WETWORK -

WETWORK - SYNOD - KRANKENHAUS
Upstart Canadian metal band Wetwork's Synod album is an exercise in dark ferocity. There are several snags within the oddly-named band, but before we address those kudos goes to the label for not making a big deal of the presence of a female vocalist within the ranks. Moreover, congratulations to the band for mastering their respective instruments so well. The technical ability is unmistakable within the band's chosen style of Death-gone-thrashy and then coloured black. The vocals are none of that absurd opera crooning, but rather a cross between Arch Enemy and Carcass. The front woman's normal voice is also heard once in a while. The quartet shrouds its metallic spirit in a mystical cloak that serves to diversify the core venom of the proceedings. Varied and stimulating drumming and practiced bass work are further fuel to the fire. The bass on Nature Of Repention, for instance, is impressive.
Having said that, everything is not in order. The album is hampered by a thin sound that screams for doubled guitar and drums. Everything needs to be bigger. More importantly, Wetwork is better at its instruments than at writing songs. While adequate, the material needs to progress further to challenge the behemoths of the scene. There is enough here to act as a beginning, but the group needs a bigger sound, more smashing riffs and a more focused structure. - Ali "The Metallian"