Album Review: Queen

Wellington’s death metal powerhouse, Grey Skies Over Rapture, return with Queen, a devastating follow-up EP that builds magnificently on the solid foundation laid by their 2015 Between Worlds and 2019 self-titled albums. Where those initial releases showcased the band’s ability to merge thrash-infused death metal with technical precision, Queen demonstrates a quintet operating at peak ferocity, delivering six tracks of unrelenting brutality wrapped in atmospheric grandeur.

The City of Phantoms wastes no time establishing the band’s brutal intent. Intricate riffs coil around thunderous percussion, creating an otherworldly ambiance that oscillates between sinister verses and commanding choruses. The layering here is exceptional, with numerous variations keeping listeners locked in as the song tears through its extended runtime with calculated aggression.

The polyrhythmic complexity of Crystal Lakes displays Grey Skies Over Rapture’s musical evolution perfectly. Where the band’s previous releases also impressed with their raw unprocessed power, this track demonstrates refined songwriting chops and enhanced playing ability. The atmospheric chorus provides breathing room without sacrificing intensity, while strategically placed solos add even more depth and gravitas to this standout track. Matt Kennedy’s multiple tempo shifts masterfully build tension before the middle eight explodes into an anthemic declaration that is expertly designed for audience participation.

Cycles of Flesh might just be Grey Skies Over Rapture’s secret weapon for international recognition. Vocalist Richard Matthews delivers guitarist Ben Claxton’s lyrics with a performance perfectly calibrated for US and European stages, while the song itself channels Gojira’s technical efficiency merged with Rammstein’s visceral impact. The result is eye-wateringly heavy, punctuated by classic 80’s metal riffing seamlessly integrated into modern melodic and rhythmic frameworks.

The darker aesthetics of Kingdoms of Disdain offers something even more triumphant. While the first half’s labyrinthine rhythms demand multiple listens, Matthews’ vocal octave leap midway through evokes symphonic black metal nuances. Patient listeners are rewarded when the band finally unleashes full throttle two-thirds of the way through, demolishing everything in their path.

Lifesblood strips away some complexity for a more direct assault, maintaining the EP’s momentum while adhering to the band’s more down-to-earth metal roots. Lyrically dense verses give way to soaring moments that will sweep listeners along.

The EP’s namesake Queen is the perfect track to close out this monumental release. Although the tempo floats a bit between changes, the percussive precision often locks perfectly into guitar riffs over a driving four-on-the-floor foundation that grabs hold and refuses to let go. The synchronicity achieved here is remarkable, with the Wellington five-piece flawlessly swapping between polyrhythmic intricacy and earth shaking blast beats.

Grey Skies Over Rapture have crafted a supremely original offering that honours death metal tradition while pushing new boundaries. While avoiding being derivative, Queen successfully channels old-school metal’s finest techniques with modern metal’s precise devastation. This is essential listening for anyone craving technically proficient yet accessible extreme metal from Aotearoa.