Wrust - Intellectual Metamorphosis review for Metal4Africa.com

I recently contributed a review to Metal4Africa.com of Intellectual Metamorphosis by Botswanan death/groove metallers Wrust. Go here to read the review: http://metal4africa.com/reviews/wrust-intellectual-metamorphosis-review/.

Sindulgence - Recollections review

I clearly remember the first time I saw Sindulgence live. It was my first metal gig at the infamous Cape Town venue ROAR; the gig was organised by members of Sindulgence under the banner ‘Fresh Blood’.  I remember being quite impressed by the band; they had a distinct approach to death metal. Numerous Sindulgence gigs later, and I am still impressed. The debut album (which also comes with a DVD) from this hardworking band has left me impressed as well.

Room 302 is a mysterious opening track. It begins with cheerful piano and violin, which then take on ominous undertones. It then flows into the pounding intro of Swindle, with its earworm riffs. Bassist/vocalist Byron Dinwoodie has a unique growl that contrasts with the guttural growls of vocalist Muller Van Niekerk, who also switches to black metal rasps from time to time. Dinwoodie produces clear clean vocals as well; having three different vocal styles could potentially sound schizophrenic, but here it works very well and adds interest to this track and others. Dinwoodie’s clean vocals shine particularly on Silly Dream and Pale Gardens.

Swindle gives the first taste of the contrasting guitar work which appears on this album. The higher notes of the leads weave deftly between the heavy rhythm parts. Guitarists Ryan Eberlin switch between lead and rhythm on the album; both do very well in either role, since the lead and rhythm parts are top quality on each song. There are brilliant solos and riffs throughout, with the tracks Thorns, The March Hare, Silly Dream, Wine Of the Gods and Pale Gardens being guitar highlights for me.

Michael Snyman does a superb job behind the drum kit, with his drum work that easily switches between pounding heaviness and delicate, softer passages. The drum work is varied and intricate, taking on everything from the onslaught of Thorns to the jazz like opening fills on Silly Dream. I daresay that in years to come, Snyman could become one of Cape Town’s prominent metal drummers.

The DVD that comes with the album is an often-funny account of the process of making Recollections. It gives a very good idea of what it’s like to be in Sindulgence. It would be interesting to get to know more South African metal bands through behind-the-scenes documentaries.

The production is more what I would expect from a live album, as opposed to a studio one. The band did intend to have a live feel, so this is a minor gripe, and it doesn’t take away from an album that is, in my opinion, one of the best African metal releases this year.

Recollections is a distinctive and progressive take on death metal, with interesting songwriting and lyrics. Their incorporation of different musical styles is cohesive, and they switch deftly between worlds of reality and fantasy.

Personnel: Muller Van Niekerk – vocals

                Byron Dinwoodie – bass and vocals

                Ryan Eberlin – guitars

                Rodney Dosson – guitars

                Michael Snyman – drums

Web presence:

http://www.reverbnation.com/sindulgence https://twitter.com/#!/SindulgenceBand http://www.myspace.com/sindulgenceband

The Ocean Doesn't Want Me - As the dust settles review

This mysterious post-metal/sludge/doom album is the second full-length from Pretoria band The Ocean Doesn’t Want Me. It is a concept album, with each song being about one of seven characters attending a funeral of the deceased – a friend, a husband, a father, an adulterer, and acquaintance and his origin. It was fun to try and figure out which song was about each character.

The Ocean Doesn’t Want Me (TODWM) creates melancholy, epic soundscapes. The multilayered passages contrast well with the sparse parts. The latter give the impression of vast, empty spaces.

It feels like all the sound effects are relevant, and none stray into pretentious territory. The effects on opener Roots Point The Way has an oceanic feel. Most of the album reminds me of the coast, making the coastal town where I live the perfect setting to listen to this album. I imagine the funeral taking place in a small coastal town where everyone knows everyone, yet some secrets remain hidden. The instruments and effects combine with the lyrics to tell the story of the funeral very well; I always enjoy albums that tell a story well and create pictures of it in my mind.

Album highlights for me were Roots point the way, This castle stands alone, Property line and Until our mouths are filled with earth. None of the tracks are fillers though, and all make important contributions to the album overall. The lyrics are mysterious poetry that makes one think about their meanings. It’s mostly unclear which song is about each character, which will make discovering who is who more rewarding.

As the dust settles is a stellar body of work from a professional outfit. I thoroughly enjoyed getting lost in the vast soundscapes and the narratives of this album.

Personnel: Robin - Drums and synths

                 Beastie – Bass and vocals

                 CF – Guitars and vocals

Web presence: http://theoceandoesntwantme.com/

                       www.facebook.com/TheOceanDoesntWantMe

                       www.last.fm/music/The+Ocean+Doesn’t+Want+Me

                       www.theoceandoesntwantme.tumblr.com

                      

Absence of Light - Vyom Chakra review

Absence of Light is a most fitting name for this Kenyan death metal band. The name conjures up images of a profound darkness from which there is no escape. The songs contained on the album fit in well with that image. Vyom Chakra (meaning ''never-ending sky'' or ''cycle'' in Sanskrit) is the debut release from the Nairobi-based trio.


This review is very late, since the Vyom Chakra EP was released last year! I only managed to get round to it this year. A hint of the darkness to come is apparent from the first track, Narakas, an atmospheric instrumental with a guitar melody that winds through the fog of noise.

Aural pummeling begins with the second track, Daksha. The fast drums leaped out from the speakers and attacked me. Angad Gupta's guitar tone has a hypnotic quality to it. The drums and rhythm guitar create a wall of sound, with lead guitar parts weaving around it. Atmosphere is not usually something associated with death metal, but the guitar work here is guided down interesting paths by the drums and vocals. Earworm riffs got firmly stuck in my head before mutating into new forms.
 

Drums with a marching rhythm open Arkasodara. An acoustic guitar's seductive melodies weave around the intro. There is a brief pause before an explosion of agression; vocalist Shiv Mandavia puts in a vocal performance that matches the music's atmosphere very well, both on this track and throughout the album. The melody from the intro remains, making for a smooth transition between the slow and fast tempos. A softer interlude gives respite before the crushing wall of sound falls onto the listener once more. Absence of Light's songs are well-paced; the extremity of the music is counter-balanced by lighter moments. These lighter moments don't weaken the impact of the extreme moments, which is a testament to Absence of Light's excellent songwriting. Another seductive guitar riff appears on Khalasamhara, I, with an ominous quality attached to it. This track floats, yet melts my face at the same time. A combination of grace and aural pummeling is a great combination in death metal.

Closing Vyom Chakra on a powerful note is Samadhi, the highlight of the EP for me. The notes gradually get louder, like an approaching storm. The drums blast the song to life, and rain down blastbeats like bullets. The bass riffs enhance the overall impact of the other instruments. A slow interlude is introduced by an echoing guitar riff, which continues its mesmeric song. Drums join in, sounding as if they are echoing down the passage of a centuries-buried tomb. The bass throws the song back into the dark, chaotic pit, then the interlude delivers me to safety once more. I felt as if the album was too short, yet if it had been longer I surely would've been crushed by the dark sounds of Absence of Light.