Ingested: Stinking Cesspool Of Liquefied Human Remnants (Unique Leader Records) [Charlie Rogers]
Slamchester’s finest export are at it again, releasing a re-mix of the tracks first featured on 2007’s split North West Slam Fest (which also featured Crepitation and Kastrated). An interesting idea definitely, as most fans may not have a copy of NWSF - using modern production and mixing techniques breathes life into this perhaps forgotten gem. The EP fades in with a sample track, as was the style at the time, before the first song Butchered And Devoured bludgeons your ears with intense blast beats and snarling guitars. The foul gutturals, snorts, and screeches produced by frontman Jay are prominent and disgusting, perfectly encapsulating the horrid landscape Ingested set out to portray. Each utterance is audible, with clarity and sitting perfectly atop the whirring, aggressive mess the instruments bring forth. But it doesn’t stop there, as the clarity extends down into the guitars, bass, and drums, with each having masses of space to show off masterful tone, razor sharp playing, and uncompromising brutality. My face aches from the unconscious positions it took upon listening.
However, those looking for something new (who aren’t interested in re-mixes), will be found wanting here, as apart from the sample track, and aforementioned Butchered And Devoured - all other tracks have appeared during Ingested’s discography. Pre-Released Foetal Mush and Copremesis appeared on 2009’s full length Surpassing The Boundaries Of Human Suffering, and Erotic Depravity was released as a single to accompany the 10th anniversary re-release of Surpassing…. It’s a confusing release too, given how Ingested’s sound has moved away from the knuckle dragging, sloped forehead, gorilla music that appears here, and the band’s previous statements that they won’t be performing music from this era any more. That said, it’s an enjoyable venture, with a distinct “turn brain off” attitude to the songs. Worth listening to if you’ve been a fan from the start, and certainly worth investigating if you’ve not heard their early material. Just don’t expect to hear these live, unless you’ve recently purchased a DeLorean. 8/10
Winterage: The Inheritance Of Beauty (Scarlet Records) [Richard Oliver]
When you think of Italian symphonic power metal then first thoughts go to Rhapsody (and the various different versions of said band) though there are a few more bands who play a similar style and hail from Italy. You’ve got Sound Storm and Ancient Bards to name but two but looking to make a name of themselves are Winterage with their ambitious second album The Inheritance Of Beauty. What separates Winterage from a lot of other symphonic metal bands is the inclusion of a violinist in the line up. The violinist Gabriele Boschi is one of the main songwriters in the band and her classical knowledge means that the orchestral parts have an authenticity about them. The inclusion of a full orchestra on the album also adds to this. As well as the classical influences there is also a big medieval folk influence throughout with plentiful use of folk melodies and the use of genuine folk instrumentation especially during the pirate themed The Mutineers and The Wisdom Of Us. The majority of the music on the album is standard fare when it comes to symphonic power metal which is big, overblown and bombastic arrangements full of classical influence.
Aside from the more folk influenced songs previously mentioned other highlights include La Morte Di Venere which is a huge sweeping orchestral ballad where soprano Vittoria Leoni takes the vocal lead and absolutely owns it with a awe inspiring performance. The highlight though has to be the closing song The Amazing Toymaker. At nearly seventeen minutes in duration this is a colossally epic composition which sees Winterage throw everything in their arsenal at us from overly dramatic spoken word performances, gloriously epic and over the top orchestration and some absolutely nutty vocal performances. It veers at times into something half resembling a film soundtrack and an opera. It is completely barmy and all the better for it. The Inheritance Of Beauty is a hugely ambitious album and whilst there are some genuinely brilliant moments the material on the album isn’t consistent throughout with some definite filler. The band are sometimes a bit too reminiscent of Rhapsody but without the songwriting ability to match. It’s a gloriously over the top album and The Amazing Toymaker is probably the cheesiest thing I will hear in 2021. 7/10
Be The Wolf: Torino (Scarlet Records) [Simon Black]
This Italian hard rock trio have been producing albums fairly prolifically since 2015, with this record being number four and named after their home town up in the top left corner of Italy close to both France and Switzerland. They have not been afraid to vary their output and in their times have released records that vary in style from the poppy hard rock of their debut, via respectively more bluesey and metal sounds on the ones that followed. This one has a more melodic radio friendly hard rock style however, but doesn’t constrain itself too much. Do they appeal to a Metal audience? Well yes, providing the listener is open to more varied styles and sounds and if you include the likes of the Manic Street Preachers or Muse in your tick list, then this lot and their fluid approach will work just fine for you. Given that their vocalist and guitarist Federico Mondelli may be better known as the frontman for Milanese Power Metal outfit Frozen Crown, means their Metal credentials are just fine, thank you very much.
There’s some well-crafted and catchy numbers on here. If I had to pick a favourite I would go for the wisely chosen single April, with its nodding tempo, upbeat energy, catchy chorus and focused melody lines, this song summarises the album rather well. If you like this, you will like the rest. Where this album works quite well is that all of the different styles and sounds they’ve focussed in on in previous releases are effectively thrown into the mix with this record. There’s definitely more of an Post-Grunge/Alternative rock sensibility to this as well; add some almost progressive time changes and tricks into the pot as well and this gives them quite a distinctive and fresh ‘house sound’. It’s not going to be for everyone, but if you want a more laid back thoughtful set of tracks to pass your time with then this will do just fine. 7/10
Konquest: The Night Goes On (Iron Oxide Records) [Paul Scoble]
Most one man bands come from the more extreme ends of the metal spectrum, hundreds of Black Metal, Harsh Noise, Extreme Industrial or Grindcore acts are just one person acts. However, Konquest are now flying the flag for One Man Bands in the Traditional Metal subgenre. Konquest are a One Man Band, and the man in question is Alex Rossi, who is based in Prato, Tuscany. He has been making music under the Konquest moniker since 2019, and The Night Goes On is the band's first release. As I mentioned before Konquest play a very traditional style of Heavy Metal, specifically a very early eighties, New Wave Of British Heavy Metal style that is clearly influenced by Early Iron Maiden, Angel Witch, Diamond Head and possibly a little bit of Mercyful Fate. The album features 8 mid-paced, occasionally fast slices of fairly simple Traditional Heavy Metal.
Don’t take simple as a criticism, the straightforward nature of the material is one of its strengths. The songs are short, to the point and don’t mess about, they are dripping with melody and some fantastic harmony guitars and great vocals. It’s reminiscent of the first 3 Maiden albums and is also very well produced, there is proper separation of instruments and it all sounds very clear and crisp. Title track The Night Goes On is a cracking piece of melodic, up tempo metal with some great harmonised guitars and a very singalong chorus. Too Late has loads of energy and a rhythmic similarity to Running Free, and is packed with energy and melody. Heavy Heart is appropriately the slowest and heaviest track on the album, and coming near the end of the album, it gives a pleasing change in pace. Despite this being a very good album, at one point it becomes a little too influenced by Early Iron Maiden.
Final track The Vision features, quite prominently, an obvious riff taken from Hallowed Be Thy Name. And before you ask, Yes it is that riff, you know the one you leave the gig humming, that riff. It does spoil a really good track, and it’s a shame that it’s there, distracting you from a great album. The Night Goes On is a great album. It’s steeped in early eighties Traditional Heavy Metal, is packed with great melodic riffs and harmonies. Apart from being a little too close to someone else’s material at one point, this is a superb album. 7/10