Dave's Underground Laboratory: 2/6/12

Here’s a long lost name. Germany’s Vendetta were a flash in the pan in the late ‘80s just as thrash metal was hitting the big time. I do recall Vendetta’s debut from ‘87, Go And Live… Stay And Die!, to be a very catchy affair of semi-melodic thrash with good riffs and melodies to go along with cheesy, Romita-esque cover art that appears to have been lifted from a comic book that has absolutely nothing to do with the album title (a quick follow up, ‘88’s Brain Damage, wasn’t too bad, either, and also featured appropriately bad cover art). Alas, though, Vendetta didn’t stick around for very long, and called it a day soon after.

Well, like Onslaught, Whiplash, and just about every other second (or third) tier thrash band from the period that eked out an album or two, Vendetta are back, undoubtedly hoping to cash in on the nostalgic yearnings for yesteryear and a nearly lost forever youth by old hands such as me. Well, that approach is going to work because I find myself enjoying Feed The Extermination, Vendetta’s second album into a comeback after reforming awhile back.

Sure, there’s nothing original about Vendetta, but their semi-melodic thrash goes over well with solid production, some catchy riffs and rhythms, and a pace that gallops along. The melodic vocal delivery works well, as Vendetta make no pretense about being truly heavy hitters, and pull off their shtick as a sort of “Overkill-lite” with enjoyable songs, and, a good album in Feed The Extermination. Veterans such as me will enjoy this one as a bit of a blast from the past.

Dave’s Grade: B+

I had absolutely no idea about this one going in. Without any prior research on my part whatsoever, I merely let my impressions of Wildernessking form from an initial listen of the band’s debut, The Writing Of Gods In The Sand. My impressions immediately brought to mind two labels that have been derisively tossed about with regards to some of the black metal being produced in the U.S. lately, namely Brooklyn (or “hipster,” if you’re so inclined), and Cascadian black metal. Well, regardless as to whether such genres exist, or if such bands in those genres deserve your scorn, even the most “tr00” and “kvlt” among you should give Wildernessking a look.

Turns out that Wildernessking are from South Africa, of all places, and, right out of the gun, employ a clean progressive sound wrapped around harsh vocals, an approach similar to that of the latest offering from Krallice. Lots of pleasing melodies accompany good riffs and a mix of tempos with fast gallops dovetailing to a much slower, more introspective pace. The melodies definitely take away the harsh edges present in traditional black metal, but Wildernessking make up for their relative lack of brutality with some really good songwriting, which, in the end, is what really draws me to The Writing Of Gods In The Sand.

As for the question as to whether Wildernessking are “really” black metal, the answer is probably not, although a few of the genre’s aesthetics are present. However, in the end, a genre label is unimportant with Wildernessking as their music hints at an approach that could, with time and experience, transcend such labels.

Dave’s Grade: B+

The mighty Monumentomb from Sweden’s Nominon was one of the best pure death metal records from 2010, and many, including me, have been salivating ever since for more material from the band. Whetting everyone’s appetite is a two song “single” from Nominon, which is only just enough to tide you over until the next full-length.

Two decent songs grace Manifestation Of Black, but the tracks have the feel of filler material that seems to be leftover from the band’s last writing process. The production is also rather hollow, somewhat lacking in the pure, death metal intensity of Monumentomb, robbing the guitars of some needed thickness. Never you mind, though, as anything from Nominon is at least worth a look, but Manifestation Of Black does really nothing to stand on its own except cause you to await a new full-length.

Dave’s Grade: C+

Boise, Idaho’s Uzala have jumped on to the sludge/doom bandwagon, yet another genre label that’s been liberally tossed around lately. Somewhere in between Black Sabbath, Ufommamut and Electric Wizard, Uzala pile on lots of riffs and a slow to near glacial pace. Add some clean female vocals from guitarist Darcy Nutt, and Uzala take on a sort of dreamy, haze laced persona; but, Uzala aren’t quite as psychedelic as Ufomammut, or as heavy hitting as, say, Acid King.

This self titled album does have a bit of a schizophrenic feel, however, as Uzala switch gears a bit deeper into the album. I find myself enjoying the slow parts of the album that I mentioned, but Uzala also pick up the pace a bit and switch vocalists with a harsher tone adopted by guitarist Chad Remains. The adjustment is a bit jarring, and I found myself becoming a little disinterested, as the slower parts are much more thoughtful with better songs. An uneven release, Uzala is worth a look.

Dave’s Grade: C+

Sweden’s Coldworker play a pretty even mix of American style death metal (sort of surprising) and grindcore. Lots of fast blasts, heavy riffs with a good, yet rough production, and mid-paced growls are de rigueur for Coldworker, a band that lies pretty solidly within the second tier of death metal.

The Doomsayer’s Call, Coldworker's third full-length album, is a pretty solid effort with a slightly louder sound than that of what I’ve heard from them in the past. The vocals are also a bit higher pitched than what I’ve heard from the band’s previous efforts, highlighting Coldworker’s flirtations with grindcore, rather than just focusing on straightforward, out and out death metal.

Regardless, the songs are fast, have plenty of brutality to go around and are, overall, well written on The Doomsayer’s Call. I do find Coldworker’s tendency to deliver a couple of slower tracks with groove and crunch a bit tedious, though, as all out speed and brutality are the band’s obvious strengths. For the most part, The Doomsayer’s Call is solid death metal, if unoriginal.

Dave’s Grade: B

I hope that you’re not squeamish (and that you don’t mind misogyny, for that matter), as Ireland’s Skewered make no bones about their plan of attack. Yep, that’s right! Straight ahead death metal with more than a dash of gore is the name of the game. Never mind the hyper polished perfection of Cannibal Corpse; instead, think bands such as Avulsed and a quirky approach, and you’re on the right track.

Luckily, misogyny notwithstanding, Skewered are not treading the bottom of the barrel of brutal death metal as Skewered integrates plenty of interesting hooks and grooves into a thick, riff filled, blastbeat ridden assault. Naturally, the vocals are guttural but, luckily, do not consist of the usual pig squeals and burps that you would normally find in the genre’s nether regions.

Toss in some dynamic bass lines and a sense of, well, skewed songwriting with jarring time changes, and this self titled, self released affair from Skewered is a pleasant surprise of gore ridden death metal that more than hints at plenty of potential.

Dave’s Grade: B