When I saw the name Wolverine I did think that perhaps I'd be in for some heavy metal about everyone's favourite Canadian X-Man but no siree bub as this Wolverine are a prog metal band from Sweden. Anomalies is their first album in a decade and the line up that recorded 2016's Machina Viva remains in tact, Stefan Zell the soaring, emotive, vocalist in the mould of Damian Wilson via Einar Solberg. He brings passion to massive classic prog metal tracks such as My Solitary Foe and a closer more intimate delivery on Circuits which twitches with insistent electronic drums, horns and ambience.
Behind him the band all play with virtuosity, Jonas Jonsson's guitar jangles with gothic overtones right out of the Katatonia songwriting school, the drumming of Marcus Losbjer gives Nightfall it's potency and anchor. The album is anchored around a trilogy of songs (A Perfect Alignment, Circuits and A Sudden Demise) all linked by the concept of passing time and going back over your life from the prospect of it getting closer to ending. This repeating pattern of thought reflects the repetition that is used in the riffs for these songs, most of which are directed by Thomas Jansson's bass grooves.
The keys of Per Henriksson, are the keystone to many of these songs, be it the synthy electronic thumps, the swathes of 2000's down tempo/ambient, atmospherics on The World And All Of Its Dazzling Lights or the classical piano on the beautiful Automation. Like many of their peers, Wolverine started out in the death metal scene but then shifted towards the gothic and gloomy prog metal and with Anomalies they are still finding ways to make it enthralling. 9/10
Paganizer – As Mankind Rots (Xtreem Music) [Rick Eaglestone]
Drawing from the Stockholm sound's grittiest traditions, Swedish death metal veterans Paganizer return with their crushing assault As Mankind Rots
.
Opening title track As Mankind Rots wastes absolutely no time – a battering ram of buzzsaw guitars and pummelling drums that very much establishes the template for what follows, this feels like a great progression that maintains the elements that have seen Paganizer endure as a staple of the Swedish death metal scene for years.
The keys of Per Henriksson, are the keystone to many of these songs, be it the synthy electronic thumps, the swathes of 2000's down tempo/ambient, atmospherics on The World And All Of Its Dazzling Lights or the classical piano on the beautiful Automation. Like many of their peers, Wolverine started out in the death metal scene but then shifted towards the gothic and gloomy prog metal and with Anomalies they are still finding ways to make it enthralling. 9/10
Paganizer – As Mankind Rots (Xtreem Music) [Rick Eaglestone]
Drawing from the Stockholm sound's grittiest traditions, Swedish death metal veterans Paganizer return with their crushing assault As Mankind Rots
.
Opening title track As Mankind Rots wastes absolutely no time – a battering ram of buzzsaw guitars and pummelling drums that very much establishes the template for what follows, this feels like a great progression that maintains the elements that have seen Paganizer endure as a staple of the Swedish death metal scene for years.
Devoured finds the album hitting its stride early – guttural vocals, tremolo riffs tinged with melody – this right here is quintessential Paganizer, this is exactly how they've maintained their status as underground death metal royalty – this hasn't been a quick rise but a well-measured campaign of consistent, quality brutality that is very well executed and more importantly, authentic. The band's tight performance throughout contributes such hard-hitting elements, if you need an example of this then go and put Aftermath Bleeder on very loudly – nothing short of crushing with its mid-tempo groove that absolutely punishes.
Only Maggots serves as a brief but necessary intensity shift and introduction to Put On Your Gasmask which features devastating vocal patterns with a great grinding tempo that alongside some brilliantly executed riff progressions ticks all the boxes for me, and this is why I consider this the album's absolute highlight. This is followed by the most relentless and aggressive delivery on Hollow.
A Testament To Madness brings the album back to where it had been previously, again using a wealth of dynamic shifts which on this occasion delves more into the tremolo-heavy passages, but again power, gut-wrenching vocals combined with chaos is certainly a cocktail that Paganizer delivers so well. The guitar tone throughout is absolutely filthy in the best possible way.
Only Maggots serves as a brief but necessary intensity shift and introduction to Put On Your Gasmask which features devastating vocal patterns with a great grinding tempo that alongside some brilliantly executed riff progressions ticks all the boxes for me, and this is why I consider this the album's absolute highlight. This is followed by the most relentless and aggressive delivery on Hollow.
A Testament To Madness brings the album back to where it had been previously, again using a wealth of dynamic shifts which on this occasion delves more into the tremolo-heavy passages, but again power, gut-wrenching vocals combined with chaos is certainly a cocktail that Paganizer delivers so well. The guitar tone throughout is absolutely filthy in the best possible way.
Shades of Entombed and Dismember fire through via Afterworld which instantly appeals to the nostalgic death metal enthusiast, but there is very much a fresh stamp to it, very much in keeping with the overall aesthetic of the album. Rogga Johansson's riffs here are particularly inspired, managing to feel both familiar and ferocious.
The Rotting End has a nice, doom-laden vibe overall, but the bleakness is never too far away and sweeps through into One Way To The Grave, and if you've been following the Swedish death metal resurgence, I don't think you would disagree that this would fit in perfectly alongside the genre's modern classics – the leads into the chorus passages are just so well developed and executed with precision.
Vanans Makt closes the album with a track sung in Swedish, adding a nice touch of authenticity to proceedings whilst maintaining the absolutely devastating heaviness that's been consistent throughout – again using the classic Swedish death metal buzzsaw tone that really lifts it so that when the more crushing mid-tempo parts cut in, they are even more impactful, demonstrating the musicianship as a collective with clever dynamics and absolutely devastating groove.
Now, if there have ever been any questions about Paganizer's commitment to pure death metal devastation, this album should fully cement their legacy, and quite frankly not only from what I have heard on this album but previous efforts, it's abundantly clear that Paganizer more than deserves the respect and attention in this space as honestly its wave upon wave of razor-sharp riffs all wrapped in a ball of unbridled Swedish death metal fury.
The production here is absolutely monstrous, thick as concrete but still allowing every riff to cut through with surgical precision.
The Rotting End has a nice, doom-laden vibe overall, but the bleakness is never too far away and sweeps through into One Way To The Grave, and if you've been following the Swedish death metal resurgence, I don't think you would disagree that this would fit in perfectly alongside the genre's modern classics – the leads into the chorus passages are just so well developed and executed with precision.
Vanans Makt closes the album with a track sung in Swedish, adding a nice touch of authenticity to proceedings whilst maintaining the absolutely devastating heaviness that's been consistent throughout – again using the classic Swedish death metal buzzsaw tone that really lifts it so that when the more crushing mid-tempo parts cut in, they are even more impactful, demonstrating the musicianship as a collective with clever dynamics and absolutely devastating groove.
Now, if there have ever been any questions about Paganizer's commitment to pure death metal devastation, this album should fully cement their legacy, and quite frankly not only from what I have heard on this album but previous efforts, it's abundantly clear that Paganizer more than deserves the respect and attention in this space as honestly its wave upon wave of razor-sharp riffs all wrapped in a ball of unbridled Swedish death metal fury.
The production here is absolutely monstrous, thick as concrete but still allowing every riff to cut through with surgical precision.
A relentless display of old-school death metal fury. 7/10
Sleeping Giant - The Beauty Of Obliteration (Octopus Rising/Argonauta Records) [Mark Young]
A long time coming, The Beauty Of Obliteration is the debut release from Icelandic heavies Sleeping Giant. With a list of influences that take in Down through to early Mastodon and genres from Stoner to Extreme metal, this is a release with many facets and is a rewarding one too. There can be no doubt at all that this is a band that bring you what you want most, gloriously thick riffs, battering drums and super guttural vocals that do that rare act of being both extreme but you can understand as the same time.
Sleeping Giant - The Beauty Of Obliteration (Octopus Rising/Argonauta Records) [Mark Young]
A long time coming, The Beauty Of Obliteration is the debut release from Icelandic heavies Sleeping Giant. With a list of influences that take in Down through to early Mastodon and genres from Stoner to Extreme metal, this is a release with many facets and is a rewarding one too. There can be no doubt at all that this is a band that bring you what you want most, gloriously thick riffs, battering drums and super guttural vocals that do that rare act of being both extreme but you can understand as the same time.
Conqueror starts, and it has a filthy groove to it, especially once it hits halfway and I defy anyone not to nod along to this. Like early Grand Magus, it has that swing to it where the riffs chosen are just perfect. Mobilizer Of Evil drops next, its riffs tightly packed and its one of those songs that you want to jam on. Its been awhile since I’ve said that, and like Conqueror it has that movement to it, tempo changes that come and go without sounding out of place. You can hear their influences at work here, but its not shameless in its execution.
They take the best and make it their own, building their songs to suit. As opening 1-2’s go, it’s a cracking start and one that continues through the album. They consistently find the right riff, the best arrangement on each track and once we get into it, they show that they are not afraid to go down a progressive route with song lengths to match. The Monk, is quality, with a build that goes where it wants to, constantly moving and taking in a touch of thrash here and there. They are so precise it is easy to forget that this is their debut, such is the way each song drops on you.
Closing the album out is the 3-minute rager, Venom Ripper, Gorgon Blaster which tears along nicely with one of the coolest names you will see and is like a reset switch before they drop in what I believe will be a smasher live: Abysmal Flame.
Bringing that groove in and detonating it to full effect, this is what I consider to be feel good metal. Its hard to explain what I mean by this, its something that you would need to hear yourself to get it. Imagine something that makes you want to dance, delivered with energy and an eye on classic rock. Now imagine that its 9 minutes long and just flies by, its power to make you nod along undeniable. It’s the perfect antidote to a crappy day at work, and if you are of that persuasion you can smoke to it. Personally, it’s one of those songs that I would to learn, the buzz coming from blasting it out.
Closing the album out is the 3-minute rager, Venom Ripper, Gorgon Blaster which tears along nicely with one of the coolest names you will see and is like a reset switch before they drop in what I believe will be a smasher live: Abysmal Flame.
Bringing that groove in and detonating it to full effect, this is what I consider to be feel good metal. Its hard to explain what I mean by this, its something that you would need to hear yourself to get it. Imagine something that makes you want to dance, delivered with energy and an eye on classic rock. Now imagine that its 9 minutes long and just flies by, its power to make you nod along undeniable. It’s the perfect antidote to a crappy day at work, and if you are of that persuasion you can smoke to it. Personally, it’s one of those songs that I would to learn, the buzz coming from blasting it out.
It sounds great, everything is positioned well and there is no jockeying for position in terms of what you can hear. As debut’s go this is a stormer, as mentioned their influences loom large without dominating and the songs themselves stand tall. Hopefully, it gives them a platform to push on from, and I hope we see them tour the UK soon. 8/10
Qasu - A Bleak King Cometh (Apocalyptic Witchcraft Records) [Joe Guatieri]
Qasu are a three-piece Experimental Black Metal band based out of both the UK and the US. Their debut album which I’ll be reviewing today, A Bleak King Cometh, was made remotely, across the globe from each other. The band has put nothing out before this, I haven’t heard of any of its members before and as far as I’m concerned, there wasn’t much press surrounding this release either and all of that mystery really does fascinate me. I’m going into this record as blind as it gets.
It’s difficult to describe the experience, the seven tracks that are presented here contain these Blackened soundscapes which are terrorised by meteor showers of ideas. Much like with the opener, The Bitter Waters Of The Abyssal Sea, it feels like that three or four songs are all being played at once of completely different genres. To name a few different flavours, you’ll be encountering the likes of, Ambient, Darkwave, Pop and even Harsh Noise and somehow it all fits together miraculously.
The songs as a whole have a habit of washing over me, collectively they are all five minutes in length at least, I enter through a portal into a new world but by the time I’m connecting with a sound that I like, I’m transported into somewhere else. The album as a whole is more focused on the journey then what it is the destination, it’s always searching, never settling.
If I could point to a moment which I enjoyed the most it would be within Jewels Where The Eyes Once Were. The vocals are animalistic and there is a piercing noise that pops up as well, matching the intensity shown, so much so that it’s hard to know where one ends and the other begins. They are not even at battle with each other, they’re just together as one. It paints a picture in my mind of a bear being woken up by accident from hibernation, it’s immediately on the attack and you now have no hope of survival.
Credit to Wayne Adams who mastered the album as it’s honestly so loud, if you turn up the volume of your headphones your brain is going to rattle around in your skull, it’s tinnitus inducing and I love that about it!
Overall, with A Bleak King Cometh, Qasu has constructed a unique listen that always keeps you guessing as to what will happen next. The biggest compliment that I could give the record is that it’s like a soundtrack to a movie that was never made. I’m impressed by what Qasu have done here and will look forward to seeing what they do next. 7/10
Qasu - A Bleak King Cometh (Apocalyptic Witchcraft Records) [Joe Guatieri]
Qasu are a three-piece Experimental Black Metal band based out of both the UK and the US. Their debut album which I’ll be reviewing today, A Bleak King Cometh, was made remotely, across the globe from each other. The band has put nothing out before this, I haven’t heard of any of its members before and as far as I’m concerned, there wasn’t much press surrounding this release either and all of that mystery really does fascinate me. I’m going into this record as blind as it gets.
It’s difficult to describe the experience, the seven tracks that are presented here contain these Blackened soundscapes which are terrorised by meteor showers of ideas. Much like with the opener, The Bitter Waters Of The Abyssal Sea, it feels like that three or four songs are all being played at once of completely different genres. To name a few different flavours, you’ll be encountering the likes of, Ambient, Darkwave, Pop and even Harsh Noise and somehow it all fits together miraculously.
The songs as a whole have a habit of washing over me, collectively they are all five minutes in length at least, I enter through a portal into a new world but by the time I’m connecting with a sound that I like, I’m transported into somewhere else. The album as a whole is more focused on the journey then what it is the destination, it’s always searching, never settling.
If I could point to a moment which I enjoyed the most it would be within Jewels Where The Eyes Once Were. The vocals are animalistic and there is a piercing noise that pops up as well, matching the intensity shown, so much so that it’s hard to know where one ends and the other begins. They are not even at battle with each other, they’re just together as one. It paints a picture in my mind of a bear being woken up by accident from hibernation, it’s immediately on the attack and you now have no hope of survival.
Credit to Wayne Adams who mastered the album as it’s honestly so loud, if you turn up the volume of your headphones your brain is going to rattle around in your skull, it’s tinnitus inducing and I love that about it!
Overall, with A Bleak King Cometh, Qasu has constructed a unique listen that always keeps you guessing as to what will happen next. The biggest compliment that I could give the record is that it’s like a soundtrack to a movie that was never made. I’m impressed by what Qasu have done here and will look forward to seeing what they do next. 7/10
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