Beware the techno monster
Here's a question for you to debate into the small hours; Focusing on all the female fronted dual vocal acts littering the heavy metal scene at present, and taking the publishing side of the business out of the equation, should all band members be paid the same amount? Perhaps this question should be explored in a separate feature, but the seed of the idea was sown when listening to Deadlock's new album 'Wolves'.
Deadlock has a twin vocal attack, utilising the tried and tested beauty and the beast scenario. Johannes Prem provides the vicious growl whilst Sabine Weniger delivers the angelic contrast, however, Sabine for the most part only sings the choruses, the odd bridge and the occasional verse. Likewise, Johannes tends only to growl on the verses, leaving the catchy choruses to Sabine. If you apply the above question, then should Johannes and Sabine receive the same money for doing only half a job compared to the rest of the band, bearing in mind that the band are playing ten to the dozen and providing some brilliant performances along the way? An interesting argument with many counter debates I'm sure, of course this doesn't just apply to deadlock, but it was the band that prompted the question.
All of the above doesn't actually tell you much about 'Wolves' except for they have a twin vocal attack which immediately makes you think wallowing, atmospheric and lethargic goth metal. Thankfully you'd be barking, or howling, up the wrong lamp-post as Deadlock have had the splendid idea of playing some brutal metal underneath the beauty and beast vocal idea, rather than some lame, tepid goth shenanigans. Too be honest I've been waiting for a band like Deadlock to come along for quite a while, having to suffer the Epicas, Tristanias and Echoes of Eternitys of this world for way too long. Don't be fooled however, this album is aeons away from being original, but what it does have in droves is energy and attitude.
My relationship with 'Wolves' didn't get off on the right foot after being called a muthafucker within the first two bars of post-intro song 'We shall all bleed'. How rude I thought as Johannes growled his way through the opening few bars. The band then thrust themselves with vicious aplomb into the main body of the song. At first I was a little disappointed as Deadlock chocked out carbon copy music of such bands as Inflames, Soilwork, and Dark Tranquillity, even the production sounds like an Inflames knock off. All of sudden I checked to see if a pop up had appeared on my PC playing a tune by euro popsters Aqua. I was wrong, my pop-up blocker was on, the high-pitched vocals were emanating from the wall of thrash blasting from my speakers. A wry smile appeared on my face, I must admit, it sounded cool.
I'm sure you can get the picture, Inflames thrashing, growly verse, ultra melodic chorus or Scar Symmetry as it's also known. Thankfully I love Scar Symmetry, and as a consequence I love 'Wolves.' Not only are there some cracking tunes on this disc, not only is the contrast between the thrashing and the melodic elements on two different planets yet very accessible, but the thing that makes this album work is the amount of Oomph finally given to this type of twin vocal style.
Of course all this thrashing and fairly unique twin vocal attack would be nothing without a good tune to back it all up. 'Wolves' succeeds well in this respect, 'We shall all bleed' is a wonderful chunk of Scandinavian style metal (even though Deadlock come from Germany) that incorporates an excellent solo and superb acoustic style ride out. 'Code of Honor' works utilising Sabine's voice through the verse and also being just too damn catchy, the same could be said about 'Bloodpact' which adds some extra class towards the end of the disc. At the end Sabine gets her chance to do her 'Amy Lee' bit on 'To where the skies are blue'. Just one voice and a piano round the album off nicely and quite frankly gobs from a great height on anything from the Evanesence camp.
Sadly, like all bands of this genre and ilk, they have a canny knack of being able to write the same song several times causing the ideas and songs to merge into one. Because of the rigid song-writing structure Deadlock have kept to, several of the songs, 'As words to Bullets' and 'Crown of creation' in particular, have a cookie-cutter feel about them. A dash of thrash, some growling with a cleanly sung chorus and repeat, get the idea? For all of its appeal it soon becomes apparent that 'Wolves' is a lot stronger when the band are being more adventurous with their structures. Lastly, the band use some electronica on this album which is palatable for the most part except on 'End Begins' when it breaks down in to some techno techno techno. It stinks and is completely out of place. I can appreciate what the band were trying to do but most metal-heads hate that boom boom style dance music even in short doses which is a shame as it completely ruins an otherwise decent tune.
For all my whinging 'Wolves' is a great example of its genre and a really enjoyable listen. Sabine's vocals put a slightly different spin on a arguably cluttered genre which makes this album work, and Deadlock would probably be half the band without her. This is not to say she's the life and soul of the band but without the female vocal side of this act Deadlock would be just another thrashy metal band to throw on top of the pile. If you like the Scar Symmetrys and Soilworks of this world then I urge you pick this release up because you won't be disappointed but beware the techno monster.