"Who Linger" REVIEWS (Debut Full Length)

[Novembers Paul]

Absolute Zero Media

So 2 founding members of Novembers Doom come together Vocalist Paul and Ex Guitarist Steve and bring back a Death metal sound of the 90's in a way that only someone around at that time could do so do you miss the days of Dismembers, Entombed and Bolt Thrower ruling the Earache and Nuclear blast rosters well this this is your gift this year. Melodic Death metal with a very Swedish sound. There is a war machine feeling to it as well with all good Death metal. The vocals are not guttural but Deep and Powerful and you know in a moment its Paul from ND doing them is voice is those like Dan Swano or Peter of Hypocrisy know in an instant. Who lingers is a full on Death metal Novembers Doom plan and simple take the orchestral and acoustic/ Opeth elements from ND and its These Are They. This is just good damn Death Metal and you need nothing more if your a fan... The harmony guitars are what got me to love them...

 

[Novembers Paul]

Rating: 8/10
Author: Rod Smith
Decibel - Issue #62/Dec '09

On first listen, I could have sworn Paul Kuhr growls, "Blood spills from your deck / You are mine" on "The Voices Sound Deadly". At last! I thought. Urban death metal storms McMansionland! If we proles are lucky, Who Linger might even bring some lush-ass carnage into America's home theaters. Still, discovering that it's actually "neck" the These Are They vocalist intones on the album's first proper track left me only slightly disappointed. Same for the absence of intestine-draped blue-rays. After all, how could I help but be impressed with a singer who's most guttural utterances were so impeccably ennunciated, I could immediately understand (almost) all the lyrics?

The Chicago-based quintet (former Hurtlocker guitarist Justin Jurgevich joined shortly after Who Linger's completion) boasts plenty of charms above and beyond clarity, not the least of which is getting all of their debut album's titutular prepositions out of the way early with "Upon the Doors of Oblivion" and "In the Halls of Waverly". Guitarist Steve Nicholson greatly enhances the former with a fuckload of perfectly situated speed-picking interludes, and the latter with a solo that oozes over clean chords like bile on rhodedendrons. "In the Halls" couldn't have a more appropriate setting (not including the aforementioned suburban spots): Waverly Hills Sanatorium, a sprawling Louisville tuberculosis facility where 63,000 people reportedly died. If the album has any weaknesses at all, they're minor by-products of the band's (so far) unshakable fealty to old-school values.

 

[STEVE NICHOLSON]

www.hell-is-open.de

Hmm who the hell are "These are They? According to the label of the CD, another new band from the USA who have devoted themselves to the Old School Death Metal of the early 90s. For fans of Entombed, Obituary and Bolt Thrower, which already reads Not bad, and so I was very curious whether the content, too, again what is the packaging promises.

Step into the player and listened to the intro Ascension was one with dark machine-like sounds on the first fat riff which sounds right mood after about 1min. The riffs sound bold and punchy, with a slightly discordant touches by Leadarbeit the intro piece goes over into the first proper track, "When The Voices sound Deadly". An auspicious name, which promises so much in advance, not too much of the good. With the rough, earthy riffs and Mortal voice (which reminded me somewhat of Johann Hegg) deals with traditional death metal riffs but also soulful leads and a lot of breaks through the song. Fat produces remain Soundtechnisch nothing to be desired, so that one can speak of a very successful debut. The next song 'Upon The Doors of Oblivion "is referred to in any way, but sets on it with a little quicker pace even a shovel. Singer Paul Kuhr (who also acts in Novembers Doom on the mic) has the right for the job and throat, plowing deeply voted but very understandable by the wall of sound and leaves an immensely powerful impression. The entire Rhytmusmannschaft there are no openings, drummer Sasha Horn tight and inventive uses his kit and Stephen Nicholson created with his low-tuned guitar the correct pressure within the songs and sit for a few tunes in the songs not too bad. So far everything right and it may well go quietly. Generally, the disc really ignited the spirit of the good old days which allow for a guitar and not every song was peppered with Händeverknotender Riffarbeit, an oppressive reef, a rough-oriented singer and a simple but effective track construction. Class! The next song "In the Halls of Waverly" and "Blood Vengeance" go the same way, with the last track has become a truly horny wrecking ball with really only the size of the outlet with pan flute is a bit strange. "Eclipse Abysmal" is my favorite of the disc which is very groovy Riffarbeit with a real Ohrwurmriff at the start and the drumming is perfectly adapted to the song, actually everything here is true and the song calls for permanent rotation! Entombed and his associates might have been the song structure of "The Indweller" Godfather, Old School As Fuck horny and a crusher, where there would not be at minute 02:30 intones. But since this is only a short depression, which at the end of the song but again repeated, is that still ok. "The Midnight Hour" is something more melodic kept me with the leads can not be here quite so convincing, the overall structure of the song but it is still in order. In principle, however, somewhat weaker, the first track on the album. A holding in the lower midtempo pounder follows with "Resurrection in Black", which at the end of the song once again shines with nice leads. What is supposed to represent the track "4th of July," reveals itself to me after the recent performance was not really. Put forward in a normal voice, a song that was indeed decorated with deeply tuned guitar but really it does not fit the whole concept. The song would probably fit more of a Doomcombo, which stylistically is rather more fond of the classic metal area. The last track does not change at a more than respectable performance, These are They have surprised me very positively, and the album "Who Linger" Since then rotated several times in my player that has been something to say.

Conclusion: Who on classic, not too coarse Old School Death Metal leaves and has nothing against a few melodies within the songs, should in theory are They listen anyway. If you have not got used to the sometimes daily Leadarbeit by guitarist Stephen Nicholson and a few odd-looking first breaks within the songs, (but after 2-3 prize listening to the songs are not difficult) is developing a special charm to the album which has a to forcing the material to rotate more often in the player. A very strong album which hopefully the attention it deserves in the whole mass takes place on releases!

Listen to: Upon The Doors of Oblivion, Blood and Vengeance Eclipse Abysmal

Rating: 8.5 / 10

 

[Novembers Paul]

Rating: 3.5 / 5
Author: Dan Marsicano
About.com

Guide Review - These Are They - 'Who Linger'

These Are They is a side-project featuring members of Novembers Doom, including vocalist Paul Kuhr, drummer Sasha Horn, and ex-guitarist Steve Nicholson. While Novembers Doom had its vicious moments in the past, they always fell back on their doom metal roots to produce a gloomy tranquility that sapped much of the aggression from their sound. These Are They’s debut album, Who Linger, throws away any hints of doom and brings intense, uncompromising death metal to the forefront.
The band has a straightforward mindset, sticking with mid-paced death metal in the vein of Obituary and Master. On tracks like “Upon The Doors Of Oblivion” and “The Midnight Hour,” the philosophy is simple; brutal riffs and steady double bass drumming crushing everything in its surroundings. Kuhr’s deafening growls are shards of glass shredding the eardrums, with a harsh bite that, even after two decades, has a lot of power behind them.

Bouts of forward thinking are prevalent amongst the anarchy. “Blood Vengeance” is one of the fastest numbers on the album, but ends with a fragile woodwind flute solo that is about as out-there as the band can get. “In The Halls Of Waverly” and “The Indweller” are epic-sounding tracks that were originally on the band’s first EP, Who Manifest, which came out earlier this year. Clean guitar, melodic tendencies, and soaring lead guitar work are all added to the equation.

Speaking of the guitar work, Nicholson puts in a commendable performance on both rhythm and lead guitars. This is his first collaboration with Kuhr since Novembers Doom’s first album, 1995’s Amid Its Hallowed Mirth, and he steps up his game, handing out chucky licks and shredding solos, with an ear for melody. While Nicholson had been keeping a relatively-low profile since his departure from Novembers Doom, this is his coming-out performance that will hopefully revitalize his standing as a top-tier death metal guitarist.

Who Linger is a worthy addition to any death metal head’s collection, especially fans of Kuhr’s main project. While the album ends on a sour note with a faithful, if insipid, cover of Soundgarden’s “4th Of July” and the use of clean vocals on “The Indweller” sound out-of-place, the quality of the rest of the album keeps things afloat. These Are They is a band that knows the precise ingredients to a good old-fashioned death metal song, which they use on Who Linger to cook up slabs of sizzling recklessness.

The Bottom Line
Stripped-down, primal death metal that acts as a more potent version of Novembers Doom.

Pros
Paul Kuhr's bellowing growls.
Sounds like a lost artifact from the beginning of death metal.
More brutal than anything performed by Novembers Doom.

Cons
Brief use of clean vocals unnecessary.
Bland cover of Soundgarden’s “4th Of July.”

Description
Released November 10th, 2009 on The End Records.
These Are They’s debut album.
Features both current and former members of Novembers Doom.

 

[Novembers Paul]

Rating: 3.5 / 5
Author: Yiannis D.
Metal-Temple.com

Who are they... who linger? It seems that the US metallers will try to give the answer, as they did with their "Who Manifest" EP, which they released earlier this year. These guys are not new to each other, since especially Nicholson and Paul Kuhr know each other really well...

Their history goes back to NOVEMBERS DOOM first steps, when in 1995, after the release of the band’s debut album Nicholson left the band (Kuhr still sings for the Death/Doom Metal act). Thirteen years later, in 2008 they thought it was about time they reunite and do something new, so they gathered some more musicians from bands like HURTLOCKER etc, and formed THESE ARE THEY.

At first I thought I had to face one more boring Death/Doom Metal project, but the quintet managed to drive away any doubts right from the start of their debut album. THESE ARE THEY play a US Death Metal meets the Swedish scene mixture with down tuned guitars, a great combination of slow and frenzy riffs and influences that may travel your mind to bands like EDGE OF SANITY, OBITUARY, BOLT THROWER and ENTOMBED! After a long and kind of melodic and epic intro, "When The Voices Sound Deadly" kicks in to show that these guys aren’t kidding. The interesting thing about this band is that they have put a lot of work on reaching a result that involves equal doses of brutality, groove and melody (where it is necessary without overdoing it). The guitar leads may even remind you of AMON AMARTH, but THESE ARE THEY have taken care of their music so well, that the rhythm section and the heavy as fuck rhythm guitars won’t let you wander outside of the Death Metal fields even for a second.

The sound is also raw, but exactly as raw as it should be, since it is also clean enough to make every detail noticeable. To tell you the truth, the sound reminded me of the works of Dan Swano. Anyway, great work for a debut album and the combination between the US and the old school Swedish Death Metal scene is just awesome! Check them out.

I don’t think that the SOUNDGARDEN cover was necessary, nor it is one of the best covers I have ever heard.

 

[STEVE NICHOLSON]

411mania.com REVIEW

After a rather atmospheric intro that is a slightly more plugged in affair one might expect from a modern Novembers Doom record, the album jumps straight into the double fisted pummel of “When The Voices Sound Deadly”. Again this could easily pass for a Novembers Doom tune, save for a more riff oriented assault that packs less atmosphere and more axes. Well, this has atmosphere, but that atmosphere is the axes. The hype behind this tags in at old school Entombed but I’m hearing a lot of Bolt Thrower and early Novembers Doom (go figure). Basically Kuhr has stripped away the doom and gothic ambiance of his main bands more cerebral moments and replaced it with that tight pocket of thrash/death that bridged the genres back in the day. This axe structure is then wielded to the frame of his primary bands early style.

It’s an interesting juxtaposition as the album at first blush can be called a Novembers Doom album, but a serious listen will show it to be that groups brother by a different mother. They’re similar but also different. The gloom is replaced by a throttle, the acoustic machinations have been replaced by hooks, and the ambiance is focused around a warm guitar sound that supports some damn fine riffs. Seriously, the buzz on those guitars can cut through steel. “In The Halls Of Waverly” is, dare I say, damn catchy.

That being said the over style is obviously Novembers Doom. This is just a no nonsense and straight forward version of the band. Like I said earlier, it reminds of the bands early days. Stylistically different, but the riffs don’t lie. When those riffs are combined with similar productions the link is apparent. If anything this has made me realize that Novembers Doom has some decidedly classical riff construction in their music when you look under the hood.

This could easily muscle into the musical pocket of bands that bridged thrash to death, a sort of melodic assault of growls and riffs that also breathes. Here you get less brutality and more solid rhythm. But make no mistake this is death metal, it’s fast and breaks limbs. But it also takes the time to let the riffs out and crack a few heads on their own. It is melodic while hunting about.

So, this does have a decidedly old school death feel to it in style of song construction, but fans will be surprised to hear that it doesn’t wander that far from Novembers Doom in tone. The former band had more dynamics between slow and fast, while These Are They keeps it *more* in the middle with a grinding assault. For this album it’s less eye candy and more work ethic, and in the world of death that is a good thing.


The 411: Some old school death that flashes with hints of old Entombed and Bolt Thrower, the melody of thrash down tuned and down turned into a blast of metal that breathes as much as it growls. This succeeds at being as much heavy as it does metal with a production job that is full if lush and heavy. For a side project it still sounds similar to its popular older brother but it is stripped of the frill and melting imagery to leave a take on metal when it was first getting its extreme on. Its sound is too modern and warm to be a true take back but it does follow the cannon fairly faithfully and makes an enjoyable listen because of it.
Final Score: 7.5 [ Good ] legend


http://www.411mania.com/music/album_reviews/122948

 

[Novembers Paul]

http://www.*********/metal/about/blog/pivot/entry.php?id=130

Imagine Iron Maiden doing a simplified version of 1990s Demigod or Amorphis. This CD is unique in that it successfully applies both (a) the old school death metal style and (b) a heavy metal, harmonized-guitar, bouncy riff style -- and does it by coming up with a melodic phrase and answer, and using these to make layers of verse and chorus. Play riff; play notes of riff in variation of rhythm; harmonize guitars and repeat, then cycle. The choruses do the same. Nothing sounds out of place, and the deep guttural voice guides it along, but it seems entirely out of place when the heavy metal riffs and trills come into play. In addition, the riff salad of death metal isn't here; like rock or indie, this rides one pattern for verse and one for chorus, and much variation is not to be found, which probably places this out of the range of old school death metal fans. Still, these are quality riffs and excellent use of basic harmony, which makes this easy listening and because it is not random, a great improvement on the metalcore-heavy stuff we hear daily. For albums like later Bolt Thrower, which tried to make a heavy metal/death metal hybrid, this is probably the best so far.

 

[Novembers Paul]

Rating: 4/5
Mouthofwar.net

Comprised of current and past members of Novebers Doom, Chicago’s THESE ARE THEY let loose with one hell of a debut album. Who Linger straddles the line between straightforward American death metal, the more melodic Swedish variety and doomy elements of their other endeavor. Featuring massive down tuned guitars and a raw, yet rich production, the band has enshrouded themselves in a thick wall of doom influenced death metal.

At times reminiscent of Amon Amarth, the guitars feature anthemic flourishes that are epic in nature before stepping back into the abyss with burly, doom tinged rhythms and riffing. THESE ARE THEY does a great job of morphing from chugging grooves to brooding passages that swell with an atmosphere of desolation, all the while punishing you with bruising rhythms.

Front man Paul Kuhr maintains a burly, guttural delivery that fits his band mates perfectly. There are only a few moments of oddness vocal-wise — the clean vocals of “The Indweller” and a depressive, yet interesting take on Soundgarden’s “4th of July.” Overall, the guys come together well, delivering groovy, doomy and bruising death that just about any fan of metal should enjoy.

Ascension
“Ascension” serves as an instrumental opener to the album, starting off with distant noise and atmosphere (the first minute or so) before peaking with some seriously catchy guitar work that’s melancholy in nature yet still holds quite an epic feel. I honestly could listen to those guitars all day.

When The Voices Sound Deadly
It’s not until “When The Voices Sound Deadly” gets going that you know these guys mean business. Starting with a guitar tone similar to the album opener the band quickly shifts into an Amon Amarth like combination of double bass and chugging riffs. The layered vocals that appear throughout the song add a good deal of depth to the beefy guitar work. Even though the sound is similar to their Norse counterparts, Who Linger has a deeper, more doom oriented tone to the guitars and completely different lyrical content. There’s a decent lead at :330 that fits in nicely with the dark tones.

Upon The Doors Of Oblivion
This next one is a chugging monstrosity of a song with an opening few moments that will have you head banging like there is no tomorrow. Once the vocals kick in, deep and guttural, the guys kick it up a notch into the quickest clip on the album. The guitars add an air of bleakness to the deep walls of sound these guys are kicking out. There is a definite doom influence on the guitars within this song.

In The Halls Of Waverly
This is probably my favorite song on the album. Massive drums combine with deep, doomy riffs and a very direct vocal approach for one foreboding and dark sound that ends up having a great head banging groove and open vibe to it. The drum work throughout the song is what really makes it for me. And for such a “slow” song, it packs a hell of a punch.

Blood Vengeance
While most of the material on the album is rathe slow moving, this one has a decent up tempo pace with catchy guitar work and shifting rhythms. There is plenty of aggression delivered with the rolling drums and driving riffs. There’s definitely an air of vengeance in the vocal delivery, as well. Be sure not to miss the lead at 2:54.

Eclipse Abysmal
For as dark as this song is, the guitars carry and epic feel in what is probably the moodiest song on the album. Massive doomy riffs dominate a good portion of the first minute or so of the track before the vocals kick in deep and guttural. The groove thundering through this song is thick and monolithic as the guys chug along. There’s a good deal of power surging through the guitars and drums around the 3:20 mark that’s followed by a decent lead.

The Indweller
A Swedish death metal feel opens up “The Indweller” with plenty of rolling drums and semi-melodic guitars. A huge growl and catchy riffs kick in just before the one minute mark and will leave you nodding along with the crew as they settle in to a nice groove. The moody, somewhat clean, somewhat chanted vocals that serve as the chorus are a bit out of place. They fit the music well enough, but with the rest of the vocals delivered in a fairly aggressive manner, they really stand out like a soar thumb. It’s an interesting song to say the least.

The Midnight Hour
I love the opening riff work on “The Midnight Hour” as the band shifts into a pretty decent chugging groove and deep guttural vocals. With regard to the vocals, there’s a higher end, raspy shriek added to the mix that helps offset the bowels deep main delivery. The guitars that accompany the chorus has an anthemic and brighter feel to them, especially considering the lyrical content to this song. I’m also loving the super gutturals after the four minute mark.

Resurrection In White
“Resurrection In White” has an interesting beginning with an equally interesting vocal delivery — it’s deep and guttural of course, but the staggered nature of it to match the music is pretty sweet. Overall, there’s some nice song writing throughout this one with plenty to keep you entertained and head banging along with the sludge tinged riffs. The soulful lead around 2:40 is dripping with sorrow and despair.

4th Of July
I’m not 100% familiar with this particular Soundgarden song, but THESE ARE THEY’s take on it certainly is chock full of gloomy atmosphere.