I didn’t expect much from this Australian band judging by their boring cover art and non-existent logo, which I personally value equally as the music. However I will forgive them as this album has been the most enjoyable thing I’ve reviewed this month due to the sheer bewildering number of genres and styles the band unleashes throughout its 60 minutes.
Starting with the title track; an immediate 70s sound comes over with Queen harmonies on the vocals, as I awaited a full on ball breaking assault in “Cold Dark Betrayal”, which I didn’t get. Every single song on this release offers the listener something different as metal adorns the track with some hefty double bass drums which act like thick fog on an autumn night. The harsh vocals have a blackened nastiness to them, and are only one of a multitude of characters used. The 80s lead in the song is wonderful; as the pace changes it run rampant veering this way and that without resorting to hyper speed technicality for the sake of it. This album is worth buying just for this track.
This band is likely to be lumbered with a metalcore tag which would be criminal such is the bands complex array of musical textures, from 70s prog rock sincerity to ferocious metallic violence. The production has a dangerous edge to it, being neither perfect nor ridiculously low key but balanced to emphasise each aspect of the song when necessary. The band uses acoustic guitar frequently without making the songs too poppy or folky, as Opeth springs to mind. A schizoid voice is used on “Bring Me Death” as the voice morphs into a demon like strangulation. The wall of sludge mid way through is brilliant as treacle thick riffs ooze forward relentlessly.
There are times when listening to this album that I had AC/DC, Nirvana, Root and Amorphis to name a few fluttering in my brain such is the eclectic nature of the songs. Take the instrumental “Cannibal Holocaust” for example which has Amorphis like keys with upbeat rocking riffs yet without an electric guitar in earshot. “Black Poison Heart” is a trip into melancholy alley with sad acoustics and a very sombre atmosphere. Some clean vocals are used on “Forest Of Ivy” with a charming acoustic section that changes to a heavy riff and harsher vocals. Once again the lead is exquisite as this band does not know the definition of playing it safe. The duelling acoustic and electric guitar is great to listen to and balanced by some very strange cymbal effects, as though they’re are being played backwards. The drum infested “Devil’s Eye” uses a simple riff with lots of guitar touches as the song builds to more duelling leads from the left and right in good old fashioned 70s/80s stereo style. It is difficult to convey how absorbing this album is such is the baffling music on offer. “Enter The Night” deserves a mention for the blues lead half way and the 70s prog rock vibe set to rain, thunder and acoustics. Marvellous stuff indeed. The quietest and most poignant songs of “The Saddest Joke” and “Insanity” have cello, beautiful guitar work and a calming serenity. This band has produced one of my favourite albums of the year so far. It makes such a change to hear music that challenges the listener and lures you out of your comfort zone. If you’re into bands like Opeth, The Ocean, The End, Cult Of Luna, Root and Amorphis then you should really check this out pronto.
http://www.myspace.com/thedevilwhite
