Andrew Danso

“Communication Lost” is sharply defined. It’s meant to appeal directly to your emotions with a moody, atmospheric subtext, and lyrics, written as mementos drawn from the quartets own personal experience, through the four years it’s taken to put the record together. It’s a refreshing outlook. It has no pretentious overhanging backdrop, no huge ‘based-on’ concept. Wolverine are backing an audience to read between their lines, and think with them into a world of cathartic language. Simply put, if one can relate, one can become enveloped.

With all of the subtlety touted to be in “Communication Lost”, Wolverine are tame throughout its playback, perhaps relying on atmosphere and quirks to do most of the dirty work. All of the tracks – while sounding different - have the inner workings of a classic rock ballad, cantering through restrained verses, and elevated choruses, all of course extended on a progressive template. The ballad structure may tag along with their moody vibe, carrying effect - but a variation in style would add much more flavour; it’s a bizarre oversight by the experienced Swedes, not to recognise such an obvious red herring. Indeed, every track is put together in a microscopically similar way. Sombre and bridled piano playing often starts, then the vocal, then the kick of the overpowering distorted guitars, and then the wind down. Enchanting at first, but tedious over the hour.

This is very much an incidental addition to Wolverines discography, which should be overlooked, not least because of the bands own deadpanned inattention to change.

7/10 PowerPlay issue #131

“The God Album” is based around a criticism toward religion and faith, somewhat in controversial circumstances, from an atheist point of view. It’s certainly always been in rock and metals veins to be the natural channel for social and political angst, but Monsterworks are hell bent on near dissecting various movements of faith in a clumsy intellectual approach, that really ought to be left with the actual intellectuals. More opinion than narrative, the lyrics come direct from the big book of atheist argument, “everything you believe is a lie”, “stigmata is a fraud”, “a false miracle never performed”, “God has abandoned you”, “Is it faith or running free?” you get the idea.

Whilst the concept may come across with a slight juvenile cynicism, thankfully their sound is raw, hungry, and complex. They’re able to combine thrash, progressive, and metal elements with fluidity, balancing time shifts with simplistic power chords, and blast drumming with chordal guitar progressions.

Time will tell if we’ll see Richard Dawkins, Christopher Hitchens or Sam Harris carrying this around in their back pocket, in preparation for a debate. Regardless, this is punchy stuff, with the music carrying a hell of a lot more weight, than the outspoken views held by the band.

7/10 Powerplay issue #131

Torchbearer is a super-group of sorts. They’re handpicked from The Few Against Many, Solution .45, and Unmoored; somewhat an elite group based on technical merit, more so than success, but that’s by the by. “Death Meditations” is really on the cusp of perfecting a brand of Scandinavian prog, part-speed metal, that’s meant to be every bit invigorating as it is accessible. Indeed, it is.

Notably, this is a concept album, based on the thoughts and ideas on what it is to be a samurai. Apprehension should fill the lungs, but it’s the very philosophy Torchbearer are only interested in, not the waving and clashing of swords. In any case, it’s difficult to notice through the belching, and chugging guitars – and it’s always refreshing to listen to artists bang on about something other than themselves, or political agendas.

Intricate, ambitious and impenetrably rocking, this is the sound of a band stretching themselves in every way imaginable. A fearfully beautiful release, chock-full of ideas and styles, making it accessible across the board.

9/10 PowerPlay Magazine issue #131

“Vampire Saga” is the third instalment from Japanese power rockers, D. Its backbone is conceptual, based on the journey of a vampire – that’s as vague as it gets and more so if you’re not fluent in Japanese. While we’re awaiting the English dub, it’s reassuring to know that language never gets in front of their sound, as they’re able to pull off a brand of metal littered in industrial rock, pop, and power references accomplished with a huge amount of polish. It all translates with extreme coherence, which retains enough personality of its own, making it accessible to even the most modest rocker.

“Vampire Saga’s” light-cum-manic sound, and daft concept has to be taken as the sum of its parts. Much like eating the ingredients of a stew separate, picking this apart would make little sense, as “Vampire Saga” simply tastes far better in complete combination, rather than its overly zealous, individual elements.

7/10 PowerPlay issue #131

Despite the striking crime photography spearheading “The Devilty’s” art direction, along with its themes based on free speech, racism, murder, and school shootings (the list goes on), this Danish quintet sound rather light (all things considered). Pitch Black work off a thrash template, and combine occasional death-cum-progressive elements to the party - closest to the bone with Slayers, “God Hates Us All”, albeit in an increasingly modern vibe. Other than that, the group speak out against subjects, which have been addressed time and time again throughout the medium, and their brand of metal isn’t a whiff of fresh air – this is a copied template, with little personality of its own to claim for.

6/10 PowerPlay Magazine #131

Burden’s debut EP received a fairly warm response when it came around, several months prior to their albums release. Such a response should grow, now that their full length is upon us “A Hole In The Shell”. Most of the moments within these thirteen tracks, are aromatic of Kyuss, Black Label Society and Mastodon, but by no means does this mean averse mimics. One of the most excellent things about this record is how Burden go against the grain of simplistic desert rock, introducing a progressive ethos, and often mashing up the power of tooth-grinding rhythms inside of the stoner-metal bubble. Notably, this is all fronted by inflamed belcher, “Rhorsten”, groaning over their bluesy tones, adding a further dynamic for the listener to hook onto.

7/10 PowerPlay issue #131