Wreath - Silence Evermore - (7/10)
Published on March 7, 2019
Fancy yourself sum’ Hardcore? “Silence Evermore” is the debut LP by Sidney Australia’s rather angry newcomer Wreath and it offers pretty much everything a hardcore album should. It’s a harsh and aggressive collection of riffs and screams that is bound to thump your gut and get your head spinning especially if you like this particular style. The album releases worldwide through EVP Recordings on March 15.
What these badassery preachers have in store for us are short and concise bullet songs that spin around the 2-3 minute length and leap at you with raw and uncut rage. Most tracks seem to end as soon as they begun and the full album goes by in a jiffy but can churn out enough adrenaline to satisfy most riff hungry metalheads in that time. The songwriting is stripped down and straightforward without any fiddling about and the songs mainly offer mid-tempo ideas and quite simple patterns. In terms of sound quality ‘Silence Evermore’ suffers from the not so brilliant mix and mastering that debut albums often have. The drums come forward nice and clear but the guitars sound could be better. It feels a bit mushy and doesn’t fully value the depth of the riffing. In the big picture they managed to stay on track and sound comprehensible enough.
In order to address the elephant in the room one must acknowledge and mention the highlight of the record if one doesn’t want most hardcore listeners on the planet looking up his personal data and showing up on his doorstep with a steak knife. It’s the riffing and the breakdowns (yes there are breakdowns, although that was to be expected). The heavy guitar sound may not be very crisp but it sure is loud and noisy enough to slap you in the face the way it should. I find the stops and strums in the riffs emphasized by the drums to be a very important aspect that helps charge and release energy on repeat. It’s not a repetitive pattern through the album per se but they keep this alternation between noise and silence alive to be able to attack often and convincing. Check out the 7th track “Stained Glass Soliloquy” for a nice contrast between thumps and leads in the very beginning of the song. On another topic, the rhythm structure is compelling enough even for a prog enthusiast such as myself. It allows some progressive hints to find their way in the album and especially tempo changes create cool transitions that allow for those heavy plodding sections to come forth. The ending of the album is one of these ever growing chunky drags with a fuzzy noise background increasing over the music until utter silence instantly takes over and you realize that it’s already finished… that fast.
Where I’m bugged about this album for good is in the vocal performance. They need to work on those angry man yells and bring some more metal in the picture. It sounds aggressive as it should but quite unintelligible as far as I’m concerned, yet I’m not the greatest admirer of hardcore vocals. It’s not entirely a lost cause as the screechy screamy stuff are counterbalanced with the whispers that come along in the silent creepy sections that are actually present around all of that cojones. Guess after a while you need to take a break and create suspense before you can smash your listener in the head again and that is what the mates do with interludes in the songs. Take the full on whispered break that is ‘Host’ as a reference. I’m not exactly blown away by this release but I guess if you like heavy stuff, it’s definitely worth a listen, and what I’m entirely sure is that this frequency of rage translates very well into a live setting for those who like to…. dance.