GOAT THE HEAD - 'DOPPELGÄNGERS'
AFTERMATH MUSIC; 2010

Four years have passed since Norwegian death metallers Goat The Head had first unleashed their self-described brand of “cave metal” out onto the world, yet with this second full-length effort it seems to be that there are a few musical issues which could use a bit more work. Interestingly in the case of a death metal band, these appear to lie with frontman Per Spjøtvold’s vocals; than with the actual sound.

Despite their apparent leanings as a comedy-influenced band as the prehistoric theme suggests, it must be said that Goat The Head do seem to display strong musicianship together: ‘Uncanny Valley Clan‘, ‘Salt’ and ‘Stirring the Enigmatic Appetite‘ are good examples of this; as the thunderous, monolithic drumming and solid guitar riffage are strong enough to stand out on these particular tracks. In turn, one could presume that it’s with this part of the music nailed down that the group seem to have chosen to explore where else they could go with the rest of their atmosphere. On what seems to be a live track on the album albeit placed around the beginning rather than the end; third song ‘This Tube Is the Gospel‘ features not only clean, female R’n'B-esque vocals but an attempt on Spjøtvold’s part to play around with his own sound. Albeit they feel like a relatively decent effort here, it looks to be this very decision to experiment which brings on the down points throughout much of the album.

Namely; this is when it sounds as if he is actually rapping along in his gravelly, full-throated vocals – at one point appearing to imitate the funk pattern of Anthony Kiedis. Although this could be for comedic effect, since the thought of a bestial caveman rapping is enough to get more than a few chuckles out of anyone; the end result is that it doesn’t work. True, there is clearly no rule against performing at a fast pace if you’re a harsh vocalist. Yet in this case, it looks to be that Goat The Head have unintentionally brought us a reminder of how not to go about it; even if you just want to dick around with your friends in the studio.

[4.5]

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SOLE REMEDY - 'APOPTOSIS'
AFTERMATH; 2010

Three years down the line since their debut full-length ‘The Wounded Ones‘; Finnish progressive metal band Sole Remedy return with a small line-up change and the follow-up effort ‘Apoptosis‘. Tagged as a concept album, one immediately gets the presumption that what is to follow will be an interesting record with moments of fear and saddened acceptance of fate. In turn, it does look to be that these expectations are ultimately delivered; albeit with moments of decent filler.

In the supposedly experimental vein of progressive metal, ‘Apoptosis‘ starts off with an ambient, tranquil track before the relative harshness of melodic death metal kicks in by the third song. As a result, this sets the par for an evenly paced sound throughout the entire record; which demonstrates not only the thoughtfulness behind it, but achieves a rather lovely effect where songs flow seamlessly from one to another. On one hand, this could be described as a musical metaphor for the album title itself (apoptosis being the process of programmed cell death for biological changes); more directly, it shows that although they’re still in the beginning of their career, the band is consistently aware of what they’re doing and seek to amaze with what they can do.

However, at the same time there seem to be certain issues which could use some ironing out – namely the continuous use of breakdowns amidst chugging, groove riffs on the earlier half of the record, and the apparent choice of saving its figurative meat towards the end; beneath all the filler which includes said breakdowns. Fortunately, the aforementioned technique doesn’t completely distract from gems such as ‘Wolf in Me‘ and ‘Past Decay‘, where Sole Remedy‘s experimentation with lyrical themes brings out a more philosophical aspect to the music. When it seems as if the former will predictably bat between calm, acoustic strumming and clean vocals to ferocious riffs and roars, frontman Jukka surprises the audience by continuing on from mid-way with both sounds before they’re accompanied by a heavy solo.

Nonetheless, it feels neccesary to that that even though this is a good, second effort from a group which has had to reform itself under a short period of time; it looks to be that ‘Apoptosis‘ would be best experienced if one just focuses on the last three, worthier tracks out of the ten songs that are present.

[6]

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