My old school psyche was triggered with a nod to the NWOBHM (namely Iron Maiden) in some of the riffs of Convent Guilt’s release Diamond Cut Diamond, but ‘uneven’ is probably the best and most diplomatic word to use when reviewing this album.
The production value is a bit of an issue, with it being difficult to distinguish the bass/bass drum in the mix.
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The performance is quite jagged, and this coupled with Ian’s vocals not sitting well in the mix, makes it difficult to follow the tracks along.
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There are some rocking riffs in there and the melodies do have some promise. The intro to Bonnie and Clyde briefly show what this band is capable of and I feel that a live setting would suit this guy well, but more attention needs to be paid to capturing this energy and ensuring that the release is the best they can do with the resources they have.
Releases don’t have to be produced to an inch of their lives to be deemed good or earth breaking – if that were the case, black metal wouldn’t still be a thing – but it helps. Look, get some people drunk in a bar where these guys are playing and you’ll have a great time, but this release is suitable for those who have a battle jacket because they remember the 80s.
Release Year: 2018
Label: Gates of Hell Records
Category: Album
Country: Australia
Reviewed by Liam Frost-Camilleri
