The sophomore album from The King Is Blind has been eagerly awaited here at CackBlabbath. So much so, that we’ve only just managed to get the review out several weeks after the release date and a couple of months after first receiving it. Sorry about that.
To be fair, ‘We are the Parasite, We are the Cancer’ (let’s call it WATPWATC from now…) is one you need to get your head around properly before you commit pen to paper. It’s a concept album motivated by the human race replacing morality and spirituality with consumerism and capitalism. It’s a concept built around our society and how we (easily) commit the Seven Deadly Sins on a day to day basis, which in turn is weakening our society.
This all plays into Satan’s hands in his quest of destroying God, and then inevitably us…
Sure, the Seven Sins thing has been done before, but not to the detail and quality that we have here. This is a very impressive piece of work by The King Is Blind men, and it’s not all because of the concept and the work that has gone into the background material. As the band have moved onto their own record label (Calva Records) for this release, they sound better than ever. We didn’t think that was possible, but it’s true.
The extreme death metal/grind blueprint is still firmly in place with the classic Carcass, Celtic Frost come Bolt Thrower vibes remaining strong from the first release. The band have upped the ante with their intensity however and perhaps recent devastating records such as Venom Prison’s ‘Animus’ have pushed The King Is Blind to go to new levels. We have an exciting scene out there at the minute and The King Is Blind are up there as frontrunners.
So we’re not going to regurgitate the concept and story in full here. We’ve done enough of that already. We’re going to pick out our favourite bits just like we do with any other album. There’s plenty of best bits too…
‘Embers from a Dying Son’ is a scorcher of a track with a relentless barrage of speedy riffs and guitar solos but a little heavy groove here and there to mix things up. Steve (vocals) puts in a bombastic performance throughout WATPWATC as he switches from playing the roles of Mankind, God, Satan and his various Princes of Hell and their associated plagues with the slightest tweaks to his voice. Similarly, the production packs a huge punch without be over polished. There’s a little bit of grit left in there to keep this album good and abrasive.
Steve does get a little help on ‘Mantra XIII’ from the straining-at-the-leash vocals of Karl Willets. He takes on the role of Mammon who brings the Plague Avaritia. A slower bludgeoning track about the root of all evil…money.
Favourite track? It’s got to be the short sharp blast of ‘Idolatry of Self’. It’s about “self-serving cunts”! Think Farage, Trump et al. A rampant punk-edged explosion of noise with a simple roar-along chorus that hopefully will be in the live set next time we see these guys on tour.
Towards the back-end of the record, ‘Godfrost’ is huge towering number that even gets a bit thrashy in places. Never a bad thing, we love the thrash!
The band have expanded their palette slightly for WARPWATC whilst maintaining their ultra-heavy searing delivery. The band have not lost any of their intensity from their debut but little flourishes and soundbytes here and there make for a more layered experience. The Ghost(ish) monotone chanting in ‘Like Gods Departed’ along with the Paradise Lost style guitar flourishes cannot lighten the load of a monstrous track. The aforementioned thrashy sections only add to an enormously heavy experience.
In short, this album is outstanding and once again confirms the enormous importance of The King Is Blind as a force in our extreme metal scene.