Reviews: An Autumn For Crippled Children, Mammoth WVH, Rituals, Virology (Reviews By Evil Spider, Rich Piva, Matt Bladen & Charlie Rogers)

An Autumn For Crippled Children - Closure (Prosthetic Records) [Evil Spider]

An Autumn For Crippled Children have given us some rather tasty post-black metal/shoegaze/black gaze in the form of their new album Closure.

Generally I struggle to get along with post-black metal and shoe gaze but I do find myself drawn to the black gaze side of things, particularly bands like Advent Sorrow, and Deaf Heaven, with AAFCC sounding more like the former which is great for me. I really enjoy the juxtaposition between the tormented vocal style and the almost hopeful chord progressions, the style really makes the album feel like an adventure in an open world, albeit filled with darkness and misery. I See You...But Never Clearly is a great example of this, as it feels as though you are standing all alone in a vast, unknown land.

There’s a beauty in the subtlety of this album, even with the use of blast beats, it never feels heavy, and that is not a bad thing, it’s just that the instruments and vocals work very well together to create these epic soundscapes. A standout track for me would be This Feels Like Dying. The structure of this song just feels immense. The guitar tones, the keys, the drums, the vocals, it all blends together perfectly to create five and half minutes of beautiful despair.

At times, you can hear an 80s goth influence coming through akin to the sounds of Bauhaus and Sisters Of Mercy, especially on album closer Here Comes Sorrow. This is most likely down to the well placed keys that really do elevate each song. This album is well thought out and put together by a band that seem to really be trying to make a name for themselves. I will most certainly be keeping an ear out for more from AAFCC. 8/10

Mammoth WVH - Mammoth II (BMG) [Rich Piva]

By all accounts Wolfgang Van Halen is both a good dude and an extremely talented musician. That last name can be a blessing and a curse I assume when going after a career in the same field as the debatable greatest of all time at his instrument, but he leans right in and embraces it. He also happens to be a great follow on X or Twitter or whatever it is called, wearing his personality and sense of humor on his sleeve. I didn’t love the first mammoth WVH record. I thought it lacked any kind of grit and was pretty generic. How does II stack up? To me, a lot better, but it is still not something that grabs me and keeps me enthralled.

The opener, Right? is some straight-ahead rock that would sound perfect right next to whatever Foo Fighters song is on the radio these days, except you can tell we have a next level player on our hands here with that solo. Like A Pastime is on a similar path, but I feel Wolfie is going a bit more prog with II. Make that a lot more prog. Not that these are some complicated compositions but just in the musical vibe. But not prog enough to be too out there that every one of these songs could be ingested by the masses. Another Celebration At The End Of The World is a banger, maybe my favorite song I have heard on both the records. And yeah, how about the solo here. We take a misstep with Miles Above Me, which is a bit too formulaic and cheese for my tastes, almost sounding like a modern Goo Goo Dolls song (not a compliment, if it was something from Hold Me Up that is another story). 

Take A Bow doesn’t do much better for me, as this is more deep cut Foo Fighters territory. There is something about the drums that give me a made in a lab vibe…I am very sensitive to overproduction and this teeters on the border. But again, Wolfie just shreds on this track. Optimist doesn’t do anything to make the songwriting any more memorable. There is nothing bad here, just not anything I need to go back to or will be humming later. I like his edge on I’m Alright, as we get some more emotion and another great solo. But then Erase Me goes back into the more sterile radio friendly pile, which very well might be what he is going for, it is just not for me. Look, I am not going to make friends with this review, and it is OK. 

I applaud Wolfie for doing his own thing, writing and performing all of his own material, and forging his own path. But I think he would really benefit from being the guitar player in his band and maybe bring in some outside help, like a singer (though the vocals are a lot better on II) and another songwriter and toning down the production. There are a lot of people who are going to passionately love this album, but the question must be asked if they would if it was just another radio friendly guitar rock band who put it out. But yeah, those solos... 6/10

Rituals – I Found Myself In The Dark (Marshall Records) [Matt Bladen]

Newcastle based band and winners of Kerrang! Radio’s ‘The Deal’ Competition, Rituals release their new EP I Found Myself In The Dark. A three track slice of modern heavy metal, that draws from bands such as Slipknot especially. The primal percussion of Matthew Dix is built on by the brutal, rapid screams of Lewis MacRae, before he transitions into angsty cleans. 

The riffs from Ewan Lee (guitars) and Dom James (bass) angular and pit ready, lashings of heavy groove on Living Blind, while the electronics are amped up on the title track which is built around a headbanging groove. Formed in 2018 they have been building up their fanbase with two previous EP’s and many notable shows, so it stands to reason that this third EP is their chance to really make their mark especially as it came on the back of the ‘The Deal’ competition which signed them to Marshall Records. 

Closing with the speaker shaking Cataclysm, they prove why they were worthy of winning as their modern sound is ripe for radio play and festival stages. 7/10

Virology - Programming Sentiency EP (Self Released) [Charlie Rogers]

Programming Sentiency is the first release from Cardiff tech death three piece Virology, sporting a sleek futuristic aesthetic that blends the aggressive ferocity of slam with the razor sharp edge that comes with modern technical writing. The 5 track EP is a white knuckle trip into a dystopian future, where mankind’s destiny may not be assured. Each cut bringing a relentless thunder to assault the listener, while still managing to fuse together undeniable groove and a competent sense of song structure. The songs don’t waste your time languishing in tedious masturbatory solo sections or needless ethereal otherworldly sounds to pad the record out - just straight down the middle riffs and hooks paired with the odd lead.

Guitar riffs range from rhythmic sawing to frantic discordant scale patterns, underpinned by a solid bass rattle, and blistering drums. Vocals spanning a wide range, from incomprehensible sewer gurgles to mad dog barking then to petrifying shrieks. Luckily, only a pair of short samples were utilised on the record for some brief atmosphere, avoiding the common overuse bands in this genre typically fall into the habit of doing. Guitar tones are all appropriate, with the lead lines soaring over the backing with ease, and generally fitting the genre’s expectations.

The bass is extra girthy, like giant coiled cables rattling around in a storm, occasionally breaking the surface of the record with exposed bass parts. There’s obviously been a lot of thought that’s been put into how the programmed drums sound compared to the other instruments, and the pairing is especially great in the track Cybernetic Core Enhancement - super metallic sounding pingy hits paired with the bass riff instantly transports you to something like a robot factory, hearing the machinery through the composition expertly. That said, drums are a little too prominent in the mix, sometimes becoming overbearing and detracting from the 3 real people on the record - vocals especially in some parts get lost in the almost comically fast double kick.

An impressive first release for a new band on the Welsh scene, and certainly a band to watch for the future, however dark it may be. Give this a spin if you like your tech death angry, groovy, and to the point. 8/10