Winds Of Plague image



This sextet must be a confused bunch or perhaps they are trying to be clever. Their bio claims that they retain their hardcore roots while adding atmospheric Scandinavian black metal sounds and the surprise is that it is actually true. And the result is all shambles. An intro, A Cold Day In Hell, paves the way for Anthems Of Apocalypse which is in many ways an As I Lay Dying clone but a confused version of it, soon into the song the listener encounters a traditional sounding heavy metal solo and it gets stranger from there as the song moves through 10 seconds of Suffocation, 20 seconds of keyboard-oriented German metal, 10 seconds of Iron Maiden, 20 seconds of Crowbar and so on. The Impaler starts off with the European black metal sound, alas one with synthesizers in the background, then switches to a hardcore-ish sound then to Kamelot and back again and on and on. The title track starts off blasting and heavy death metal and thankfully stays on it for longer than expected but disappoints when it reverts to the hard core and then synthesizers. Origins And Endings is a mix of heavy metal, black metal, hardcore and a bit of everything else too. Angels Of Debauchery is mostly heavy and offers a bit more of the odd mix of hardcore and synthesizers. Reloaded is angry hardcore and at 2:29 it has less time to experiment. Unbreakable start off sounding like As I Lay Dying, and others of the American metal scene, and of course moves back and forth between even more of the aforementioned. One Body Too Many is more on the European side but then again it isn’t really. Legions closes out this 37 minute release showcasing everything yet again and like a few of the latter songs it does manage to stay on the heavier side more often. All in all it would be very difficult to claim Decimate The Weak as a ”˜technical’ metal offering, it is more like a mishmash covering every possible base. - Anna Tergel

Not much has changed for Winds Of Plague in the year since Decimate The Weak made its initial salvo known to the metal world and, in fact, The Great Stone War is one of those seemingly unofficial part II records that are released in quick succession as similar ideas come to fruition without any sort of distance from your previous output: what I’m saying is that this album sounds a lot like its predecessor, which is not a good thing. Winds Of Plague is still playing the Killswitch Borgir hybrid that is bizarre in its post-modern way but - as mentioned when Decimate The Weak came out - an inevitability we all should have seen coming many miles away. Like Abigail Williams, you get the feeling that these dudes (and a chick) honestly, with real and true integrity, think Dimmu and Cradle are the epitome of extreme metal and, if I was Silenoz and/or one-time Dimmu keyboard player Stian Aarstad (or anyone involved in the origins of commercial metalcore, for that matter) I don’t know if I’d be flattered or just very annoyed at this blatant sort of hero worship/rip-off operation. Man, just leave symphonic black metal to its true keepers, for they are more than enough. - James Tape


Winds Of Plague