points, leaving listeners wondering what the hell just happened (and possibly whether the band can pull it off live; in answer to that, yes – they bloody well can).

Each of the ten tracks present on this disc showcase the immense talent and songwriting skills Patowary and the company. The guitars especially are very interesting; album opener “Aerial” is a rollercoaster of technical riffage and crazy time signatures. The drumming at first seems to follow no logical pattern but after one has become accustomed to this style of technical metal, the effects are astounding. The bass is also heard quite well – the lines do stick to the guitars quite a bit but at this pace and level of technicality, it is still downright impressive.

GAIA - Aerial

There is a strong metalcore influence throughout the album but don’t let it deter you. Breakdowns are present but most definitely are not in abundance.

Overall, the band’s debut album is nothing short of phenomenal. Every one of the ten tracks is excellent. The metalcore scene may be plagued by some ridiculously poor acts, but acts such as GAIA demonstrate that the scene is far from bad. A definite recommendation to any fan of technical metal, hardcore or metalcore.

Stay in touch with GAIA via Facebook.

Sinnrs

Review: Sinnrs – Profound

In some ways many metal listeners have divided opinions when the topic is “black metal.” Most of them find it raw or pretentious, but there are some that adore every melody that could come out of a black metal song. Sinnrs, a Danish symphonic black metal duo of Nero and Maestus, is just like a problem solver at this point. This band’s versatility lies in combining epicness of the pagan take on the black metal genre and folk, heavy, doom, and symphonic metal elements, wrapped with a touch of prog.

Sinnrs - Profound

Their debut album, “Profound,” is specific to the mentioned genres. Very epic, at times softened by great high pitched clean vocals, you can also find a fair dose of doom metal. Lyrically the album has its own dark side either.

There is a similarity between with the known doom bands such as Candlemass, While Heaven Wept, maybe a little of Solitude Aeternus and there is a smell of Void of Silence in the vocals. In some parts you find similarity with Moonspell and a little bit of early Amorphis. As all these bands are far from black metal, and that is what makes Sinnrs different. A must-listen album of the year right here.

Abhiruk Patowary

Interview: GAIA

Abhiruk Patowary is a young multi-instrumentalist from India, who is about to launch a debut album with his project GAIA. In an interview for our website Abhiruk lets us know about his musical beginnings, the album, his future plans…

Let’s start from your early music beginnings. How did your musical career begin? When did you start playing? Which groups have been your favorites? Please tell us something more about your early life.

I started playing piano around 9 years ago. I was playing Western classical music until a fine day I heard some kids in my school play metal and I became obsessed. Ever since it was my dream to form a metal band and write an album. After which I started to play drums which was one of my first steps of playing metal, then I learned bass and then finally guitar.

Opeth and Pantera were my gateway drug to metal and have been my influences. Apart from these two, for this particular bands modern metal bands like Killswitch Engage, Lamb of God, August Burns Red, Periphery, TesseracT, Skyharbor, were some of my influences.

As for my early life, I don’t think I can answer that since I’m too young to have an early life.

Abhiruk Patowary (GAIA)

How did you go about forming Gaia? Who was the most influential when the band started its musical journey?

I wanted to write groovy metal core stuff, but couldn’t find people to join me so I wrote the entire album on my own. Then I got Nathan from Intervals to play drums on five of the tracks. One particular thing that has been really influential is going to gigs and seeing bands both underground and international.

In the beginning, did you have some “fixed” tempo in composing songs or everything was a product of jamming, improvising?

All the basic structures were basically me noodling around the guitar for hours and recording it on my laptop.

How would you describe Gaia’s music on your own?

Gaia’s music is simple, groovy modern metal music. I think that’s the best how I can describe it.

GAIA - Aerial

Tell me about the writing and recording phases of your debut album Aerial.

After I get the basic structure done, I start to layer with other guitar sections and synth parts, then I track bass and finally the drums. Before tracking drums I roughly program it just to have an idea.

How do you see the metal scene in India? Can you recommend us some bands to check out?

Metal scene in India is growing rapidly and there are many potential bands which maybe be big names in the future. Some bands you can check out are Goddess Gaggged, Scribe, Acid Pit, Dymbur and Warwan.

Abhiruk Patowary

Do you consider yourselves a part of any specific cultural movement, however peripheral?

No I don’t really think so.

Are you also involved in any other projects or bands beside Gaia?

Yes. I also play bass for Acid Pit and drums for Paroxysm.

So, what comes next for Gaia?

Next step for Gaia is to go live, find musicians to join the band, which has been started and also start to write Gaia 2.

Follow GAIA on Facebook and Instagram.