Australia’s brootal death merchants, Werewolves returns with album #7. Yes, you read that correctly. They release an album every year since their inception, and as the old saying goes, “If it Ain’t Broke, Don’t Fix It”. I did review their fifth album Die for Us and raved about the brutality. Well, get ready for a funeral doom-laden approach with symphonic blackened deathcore…and…. I am just yanking your chain. The trio returns with nine songs in 33 minutes guaranteed to melt your face clean off your friggin’ face.
“Uroboric Fuckwit” starts without a fancy intro. Right into a monstrous blast beat. Ferocious in nature, the song slows down at the half-minute mark with ripping double bass drums. The isolated guitar riff at the 45-second mark signifies a Holy Shit moment. It goes into the band hitting their music and vocal cues, bap bap bap, then right into the ferocious blast beat. Monstrous. I am like, ‘How can the band do it again with such intensity?’ Then toss in some spoken/screamed vocal moments, and this adds another layer to the band. I congratulate bassist/vocalist Sam Bean for adding these moments in. As previously discussed in past reviews, the band enjoys tongue-in-cheek humor, and that is inserted towards the end of this song. The band tosses in a classic Chapelle show clip to end the song, and I am laughing hysterically.
Continuing with the fun theme, instead of the MMA fighter Tank Abbott, the band titled the song “Tank Habit”, lol. Monstrous guttural growls, blasting, and some intricate guitar riffing as well. This is realized about halfway into the song, as the song gets slower with that intricate guitar picking action. It’s quite catchy and showcases the skill set of Matt Wilcock’s improved guitar playing.
David Haley has a penchant for smashing the shit outta his cymbals, and he continues the onslaught on this song, which carries over into “Burn It to the Ground”. Supremely brutal, with some more of those shouted vocals happening. It goes really well with the gutturals and some of the higher-register blackened death rasp tones. This song is one mean SOB. Yo, Werewolves – why so angry, fellas? Are you not getting enough kangaroo and koala jerky in your diet? The slam at the 1.50 section is crucial in its delivery and slams hard. The song traverses into some atmospheric harmonies before the bludgeoning blasting blasts your head into the hemisphere.
“We March” is over five minutes and the longest song. Beginning quite slow and ethereal in the musical arrangement, this is an expansive song for the band. I can see future albums having more of this. There is a bit of doom with crushing heaviness. The 2.20 moment has amazing deep vocals and a nice hoppy vibe to it. The song is drenched in atmosphere and sees the band being a tad more versatile. The galloping action at the 3.35 part is worthy of some headbanging action and is terrific. If you thought this song was going to be devoid of a blast beat, I would laugh at you. The blast erupts and takes us for a ride down the brutal lane of despair.
The title track ends the album with more bombastic brutality and face-shredding riffage. There are multiple tempo changes throughout the song, and this ends the album in pure brutality, just as it began.
Werewolves might come across as a one-trick pony to some; however, You’re Weak and You Know You’re Weak showcases the band adding elements of atmosphere, some different vocal tones, and sharpness to their sound. The production and mix are tight, clear, and concise. The band adds multiple tempo shifts throughout, and at this point I am waiting to see if this band is going to tour. Like, try and get on MDF and get on some tours, fellas. This band is a seasoned machine with their writing. I wanna see them get out of their comfort zone and tour, if that is something they want to do. Face-ripping brutality, just what Dr. Giggles ordered.
