Witherfall – Curse of Autumn
Release Date: 5th March 2021
Label: Century Media
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Genre: Prog, Power Metal, Thrash.
FFO: Yngwie Malmsteen, King Diamond, Opeth.
Review By: Lucas Di Mascio
I was a big fan of Witherfall’s first album, Nocturnes & Requiems, when it came out. Admittedly it took some time to grow on me, I wasn’t quite sure what to make the band’s eclectic sound. It was like a mix of King Diamond, Yngwie Malmsteen, Opeth and Nevermore. I don’t think it’s a stretch to say that the band challenges its listeners, and with each release I feel they further challenge them. While Curse of Autumn, their newest release, might not convert non-listeners into fans they’ve definitely made strides into being a bit more experimental with their sound than earlier releases. The songs have bigger choruses, and a tighter song structure than earlier releases. The song structures are a bit surprising and actually took me off guard. I was used to the more eclectic twists and turns of previous releases, and while I think the bigger choruses (like in As I Lie Awake for examples) definitely improve the bands sound, it also feels like a bit of their edge is lost at times.
This isn’t to say the songs aren’t as dark, progressive or as heavy as Witherfall’s other albums, quite the contrary. Tracks like And They All Blew Away prove the band can deliver on their wild solo’s, moody passages and dynamic atmospheres all the same- it’s just that some songs sound like they are just banking on the bigger choruses to make the song shine. The first full track on the record, The Last Scar, is guilty of this. Nothing really grabbed me – the riffs were monotone chugging with a really simple song structure. I was waiting for that Witherfall twist in the songwriting that was apparent on pretty much every song off of A Prelude To Sorrow or their debut, and it just didn’t come in that song. The production isn’t any better or worse than their previous releases, but I felt that the bigger choruses and simpler song structures actually made the raw production more noticeable. The vocals in the chorus are so big and nothing else really matches it in intensity or polish. Compare it to the songs on their debut album, like Nobody Sleeps Here or Portrait – and the rawness and intensity of these elements adds to the dark sound of the album. It doesn’t really have that same effect here, but it still sounds fine.
With Curse of Autumn the band shows that they can evolve their sound, and still stay true to their dark vision. The bigger choruses are a nice development and should be something the band continues to work with. Jake Dreyer’s guitar playing is as jaw-dropping as it’s always been, so guitar nerds that love the band for their virtuosic solos need not worry – I don’t think those are going anywhere anytime soon. Depending on where your opinion lies on how progressive you like your music, you might see Curse of Autumn as a step in the right direction or a step backwards for the band. In either case, it’s still a great record for fans of Witherfall.
(4 / 5)
