Review by Felix on March 8, 2022.

Bands with an affinity for playing techniques and complexity are sometimes a little bit over-ambitious. Home Style Surgery can look back on a history spanning more than ten years from their first steps until the release of Trauma Gallery and they have increased their musical skills constantly. Even though they belong to these aforementioned formations which are interested in slighty complicated song patterns, the dudes from Finland also do not forget to keep an eye on relatively transparent structures – and that’s a good thing.

From time to time, Trauma Gallery brings the glorious debut of Angel Dust (“Into The Dark Past”) back to my mind, but only those of you who have been born before World War II will remember this great vinyl from Germany. However, there is a further parallel to another Teutonic group from the ‘80s. The phrasing and the pitch of lead singer Joel remind me very much of Heinz Mikus from Risk. Moreover, the stylistic approach of Home Style Surgery is not too far away from Risk’s vital first full-length. I enjoy mid-harsh thrash with a little technical component that does not focus on an overload of brutality. Nevertheless, there are a lot of edges and corners. The album never falls prey to an inadequate mildness.

Unfortunately, a few parts of the album meander aimlessly, for example sections of the opener. But in general, the protagonists do not lose sight of their objective, the creation of fiery, intelligently designed high-energy songs. They even do not forget a small number of catchy lines. The excellent 'Atomosophobia' scores with a lot of strict leads and 'Beware The Lurkers' could be a highlight on a modern Artillery album (but with a much more aggressive lead singer). The lively guitar work constitutes a big advantage of the compositions and the mostly smooth linking of the different parts speaks for the maturity of the line-up. Still better, the differentiated production fits the compositional sophistication and therefore it comes as no surprise that songs like 'Haunted Mindscape' come into their own. The same applies for the most compact crusher called 'Verge Of Confrontation'. This ferocious piece is followed by the extra-long title track. It summarizes all musical visions of a band that does definitely not lack potential.

Some might say this is just another thrash album, but I have a different point of view. Maybe these dudes stand at the threshold of becoming something great. They have a certain degree of individuality, they do not run out of ideas and the well-coordinated interplay leaves a tight impression. Finally, the album grows – I wrote the first version of this review in 2018 for the “Metalegion” mag and gave 7,5 out of 10, but that’s actually not enough for this inspiring work. Therefore now I am more generous… Let’s see what the second output will offer. I am curious and will check it soon.

Rating: 8.2 out of 10

Review by Felix on March 8, 2022.

Bands with an affinity for playing techniques and complexity are sometimes a little bit over-ambitious. Home Style Surgery can look back on a history spanning more than ten years from their first steps until the release of Trauma Gallery and they have increased their musical skills constantly. Even though they belong to these aforementioned formations which are interested in slighty complicated song patterns, the dudes from Finland also do not forget to keep an eye on relatively transparent structures – and that’s a good thing.

From time to time, Trauma Gallery brings the glorious debut of Angel Dust (“Into The Dark Past”) back to my mind, but only those of you who have been born before World War II will remember this great vinyl from Germany. However, there is a further parallel to another Teutonic group from the ‘80s. The phrasing and the pitch of lead singer Joel remind me very much of Heinz Mikus from Risk. Moreover, the stylistic approach of Home Style Surgery is not too far away from Risk’s vital first full-length. I enjoy mid-harsh thrash with a little technical component that does not focus on an overload of brutality. Nevertheless, there are a lot of edges and corners. The album never falls prey to an inadequate mildness.

Unfortunately, a few parts of the album meander aimlessly, for example sections of the opener. But in general, the protagonists do not lose sight of their objective, the creation of fiery, intelligently designed high-energy songs. They even do not forget a small number of catchy lines. The excellent 'Atomosophobia' scores with a lot of strict leads and 'Beware The Lurkers' could be a highlight on a modern Artillery album (but with a much more aggressive lead singer). The lively guitar work constitutes a big advantage of the compositions and the mostly smooth linking of the different parts speaks for the maturity of the line-up. Still better, the differentiated production fits the compositional sophistication and therefore it comes as no surprise that songs like 'Haunted Mindscape' come into their own. The same applies for the most compact crusher called 'Verge Of Confrontation'. This ferocious piece is followed by the extra-long title track. It summarizes all musical visions of a band that does definitely not lack potential.

Some might say this is just another thrash album, but I have a different point of view. Maybe these dudes stand at the threshold of becoming something great. They have a certain degree of individuality, they do not run out of ideas and the well-coordinated interplay leaves a tight impression. Finally, the album grows – I wrote the first version of this review in 2018 for the “Metalegion” mag and gave 7,5 out of 10, but that’s actually not enough for this inspiring work. Therefore now I am more generous… Let’s see what the second output will offer. I am curious and will check it soon.

Rating: 8.2 out of 10

Review by Alex on March 23, 2020.

Like the opener 'Dissolve and Release' indicates, Wake with their latest album operates as a conduit of relief, therapy to sedate the suffering. A medicinal if anything sort of album, high concentrates of death metal, erupting from a crust and grind drenched volcanic shell homing a blackened lava that'd coat all with its taint, chasing the light from all corners as time goes by on Devouring Ruin. Uncrowned, yet Wake remains in commitment to their vision since Surrounded by Human Filth and Leeches; maturity is evident, such as is improvement, thus the band climbs to a new level in their journey as another fragment of their image reveals.

Wide mouthed and resonating, delve deep into a chasm of haunting reflections and become one under the shelter of a provoked fear. 'Kana Tevoro (Kania! Kania!)' is what a release sounds like, enraged and energy draining, perhaps the reason you'd feel weary by the time it’s through. Is it the fear of being eaten by an evil spirit or a sorceress? I don't know, I don’t have the lyrics, but fear always finds a way to resurface in our thoughts about whatever. However, 'Kana Tevoro (Kania! Kania!)' does not encourage you to cower before the abhorrent visions, instead take by the horns that which haunts the troubled soul. Death metal would come to the aid, black metal stands close-by, meanwhile the rough and uplifting crust screams triumph through the nightmare of the fed-up victimized.

What exactly is this music, an accumulation of styles if given a thorough listen, not quite easy to pinpoint, hence the incorporated doom metal, sludge, post and black metal sound waves brought into effect on ‘This Abyssal Plain', 'Mouth of Abolition' and 'Torchbearer'. Also, an added depth of heaviness, consistency and connection is applied, contrast to Wake's earlier recordings that were significantly shorter that the current Devouring Ruin, thus the longer tracks have facilitated the band's aspirations to make their music more compact that of a loosely built skeleton of sound. A much-needed step in their catalog to play with more diversity and emotion to give the listener a feeling of being engulfed. 2018's Misery Rites was a step up in song writing, though still displaying the band's custom of 2-3-minute sprinting compositions; now what you'd find is a track the likes of 'Exhumation' progress into other metal territories and tones instead of just stepping over the border rudely.

As mentioned the songs have way more feeling to them compared to past albums, in fact I'd say if listened to without breaks you'd notice a sort of attachment or instrumental romance taking place within songs. Each entry appears connected to the prior due to the cascading musicianship or more specifically the black metal influences woven into the mix. Also, while older albums appeared to be a semi-technical deathcore showcase more than anything, Devouring Ruin is assembled as an excellently amalgamated unit of vacillating harmonics aided by a sonorous vocal exhibition. Hence, with all accounted for on this significantly different record by Wake, one can’t help but notice the movements of Abstracter find a space to work with in contributing to the album's musical texture.

Devouring Ruin is easily Wake's best output as a band active since 2010; 'Mouth of Abolition', 'Torchbearer' and 'The Procession (Death March to Eternity)' are the best songs they have ever written, breaking loose from the almost demo-esque feeling past records exploited. Devouring Ruin should be on many 'best of' year-end lists as either a contender for or THE best of the year. If you were looking for a reason to acquaint yourself with Wake's music then this the album to propel your step into their void of ruination.

Rating: 8.6 out of 10