ALBUM REVIEW: Don’t Spare The Wicked – Fortress
Making the jump from releasing EPs to full-lengths comes with a lot of challenges. One of them being if the material is strong enough to warrant a full-length album. Metal band FORTRESS take that leap of faith with the release of Don’t Spare The Wicked tomorrow.
The first trio of songs say a lot about a band’s album. What is there to expect? Is this going to be enough to hook someone in? With the threesome of Lost Forever, Devil’s Wheel and Anguish, we don’t hear the broadened sound FORTRESS claims to have. Lost Forever wastes little time jumping into the classic metal fray. Synths simmer beneath Fili Bibiano’s undoubtedly speedy guitars. As Chris Nunez’s vocals filter through the reverb we feel a little underwhelmed. Wanting to join the likes of QUEENSRŸCHE in terms of influence comes with certain expectations which aren’t fulfilled in the interim.
This is not to say there isn’t talent there. Nunez’s scream in Devil’s Wheel steers the ship in the right direction and sets the tone for what could be a good record. Yet it isn’t long before FORTRESS come up against their own walls. The interlude for Devil’s Wheel has so much potential in its low bounce and use of space. When the dual guitars make way for a faster solo however, it feels clunky and out of place. Leading into Anguish, we’re met with another launch into the speed metal influence. Synths are used to slow proceedings but the diversity here is lacking. Unresponsiveness reigns as we wander through this tale of woe. As Nunez sings about the sentiment we’ve all felt as we “watch the world pass me by”, we can’t help but let this song slip away just the same.
The rest of the album breeds some frustration. Not because FORTRESS aren’t good at what they’re doing but because they could be so much better. Red Light Runner follows the pattern of its three predecessors but has much more sonic depth. Damian Rejon’s basslines buzz merrily in the bottom end. Lilts of guitar bubble beneath the surface of this fuller sounding song. The diversity and excitement are on the precipice for FORTRESS… until they return to their flat formula. There’s nothing wrong with a band having a structure to their material. The problem comes when predictability sets in.
By time the closing title track comes, we find the album has passed us by. The reason it’s such a shame is because there is musical talent here. The composition of guitar parts is of great quality, but there seems to be little to go on in terms of pacing. That breeds the notion of just because you can play something fast doesn’t mean you always should. It’s this element of time and place for everything which haunts the boundaries of FORTRESS. Children Of The Night bills itself as a fight song for the underdog, and it is promising in its inception. A chug of guitar riffs gets the blood pumping and we’re ready to engage in an anthem of uprising. Yet the fire is extinguished with a slow synth and haunting ballad. While finding the strength within ourselves can be a slow burn at times, this one fails to ignite.
Don’t Spare The Wicked leaves us wrestling with indifference. There are some elements to sink appreciation into but there simply aren’t enough of them. There’s tangible potential within this collection of songs but it feels ever so slightly out of reach. Moving away from the record and allowing it to settle, Don’t Spare The Wicked leaves our minds relatively quickly. For this bout, indifference gets the three count.
Rating: 5/10
Don’t Spare The Wicked is set for release on November 26th via High Roller Records.
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