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Mask Of Judas: Mask of Judas

04/01/12 || The Duff

The first time I saw Mask of Judas was at a Battle of the Bands competition several months ago in Brighton. My band didn’t fare too well, and inwardly we sneered at the fact it was because metal fans didn’t understand hard rock music with metal influences (we were very high on self-love and tears, I think, the five of us snorting the mixture off the dashboard to our… Mini Cooper), but really the stage-presence and musicianship of this outfit deservedly propelled them to the very front of the judges’ ranking and, despite my recent loss of heart, tore my head clean off with a style of music I’d only skirted around with bands like Meshuggah and such, i.e. the forefathers.

Turns out djent is becoming about as popular as nu-metal, thrash-revival, metalcore, deathcore, slam and new-age black metal. Unfortunately, as with the case of most who learn the technique yet hurriedly manufacture the devotion and passion, djent has become a derogatory term used to associate stop-start rhythms with no soul, downtuned simplicity, 4/4 rhythms with little going for them other than how banal they can hit 5 notes in random succession, and generally high-production, trendy values that disguise a lack of identity or feel.

If you were to visit the Mask of Judas MySpace link down below, you may find such a descriptor fitting, but you’d be doing them a great disservice. When I tried to make a fuss over them to our forumers the response was hardly constructive, but honestly I think we’ve found a real gem this side of the UK that mixes groove, technicality, melody and heavy to a fantastic, well-rounded effect. The style of djent resented so unflinchingly by today’s metal communities is quite the staple to Mask of Judas’ sound, but it’s to complement an overall very colourful tapestry of varying styles altogether more melodic. There are some great heavy metal moments here as well, such as the beginning of “To I Your Conscience” which sounds like Decapitated’s “Spheres of Madness” and the Meshuggah’s “Bleed” influence at the end of “Magdalene”, to name but two. Other influences include melodic breaks in the metalcore vein, hints of Carcass, yeah, really, it’s a cheeky indulgence on my part, but musically you can’t fault them.

On a skill-level, the band astounds. Samuel Bell is the type of guitarist who is annoyingly good for six years of playing, fellow guitarist Adam (now ex-guitarist) likewise. The drummer isn’t lost in the production, but because of the mix at times he’s set to sound completely in sync with the guitars instead of coming across as in the driving seat; he fills out the beat nicely though, whether with steady rhythms or with thoughtful, creative flourishes every which way alongside a touch character-less foot-work that is impressively accurate nonetheless; technically Jof Walsh is on par with the guitars. The vocals of Jo are envenomed but not unlike anything else we’ve heard – I appreciate her harsher vocals by far over the cleaner, the latter appearing unsure despite occasional promise (for example at 2:45 of “My Designer” or to a lesser extent the idea of 1:00 into “Axis”), the former delivered with admirable certitude.

In the end, this is a real gifted band with bucketloads of talent. To steadfast, purebred metalheads I would urge you approach it with an open mind – the groove and hooks are tough to argue against.

Information
Released: 2011
Label: GMR Music
Website: Mask of Judas MySpace
Band
Jo Challen: vocals
Sam Bell: guitars
Adam Bell: guitars
Adam Fisher: bass
Jof Walsh: drums

Tracklist
01. To I Your Conscience
02. My Designer
03. Axis
04. Magdalene

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