The Wake review on World Of Metal

Regresso do projecto conhecido como The Wake que conta com membros Protest Urban e Night In Gales, embora não se saiba muito bem quem são. A banda lançou a sua estreia três anos atrás (de boa qualidade por sina) e agora está de volta com este EP que tem um título enigmático e é composto por apenas uma faixa de quinze minutos. Uma faixa apenas que condensa todo o potencial melódico da banda dentro do death, black e doom metal. Um regresso que sabe a pouco mas sem dúvida positivo. 8/10

LinkWorld Of Metal

The Wake review on Occult Black Metal Zine

The Wake are an international duo with embers from Germany and Romania that has had music reviewed before in this zine and on this recording plays a raw and melodic mixture of black and death metal and this is a review of their 2020 ep “Born In 84, Dies In The 84th Year” which was released by Loud Rage Music.

Breathing sounds start off the ep fore going into a heavier direction while the only track that is presented on the recording is over 15 minutes in length. Whispered vocals can also be heard before along with all of the musical instruments also having a very powerful sound to them and the riffs also add in a decent amount of melody.

Grim black metal screams are also a very huge part of the song while spoken word parts can also be heard briefly. When the music speeds up a great amount of tremolo picking and blast beats can be heard which also gives the recording more of a raw feeling along with some death metal growls also being utilized at times, psychedelic sounds and synths can also be heard briefly as well as the solos and leads also being done in a very melodic style. and the ep also adds in a decent mixture of slow, mid paced and fast parts.

On this recording The Wake goes for more of a raw and melodic style of black metal that also mixes in some elements of death and doom metal to create a sound of their own. The production sounds very professional while the lyrics cover dark themes.

In my opinion this is another great sounding recording from The Wake and if you are a fan of raw and melodic black and death metal, you should check out this ep. 8 out of 10.

LinkOccult Black Metal Zine

The Wake review on Metallian

There are long interludes of pure and undefiled metal ecstasy on Earth’s Necropolis. With the exception of one, albeit important, element this album is nigh on perfect. The Wake’s anonymous duo claims to have been around since 2009 and perhaps it shows. The music is mature, effective and a throwback to bands that came before it. Those bands, without further ado, are Dissection and Dawn (Sweden). V (vocals) and XII (guitars, bass and drum machine) have several guests on the album to complement them, beef up the offering and it works. Unfortunately, however, there is always a ‘but’ for some reason and the shortcoming here is the aforementioned drum machine. Instead of a human asserting power and heaviness, the band has made it easy on themselves and gone the programming route. Were that not so the group’s debut would have become flawless if one does not demand originality. As things stand, this album is excellent nonetheless. By the time the album’s last track, the almost Dissection clone, Closure comes on the harsh melodies, pounding coldness and varied, but always extreme, vocals have rendered Earth’s Necropolis a future mainstay at the halls of Metallian Towers. The speed and brutality have an evil menace here with Lost Painting, Cadavers and Closure being personal top choices. Ship Of Hope, however, is weaker and suffers under its effects and droning. Whenever it appears the bass cuts like a knife and for some reason Isolated Illusion fades out like a pop tune. As if the monicker, album title and cover artwork – one edition seems to have lost much of the peripheral characters – were not enough any single track here would rid the domicile of unwanted dust, cobwebs, overstaying girlfriends and nagging wives. This is the stuff of the strong and not for the ‘metal’ fans into a keyboardist, a girl in a corset on stage shaking her fat ass (and admittedly cooking on the tour bus) or an audience that enjoys symphonic opera ‘metal.’