(Review originally posted in Nocturnal Hall Magazine. Link to the original can be found here: http://nocturnalhall.com/reviews/W/wrvth_e.html)
WRVTH – WRVTH – 9.5/10
WRVTH might be more familiar to you as WRATH OF VESUVIUS or THE WRATH OF VESUVIUS, because these are the two names that the band previously had since forming in 2007. This group of young musicians come from northern California, and has already released two impressive full lengths, titled Revelation and Portals Through Ophiuchus. Those albums saw the band playing a style of technical death metal similar to bands like The Faceless. The albums contained great musicianship from all of the members, hints of ambience scattered throughout, and a heavy emphasis on deep growled vocals. This album sees the first release with new singer, Thomas Vasquez. With him, he brings shrieks into the mix that border on both black metal styles as well as post-hardcore styles. Along with the frantic changes between heavy and soft, many people have been comparing the new album to spastic bands like The Number 12 Looks Like You. While I can see this, I definitely get more of a Deafheaven vibe from the vocal style, especially when listening to the sections where he is shrieking over the fast tremolo picking and uplifting chord progressions. This blend of technical death metal and post black metal creates an extremely unique album over all. It is pieced together quite nicely. The two opening tracks,Harrowing Winds and Malaise are perfect examples of how these styles work together and compliment each other. They are also perfect in a live setting. The album contains instrumentals such as Looming Sigils and Amber Glow to help enhance the overall feel. In fact, the flow of the album is quite unique, as it seems to get more atmospheric towards the end. This is helped by the fact that both Lured By Knaves and the previously mentioned Amber Glow contain saxophone solos. Saxophones in metal are nothing new, seeing that The Faceless, Tesseract, and Ever Forthright have already incorporated the instrument into their music. However, that does not take away from how nicely it feels on this album, especially with the beautiful guitar chords, drum fills, and prevalent bass tones. This is the album that I feel will be the most underrated as the year goes on, and that to me is a criminal offense. It deserves to be more recognized and praised.