On paper, the progressive metal act Witherfall are a band that I should have been raving out from day one. Formed in 2013 by frontman Joseph Michael and guitarist Jake Dreyer, Witherfall play a particularly heavy and abrasive form of progressive metal - one that favours a dense atmosphere as much as it does technical wizardry. Michael and Dreyer met as members of the fun, but famously volatile, traditional heavy metal band White Wizzard (with the two performing on the band's third album The Devils Cut); and both left following a curtailed 2013 UK tour that ended in mud-slinging and drama so ridiculous that the only correct response was to laugh. Witherfall was clearly born out of this split, but is a vehicle far better suited to showcasing the duo's talents than White Wizzard ever was. Being a White Wizzard fan, I remember reading about Witherfall's genesis - but for whatever reason I never properly checked the band out until last year. I am not sure why, as they are a band that (it turns out) are right up my street, but I am glad that I finally got around to picking up a copy of 2018's A Prelude to Sorrow - the band's second studio album. I am not quite sure what I was expecting, but A Prelude to Sorrow took a while to bed in. Most progressive metal does, but Witherfall are much heavier and denser than the average progressive metal band. There are few bright melodies to be found here, and little of the genre's usual overblown sound, with Witherfall instead opting for a more oppressive sound - focusing on more meandering arrangements interspersed with tough in-your-faced riffing. The combination is a bit of a strange one, but it is what makes Witherfall such an interesting listen. I cannot think of another band that sounds like them, with even the obligatory references to Nevermore which are usually mentioned alongside the more esoteric progressive metal bands not really doing Witherfall justice. There are the occasional Nevermore-esque moments in Witherfall's sound, largely thanks to Michael's varied and raspy vocal approach, but there are also moments here that remind me a little of Mercyful Fate and the heavier end of Symphony X. Witherfall are a unique band as a result, and this uniqueness is why I have been enjoying the band's third studio album Curse of Autumn - which was released last month - quite a bit of late. I am still yet to hear the band's debut album, but Curse of Autumn carries on where A Prelude to Sorrow left off three years ago - but with perhaps a bit more of a focus on more overt melodies this time around. Curse of Autumn sees Witherfall tightening up their sound a little, thanks to a powerful Jon Schaffer (Iced Earth; Demons & Wizards; Sons of Liberty) production, and there are a few songs here that hit home after only a couple of listens - something that could not be said for much of A Prelude to Sorrow. Witherfall's unique sound is still present here however, with a number of longer tracks also present to stay true to the band's roots. The band's core trio of Michael, Dreyer, and bassist Anthony Crawford are joined here throughout by drummer Marco Minnemann (Steven Wilson; The Aristocrats; Ephel Duath; The Mute Gods; The Sea Within). It is not clear if Minnemann is a permanent member of the band or not, but his playing throughout the album is spectacular - as one would expect from someone of his pedigree. Helping out throughout too are James Cornwell and Howard Helm - who add extra percussion and keyboards to the album.
The album kicks off with the fabulously-titled instrumental Deliver Us Into the Arms of Eternal Silence, a short piece that opens with some renaissance-esque classical guitar melodies - before ramping up into a more traditional metal riff that segues nicely into The Last Scar. The Last Scar is the start of the album proper, and is one of the aforementioned more 'accessible' songs here. Schaffer's influence really shows here, with the song having a crunching, riff-based structure that places the fantastic vocals of Michael at the fore - with Dreyer largely taking a back seat here to churn out tough rhythms. Shredded solo sections follow the choruses, but on the whole track has a real Iced Earth vibe to it - with Michael's vocal style even sounding similar to Iced Earth's most recent signer Stu Block at times. That is not to say that the song is a pure pastiche however, as there are still strong traces of the band's core sound throughout. Witherfall's trademark darkness permeates the whole song, and the guitar-led sections are much more acrobatic and virtuosic - with Dreyer laying down some really knotty neo-classical melodies during his showcase solo spot. That said however, the song is much catchier than much of Witherfall's previous songs - with a big chorus that places a strong emphasis on melody that is sure to get lodged in the brain. As I Lie Awake leaves the Iced Earth-esque chugs behind, and goes for a much more overtly-progressive sound. Crawford's bass playing dominates early on, his fusion-esque melodies perfectly duelling with Dreyer's clean guitar lines, and even when the verse kicks off and a more typical rhythm takes over there is still a much more esoteric sound present. I really like what Witherfall have done with this album; and how they have managed to introduce more overtly-melodic elements without really sacrificing any of their core sound. I imagine that some fans will not like introduction of hookier moments, but in my opinion they have been incorporated well. As I Lie Awake has another excellent chorus, that reminds me a little of Symphony X but with a higher-pitched singer, but these melodies take nothing away from the fusion/progressive riffing that is found elsewhere - with both Dreyer and Crawford shining throughout with busy fretwork and interplay. Another Face does have something of a Nevermore vibe (despite my earlier comments), as Witherfall tap into the Seattle band's knack for moody melodies and a haunting atmosphere. As Michael is also now the singer for Sanctuary, he has clearly studied the late Warrel Dane's vocal style, and there is certainly a bit of that influence on display here - with Dreyer mixing clean guitar passages and abrasive riffing together perfectly to create an unsettling sound that is certainly akin to Nevermore's mid-period. While the song is not a ballad in the purest sense, there is certainly more of a melancholic sound used throughout. Heavier sections are rarer here, and are often used for effect to offset the murk found elsewhere - with Dreyer's schizophrenic solo emphasising this. I love the song's closing coda too, with Michael's howling vocals perfectly capturing the song's anguish.
Tempest is the first longer-form track here, with the eight minute-plus piece harking back to the band's previous albums in a more overt way to introduce a more meandering arrangement and variety. Dreyer is not just a shredder, but one of the most complete young guitarists out there - and his work throughout the track really showcases this. He switches between renaissance-esque classical guitar melodies and pseudo-black metal riffs with ease throughout the song - while Minnemann lays down some of the tightest and fastest drumming on the album. Due to the variety found throughout, the song takes a few listens to fully appreciate - but it is one that rewards patience. Multiple listens reveal the track to have a dense atmosphere, thanks to Michael's subtle keyboard work, which is not compromised at all by the heaviness of much of the track. The instrumental sections are suitably off-the-wall too - with Crawford's bass playing once again spotlighted with a solo section that builds on the previous atmospherics - while Dreyer adds occasional discordant acoustic melodies. While the album's opening few songs pushed melody in a big way, Tempest showcases the band's core sound more overtly. There is so much going on throughout that is can initially seem a bit overwhelming - but it is the sort of song that gets better with every listen, and showcases the band's songwriting talents in a big way. The album's short title track follows, which forms part of what appears to be a larger piece with the instrumental track The Unyielding Grip of Each Passing Day. Curse of Autumn is something of an acoustic interlude, but with some mournful Michael vocals, which helps to provide a bit of a change of pace following the oppressive and dark previous number. In an album like this, it is important to have some light and shade, and the short title track provides the listener a chance to catch their breath - before the following instrumental piece explodes with another big guitar riff and plenty of guitar pyrotechnics from Dreyer. It is essentially an instrumental showcase for him, although Crawford's fusion bass skills are also put to the test, and he demonstrates why he should be seen as one of the best modern metal guitarists currently on the scene. The Other Side of Fear also perfectly segues from the chaos of the shredded instrumental with a thrashy riff and pummelling rhythms that continue on throughout much of the song. There are a few slower sections throughout, but this is largely a fast-paced metal anthem that is packed with extreme metal trappings despite a catchy Michael vocal holding everything together. His vocal melodies will draw the listener in, but the vast array of vocal techniques on display here is staggering. Some parts contain death metal-esque growls, while other moments rival King Diamond when it comes to ear-splitting shrieks. It is a relatively short song, but there is still a lot going on despite the pace and the melodies giving the piece a simpler feel.
The River slows things down again, and is something of a ballad. Dreyer lays down acoustic melodies throughout, while Michael's vocals are much less abrasive and varied this time - as he goes for a more emotional approach that suits the subtle acoustic backing perfectly. Like the album's title track, The River allows for a bit of a change of pace before the album's hard-hitting home straight. It is probably the simplest track here arrangement-wise, although the final moments do see the rest of the band joining in for a guitar solo and a final reprise of the song's chorus. It acts as a calm before the storm however, and I like the way that the band structured the album to ensure that little breaks were built in - only to then hit the listener over the head with what comes next. What comes next in this instance is the album's magnus opus, and possibly the band's most adventurous song yet, ...And They All Blew Away - a fifteen minute-plus juggernaut that really showcases everything that makes Witherfall such an interesting band in one long-form composition. It is Witherfall at their most progressive, and as such it is another number that takes a few listens to fully appreciate - but the sheer scope of the piece will no doubt leave listeners floored. It starts slowly with some of Michael's best melancholic vocals on the album, before a lengthy instrumental build-up takes an atmospheric approach that eventually ends in the first verse. This is a song that perfectly captures the band's historic approach to songwriting, with a more meandering style that flows naturally from one part to another at its own pace. There are heavier sections here, and high-octane instrumental passages, but on the whole this is Witherfall's core, atmospheric approach taken to the logical next step. It is the sort of song that includes a little bit of everything that has been featured throughout the album in one big melting pot of sounds, with the black metal riffing of Tempest returning again - as well some of Michael's powerful King Diamond-esque vocal shrieks. It unsurprisingly also contains the longest solos of the album, with plenty of moments throughout for Dreyer to cut loose with some shredding - which are either packed full of melody or take a more discordant approach depending on what suits each portion of the song. Everything comes together perfectly however, and the piece does not feel long for its own sake. It is possibly the most complete Witherfall song to date, and it closes out the album perfectly. Except, it does not actually close the album out, as a strange cover of Boston's Long Time follows. It is not listed as a bonus track, so I can only assume that it is supposed to be a part of the main album - and multiple listens have made the esoteric cover version feel at home on the album. Boston are not an obvious choice for Witherfall to cover, but the song has been totally re-arranged so that only really the lyrics and some of the vocal melodies are instantly familiar - with the song being transformed into something of a mournful, atmospheric ballad that sounds nothing like the original. It fits with the overall sound of the album however, and helps the album to end of a calm, but somewhat unsettling, note - which is fitting in my opinion. It keeps the quality high right to the end, and it helps to make Curse of Autumn a really strong and varied listen. Of the two Witherfall albums that I have heard so far, Curse of Autumn is my favourite, and I love the melodic approach taken here - with the band's core sound still shining through. This is an album which I will probably only enjoy more over time, and I am looking forward to discovering more through further listens.
The album was released on 12th March 2021 via Century Media Records. Below is the band's promotional video for As I Lie Awake.
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