![Review: AxeWound - Vultures [Album]](http://hangout.altsounds.com/geek/gars/images/1/4/2/3/7/axewound_vultures_88725473672_f_001-1024x1024.jpg)
![Review: AxeWound - Vultures [Album]](http://hangout.altsounds.com/altthumb.php?src=http%3A%2F%2Fhangout.altsounds.com%2Fgeek%2Fgars%2Fimages%2F1%2F4%2F2%2F3%2F7%2Faxewound_vultures_88725473672_f_001-1024x1024.jpg&w=500&h=500&zc=1&q=70){kind=small}
Spread the Social Love:
AxeWound (giggity) is the name of the brand new hardcore supergroup formed by Matt Tuck, a recipe for chaos and destruction with ingredients and flavours ranging from Bullet For My Valentine, Cancer Bats, Glamour of the Kill, Rise To Remain and Pitchshifter.
Whilst we attempted to go into reviewing their debut album, Vultures, with no expectations based upon the musicians’ colourful past endeavours - with no hopes or fears that we might get perhaps a slightly heavier versions of the lads’ other bands– the influence of each member of the band is notable. But each musician plays their role, each as integral as each other, with impressive conviction that creates a well constructed mix of metal nicety. Let’s do it.
We’re hit right in the face from the get-go; the album’s title track avoids pissing about and dives straight in with a groovy, irresistibly rhythmic and (of course) heavy-as-shit riff that paves the path rather nicely for Liam Cormier (of Cancer Bats) to unleash his raw, poisonous vocals upon our delicate ears. It’s a nice start, the lyrical themes are established– “I will crush you, leave you in ruins”. It’s all very violently metalcore in its approach – an exciting necessity for some, an exhausted, dead horse for others. After Avenged Sevenfold’s Synyster Gates contributes his skills to the song’s very Syn-like guitar solo, the album moves on nicely.
There’s no letting up with the post-hardcore riffage and guttural, almost primal screams shared between Cormier and Matt Tuck (Bullet) until ‘Cold’, the fourth track on the record. And by “letting up”, I mean that the song begins with an interesting chorus melody, where the focus seems to be more on the tune (think BFMV choruses) than the crushing heaviness. And then we’re thrown headfirst back into the deep end with a crunchy, beefy verse – AxeWound have clearly already defined their sound by the fourth track in the album. And yes, that’s a good thing.
‘Burn Alive’ takes a somewhat more 80s-metal turn, incorporating slightly atonal harmonies and guitar lines; in select parts, we’re reminded of a considerably modernised Slayer. AxeWound have hit the jackpot with this song’s chorus, however – a great blend between the infectiousness of a catchy vocal hook and sheer heaviness, tremolo picking and double bass smashing that would ordinarily find itself at home on a Cradle of Filth album (I know right?). It feels like AxeWound experimented a bit with this track, and it still feels in place. Nice.
By this point in Vultures, however, we’re getting a bit burned out on the wall of distortion, screaming and violent threats (“I’ll tear your fucking face apart!”… Alright then…). Whilst ‘Exorchrist’ still doesn’t relent, it has to be said that on its own it stands as a solid, impressive tune that we’ve been singing since we began reviewing the record. This is the track that should’ve been the album’s first single – it’s built perfectly for such a release. But we’re still holding out for something a bit different.
Phew, finally! The soft, piano introduction to ‘Collide’ slides its way into place and we’re a little relieved – we were half expecting Vultures to be an album of perpetual metalcore. Whilst the trademark distorted guitars eventually make their way back into the song, they’re not there just for the sake of being heavy; the contrast between the crushing axes and the tinkling of the piano ivories creates an expansive, atmospheric feel that the rest of the album has been otherwise lacking. Although, disappointingly, “my only goal is to kill you / I’m gonna make you my slave” reminds us that the (perhaps slightly unnecessary) aggression is still very present even in a song with so much character and potential for lyrical creativity. Meh.
Vultures concludes with the virulent ‘Church of Nothing’. The lads make sure we go out with a bang with a balls-out, no holds barred attack on your ear canals. Similarly to ‘Exorchrist’, the band grapple with some anti-religious ideas in their lyricism (it’s nice to see a little divergence from previous themes); “We’re all dead in the eyes of the Lord!” It’s raw, and it’s interesting. An explosive way to end an ultimately energetic and lively album.
Check out:
Whilst we attempted to go into reviewing their debut album, Vultures, with no expectations based upon the musicians’ colourful past endeavours - with no hopes or fears that we might get perhaps a slightly heavier versions of the lads’ other bands– the influence of each member of the band is notable. But each musician plays their role, each as integral as each other, with impressive conviction that creates a well constructed mix of metal nicety. Let’s do it.
We’re hit right in the face from the get-go; the album’s title track avoids pissing about and dives straight in with a groovy, irresistibly rhythmic and (of course) heavy-as-shit riff that paves the path rather nicely for Liam Cormier (of Cancer Bats) to unleash his raw, poisonous vocals upon our delicate ears. It’s a nice start, the lyrical themes are established– “I will crush you, leave you in ruins”. It’s all very violently metalcore in its approach – an exciting necessity for some, an exhausted, dead horse for others. After Avenged Sevenfold’s Synyster Gates contributes his skills to the song’s very Syn-like guitar solo, the album moves on nicely.
There’s no letting up with the post-hardcore riffage and guttural, almost primal screams shared between Cormier and Matt Tuck (Bullet) until ‘Cold’, the fourth track on the record. And by “letting up”, I mean that the song begins with an interesting chorus melody, where the focus seems to be more on the tune (think BFMV choruses) than the crushing heaviness. And then we’re thrown headfirst back into the deep end with a crunchy, beefy verse – AxeWound have clearly already defined their sound by the fourth track in the album. And yes, that’s a good thing.
‘Burn Alive’ takes a somewhat more 80s-metal turn, incorporating slightly atonal harmonies and guitar lines; in select parts, we’re reminded of a considerably modernised Slayer. AxeWound have hit the jackpot with this song’s chorus, however – a great blend between the infectiousness of a catchy vocal hook and sheer heaviness, tremolo picking and double bass smashing that would ordinarily find itself at home on a Cradle of Filth album (I know right?). It feels like AxeWound experimented a bit with this track, and it still feels in place. Nice.
By this point in Vultures, however, we’re getting a bit burned out on the wall of distortion, screaming and violent threats (“I’ll tear your fucking face apart!”… Alright then…). Whilst ‘Exorchrist’ still doesn’t relent, it has to be said that on its own it stands as a solid, impressive tune that we’ve been singing since we began reviewing the record. This is the track that should’ve been the album’s first single – it’s built perfectly for such a release. But we’re still holding out for something a bit different.
Phew, finally! The soft, piano introduction to ‘Collide’ slides its way into place and we’re a little relieved – we were half expecting Vultures to be an album of perpetual metalcore. Whilst the trademark distorted guitars eventually make their way back into the song, they’re not there just for the sake of being heavy; the contrast between the crushing axes and the tinkling of the piano ivories creates an expansive, atmospheric feel that the rest of the album has been otherwise lacking. Although, disappointingly, “my only goal is to kill you / I’m gonna make you my slave” reminds us that the (perhaps slightly unnecessary) aggression is still very present even in a song with so much character and potential for lyrical creativity. Meh.
Vultures concludes with the virulent ‘Church of Nothing’. The lads make sure we go out with a bang with a balls-out, no holds barred attack on your ear canals. Similarly to ‘Exorchrist’, the band grapple with some anti-religious ideas in their lyricism (it’s nice to see a little divergence from previous themes); “We’re all dead in the eyes of the Lord!” It’s raw, and it’s interesting. An explosive way to end an ultimately energetic and lively album.
Check out:
- ‘Collide’
- ‘Exorchrist’
- ‘Church of Nothing’
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