Andrew Danso

Ignominious Incarceration is a band confused. Whilst the record does exhibit performances from each member that merit excellence, there are the usual suspects of clumsy song writing and poor riff progressions that plague their overall technical prowess. Of Winter Born, is Ignominious Incarcerations debut release, with the band being in partnership for over two years. And whilst talented musicianship can be found throughout this entire record, collectively there are many question marks.

There is a guarantee that each track will have there plausible moments and oblivious ones. This sort of tedious repetition is at best, met with a frustrating listen and proves all the more aggressive if they’re trying to anger fellow listeners. The first half of the album is a less intensive affair than it’s other half, with events picking up on the self titled ‘Of Winter Born’ mid way through. The entries are well constructed, that are as technical as modern death metal needs be, but are far too indulgent on using the same elements heard on previous tracks. An EP may have been a better showcase, as the restrain of repetition for the sake of 35 or so minutes, feels like a wasted opportunity.

‘Of Winter Born’ is a technical workout, that does work a sweat and will prove an eye catcher for some (whether that is the 2 minute decent riffing, the superb production or striking artwork). However its clumsy design met with an immature aggression, burden what could have been a saturated Extended Play. Of Winter Born, is fairly ignominious.

5/10 Metal-Mayhem.co.uk

Southern American Metal. Unquestionably one of the first discoveries you’ll make on your rock revolution evolution. On a technical level simple to perform, that demands very little from the listener. The genres ever congested arena has acts pouring from the sky and melting ice shards as we know of them. Definite success is a lottery. God Damn’s latest addition to the fumes, ‘Old Days’ is not only strange by means of a French group completing this entry, but by a means of how fresh and yet totally traditional the record sounds. The authenticity, the production, the personality, the binary written tracks, and the performances are all remarkably present, but surely this is just another Cowboys-from-Satan-made-up-chameleon-land?

The first half of the record is a much more muscular affair than its other half, which is integral to its design, as their testosterone (or indeed yours) will carry the main foundations of this experience. The initial introduction “Landing for My Pride” is possibly their biggest brute, with an opening that marvels in the correct amount of aggression that the album needs for it to trigger your attention and maintain. Which sets up the entire disc suitably, with the band clinging to atypical grooves and middle to end bridges within their song structure. However, it’s how they have been placed to together with a particular finesse and bravery that make God Damn all the more admirable.

The records second half is a more watered down, diluted approach that starts to feel neither here or there with song writing becoming periodically repetitive and tedious. However there is a much more explorative quality in the later numbers, with God Damn sounding more unique and albeit pale at the same time.

Blessed with superb production, excellent song writing and passionate performances, Old Days is a record that understands it must be of irrefutable quality to even scratch the surface, in such a littered market. The albums desired punch out does its shortcomings toward the final stages, even though depth at times is non-existent. Old Days may not differ that much from what’s currently available, however it does claim the right for its own territorial space that comfortably sits beside giants such as BLS, and Damageplan. A more brute than brawn package, that does not try to be different from its southern precursors but fails to imitate them all the same – a cliché that certainly appears to work.

8/10 Metal-Mayhem.co.uk

It is extremely difficult to critique Man Infest Destiny, without mentioning their present engineer Jack Endino. This was the first note taken upon listening to the record. You can view this as a possible cheap disclaimer, but this most definitely was the case. There are ilk’s of his work almost referenced everywhere within the record, which has been an obvious design choice made by Slave Traitor (who by the sounds of things, aren’t bad producers either).

A meaty hard-rock production, Man Infest Destiny presents a tried and tested formula that does appear to still work within the current climate. Although a condescending remark and slight gripe at forerunners in the industry, Slave Traitor have been able to capture everything stylistically correct, with a huge tick on-top of what is, a littered box.

Yes, it is easy to suggest that Man Infest Destiny is just an honest reiteration of the past, with at times a lack of depth that is disappointing throughout the entire record. However, the aforementioned concerns should be dispelled, albeit rapidly, as the groups song writing is comprehensive and laden with honest and rustic deliveries. Periodic progressions throughout the record are absolutely mesmerising that provoke contemplation as to why Slave Traitor are not pioneering such a congested genre.

Saturated in Jack Endino’s grace, “Man Infest Destiny” is a production that feels very much stuck between its grunge and metallic precursors of the late nineties. This will synthesise with many as an appreciated choice, that certainly works, however an assumption of detracting ambition can be readily concluded, with periods in various tracks feeling unintentionally lazy, and diluted.

There is an infinite amount of excellent riff progressions, enough twists on song structure, and enough barefaced twiddling of the knobs by Endino to make “Man Infest Destiny” a worthwhile package. This is certainly not his best work, nor Slave Traitors; however “Man Infest Destiny” is on par with other competitors, and their previous works, that will add to an already impressive discography for both parties. “Man Infest Destiny” is a decent hard-rock production, but little else.

7.5/10 Metal-Mayhem.co.uk

It’s difficult to stay objective and accurately review Fire:Water:Ash. There are periods of excelled atmosphere with majestic overtones, but ultimately there’s a definitive cog missing throughout this entire release. ‘If you are searching for something with a canny pagan resemblance, then this is certainly one to pick up’ – at least that is Ironwood’s assertion that we cannot fully agree with. There is somewhat a traditional-esque overhaul on some aspects of their work, but fundamentally the final exorcism is received very much in a different way (quite conventional and atypical themes are mostly present).

I have since never been able to recall anything within my collection which warrants to loosely be pagan oriented metal, thus I was hoping for something to blow me out of the water. Instead the introduction to Fire:Water:Ash, is a diluted affair, with a particularly dull approach – especially on Ironwood’s folk progressions (which I certainly mean in the literal sense). This culminates to a formula throughout the twenty-five or so minutes, that stagnantly comes to a halt. However, if you can get through the first three tracks of the record, the ambition, the acclaim, and the rich atmosphere portray ilks of soundscapes that are in themselves very unique to the group. The metallic component of Ironwood does work to a justifiable means, but we can’t help but feel a missing link with that of the folk progressions and the periodically extreme metal reoccurrences.

Fire:Water:Ash, is an experience, positive or negative that does manage to appeal ever so slightly form the competition. But for all of the production, all of the acclaim, and all of the meaty presentation, Ironwood lack an integral design on the record that missed an adept insight into becoming something close to a masterpiece.

7/10 Metal-Mayhem.co.uk