On August 31 Lamb of God’s Ashes of the Wake (Epic Records) officially turns twenty. I was still in highschool and vividly remember stopping by Bullmoose Records in Salem, New Hampshire to pick up my copy. But that’s not to say that those were simpler times.Continue reading
Israeli-based tech-death outfit Structural are no strangers to taking time to hash out any kinks before finishing a full-length. Five years removed from their self-released debut album, the five-piece accentuate their talents on Decrowned (ViciSolum Productions/Sound Pollution).
The emphasis on metal music emanating from outside of the Western world has become an increased focus in recent years, and is rightfully celebrated as highlighting our music world’s inclusiveness to all forms of society and regions. Israel as one such example has shown in the last few years a plethora of prog-minded metal acts, from homegrown titans Orphaned Land to lesser known but equally special acts like Distorted Harmony.
Having actually been existent since 1997, Subterranean Masquerade are hardly a new band to add to the list, but their not so prolific back catalogue means they will be an unearthed gem for many; a notion which will hopefully change with their latest album.
The Great Bazaar (Taklit) is the band’s first full length release in 10 years (their second in total) and sees a new singer in Kjetil Nordhus, and a new feeling of energy, being described by guitarist Tomer Pink as finally feeling like a band and not a project; and it is noticeable.
Their sense of diversity on record is still present but it all feels all the more cohesive than before, like they have really found their feet. At its core this takes influence from the 70’s greats of Prog, intertwined with Eastern instrumental elements and modern death metal; with a major Opeth vibe present in style and how it flows, vocally and sonically through cleaner melodies to visceral heaviness without warning. Look a little deeper and there are even more traits slightly hidden away, for example opening track “Early Morning Mantra” has an underlying Ska current, but without sounding daunting or out of place; whilst instrumental piece “Nigen” sees the flute taking the spotlight.
It is very easy to pick out their influences throughout, and at times it does sit very closely to other band’s formulas so is far from being completely revolutionary; but Subterranean Masquerade certainly execute it all very well, and with tremendous fluidity which makes it all seem wholesome. It may have been a long time coming but The Great Bazaar is a strong effort which further highlights the progressive mindset is present further afield.
7.0/10
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CHRIS TIPPELL
German-based Israeli quartet Shredhead have just released their sophomore album, Death Is Righteous (Mighty Music). Despite the cheesy moniker and gaudy album artwork, the band – Aharon Ragoza (vocals), Yotam Nagor (guitars), Lee Lavy (bass) and Roee Kahana (drums) – are actually a surprisingly tight thrash outfit.
Muscular, groove-laden riffing is the order of the day, and everything on Death Is Righteous brings to mind the likes of Pantera circa ’91-94, Lamb of God, Sylosis and Dolving-era The Haunted. Such hero worship works out well; generally it’s a relentless swirl of shredding, squealing solos, Anselmo-esque screams and pummelling drums.
There’s plenty of good songs too; ‘Devil’s Race’, ‘The Lie’ and ‘Walk with the Dead’ all get the blood pumping with a furious mix of speed, groove and aggression. The likes of ‘Last Words Are Lost’ and ‘Hallucinations’ even stray into death metal territory. Shredhead are clearly a talented band – Nagor’s guitar work is especially impressive at times – and the ferocity rarely lets up and the appearance of Tue Madsen (The Haunted, Suicide Silence and Dark Tranquillity) on mixing/mastering duties give the whole thing a clear but muscular sound.
Unfortunately the consistency isn’t there and the song writing often lets them down. None of the songs are bad, but it’s often a case of once heard, soon forgotten – the title track is fairly non-descript and the album distinctly tails off towards the end.
If you’re after a stop gap until the next Lamb of God release, this should tide you over nicely. For the majority of its 42 minute runtime, Death Is Righteous delivers an enjoyable excuse to head bang. Unfortunately there’s too few standout moments for this to be a memorable or enduring listen, but maybe ones to watch for the future.
6.5/10
DAN SWINHOE