WINGLESS – Ascension

RELEASE YEAR: 2024
BAND URL: https://wingless.bandcamp.com/

While Nonconform²⁰²¹ (via Selfmadegod Records) was a very good album from this Polish death metal ensemble, my review was hopeful of the follow up to take more risks in order to distinguish Wingless from Behemoths, Azaraths and Vaders of my native land on one hand, and from the way Malevent Creation and, especially Novembers Doom do business, and – frankly, my wish did come true on, this, their 5th full length, Ascension²⁰²⁴ released last April 26th, the second album for Selfmadegod, second also, with no traceable metalcore influence which is not to say it’s unadulterated death metal. But gone are the stylings driven by band’s original vocalist Olaf Różański (2013-2021), although it could be argued that Wingless had a sole founder Grzegorz Luzar (guitars, bass) before Różański and drummer drummer Paweł Solon (who would have left in 2018) joining in 2013 for the independent trifecta Hatred Is Purity²⁰¹⁴, The Blaze Within²⁰¹⁶ and
Triada²⁰¹⁸, none but the last of which would draw attention from any label most likely because of that metalcore influence in their sound. So when Różański and Solon, who both had left even before Triads was recorded were replaced by Redemptor vocalist Michał “Xaay” Loranc and Piotr Wójcik, respectively, Wingless was ready to make a clean break with the extra-death metal sediment, Nonconform (mind the title!) clearly showcasing what Triads only had hinted at.

It turns out the pure death metal  policy had an expiration date if Ascension, heavily influenced by the likes of Crowbar or Corrosion Of Conformity (minus clean vocals), is any indication. In fact, given the post-recording addition of the second bassist Dariusz Zieliński (2024), I can venture a premonition that particular influence will take a Panteraic direction on future endeavors, not unlike Morbid Angel stylistic change from Covenant¹⁹⁹³ to Domination¹⁹⁹⁵, unless, of course, Wingless reads my review and changes their plans. In any case, let me state on the record that I actually enjoy that southern groove in my Morbid Angelesque Immolationary Novembers Doom, why, I’ll say, this is exactly what was missing from the immediate predecessor!

On that last point, “Majesty”, the album’s second song, is one that is the most straightforward no frills just good enough death metal, and, for that reason, it is my least favorite composition, partly, because the opening “The Ascension (After the Light)” is such a very good, all around well-written track which whets the musical palate for more only to get disappointed with what follows. Thankfully, the boat is immediately righted with “The Soul Raiser”, just as good as the opener, built around a technical classic Pestilence repetitive riff while promoting that Lamb Of Godly groove to send me off with weird synth effects after elevating pace to Immolationary levels of, say, Unholy Cult²⁰⁰² as if to que a much faster and brutal forthcoming. Indeed, “From There It’s Always Dark” is a fantastic, I may even say, almost perfect, representation of two worlds, starting with fast classic David Vincent Morbid Angel only to morph into a slow melodic Paradise Lost circa 1992-1993, structure reminiscent of Pantera’s “Strength Beyond Strength”, “Use My Third Arm” or “The Great Southern Trend kill”, hands down the best track on this offering, one I could listen to repeatedly without getting bored or tired., and it’s even followed by the excellent Down cooked on Spiritual Healing¹⁹⁹⁰ Death Asphyxian sometimes slow ride, “Stronger Than Death” that recalls Zack Wylde not just in title and probably on purpose – a nice wrap up to the slightly inferior first half of the disc. From here on – pure excellence, though, interestingly, the final three songs are more in the Novembers Doom, Morbid Angel and Immolation vein, seemingly like “Majesty” but much better written, with more interesting riffs and leads so that you’re neither bothered by the solo quality dragging a bit behind Trey Azagthoth nor the fact that “Empty Eyes, There Is No Soul” has rhythmic stylings very similar to Novembers Dooms’ “With Rue And Fire”. But you do wonder why there had to be a keyboard (thankfully short) instrumental closer “Into the Unknown” that sticks out like a sore thumb just a little less than that we’ve-just-done-it-so-kids-get-drunk-and-or-high-and-have-sex-to-it (by their own admission) ill-fitted “Dustmaker” on that burning red dumpster fire Machine Head called Unatøned²⁰²⁵. Notwithstanding, ogólnie, tak trzymać, Wingless!