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.

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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-