Album Review: Witherfall - Curse of Autumn

 

…well, this is awkward.

Immediately addressing the elephant in the room, Witherfall’s third album was produced by Iced Earth bandleader-turned-terrorist Jon Schaffer. It’s a move that was certainly convenient at the time considering guitarist Jake Dreyer’s roles in both bands. Let me make it clear that I have no interest in canceling Witherfall for the actions of their benefactor. It’s the sort of detail that would just end up being fun behind-the-scenes trivia in normal circumstances. Unfortunately, it’s inescapable when you consider that Curse Of Autumn is thoroughly lathered in Schaffer’s musical DNA.

This album is undeniably the band’s most accessible effort thus far and it seems to achieve this by taking cues from the Iced Earth playbook. The Nevermore-esque power/prog metal of albums past remains the order of the day, but the guitar work is more based around straightforward chugs while the choruses have a more anthemic flavor than before. I don’t make any assumptions about writing credits, but it gets to the point where one can vividly imagine Matt Barlow or Stu Block singing these songs instead of Joseph Michael.

Fortunately, there are enough facets of the band’s distinct musicianship and personality that still manage to shine through. The adjustments haven’t dumbed down the actual guitar playing as the rhythms have their intricate flourishes, the leads are packed with Yngwie-style shredding, and the acoustics’ atmosphere and flamenco flavor remain a priority. The same could be said for the vocals, which convey a wide range with the framing they’re given. The rhythm section is also pretty tight as Anthony Crawford’s bass playing may be at its most prominent and drummer Marco Minnemann can put in a stellar performance in any setting.

And for what it’s worth, the songwriting is solid and fairly varied. The one-two anthemic punch of “The Last Scar” and “As I Lie Awake” happens to be pretty good at Iced Earth aping despite my personal hang-ups and “The Other Side of Fear” puts in another aggressive hook later on. The primarily acoustic numbers are also decent with “The River” making the most of its melodrama in just three minutes time while the cover of Boston’s “Long Time” makes for an interesting epilogue without the original’s “Foreplay” jam in front of it. There’s also the matter of the band finally returning to full on prog metal with the fifteen-minute “…And They All Blew Away,” though even that has a four-minute radio edit included at the end of the album.

In the face of unfortunate timing and a persistent uncanny feeling, I have to admit that Witherfall has made another solid outing with Curse Of Autumn. It’s hard for me to be ‘objective’ about the album with so much Schaffer influence on display, but the band finds ways to keep their personal stamp on the material and there are some good songs that come from it. I do hope that they’re able to keep exploring this more accessible framework through a different lens next time around. I’m not sure if they’ll ever top 2017’s Nocturnes and Requiems, but they’ve still got plenty of good to work with. At the very least, this sure as hell is better than that last Demons & Wizards record…

Highlights:
“The Last Scar”
“As I Lie Awake”
“The Other Side of Fear”

Final Grade: B

Album Review: Accept - Too Mean To Die

 

Accept’s sixteenth full-length album has come with some serious upheaval. Longtime bassist Peter Baltes is gone, leaving guitarist Wolf Hoffmann as the last classic member left, and the band has taken a page from the Iron Maiden playbook by adding a third guitarist to their ranks. Those internal affairs have been unable to stop the momentum that has been chugging along since 2010’s Blood Of The Nations but one can sense the shifted dynamic on Too Mean To Die.

While the musicians’ performances come with their usual tropes, there are some subtle tweaks in the musicianship. While the guitars remain centered around hard rock struts and heavy metal chugs with a tone that’s as beefy as ever, the extra players lead to more developed leads and solos. The bass also maintains a hefty presence though the backing vocals don’t have the same fire as when Baltes was in the band. Fortunately, Mark Tornillo’s shrill bark still sounds great on his fifth album though the lyrics delve deeper into boneheaded boomerism on par with Anvil.

Speaking of which, the songwriting is still rather pedestrian despite the occasional frills. The band’s classic templates are out in full force as “Zombie Apocalypse” and the title track are charging speed metal numbers while “Overnight Sensation” and “Sucks To Be You” utilize their crass AC/DC framing and “The Undertaker” is a creepy, mid-tempo anthem. There’s plenty of energy to work with but the hooks end up with the same sense of lacking as those on 2017’s The Rise Of Chaos. On the bright side, “The Best Is Yet To Come” may be one of the band’s best ballads and the closing “Samson And Delilah” has the most intricate usage of the triple guitar format.

Overall, Too Mean To Die manages to be another solid late era-Accept album despite a few chinks in the armor. The band is able to coast by on energy alone and the lineup changes make for a couple neat quirks, but the songwriting continues the trend of diminishing returns that have come with their ultimately samey formula. One can hope that the band will find more creative exercises for their new dynamic, but more of the same looks to be the most likely. The band may never top Blood Of The Nations or Stalingrad, but fans should still find something to enjoy.

Highlights:
“The Undertaker”
“Samson And Delilah”

Final Grade: C+

Album Review: Bloody Hammers - Songs of Unspeakable Terror

 

If there’s one thing I find it interesting about Bloody Hammers, its their ability to try out different style variations while keeping a consistent horror aesthetic. This is especially true for their sixth full-length album, Songs of Unspeakable Terror, which proves to be their most dramatic departure yet. While past albums tended to straddle the lines between doom and hard rock, the band dives headfirst into the world of horror punk ala Michale Graves-era Misfits. They’ve since admitted that the music here was originally considered for a different project but even with the drastic makeover, it isn’t necessarily out of character.

For the most part, the band takes to the style well enough. The guitar playing is particularly tight, generally opting for simple chord progressions and showing off a crunchy tone that suits the more lighthearted mood though with some metallic remnants. The drums also keep a solid job of keeping up a faster pace without getting too wild and the vocals hang onto their melodic veneer. There are times where the musicianship may be a little too controlled. Nothing sounds out of place but more unhinged drumming and a couple well-placed “whoa-oh’s” really would’ve given this some extra energy boosts.

Stream/Purchase Here

Fortunately, the songwriting is also pretty solid. “Waking The Dead” may be the strongest anthem on here, showing off a particularly triumphant setup with a fun verse buildup and a strong chorus that would’ve fit nicely on American Psycho. “We Are The Damned” mixes its pacing with nice atmospherics in the backing choirs. Of course, the band’s penchant for versatility remains intact as “Hands of The Ripper” leans on an almost danceable metal rhythm while “Lucifer’s Light” channels Ancient VVisdom with its acoustic occultism. Alas, “Witchfinder General” isn’t a cover.

Overall, Songs of Unspeakable Terror is a step down compared to Bloody Hammers’ best works but their willingness to experiment is certainly commendable. While the musicianship may lack the wildness that goes best with horror punk, they manage to make the style fit to their aesthetic and there are some fun tracks to work with. It’s easy to imagine this album being a one-off with a return to the band’s more conventional approach to come but it just might work even better the next time they decide to give it another go. At the very least, it sounds like they had some fun hashing it out.

Highlights:
“Hands Of The Ripper”
“Waking The Dead”
“We Are The Damned”

Final Grade: B-

An Interview with Cauldron

Cauldron may not be the highest profile bands in the traditional metal revival, but they’ve been one of the most persistent since their 2006 formation. While many of their peers fixate on speed and flamboyant showmanship, Cauldron has always opted for a sleazier approach with catchiness and glam influence fitting their 80s B-movie aesthetic. This is only exacerbated on their fifth album, New Gods, which just released on September 7th. Chris at Indy Metal Vault reached out to the band to discuss the new album and all other things Cauldron.

Indy Metal Vault: New Gods is more accessible than Cauldron’s previous albums, but it feels like a gradual evolution rather than a sudden shift in style. How do you compare it to your earlier work?

Ian:  I suppose we perceive it in the same way; that we’re still evolving as a band and always trying to refine our approach to the songwriting. There are definitely certain things I’ll hear on the first EP or album and think “I would never do that again.” There’s no tapping on the new album!

Jason: I think we’ve gotten better as writers, performers, and our production has gotten much better, but I think you can tell right away that it’s Cauldron.

IMV: Cauldron always had some glam metal elements. I feel they’re more pronounced on New Gods, especially on songs like “Together as None.” Were there any new influences at work when you were writing and recording the album or any older influences that became more prominent?

Ian:  We’ve never denied being fans of glam or hair metal. I have no problem listening to Cinderella’s Night Songs and then throwing on Napalm Death’s Harmony Corruption right after.  It’s all good to me. The glam element was more prominent on the earlier stuff, so I guess we figured we’d go full tilt on that one song. I believe Jason was going for an 80’s Kiss/Desmond Child approach on that tune and it really shows. I still think it sits nicely on the album.

Jason: I think we take inspiration from anything that we enjoy listening to regardless of genre and put it through our filters to come up with our own song. I’ve always been a big fan of taking keyboard-oriented pop songs and transferring them to guitar parts, like we did on “Moonlight Desires.” Besides that, we’re just naturally glamours! 

IMV: The vocals are also a lot cleaner and very melodic. How did you approach the vocals on this album? Did you undergo any sort of training prior to recording or earlier in your career?

Ian: I can’t speak for Jason, but when you’ve been recording vocals for over ten years you’re bound to get better at it.  This is also the first time we’ve had a full-on producer (Chris Stringer) who wouldn’t settle for mediocre takes from any of us.

Jason: I’ve always been striving to get better, but I really only ever had one vocal lesson, and that was many years ago. We’ve also always been bound by budget restraints, but I think I have the experience now to get the takes we need while under the clock. We also gave our producer free reign to really go for it on this one and make sure he had the best possible takes needed…

IMV: The cover art for New Gods is very different than your other albums, more surreal in a way. What was the idea behind the artwork and how does it represent the music?

Ian: We’ve always tried to make each album’s artwork distinctly different.  When we were discussing artwork, we discovered that a good friend of ours (Rob from Chainbreaker) had painted that back in the early 90’s. I was over at his house and saw it propped up in the corner and it immediately struck me and gave me a strange gut feeling, and I thought it would make a great album cover. I knew it would stand out and make people talk about it, which made me like it even more, especially when you realize it’s quite phallic. In my mind it’s a visual representation of any kind of negative manifestation that has affected our lives in the past couple years.

IMV: Cauldron has been around for over a decade now, having formed in 2006 and releasing your debut in 2009. How do you think the band itself has changed in that time? Do you think the way you’re perceived as a band has changed as well?

Ian: I feel like we’ve matured quite a bit.  We always used to have a bit of tongue in cheek-ness about us, which I don’t think there’s any place for now. I think our taste has broadened quite a bit too, so we can take inspiration from a lot of different places. I don’t really know how we’re perceived as a band when I’m on the inside. I’m just gonna try not to read any reviews of the album this time!

Jason: I think we’ve certainly progressed in terms of performance and songwriting, but I have no idea how we are perceived. We’re probably too old now to be in tune with that sorta stuff, haha 

IMV: Going along with that, is there anything left on the Cauldron bucket list?

Ian: We’ve never made it to Japan or Australia, and South America has pretty much always eluded us. Any time plans for South America came up they’d always fall apart due to lack of info or the shows not even being booked.

Jason: I’ve pretty much done more than I ever set out to do. We got to play with Metallica!  

IMV: Last question, how does Goat Horn hold up for you these days? Is there a chance of another one-off show in the future?

Ian: I was always a big Goat Horn fan, and still think that Storming the Gates holds up really well. It’s pretty heavy on the charm.  They seem to reunite for a show every couple years so I’d say it’s pretty likely!

Jason: Goat Horn is what we now call a “heritage act”; we get together every year or two to do special one-off shows and only talk about making new music, haha!

Originally published at Indy Metal Vault on September 10, 2018

An Interview with Shadi Omar Al-Khansa (Forming the Void)

Forming the Void of Lafayette, Louisiana is not only one of my personal favorite bands in the delightful world of sludge/stoner/prog, but they just might be one of the hardest working. Just a year after the release of their second full-length album, the acclaimed Relic, the quartet is releasing a two-song split with Pyreship in March and their third album, Rift, is due for the summer. Indy Metal Vault caught up with Forming the Void guitarist Shadi Omar Al-Khansa to get the latest scoop on their contribution to the split, the upcoming album, and the fun odds and ends in between.

Indy Metal Vault: It’s already been a year since Forming the Void’s last album Relic was released. How do you feel about the way it turned out in hindsight and how it’s been received by the music community? 

Shadi Omar Al-Khansa: We’ve been really pleasantly surprised by how well it’s been received.

IMV: The band is already planning to release its third full-length album Rift this summer, and is releasing a split with Pyreship in March that features a new song “To the Wolves.” Was there a sudden burst of new material written after Relic came out, or was it more of a case of having preexisting material to work with?

SOA-K: We started writing for Rift shortly after we finished recording Relic. While recording the new album, Pyreship approached us about doing a split, so we took some time away from working on Rift to write and record “To The Wolves.” That was the first completely new song that we wrote with our new drummer, Thomas.

IMV: When listening to “To the Wolves,” I noticed that it is more straightforward compared to your previous material, particularly with the almost bluesy riffing style. How would you describe the writing process for the track, and was there a conscious attempt to make it sound different?

SOA-K: “To The Wolves” was the first song we wrote completely with our new drummer, Thomas. He’s a rock&roll guy through and through, so we wanted to write something that was geared towards his strengths.

IMV: Will “To the Wolves” appear on Rift, or is it exclusive to this split? If not, is there anything on Rift like it or is the song its own thing?

SOA-K: “To the Wolves” will only be released on the split.

IMV: Going along with that, how would you describe Rift’s overall style?

SOA-K:  After Relic, we wanted to write more songs that would add drive to our live set. Thomas joined the band a few weeks before recording and the whole thing came together organically. Overall it’s a little less meticulous and there’s more energy and ‘feel’ this go round.

IMV: I’ve noticed that going back to 2015’s Skyward, you guys have a penchant for one-word titles. How do you guys decide your album titles and what is the significance to each one? Any recurring ideas or attitudes to them?

SOA-K: We tend to choose a title that represents a common theme in each album and the use of a single word had a striking effect when you find the right one.

IMV: What are the band’s goals for the rest of the year and possibly going forward? Is there anything on the group’s bucket list that still needs to be checked off?

SOA-K: We’re hoping to keep playing shows further from Louisiana. We’re getting used to making some long drives and taking more time from our day jobs, which has been great. We want to keep the momentum going in hopes of getting to Europe next year. We’re getting riffs and ideas for the next album, so hopefully we’ll get that squared away before the end of the year also.

IMV: Relic closed out with a strong rearrangement of Led Zeppelin’s “Kashmir.” How did that come together and were there any other songs that were considered at the time? Also, any chance of doing something similar on Rift or any future outings?

SOA-K: We had been wanting to do a cover for a while. Something that influenced us all and that we could adapt to fit our sound. We have such a mixed bag of influences so nothing really resonated with everybody until the idea of ‘Kashmir’ came up.  We were very happy with how it turned out, and luckily it was well received. We’ve been talking about how we might push our luck even further next time though, so just stay tuned….

Originally published at Indy Metal Vault on March 5th, 2018

An Interview with Mark Briody (Jag Panzer)

Jag Panzer has always been an underrated yet respected band in American heavy metal scene. That attitude seems to extend to guitarist Mark Briody, the band’s driving force for over thirty years despite being somewhat overshadowed in the public eye by their higher profile members. He is an accessible figure, always having interacted openly with Jag Panzer fans over the years and providing many insights into his creative process and thoughts on the band’s legacy. Indy Metal Vault reached out to Briody through email to go a little deeper into the band’s recent reformation, history, and tidbits surrounding their newest effort, The Deviant Chord.

Indy Metal Vault: I’m sure plenty of people have already asked but what was going on with Jag Panzer between The Scourge of the Light and The Deviant Chord? It seemed like there was quite a bit of hearsay and uncertainty in those years.

Mark Briody: We had just run out of ways to move forward. After Scourge of the Light we just kept hitting brick wall after brick wall, we were getting tour offers that would lose a lot of money. It would have been like ‘Hey Guys, we’re hitting the road for a few weeks, we need everyone to kick in $800 each.’ We were already bringing no crew anywhere, no merch people, borrowing amps, etc. We had hit the bottom for cutting expenses. The days of record companies helping to fund things are over.

IMV: Reception seems to be pretty good toward the new material. Where do you think Jag Panzer stands in the American heavy metal scene these days?

MB: We aren’t a big selling band (never were) and we don’t hit any sort of trends at all. But I think the dedicated metal community knows that we put out some quality metal and we put on a good live show.

IMV: The Deviant Chord is the first album to feature Joey Tafolla since 1997’s The Fourth Judgement. What were the circumstances that led to his return to the band and how do things feel compared to earlier experiences?

MB: Oliver from KIT brought the band over a few years ago to play an Ample set. Joey came aboard to do that show and a couple in Greece. They went really well so we decided to pursue more gigs. Those additional gigs went well so the next step was a new album.

IMV: I’ve noticed that The Deviant Chord features the same musicians as The Fourth Judgement and are twenty years apart. Do you think the albums have anything more in common with each other or am I looking too deeply into this?

MB: I personally don’t hear much in common with them, but several other people have told me that they hear a connection. To me, that’s the beauty of music. People hear different things, they take something different from the music compared to another listener. That’s really cool to me.

IMV: Jag Panzer has always had pretty varied songwriting, but I think The Deviant Chord may be your varied album to date. How did the writing process for this album compare to the others that you’ve released in the past?

MB: I try to be varied in my songwriting. I like to give each song it’s own character. For this album we did a ton of demos, much more so then we usually do. I think that contributed to a unique sound.

IMV: The band definitely has its share of classics. What song do you think best represents you and are there any particular tracks that you think may be overlooked?

MB: I appreciate that we have songs that people like and expect live, but for me personally I’ve always had a connection to our lesser known songs. For example, I would pick ‘Legion Immortal’ and ‘All Things Renewed’ as some of our best songs, but I think I’m alone in this opinion. I’m not sure we’ve ever even played them live.

IMV: As a longtime fan, I’ve noticed that you in particular have had a very active internet and social media presence for a long time now. What initially motivated you to do so and how do you think it may have affected the band’s momentum?

MB: When I was a kid I used to move gear and run cables for the local sound company. I didn’t get paid, but I got into every show and met every artist. One that made a big impact was Chuck Berry. Chuck Berry showed up to the gig himself, he was driving a station wagon and he brought him and his guitar. If you wanted a shirt after the gig, you went up to Chuck himself and bought it. It was a packed house, but if you wanted to wait around you could talk to Chuck Berry. I thought that was very cool. He was very much a rock star onstage, but very much a regular (and funny) guy otherwise. I always wanted to have that kind of interaction with people that listen to my music. I didn’t want to be an ‘ivory tower’ rock musician.

IMV: How has the band’s attitude to playing live and touring changed over the years, and who do I talk to about setting up an Indianapolis date?

MB: I don’t think our attitude has changed one bit, but the business around us certainly has. Since day one, we’ve always been willing to do whatever it takes to do a gig. We’ll take the worst flights, sleep on the floor and bring no crew. For Indianapolis, or any gig, contact Dave Tedder at dave@headfirstentertainment.com

Thanks!!

Originally published at Indy Metal Vault on November 22nd, 2017

An Interview with Dave Sherman (Earthride, Weed is Weed)

It wouldn’t be too inaccurate to think Dave Sherman as a legend in the doom metal scene. Having gotten his initial exposure as the bassist/backing vocalist for Wino’s Spirit Caravan, Sherman has come into his own performing various roles over the years in different projects like Earthride and Weed is Weed. 2017 has been especially busy as he played bass on The Obsessed’s Sacred, released a new EP with Weed is Weed, and is set to appear with Earthride at the 2nd Annual Doomed & Stoned Festival in Indianapolis this October. In anticipation of Earthride’s fest appearance, Indy Metal Vault got in touch with Dave Sherman to ask him about his bands, future plans, and everything in between.

Indy Metal Vault: Earthride is getting ready to release its fourth studio album, which will also be the group’s first to come out since Something Wicked in 2010. How has the band changed in that time and what can fans expect to hear when it is released?

Dave Sherman: We are actually releasing a single, two songs, “The Witch Gun” and “Bridge Burner” on the b-side, on Salt of the Earth Records in the United States and Totem Cat Records out of France, which will be distributing through Europe. We won’t come out with a full-length till 2018. We record at Omega Studio in Rockville, which is really cool. We have two new members of the band, Edmund Allen Browne on bass and Greg Ball on guitar.

IMV: You’ve played shows in Indianapolis with a couple different bands over the years. I remember thinking it was pretty cool when you performed a cover of “Procreation of the Wicked” with Apostle of Solitude when Earthride was last in town. What is your impression of the scene here and are there any bands that stick out to you?

DS: Yes, of course, there is a real cool scene there. As long as I’ve been touring, over 20 years, Indianapolis, Indiana always has a place in my heart. GATES OF SLUMBER, Apostle of Solitude, Wretch just to name a few. But there are plenty [of] reasons to come to Indianapolis, Indiana. The awesome friends that live there and the people that are into doom metal never stop amazing me with their kindness and open heart[s]. God bless Indianapolis.

IMV: Your other project Weed is Weed released The Bong Remains the Same EP earlier this year. How would you describe Weed is Weed’s mission statement in comparison to Earthride or your previous bands?

DS: WISW did release The BONG Remains the Same [ourselves]. it’s available only digitally but physical copies will be available soon to come. Weed [Is] Weed [has] got a lot of satire, which is very funny. Everybody in the band is very cool to jam with and we’ve known each other for years. Practically everybody’s been in Pentagram. We’ve got Gary Isom, Mark Amman, Sean Saley, and Rob Portillo. List of the subject matter is about getting high weed, [stealing] people’s lighters, and [continuous] lol. Earthride is more on the serious tip of things political, drugs, and hard times. But there’s a silver lining.

IMV: You wear a lot of hats in various bands whether they be as the lead vocalist, bass player, guitarist, or a combination. How would you say your different roles compare with one another and what role comes the most naturally to you as a musician?

DS: No matter what I do musically, I always try and do my best. I try and think what the song needs to be great because I like watching as it develops, being it riffs or lyrics that work to the advantage of the song. But every part in the band plays an important role no matter if it’s voice, guitar, or bass.

IMV: What album would you say best describes you as a musician and is there any particular album that you are the most proud of?  

DS: I would say Spirit Caravan’s Jug Fulla Sun. It’s such a great album, and we [were] firing on all cylinders and it was great working with Wino and Gary Isom. I’d say the 2nd album that I’m most proud of would be Vampire Circus because we worked with Mike Dean (Corrosion of Conformity). [It] just came out great sonically, one of the best albums [I’m] on.

IMV: If I may confess as an outsider, your involvement with The Obsessed in 2016 made it seem like it was more or less Spirit Caravan under a different name. Is there any truth to that sentiment or did things change as Spirit Caravan transitioned into The Obsessed?

DS: When we changed the name, we were excited to be in The Obsessed and we did a few SC songs, but 80% was old Obssessd as you probably already know. But I forgot that Wino is the whole band. With Spirit Caravan it was a team effort and not just one guy running the show.

IMV: Looking back, how do you feel about your performance on Sacred and the way the album turned out in general?

DS: Learning and writing material in the studio a week before going in the studio was very difficult. I would come up with something riff wise but it didn’t seem to be good enough for Wino, so I just went with Wino and Brian’s ideas because it just seemed easier to deal with I guess. But I had to do 14 songs in one day when they had several days to track, make mistakes, and redo if it was wrong or sounded funny. It was like I was under the gun. And I made a few mistakes here and there but with Pro Tools fixed it up. Thanks, guys for a great experience. Personally, I think the songs are good but I think the bass is too low in the mix and there’s way too many guitar overdubs. And the engineer Frank [Marchand III] listens back way too loudly and just throws your hearing way off. But it sounds good for the most part.

IMV: What are your goals for the future? Is there anything that still needs to be checked off your bucket list as a musician?

DS: Well the plan is come out with a new Earthride record in 2018 and tour our ass off. Pure Maryland doom for the Brotherhood of Music. Weed is Weed is writing songs for a new record, think it might be called (Classic Hits) lol and I have a new project with Starr Piazza Called Siren of Sorrows. We record on my 8 track Boss recorder and it comes out sounding like Paul Chain meets Pentagram, Italian doom metal. We have a song on Bandcamp, “Witch Hunt,” so hopefully [we’ll] have a full-length out 2018 and do a few shows. As far as a bucket list, I think that’s covered. Thank you and hope to see everyone at the shows, love and take care of your Brothers and Sisters.

Originally published at Indy Metal Vault on August 23rd, 2017