Unanimated – Victory In Blood (Century Media Records)
Having been heavily influenced by Dismember, Swedish melodeath crew Unanimated released their seminal albums in 1993, 1995 and 2009 respectively, between 1996 and 2007 the band spilt up and since the release of their 2009 effort In The Light Of Darkness they have acquired two ‘new’ members Anders Schultz (drums) and Jonas Deroueche (guitars), joining with founding members Richard Cabeza(bass) and Jojje Bohlin (guitar) and longtime vocalist Micke Broberg. Signing to Century Media in 2018 their Annhilation In Blood EP, showed what they still capable of but it probably didn’t prepare you for what is the most vicious, aggressive album in their career.
Having been heavily influenced by Dismember, Swedish melodeath crew Unanimated released their seminal albums in 1993, 1995 and 2009 respectively, between 1996 and 2007 the band spilt up and since the release of their 2009 effort In The Light Of Darkness they have acquired two ‘new’ members Anders Schultz (drums) and Jonas Deroueche (guitars), joining with founding members Richard Cabeza(bass) and Jojje Bohlin (guitar) and longtime vocalist Micke Broberg. Signing to Century Media in 2018 their Annhilation In Blood EP, showed what they still capable of but it probably didn’t prepare you for what is the most vicious, aggressive album in their career.
Perhaps 30 years in the business and having to record in a pandemic took their toll on the band but the melodic sound from their past only lingers here, the acoustic driven middle of XIII or any of the clean interludes that break up the violence. Mostly it’s full bore ravenous death metal paying deference to Lucifer in all his forms. From a band who have always dealt with the more macabre side of life, Victory In Blood studiously walks the left hand path, perhaps alienating some but surely welcoming their fan base deeper into the collective mind-set of the band. Despite the evocative blood red cover of the record inside you will find a coldness one that does draw from acts such as Dismembers but also Celtic Frost on the fiercely in-your face songs such as Sceptre Of Vengeance and the title track.
The only song that alludes heavily to their previous records is final song The Poetry Of The Scared Earth, which is fully melodeath in its pace shifts, usage of lead guitars and anthemic chug. It blends in well though with the bands more focused, volatile style that they have adopted on their fourth release. With the promise of more albums on Century Media, it will be interesting to see what route the band take next, as they have reached the point where any risks they take will inevitably be accepted with black wings and open arms. 8/10
Wolftooth – Blood & Iron (Napalm Records)
The Midwest of America, is fertile ground for riff hungry proto-metal bands and Wolftooth are no exception to that rule. Busting out of Richmond, Indiana, this heavy doom rocking foursome are now on their third full length after two well received previous albums. Wolftooth haven’t deviated much from what made those records a bloody good listen, keeping the twin axe harmonies, marching riffage and fantasy lyrics. Blood & Iron is another chapter of Wolftooth’s anthemic metal power taking inspiration from bands such as The Sword, Cirith Ungol and Manilla Road especially in the guitar and vocal departments, the latter also sees Ozzy being brought to mind.
Wolftooth – Blood & Iron (Napalm Records)
The Midwest of America, is fertile ground for riff hungry proto-metal bands and Wolftooth are no exception to that rule. Busting out of Richmond, Indiana, this heavy doom rocking foursome are now on their third full length after two well received previous albums. Wolftooth haven’t deviated much from what made those records a bloody good listen, keeping the twin axe harmonies, marching riffage and fantasy lyrics. Blood & Iron is another chapter of Wolftooth’s anthemic metal power taking inspiration from bands such as The Sword, Cirith Ungol and Manilla Road especially in the guitar and vocal departments, the latter also sees Ozzy being brought to mind.
Opening track, the nautical Ahab has more than a nod to classic Sabbath phrasing, Winter White is built around some joyous twin harmonies and plentiful solos, set to a persistent rhythm. Track such as this are set against the pacier proto-thrash offerings like Broken Sword, making for a diverse listening experience that does settle into one solitary groove as they meld American and European influences, even bringing in a touch of the Middle East on Hellespont. The fantasy lyrics mean that they can explore unknown realms with the music, but it never feels forced or silly, so many metal bands are influenced by writers such as Michael Moorcock that in the trad-metal scene it’s almost stupid not to write tracks about epic battles or fantasy.
Comprised of Terry McDaniel on bass and Johnny Harrod on drums in the driving backroom, with Chris Sullivan and Jeff Cole on guitars, Wolftooth’s third album is their first for Napalm and with the label backing them we could be seeing the emergence of the next great trad-American metal band. Hold your swords up high and rejoice in Wolftooth’s battle hymns. 8/10
Doodswens – Lichtvrees (Svart Records)
Meaning “Fear Of Light” Lichtvrees is the debut album from Dutch black metal band Doodswens (Death Wish), and as the title suggests it’s a bleak offering of nihilistic, savagery that comes from the raw underground scene of the early 90’s. If you are in anyway familiar with the early Scandinavian bands of the black metal scene you’ll be able to pick up the influences that are rife on this Dutch duo’s debut. Screamed exclusively in Dutch this duo of Fraukje van Burg (vocals/guitar) and Inge van der Zon (drums) have captured a foreboding sense of gloom and doom on this record, it shifts between flurries of outright aggression and long introspective instrumental phrases, the two of them in perfect unison with harrowing efforts such as Eindzicht.
Doodswens – Lichtvrees (Svart Records)
Meaning “Fear Of Light” Lichtvrees is the debut album from Dutch black metal band Doodswens (Death Wish), and as the title suggests it’s a bleak offering of nihilistic, savagery that comes from the raw underground scene of the early 90’s. If you are in anyway familiar with the early Scandinavian bands of the black metal scene you’ll be able to pick up the influences that are rife on this Dutch duo’s debut. Screamed exclusively in Dutch this duo of Fraukje van Burg (vocals/guitar) and Inge van der Zon (drums) have captured a foreboding sense of gloom and doom on this record, it shifts between flurries of outright aggression and long introspective instrumental phrases, the two of them in perfect unison with harrowing efforts such as Eindzicht.
Citing human conditions such as depression and negative thoughts as their inspiration, the album is one that as the title suggest lets no light in. Joy is non-existent throughout, the songs here are glacial slabs of Scandi misery wrapped up in downbeat atmospherics, and the flashes of speed on Het Zwartewaterland used to jump from one brooding segment to another, the record fleshed out with shorter passages that include spoken word and intense workouts. As the cold started to creep in this past week, Lichtvrees became a much more pertinent album, played with a conviction and passion, this bleak conceptual piece is obsessed with finding enlightenment about what it all means, good or bad, something that is all the more involving in the long dark, winter months. A focussed debut that establishes Doodswens as a band to keep an eye out for. 8/10
Smoking Martha: Universe (Xelon Entertainment)
Kicking off with a riff that channels AC/DC through the lenses of No Doubt, Good Girls is a punchy opener to the second album from Brisbane alt rockers Smoking Martha. As Tasha D shouts “Let’s drink the Kool Aid” you get a feeling that Smoking Martha are a band who are begging for a party after what they say are “two shoulder surgeries and a pandemic”. Tasha D’s vocals are attitude filled concoction of Gwen Stefani and Taylor Momsen, breathy and defiant, her delivery is passionate as the band behind her play an exciting style of music that cherry-picks from various styles of rock but injects melody and hooks into every single one.
Smoking Martha: Universe (Xelon Entertainment)
Kicking off with a riff that channels AC/DC through the lenses of No Doubt, Good Girls is a punchy opener to the second album from Brisbane alt rockers Smoking Martha. As Tasha D shouts “Let’s drink the Kool Aid” you get a feeling that Smoking Martha are a band who are begging for a party after what they say are “two shoulder surgeries and a pandemic”. Tasha D’s vocals are attitude filled concoction of Gwen Stefani and Taylor Momsen, breathy and defiant, her delivery is passionate as the band behind her play an exciting style of music that cherry-picks from various styles of rock but injects melody and hooks into every single one.
The instrumental trio of Mick Broome (guitar), Matty Mulheran (bass) and Jordy Poynter (drums) provide the musical backing, for all the style changes that are featured on Universe. Whether on anthemic semi-ballads such as Wonderful Happiness, the smoky blues of Intermission or the country shuffle of Neon Lights, Smoking Martha are a band with eclectic influences which has in turn made their second album a much more mature musical offering. Their radio-baiting singles and musical dexterity reminds me of Kiwi band Devilskin, and while Smoking Martha aren’t quite as heavy as their Antipodean compatriots, (though It’s A Lie is an outright rocker), they have knack of crafting sing-alongs full of a crunchy riffs and huge choruses. Universe will make people pay attention to Smoking Martha for sure. A recorded glimpse into what should be a heck of a live show. Jump on the bandwagon now to avoid missing out. 7/10