Wombbath – Downfall Rising (2015)

Downfall Rising Cover

Upon reviewing a comeback album from a band that has been out of action for more than a decade (more than two, in this case) we are given two options. The first is to approach the album in the context of the band’s past work. This is the traditional approach in metal, where bands with more experience are expected to improve while younger bands are judged with more leniency . The second is to see the album as a separate work and judge it by its own merits and the apparent goals it sets for itself from the musical point of view (avoiding ridiculous and absurd logical objections of the “and what if it was there intention to make a piece of shit of an album?” sort). Either way, Downfall Rising is as nonsensical as its cliche and meaningless title.

Generic beyond recognition, the effacing of the band’s voice comes as no surprise as the paper-thin music that Wombbath made as a younger band went little further beyond sticking genre cliches one after another without taking the music anywhere at all. It was a parade of Swedeath groove riffs that sound and feel good as background but that fail under closer inspection. The new album sees the band taking on some aspects from the so-called symphonic metal  (best referred to as metal-like pop) to fill in interludes or intros and a certain variety of retro-isms of the current nostalgia death metal scene. While Internal Caustic Torments was an empty husk made from death metal cliches at all levels (riff style, guitar tone, trademark vocals) that made it the perfect superficial representation of death metal without a voice of its own and without having any actual logical content, Downfall Rising represents an even wider collection of cliches of the new retro death metal scene.

At least the band is consistent in the type of mediocrity that constitutes their music. Sounding not only generic, derivative and content-less but far more tired than in their earlier fiasco, Wombbath come back riding the wave of come-back albums by “classic” bands that extends to any band from back in the day that was part of a scene and that is made possible by the ability of internet marketing and sales to close in the long tail in the distribution of fans of particular kinds of music. Rather than wasting any of your time in a collection of cliches being paraded without any purpose, I suggest spending some time watching adorable Wombat videos.

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Wombbath Releasing First Album in Two Decades on August 21

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“Old school” Swedish death metal band Wombbath will release Downfall Rising, its first album in 22 years. The album will be released jointly in North America on Dark Descent and Pulverised  August 21. Pulverised will release the album in all other territories on August 7. Downfall Rising follows 1993 album Internal Caustic Torments.

Downfall Rising was mixed by Jeramie Kling and mastered by James Murphy (Disincarnate, ex-Death, ex-Testament, ex-Obituary, etc).  The revampedWombbath lineup is anchored by sole remaining member/guitarist Håkan Stuvemark (Skineater) , and also includes vocalist/bassist Jonny Petterson (Ashcloud, Syn:drom), guitarist Al Riglin, and drummer Henrik Åberg. Drumming on the album itself was performed by Infernaeon/The Absence member Jeramie Kling. Taylor Nordbert (Infernaeon) guested on guitar as well.

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Sadistic Metal Reviews 10-13-14

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What are Sadistic Metal Reviews? The first metal album that you really connect with should be a magic experience, one that transforms your life. But a large group of people want you to apply that same feeling to their album so they can take your money, but their music is mediocre. SMR is the dividing line between the greatness and the forgettable, and we exult in the tears of the latter, for they are the sweetest of wines…

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Solace of Requiem – Casting Ruin

A new epidemic trend grips metal, following war metal, which is the tendency to Angelcorpse — yes, that’s being used as a verb — a mixture of metal influences and tie the mess together with loud vocals. Fast guitars and overactive drums work for Angelcorpse, who clearly came along in the Fallen Christ vein of blasting streamlined death metal, but metal bands now are using that style like a tortilla to dump everything else into, wrap up the ends and make a metal burrito. While some bands that make burrito metal are able to keep interest, the problem with this style and the carnival music high contrast (read: randomness) aesthetic of bands like Behemoth that rose in parallel is that by turning the volume up to 11 for everything, it creates a constant flow of essentially invariant sound that possesses no dynamic and no real progression. It is thus easier to write; songs require no real internal contrast, and songwriters can stack bits of whatever they have on hand and stitch it up with some technicality. I find Solace of Requiem to be unlistenable for this reason. It is a barrage of noise that, if someone were to take any part of it and break it out into parts divided by its internal tension and then make a song of it, might work. But the whole burrito does not. The Solace of Requiem burrito includes more lead guitar and melody and some NYDM style technicality and sweeps borrowed from metalcore, but that does not differentiate its essential approach from all the other Behemoth/Angelcorpse hybrids. Like Taco Bell, it goes down quickly, is easily forgotten and leaves an unpleasant odor lingering in its wake.

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Wombbath – Internal Caustic Torments

This is one of those bands that makes plodding rhythms catchy to the point that a listener will fall into the groove and not mind, but also will not seek it out repeatedly because of the sheer repetition without much of a direction. These riffs came straight out of hard rock, got detuned and had some quick fills added, but remain as predictable as listening to AC/DC covers at the local karaoke bar. The result is that Wombbath batters your brain until it gives up, then pours a layer of relatively obvious material over it, including songs that complete an arc but without any real doubt or tension in the middle, such that like the riffs, the structure of the songs themselves is duplicative and numbing. Nothing is done poorly and this band clearly shows mastery of the old school style, but what it lacks is a reason for a listener who is aware of the best of old school death metal to embrace this. Internal Caustic Torments expresses in many ways the worst of old school death metal and the tendency that caused the genre to collapse on itself, which was nailing the style and then using it to hammer out repetition like propaganda. This album could be improved overnight by introducing actual tension between the first and second riffs, then seeing where that leads and using it to reorganize these songs, because many of the raw elements are there.

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Pilgrim – II: Void Worship

Stoner doom metal happened when 1970s jam music swallowed up doom metal and remains basically stuck in the 1970s, Slacker, That 70s Show, etc. mentality. In other words, it aims to dig out wonder in the smallest of things, much as stoners can find a universe in their toenails. In this case, it is not the “doom” aspect that is problematic, but the fact that this music seems designed to find the fascinating and earth-shattering in simple chord progressions that remind us of Foreigner and Journey releases but without the strong sense of harmony. Instead, it’s every stoner’s dream: just start plodding along, then jam over that until some sort of magic emerges. When you think about it, that is what the Grateful Dead did for decades, blarting out never-ending tuneless solos that incorporated every technique in the book but to no end, because there was no point, only a desire to keep the jam going for as long as possible so the audience and band could take more drugs, be more groovy, pose more in front of the flower-painted school bus and other activities for people who have voids in their souls and no purpose to their lives. Pilgrim are more musically adept than most bands which cross this desk, but they take it nowhere. Songs jam, build up, trail off. Solos and fills drop in competently but express nothing. The album has a big concept somewhere if you read the theory about it that they include with all releases nowadays — I never do — but it is not expressed in the music. Much like a recent failed indie-metal album about whales, the putative topic is not the subject matter, but a cover story for playing the same crap. Really, just go get the first Def Leppard album because it does everything that happens here but with a purpose. A vapid purpose, but no purpose is more vapid than no purpose itself. Flee.

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Midnight – No Mercy for Mayhem

Warmed over NWOBHM with American glam metal glitz under a glaze of alt-death bands like Nifelheim or Gehennah. Remember when that stuff came out? It was 1998 and black metal had officially shot its wad, following death metal the dubious status of having a fully developed form but having expressed all of its relevant content three years or more prior. Thus bands thought, “Well, we have this new technology in the death metal and black metal styles, why not mix them and use them to encode the same old crap that bands were talking about in the 1970s?” You know, the safe stuff: alcohol, sex, partying and pissing off your parents. No one in a modern liberal democracy will argue with you for such an assertion of individualism and defiance of The Establishment. Thus it’s about as challenging and volatile as tap water, as controversial as feeding pigeons in a park, and the perfect product because it takes almost zero effort to make a few catchy hard rock songs with heavier vocals and more intense drums. Anyone can do it! Those were the words they used in the dying years of punk, also, which meant that anyone and everyone did do it, which ensured that the music became boring because it wasn’t about anything. Midnight isn’t about anything either. Its members are fixated only on being in a band and making some tunes that people like. That’s sort of like a chef deciding that he wants to make Big Macs instead of Filet Mignon because “people like it.” Like a Big Mac, No Mercy For Mayhem is soft and uniform in consistency and slightly sweet with a tangy sauce of rebellious high school rock. But it resembles an average of every burger ever made with the never-fail treatment of adding fat, salt and sugar, thus there is no growth, learning or evolution in it. It is simply an object, a product. And like all soulless things, it can only occupy your time, not enhance it, which means you stagnate, and you know what they say about stagnation.

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Cemetery Lust – Orgies of Abomination

I suppose this is intended to sound like Autopsy, but it more sounds like the bad SOD and DRI clones of the late 1980s: really simple sing-song two-point riffs driven by the vocals to keep the rhythmic hook alive because that is basically all the song does. Rhythms are very similar to old DRI, COC and SOD as well. Lots of downpicking. Nothing is poorly done and yet this style, like all rap music, is just too simple to express much of anything especially with these entirely standard song structures. Each song consists of two related riffs, a vocal hook, and support from other instruments. The result is not exciting unless people playing stuff faster than normal excites you. Lots of tropes from middle-1980s speed metal and early death metal, but the songs never really get any momentum going and sound about thirty years old, out of date and without personality. Some things belong in the past and should be buried next to all the bands who didn’t make it because they sounded like watered-down versions of their influences. This band can join them.

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Rippikoulu – Ulvaja

Funeral doom metal with death metal touches in the vein of Skepticism, Rippikoulu on this release create a convincing atmosphere that relies too much on texture of vocals and instrumentation but nonetheless is convincing. These songs begin with simple riffs and expand both depth and tonality, moving from minor-key intervals to more open intervals much like Ancient used to on its longer tracks, creating a sense of a moving target on a lengthy journey. Use of piano, strings and female vocals both soften the abrasive distortion and force more spacious dynamics, allowing other themes more room to move. While these songs clearly focus on atmosphere, the more important idea here is the change of moods like seasons, which gives them a grace and makes the distorted guitar seem actually jarring by way of contrast. Although this release is an EP and thus short, the mood created by this musical approach could be, like Summoning Nightshade Forests, the basis for a short escape from reality that reveals more about existence than direct confrontation ever could.

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Sadistic Metal Reviews 11-24-13

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What are Sadistic Metal Reviews? These reviews address the music itself, instead of the social impact of assembling a public persona out of bands you claim to like. Since almost all human endeavors are mostly mediocrity, there will be tender self-pity follow by rage. Come for the laughs, stay for the schadenfreude… and occasional quality metal.

dissect-swallow_swouming_massDissect – Swallow Swouming Mass

Another band that leaves an “I guess it’s OK” impression, Dissect is interchangeable early 90s death metal. The deep vocals, downtuned guitars, and atmosphere are all there, but it’s unnecessary in light of other bands doing this style better. Unless you’re curious as to what Gorefest’s Mindloss would sound like if dumbed down into commercial jingles for Benediction fans, it’s best to leave this one alone. Like most bands from the Netherlands, the music is mediocre, but at least the lyrics are unintentionally funny.

philip_h_anselmo_and_the_illegals-walk_through_exists_onlyPhilip H. Anselmo & the Illegals – Walk Through Exits Only

This has all the hallmarks of Anselmo. The bird squawking vocals, stupid lyrics, and the music sounds like a hip-hop parody of bluegrass given a RAWK makeover are all there, except taken to the EXTREME with blast beats and tremolo picked riffs. Who’s he fooling with this? It still sounds like Pantera with the addition of randomness. The soundtrack to wearing an Anthrax shirt and skipping bail in a pickup truck while smoking a lot of meth after beating up your wife and step kids while a Steve Wilkos marathon is playing in the background.

shitfucker-suck_cocks_in_hellShitfucker – Suck Cocks in Hell

This is basically a hardcore band, with some stylings of heavy metal and black metal. Thus, expect sawing droning high-energy riffs, but with the fills of an Americanized NWOBHM band and occasional black metal vocals or melodic sweep-riffs in the Gorgoroth/Emperor style. However, for the most part this is a middle period hardcore band, sounding like a more spacious version of the Dayglo Abortions. It’s not bad but not compelling.

rottrevore-hung_by_the_eyesocketsRottrevore – Hung by the Eyesockets

Some bands just shouldn’t reform, especially third rate death metal bands from the 90s. Rottrevore return, playing their Harmony Corruption with Craig Pillard vocals form of death metal, but has regressed to a point where there’s no consistency in these songs which randomly showcase “old school” cliches. The typical 90s death metal of these riffs are a placeholder for a “mosh” or “breakdown” part which suggests this band may have been influenced by Pantera and/or metalcore during their time off. Still, about the only thing this band has done that’s of any note is having a member temporarily join Incantation in the mid 90s.

wombbath-internal_caustic_tormentsWombbath – Internal Caustic Torments

This band creates old school death metal with the vocal rhythms and tempo changes of Hypocrisy, but the storming intensity of an American death metal band like Massacre hybridized with the more percussive riffing of the second album from Suffocation. It is too good to remain a local band; however, there’s a reason (besides the goofy name) why this band never rose above the level of second-tier with bands like Utumno, Uncanny and Obscurity. It is highly rhythmic but repetitive both in riff use and song structure without much melodic development, which makes the experience of listening to it about like listening to a wall. There is a verse/chorus loop which is broken up with riffs for texture, and some melodic lead riffing which bounces over the thundering chords, but beyond that the story doesn’t develop much. Some of the later songs show a greater appetite for adventure, but there’s too much of a reek of wanting to be like Entombed with the more basic and thunderous attack of Obscurity, which removed a lot of what made Swedish death metal exciting in the first place which was its use of melody and dynamics. I don’t mind listening to this, but I’m unlikely to pick it up except as a curio of the past.

equinox-of_blade_and_graalEquinox – Of Blade and Graal

This EP begins with a Graveland-cum-neofolk style chanted introduction over acoustic guitar and then launches into three tracks of savage black metal. This band shows a lot of promise, but has two major beginner’s thwarts standing in its way: first, it is unclear on what style it wants to be, ranging between Iron Maiden heavy metal and Graveland black metal and back again with some stoner doom and Danzigish riffs; second, it doesn’t complete songs. These aren’t journeys from A->B, but journeys from A-> to a conceptual space where we think about the many possibilities that might be B. As a result, much like on a GBK record, the listener gets the feeling of something started but losing momentum in indecision. The good with Equinox is that these riffs tend to be very creative and fairly technical in a way you don’t normally hear, which is that they have complexity of phrase and within that, of rhythm, more like a jazz band or a solo. Like many black metal albums, these three tracks cluster themes which are revisited across song boundaries, creating a sense of being caught in one longer song. The lack of landmarks and destinations confuses it however, as does the jumble of styles, including one riff lifted from the first COC album. However, this demo shows a great deal of promise and as the band contemplates it over time, may be the inception of greater things to follow.

hate_storm_annihilation-storm_of_flamesHate Storm Annihilation – Storm of Flames

Despite the rather war-metalish name, HSA is middle period death metal; think late 1990s Sinister crossed with Malevolent Creation from the same period. Good riff diversity and variety, and song structure that holds together while allowing an interplay between elements to emerge, distinguish this approach from the soulless one-dimensionality to follow. Stylistically, there is not much new here, but these guys have their own voice in the content of the song, which is a somewhat pensive approach like early Darkthrone or Infester with a bit more intensity thrown in out of verge. While this is only one song, and the band has a horrible low-IQ name, here’s hoping they’ll produce more in the future.

monastyr-never_dreamingMonastyr – Never Dreaming

Sub-par Polish chug death metal that reduces the NYDM style into being bouncy mosh fodder. The death/grind that Unique Leader would later popularize in the 2000s through Deprecated and Disgorge is found here sandwiched between Deicide style rhythms going into Massacre styled bouncy riffs. It’s like an over-produced and over-long death metal demo from 1994 which sounds like an aesthetically upgraded version of what bands like Benediction and Cancer were producing around this time. So, more vacuous “middle of the road” death metal that accomplishes nothing beyond being vacuous “brutal mosh metal” and as such, unnecessary beyond a one time use as background music.

convulse-reflectionsConvulse – Reflections

Convulse release an album that is arguably their most well-written, but it’s also aesthetically maladjusted and void of artistic merit. Leaving their Bolt Thrower meets Benediction rudimentary “mosh” death metal behind for the death n’ roll trend of Entombed and Xysma, Convulse make a fully functional rock album with great instrumentation and performances. The problem is the gimmickry. A whimsically folky intro does a poor job setting the stage for the album proper, which is a more sufficiently mainstream version of the Xysma and Amorphis albums from this period. Extreme vocals, drums, and happy jazzy riffs are tremolo picked and blasted through giving this the feeling of death metal musicians parodying radio music more than anything. Bluesy and psychedelic as well, it seems like Convulse’s talent for stealing their country mates ideas has culminated in an album that simultaneously does everything their peers strove for better but coming off more poor in making things work cohesively as a listening experience, revealing this to be more of a “quirky” sham born from a conformist outlook than anything honest.

dead_world-the_machineDead World – The Machine

Early “death industrial” band Dead World uses the Streetcleaner formula for aesthetics but is closer to monotonic and mechanical industrial music in their compositions than anything that could be called metal. Lyrics and the “broodingly moody” manner in which they’re delivered reflect the mentality that Nine Inch Nails and Marilyn Manson would use when making pop-industrial themed Xanax accompaniments. The band does a good job of making the downtuned guitars, vocals, and drums work together into making a “hostile” soundscape, but it’s really monotonous stomping rhythms are only interrupted by discordant bridges that don’t build on any of the preceding and the music doesn’t unfold through layers of guitar tracks, making this a bite-sized version of the Godflesh style that is more in line with what mainstream industrial rock bands were shipping out at this time. Very obvious “misanthropic” heavy rock music that doesn’t offer anything over its clone target.

Daniel Rodriguez, Jon Wild, Max Bloodworth and Cory Van Der Pol contributed to this report.

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