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WAXEN
Agios Holokauston

Moribund (2014)
Rating: 7/10

Waxen is a one-man band, the brainchild of Wyoming’s Toby Knapp (ex-Onward). Although Knapp probably won’t be getting many coins thrown at his tray should he choose to play this sort of extreme metal in his local street! Agios Holokauston is Knapp’s second Waxen release, although it’s been eight long years since the 2006 debut platter Fumaroth.

It’s hard to compare releases when there is such a huge length of time between them, but this is basically maniacal, obscure-sounding black metal with a vocal attack that, if anything, has industrial tones to its buzzing guise. Musically, it’s pretty fast stuff; there is certainly a melodic structure, but it does tend to rattle by like an out of control German bomber.

I think Waxen like to be described as blackened war metal, so yes, this is very much black metal, and for the most part it makes for a decent listen. I was first introduced to this album via the closing cut, ‘Eight The Adept’, which begins as a nuclear speed metal nightmare of sprinting guitars. The vocals are a rather ineffective scratch in the distance of the murk, but as the track reaches its final quarter it takes on an interesting turn. There’s an injection of melody and an almost Slayer-like menace as all manner of war-torn commotion explodes behind it. The rattling machine guns are a nice touch too, and I’m surprised at the technical quality of this record.

In fact, once you’ve taken the plunge, Waxen’s latest opus is an exhibition of fine guitar playing from this clearly talented chap who effortlessly merges obscure speedy thrash with industrialised black metal. Knapp is somewhat of a shred master who actually lets himself down with the vocals. Maybe something deeper and of more menace would have suited this record better, because when one hears a track such as opener ‘Suicidium’, I’m almost in awe of his guitar mastery. Behind all the grim disturbances there is a quality heavy metal structure that I’d like to hear more of, but maybe in the sense of a more straightforward opus.

‘Procession 11’ and ‘At War With Reason Itself’ are clever, complex extreme metal songs, but time and time again I find myself craving a din without such an indistinguishable voice – it’s almost like Yngwie J. Malmsteen having his talents swallowed by a primitive black metal cacophony. When one hears Waxen’s debut opus you’ll hear a straightforward black metal approach, but this time the riffs and solos just about rear their head above the ugly primeval swamp Knapp has created. This mishmash hinders what could have been an even more interesting album, but as it stands, even with that guitar majesty, Waxen remain too much of a blur for the instruments to gleam.

I guess that this is merely another Knapp creation that he needed to get off his chest, but this chap obviously knows his stuff, and I’d like to hear his talent in a sound that is less clogging.

Neil Arnold

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