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Wolf – Ravenous (Century Media Records)

David E. Gehlke
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Wolf – Ravenous (Century Media Records)

Wolf is not the first band mentioned when discussion opens on retro metal, but by golly, they’re probably the best throwback metal band going. Starting with 2002’s signpost Black Wings, the Swedes have taken proto Maiden melodies, the songwriting smarts of Priest, and the tongue and cheek of Helloween and rolled into one solid ball of rock. The follow-up to 2006’s strong The Black Flame, Ravenous is not a step forward, rather a lateral move, which is what you’re supposed to do when paying homage to the greats.

Singer/guitarist/mainman Niklas Stalvind’s vocals remain the real selling point with Wolf. While the band is not afraid to dole out twin g’s at the drop of a hat (see opener “Speed On” and “Secrets We Keep”), it is Stalvind’s tenacious classic metal throat that makes the killer “Voodoo” and fun “Mr. Twisted” go. Stalvind never gets in the way of a good riff or has to over-extend himself, which is probably why he’s so effective.

Lots of nods to Maiden on this one, moreso than on previous releases. Starting with “Curse You Salem,” an indirect, but probably direct nod “Wrathchild,” Wolf is most at home when weaving fiery twin harmonies. “Whiskey Psycho Hellions” and “Hail Caesar” are two additional cuts that drive home this point, especially the former, which sees Stalvind and fellow guitarist Johannes Axeman trade some rather tasty licks.

In regards to this scribe’s statement that Wolf are the best throwback metal band going, it’s true primarily in the sense it all sounds fresh. Wolf take a little bit of everything that is right in the classic metal world, exploit it to the fullest, then move onto the next thing. Ravenous. And while the words “fresh” and “classic metal” seem like oil and water, Wolf torch this notion. That’s why they’re the best at what they do.

www.wolf.nu

(This content originally appeared on Blistering.com)

Heaven and Hell – The Devil You Know (Rhino Records)

David E. Gehlke
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Heaven and Hell – The Devil You Know (Rhino Records)

Heaven And Hell, Black Sabbath, Dio and the boys. Whatever you want to call it, there’s been high anticipation for this release – a tour which absolutely blew away everyone who caught them live, some new properly goodsongs on the greatest hit’s collection (The Dio Years) and anticipation was exchanged for excitement in many corners. Would this be a nostalgia trip or would they actually get it right if they recorded a full length? Well, we finally have the answer in the form of The Devil You Know which features some of the best cover artwork going in a long time.

So while it’s great to have Ronnie James Dio, Tony Iommi, Geezer Butler and Vinny Appice together, putting out new material but let’s not get utterly blinded by the bluster and bright lights. ‘The Devil You Know’ is far from perfect (although having heard just ‘Bible Black’ you might be convinced otherwise), but then it’s also got some killer tracks too.

It’s an album that tends to hit both extremes, the only difference being that these guys are so long in the game that you’ve heard all their mistakes before and you love them a little for it. So even at its worst The Devil You Know is still enjoyable. Nonsense Dio lyrics and filler Iommi riffs are still better than most. That being said The Devil You Know is going to get a lot of chances to make an impact, more so than something by a new unknown band and this inclination towards repeated listens will work in it’s favour, since there’s more than a few ready made classics on here champing at the bit and rearing to be let loose.

Opening track “Atom And Evil” is a big slow doom monster with Dio wailing his metal lungs out and while not a knock out track as such it sets the pulse racing nicely. “Bible Black” starts off all slow and acoustic before dragging in a hulking, slightly spinning riff courtesy of Iommi, who’s on fire throughout this one, even ripping out a rather stylish solo. An epic lasher of a tune, it’ll wrap its wicked heart around you, the bass and drums working together into an unobtrusive yet solid foundation. Live, this is going to be brilliant, you can already tell. No wonder they’re using it as their calling card.

Then there’s “Double The Pain” which has a weird bass effect at the start, moves into a nice doomy bit, kicks off into an old school metal part then stumbles into a bit of a shit chorus to be honest. But surprisingly it’s still pretty good. Nothing great, more like one of the forgettable tracks off Dio’s Master Of The Moon album, it’s a standard mid-album filler. And that’s generally how it goes. Some sheer bad-ass songs, some fairly bad songs, but you’re going to listen to them anyway a few times to be sure. There will be some songs you skip after a few listens. Well worth the cash though.

The big disappointment – the lack of Dio ad libs, but his voice is phenomenal. The man is made of solid rock. “My sunshine is wind, rain and thunder.” Epic. Okay so “Rock And Roll Angel” is a bit rubbish and even Dio’s voice doesn’t seem to be up to it and it’s got some of his warbling, nonsense, the “perfect angels in the dark” passage is pants. And Iommi doesn’t entirely help out much either sometimes, but to have expected this album to be entirely brilliant would have been stupid. “You been wishing for the magic sign, here’s where you will find your rock and roll angel” and “perfect strangers in the dark, waiting for their lives to start, but just before the dream begins, you MUST confess your sins, yeah!’” – surprised. “Soon to see the holy one, can he really block the sun’” – oh dear, even for his holy majesty himself that one’s a bit rubbish. “The Turn Of The Screw” has a few polished moments, but it’s also far from perfect and “Eating The Cannibals” is also a bit forgettable.

But when they do it right, by Christ, is it good. “Follow The Tears” opens with a big evil riff, some moody organs and the thud of the bass. This is what we wanted more of. It then kicks off with a savage slow head banger courtesy of Iommi, before erupting into the main riff a big beauty and Dio beckoning you to ‘come lie on a bed of nails and slumber’. Yeah! Utterly brilliant. It’s actually possible they put a few dodgy songs on here to make the good ones sound even better. Then there’s that massive doomy chorus that rolls down even as Dio perks up. You can picture him throwing all sorts of cool shapes with his long sleeves and big cuffs. “If you want to know where I’ve been hiding all these years, follow the tears” and the sort of riff that Alice In Chains would have given up everything for. Really how did Ozzy get away with it for so long while these guys were off on the peripheries?

Closer “Breaking Into Heaven” is a big rocking song too that once again combines all the best elements of these four working as a fine machine. “We just found the keys and we’re breaking into Heaven” – yes you did. Occasionally you dropped them, but in general you’ve got the key right in the lock. Not that it matters, because you’re going to buy this anyway knowing full well that even at their worst, Heaven & Hell/Black Sabbath are better than most of the shit you’ll hear today, seeing as there’s a good chance they inspired not only the good bands, but the bad ones too. Great to have them back and hopefully the next one will be better. Roll on the summer and a tour.

www.heavenandhelllive.com

(This content originally appeared on Blistering.com)

Altar of Plagues – White Tomb (Profound Lore Records)

David E. Gehlke
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Altar of Plagues – White Tomb (Profound Lore Records)

At times, White Tomb just floors you. Just like Isis did circa Panopticon or Cult of Luna when they’re not fucking around. Yeah, it drifts into metalgaze territory more than once and that’s fine, but that black metal smear gives it more of an edge than any of the aforementioned bands can be bothered with. White Tomb is ragged, apocalyptic (a word we could probably beat into the ground), and highly cinematic. Above all else, it’s an early career defining moment for a band just starting to take a peak out of its Irish homeland.

Conceptually, White Tomb details the endless beating planet earth (i.e. “White Tomb”) has taken the last several centuries and how mankind is content to let its treasured cultures and landmarks die. While it’s nothing new, the ferocity and utter conviction in which Altar of Plagues lays this out makes almost impossible not to latch onto.

Sonically, wow, I mean, this album is gigantic. Big drums, crushing, in-your-face guitars, and enough open space to make massive chasms in any soundscape. Plus, there are hints and dabbles of spacey, cryptic melodies in this four-song block (you guessed it: they’re all long) to allow it to hold up well over time.

Some black metal meanderings emerge in brief moments, usually captured in a frenzied blast portion or scathing chord structures. When the band is through with that, the tempo is pulled back and the storm clouds move in. Heck, even a noise/experimental section in “Watchers Restrained” works, and that’s usually the type of nonsense that kills albums like this.

White Tombs simply explodes the sonic boundaries developed by the metalgaze scene. It’s more than that, obviously and its tenacity and all-consuming apocalyptic aura will bring anyone down. Massive.

www.myspace.com/altarofplagues

(This content originally appeared on Blistering.com)

October Tide – Rain Without End (Reissue) (Vic Records/Candlelight)

David E. Gehlke
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October Tide – Rain Without End (Reissue) (Vic Records/Candlelight)

The final missing piece in the vaunted Katatonia-related side project catalog, the reissue of October Tide’s Rain Without End is an absolute must-have. Recorded in 1995 when singer/drummer Jonas Renske and guitarist Fred Normann became estranged from guitarist Anders Nystrom, Rain Without End is for all intents and purposes, the bridge between Dance of December Souls and Brave Murder Day.

It’s widely noted Renske has long disliked the production values behind this album, which could explain why it was scarce for so long. A Dan Swano remaster job does the trick, giving the album full scope and sonic depth, but like most albums from this era, a crystalline production job would probably take away from the charm and atmosphere. Therefore, it’s gritty production values (yeah, the snare is a bit too lively) make the album what it is.

Characterized largely by lurching, post-Paradise Lost melodies Katatonia became so enamored with around this time, Rain Without End is more developed and less plodding than Dance of December Souls, which may sound blasphemous to some, but it’s true. Opener “12 Days of Rain” is a fully realized number with equally morose and melodic guitar lines, while “Ephermeral” and “Blue Gallery” embody the slow, painstaking atmosphere of British doom ala early My Dying Bride and Anathema.

Hooks abound on the up-tempo “All Painted Cold,” which might be the bestsong of the bunch. That or “Sightless.” Renske’s deep and throat-scraping growls are full of black emotion and when paired with Normann’s simple, yet deceptively cunning guitar lines, the results are godly.

Per the suggestion this album was the obvious precursor to Brave Murder Day, “Losing Tomorrow” is a dead-giveaway to the song “Day” and sees Renske use, for the first time, his Robert Smith-on-his-deathbed clean vocals. It’s simply breathtaking.

Rain Without End would have scored higher had it come with more detailed liner notes. Actually, there are no liner notes, so screw that. Some historical recollections from the duo would have been perfect, especially under the circumstances in which this album was recorded, but ‘tis not to be. But considering Renske and Normann never did interviews or promotion for October Tide, it makes sense.

Of the two albums in October Tide’s discography (1999’s strong Grey Dawnbeing the other), Rain Without End is the keeper. Borne out of turmoil and strife, Rain Without End is a landmark of European dark/doom metal and is rightfully deserving of its place in the untouchable Katatonia pantheon.

www.myspace.com/octobertide

(This content originally appeared on Blistering.com)

Hatesphere – To the Nines (Napalm Records)

David E. Gehlke
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Hatesphere – To the Nines (Napalm Records)

Some major turnover going on in the Hatesphere camp, with longtime throat Jacob Bredahl leaving the Danish thrashers in late 2007. Hardly a death-knell, the band has regrouped with razor-lunged Jonathan Albrecthsen and a new album in tow, the very scathing To the Nines A much more varied, pinpointed attack than 2007’s Serpent Smiles and Killer Eyes, To the Nines re-establishes Hatesphere as one of the preeminent European thrash metal acts.

Central to Hatesphere’s sound has always been the riffing and band leader/guitarist Pepe Lyse has more than a handful riff-burners that instantly dig-in and go for broke. The opening riff salvo of “Cloaked In Shit” immediately comes to mind, where a punchy triplet interval kicks off the otherwise groove-laden number in brutal fashion. “To the Nines” is configured the same way, as Albrecthsen reels off an array of pointed vocal rasps.

”Clarity” emerges as one of true highlights of the album, as a simple main riff turns into massive punch to the gut. The born-to-race “Even If It Kills Me” augments more of Lyse’s first-class riffing, while the lively “The Writing’s On the Wall” and “Aurora” are total Euro-thrash keepers.

At the halfway mark, “Commencing the Campaign” breaks up the flow nicely and if we were to bet, would serve as good concert intro music. Not much melody is to be found, yet the frantic death ‘n roll swing of “In the Trenches” has more than enough meat to make up for that.

To the Nines is the band’s most thorough and engaging release since 2002’s criminally underrated Bloodred Hatred. There’s such a wide palette of punchy, compact thrash riffs here, that it puts any sort of retro-thrash musings to shame. Killer all the way through.

www.myspace.com/hatesphere

(This content originally appeared on Blistering.com)

Saros – Acrid Plains (Profound Lore Records)

David E. Gehlke
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0
Saros – Acrid Plains (Profound Lore Records)

We’ll forego any silly metaphors in regards to Acrid Plains and how unbelievably awesome its opening title track is and how the rest of the album pales in comparison. Guess that’s what an opening track is for – to show off your best song and man, “Acrid Plains” is Saros’ best song, hands-down. A darkly-lit, spatially melodic concoction of post-BM and haunting, ominous guitar lines, “Acrid Plains” set up the second album from these American metallers in a big way. Then the bottom dropped out.

The main beef with Acrid Plains is how far-reaching it is. It covers lots of terrain and some of it’s just not necessary, like the meandering female vocals that constitute a vast portion of the album. While it’s a great thing they resemble Hammers of Misfortune, this might not be Saros’ strong suit. Additional epic metal avenues are also explored, to varying degrees of success on “Devouring Conscience” and “Reversion.”

When the band keeps matters gritty and on-target (see: the title track, and “The Sky Will End Soon”), Acrid Plains emerges as a better-than-most dark metal affair, which might be the only suitable tag for a band as varied and multi-dimensional as this.

In this day and age where single songs matter more than albums, there is some value with Acrid Plains. The killer momentum and suspense built by the opening track might find its way onto many iPod’s across the land and it should – the song rules. Can’t stress that enough. As for the rest of the album, it’s give or take. Your call.

www.profoundlorerecords.com

(This content originally appeared on Blistering.com)

Therapy? – Crooked Timber (DR2 Records)

David E. Gehlke
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0
Therapy? – Crooked Timber (DR2 Records)

Twelve albums in (if you include EP’s Babyteeth and Pleasure Death) and Northern Ireland rockers Therapy? are still going strong. Better than ever actually when you get down to it and really start to feel comfortable with Crooked Timber. Their last few albums came in quick succession but they took a bit of a break before this one. That extra bit of time and care really shines through. Crooked Timber as an album is fuller, more rounded and definitely their most experimental and darkest work since 1999’s Suicide Pact – You First ten years ago, their most complete album since High Anxiety in 2003. Anyone who’s familiar with this band knows that their odd, awkward albums are the ones that stand the test of time best and Crooked Timber is one of the strangest.

Opener “The Head That Tried To Strangle Itself” has a churning start, sparse verse then snappy, weirdly melodic chorus. The drawn out scraping, electronic mid-section puts you on a wrong footing, before thrusting back into the fray. The absolutely genius “Clowns Galore” is going to be savage live. Hard snapping beats, a big chugging bass, a drilling guitar riff that’ll take your head off and sharply hooked vocals make this the album’s standout track – worth the entrance fee alone. In a way, it harks back to the early days of Nurse and to a lesser extent Troublegum.

One thing that fans shouldn’t be worried about though is Therapy? relying on the past. This band exists outside of normal timelines and with nothing to prove to anyone else can seemingly do what they like. That it’s still fresh and exciting after so many years together makes Crooked Timber an absolute joy to listen to, each track unfurling before you as you constantly remain unsure where it’s going to turn next. “Enjoy The Struggle” is built on a big, rolling riff that pushes and pulls, like the rock the referenced Sisyphus battles with. Andy Cairns’ sharp, sometimes witty, sometimes biting, vocals work perfectly throughout the album. Apart from “Magic Mountain,” the huge and meandering, 10-minute instrumental, which instead of building up to something majestic instead ambles around, sounding a little like Placebo, this album is almost flawless. Sure it starts off really well, like a big summertime rock song, but once it gets to the five-minute mark it would have been better off being cut.

So there’s “Exiles” built on a bass line similar to Muse’s “Muscle Museum” and a weird, softly, softly type of vocal delivery, with Neil Cooper’s hi-hat/snare interplay keeping things moving nicely. The less than perfect “Blacken The Page” sounds a bit out of place, more of a poppy-punky-rocky song than anything else on here. In fact with too many highlights to mention in the middle (infectious choruses “I Told You I Was Ill” brilliant big riff rock “Somnabulist” odd rock “Crooked Timber”) we’ll just skip to the end and album closer, “Bad Excuse For Daylight,” which dominates.

Once you’ve listened to Crooked Timber through once from then on it sits waiting for you, at the back of a dark alley all teeth and claws. Built on an almighty, massive, dirty riff and sheer sludgey heaviness it’s as if Charger or The Melvins have found their way onboard somehow. Therapy? have not been this metal in a long time as it pulses along, especially the chugging part before the vocal comes in, “One of these days when nature spring cleans I’ll be part of the flotsam that goes” Andy Cairns drones, almost uncaringly. The outro simply goes its own way giving no regard to either time nor key signature, but before that there’s still the wicked melodies and hooks they always manage to infuse things with.

An absolute curveball to be thrown at the end, but one which keeps you guessing and will have you coming back for more and more. Therapy? aren’t going to pander to you and they’re certainly not going to make things easy, which means there are flaws, but in a world where perceived perfection is set as a goal everywhere we look, it’s nice to get a bit of ugliness chucked in to keep it real. Therapy?, it’s good to have you back.

www.therapyquestionmark.co.uk

(This content originally appeared on Blistering.com)

Wolves In the Throne Room – Black Cascade (Southern Lord Records)

David E. Gehlke
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0
Wolves In the Throne Room – Black Cascade (Southern Lord Records)

Their stance as nature-worshiping, old-fashioned heathens (the kind, civilized ones) now fully exposed and understood, WITTR proves they are of equal substance and style with Black Cascade. Not like they weren’t before, but unlike several “name” bands that receive higher-than-before exposure, Wolves don’t appear to be taking a dive anytime soon…

The follow-up to 2007’s world-beater Two Hunters, Black Cascade sees Wolves make an even more concerted attempt at bringing those cold, home-spun BM melodies to the fore, allowing for that indispensable atmosphere to take full form. There is a little more wiggle-room for those calculated, Northern US riffs to take hold, as evidenced by lead-off track, “Wanderer Above the Sea Fog.”

Like its predecessor, Black Cascade is only at four songs, but these are long, tenured jams that roll on and on and on. Just look at “Ahrimanic Trance” where an almost hypnotic blast-beat (done in half-time) provides the foundation for psychedelic riffage and churning melodies. This goes on for the entire song, mind you, and it’s nothing short of epic.

“Ex Cathedra” begins with a slow fade-in and shifts to a winding, somber guitar line that ranks among the band’s finest moments to date. It will almost drain you, this after the pummeling we took with “Ahrimanic Trance.” In fact, Wolves never hesitate to pick up the tempo. They do it in “Ex Cathedra” and album closer “Crystal Ammunition” follows suit, but contains a well-placed folk interlude that allows Black Cascade to bow out with more dignity and class than 80 Norwegian BM bands.

American black metal has totally upped the ante this year in the two-pronged attack of Absu’s simply devastating self-titled album and Black Cascade. The beauty of it all is that both bands are operating in different plains and universes and bear little, if any resemblance to each other sonically. If we had to pick, we’ll go with Wolves, only because these Olympia, WA-based lads have yet to peak. If they have, Black Cascade is one friggin’ high mountain to scale.

www.myspace.com/wolvesinthethroneroom

(This content originally appeared on Blistering.com)

Khors – Mysticism (Paragon Records)

David E. Gehlke
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0
Khors – Mysticism (Paragon Records)

Hard to peg this one down, something we’ve grown accustomed to when tackling the wide assortment of bands on Paragon Records. Khors call the Ukraine home and claim black metal is their forte, but that might be a tad misleading, as Mysticism shouldn’t limit itself to being tied in with the rest of BM goons and clowns.

What it is, is the type of BM that Agathodaimon rolled out in the late 90’s; it’s more reserved than it should be and lays off the speed, yet each of Mysticism’seight cuts have something of value. In fact, the Gothic metal undertones cultivated in “Raven’s Dance” and “In the Cold Embrace of Mist” are quite memorable, bolstered by a crisp, jagged production job that again, reminds one of Agathodaimon or Graveworm.

Gut-wrenching acoustic guitars highlight “Pagan Scars” and “Red Mirrors” while delicate keyboard tinklings add a wreath of darkness around “Milk of Heavens” and “Mysticism.” The band proves itself to be formidable songwriters, thus resisting the temptation to speed things up, which would probably soil this well-plotted land of Gothic BM gravestones.

Across the board, Mysticism gets high praise here, as it’s the type of release that ultimately props up black metal and keeps the subgenre fresh and varied. However, don’t mistake this as your dyed-in-the-wool Cradle of Filth “Goth” BM outing – this is darkness, a dish best served cold, Ukrainian-style.

www.myspace.com/khorspagan

(This content originally appeared on Blistering.com)

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