Category Archives: By Genre

Favorite Metal(ish) Albums Of 2012

Posted on December 1, 2012 | Leave a comment

‘Tis the season for year-end lists of what everyone and their dog thinks are the best albums of the past year, as well as the incredibly pretentious and elitist mindsets that come with them. I’m not going to pretend I know what’s best for anyone, but I do know that there are definitely albums I enjoyed much more than others, despite some critical flaws in some of them. My tastes can be a bit whacky at times, but I’m pretty sure that there are at least a few people out there who will be curious to know what my favorites are, so I will be sharing them.

But not here.

Instead, I’ll be doing a series of posts over at Under The Gun Review that will double as a countdown to when we’re free of the holiday hell that is the month of December.

Because they’re happening one at a time, I’ll be posting the list as it goes live day by day over at UTG in list form here.

#25: RIITTIIR by Enslaved (read it)
#24: Results by Murder Construct (read it)
#23: Awakened by As I Lay Dying (read it)
#22: Ex Lives by Every Time I Die (read it)
#21: Failed States by Propagandhi (read it)
#20: Eremita by Ihsahn (read it)
#19: Dead End Kings by Katatonia (read it)
#18: Les Voyages De L’Âme by Alcest (read it)
#17: Autotheism by The Faceless (read it)
#16: All Hail The Void by Enabler (read it)
#15: Legend by Witchcraft (read it)
#14: Death Is The Only Mortal by The Acacia Strain (read it)
#13: No Matter Where It Ends by Black Sheep Wall (read it)
#12: Book Burner by Pig Destroyer (read it)
#11: Parallax II: Future Sequence by Between The Buried And Me (read it)
#10: Monolith Of Inhumanity by Cattle Decapitation (read it)
#9: Incongruous by Beneath The Massacre (read it)
#8: All We Love We Leave Behind by Converge (read it)
#7: CVI by Royal Thunder (read it)
#6: Danza IIII: The Alpha – The Omega by The Tony Danza Tapdance Extravaganza (read it)
#5: Hasta La Muerte by Xibalba (read it)
#4: A Flash Flood Of Color by Enter Shikari (read it)
#3: Yellow & Green by Baroness (read it)
#2: Koloss by Meshuggah (read it)
#1: L’Enfant Sauvage by Gojira (read it)

Leave a comment

Posted in Black Metal, Death Metal, Deathcore, Editorial, Grindcore, Heavy Metal, Melodic Death Metal, Metalcore, Prog Metal, Sludge Metal, Updates

Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Xibalba – Hasta La Muerte [Review]

Posted on July 10, 2012 | Leave a comment

There’s a saying that goes “slow and heavy wins the race” (or something like that). Southern Californian band Xibalba have definitely practiced this mantra for quite some time now, as evidenced in nearly every song they’ve released in their somewhat short history as a band. More evidence of this is provided in their forthcoming sophomore album Hasta La Muerte, being released via Southern Lord on August 14, 2012 (just one year after Southern Lord released their first album, Madre Mia Por Los Dias).

When considering a band’s relative heaviness, anyone who has listened to a considerable amount of heavy music can tell you that it’s not simply tuning down your guitars, adding lower strings, and playing lower notes. Tone, texture, and songwriting are what take low notes and turn up the density meter. Xibalba get this. Guitars churn, drums thunder, vocals roar and together they create a terrifying cacophony meant to convey pure, unadulterated intensity. And it works. Swapping between sludge/doom noise passages and pure hardcore beatdown sections with the ideal balance between loose and tight playing, Xibalba have achieved a truly oppressive level of heaviness on Hasta La Muerte, and are unrelenting when wielding such heaviness.

Unfortunately, such unrelenting heaviness has led to an album that feels a bit one-dimensional in nature. Not necessarily a bad thing, but if you’re looking for anything that isn’t a blend of hardcore and sludge/doom metal to the heaviest degree you’re basically out of luck. Saved from being a disaster by songwriting and sequencing, the most interesting tracks and moments on the album are spaced out enough so that you don’t get bombarded with an overwhelming amount of sameness song after song. Hasta La Muerte is also definitely not for people who have disdain for slow-developing albums as there are a lot of slow, noisy, drone-esque sections throughout the album, especially between the meat of tracks.

Lyrically, Hasta La Muerte is incredibly real and personal, touching on a litany of grief and strife in day-to-day life. Most of the lyrical content pulls no punches, lines such as “I found peace in darkness, and comfort in solitude. There’s no love or feeling in this broken home.” clearly being designed for impact and realness. Opening the song “Stone Hearts” we get a glimpse of the best Xibalba’s lyrics have to offer: “Stone hearts are hard to break. Pound away, try to break me down. Stone hearts will never change.
Cast away, in rubble I’ll remain.”

As an album, Hasta La Muerte is monstrous. From the first drum hits and sustained guitars are a constant barrage of musical haymakers not for the weak-willed. Loud, thick, raucous and relentless: the word “punishing” is perhaps used too often by the metal community at large, but it is certainly applicable here. Almost seemingly imperfect by design, Hasta La Muerte just feels right the way it is. To quote a song from the album, “I never seem to do things right, but it sure feels right.”

Track picks: “Laid To Rest” and “Stoneheart”
Score: 8.5/10
For fans of: Black Sheep Wall, Disembodied, Crowbar

I’ve included a Spotify player here for folks who want to check these dudes out. Which should be all of you.

Leave a comment

Posted in CD reviews, Sludge Metal

Tagged , , , , , , , , , , ,

Suffer The Destroyer – The Silent Majority [Review]

Posted on May 19, 2011 | Leave a comment

Suffer the Destroyer is a relatively new hardcore/metalcore/deathcore/mosh band from Boston. I wish I could tell you that I know exactly what style or genre of mosh-heavy music Suffer The Destroyer would be most closely associated with, but I can’t. In any case, they’ve played a handful of local gigs, recorded a six song EP called The Silent Majority, and are now scheming to take over the world (or so I assume).

The Silent Majority really fills more of a demo role than an actual EP, as the recording quality is pretty rough. While there are plenty of criticisms about the recording quality, they’re not really important in the grand scheme of this demo, especially considering it’s plenty good enough to hear all the instruments and what’s going on, as well as being decently mixed. What the recording quality does give you, though, is a good indicator at how well the band performs (there really isn’t any “studio magic” to be found). It also helps to capture the band’s energy without the assistance of bass drops (and thank goodness for that).

Musically, The Silent Majority is a rather odd mix of metalcore styles that range from mega-heavy beatdowns to melodic bridges. There’s some pretty original-sounding riffs and vocal lines, but also a few “tried-and-true” riffs scattered throughout the demo. Even more, there were a couple of musically surprising elements, such as the thick bass groove driving a section of gang vocals smack in the middle of “Iconoclast” right before it gets back to the circle-pitting verse. You’ll find groovy riffs, gang vocals, circle pit chugs, spacey guitar licks, brutal beatdowns and everything in between on this twenty minute demo.

As a demo, The Silent Majority is about everything you could ask for. It shows the versatility and musical interests of the band, isn’t too long, and actually has a couple of solid songs. If you’re looking for much more than that, you’re not really going to find that here. I have no doubts, however, that the next release from Suffer The Destroyer will bring the heat on another level.

In any case, you might as well download it and give it a spin. It is free, after all. Check it out below:

Leave a comment

Posted in CD reviews, Metalcore

Tagged , , , , , , , ,

Obzerter – Absence of Colour [Review]

Posted on April 26, 2011 | 14 comments

Obzerter - Absence of Colour

Remember a time when Static-X was actually a good metal band? Well, it’s a bit of a stretch, but at least they were halfway decent and interesting on their first couple albums with whatever style of music you’d pigeon-hole them into. Now imagine if they actually WERE a pretty good metal band, now wouldn’t that be something?

Enter UK-based band Obzerter. About a decade since Static-X’s last decent album (Machine, for those not keeping track), Obzerter has decided to build their throne on top of the foundation they built, and a mighty (albeit short) throne it is. It comes in the form of a five-song EP called the Absence of Color EP. It’s a rather lengthy EP, clocking in at just a pinch over thirty minutes (which is longer than the full album I had as my number one selection in 2008, for comparison’s sake).

While vaguely reminiscent of Static-X on the vocal front, continuing this weak comparison does Obzerter no justice at all. I would also imagine it’s just a huge coincidence that the vocal stylings on this EP are very similar to Wayne Static’s at times. It also does the band no justice because I’m sure there aren’t many people that feel as fondly as I do about Static-X’s first two albums.

Absence of Color is a fairly fresh amalgamation of a lot of very distinct styles of American metal. There’s a distinct feel of the “New Wave Of American Heavy Metal” in there with the amount of groove found in each song (even though they’re from London). Tempo changes, different styles of licks and riffs, this album has a lot of stuff on it. Even with the breadth of material this album has, it only loosely fits under the “progressive metal” umbrella.

The production is about what you can expect from an unsigned band recording an EP. It’s not terrible by any means, and the rawness really brings out the ferocity in a lot of the riff and vocal pairings.

Though it’s not the bet EP I’ve ever heard, it at the very least peaks my interests in what’s next for the band. It shows a ton of promise, so long as they can keep the pace. They’ve got plans to re-record Damage and prepare for a second EP. Check out “Absence of Colour” below and share your thoughts below!

14 Comments

Posted in CD reviews, Prog Metal

Tagged , , , , , ,

The Summoned – If Only Minds Could Paint Pictures [Review]

Posted on March 19, 2011 | Leave a comment

If Only Minds Could Paint Pictures is the debut full-length from Massachusetts-based extreme metallers The Summoned, and is currently unreleased (perhaps more news to come on that in the future).

The Summoned belong to the group of bands that play a style of music that borders itself along death metal and grindcore (but isn’t really deathcore). Clocking in at only 33 minutes, it’s a bit of a short album, but very dense in musical content. There are lots of really nice guitar licks, pace changes, etc. combined with Steve’s excessively brutal vocals. Deciding to not go the route of bands like Suffocation and Skinless, the vocals are not usually at the lowest of lows. Instead, the vocals mostly sound more like mid-range screams than growls–and they pack a ton of fury.

Easily the best part about If Only Minds Could Paint Pictures is the consistently high level of guitar work. While they aren’t constantly noodling, the riffs, licks and solos are always interesting. The somewhat atonal licks in “Anatomy Of A Bar Fight” show just how strong of a grasp this band has on quality guitar parts that stray from the path just a bit. You even get to hear that they have a good ear for melody and tasteful guitar playing on the track “The Flood” with some solid guitar solos dropped right in the middle of that track.

Most of the album is straight to sixth gear, outside of the very somber guitar interlude track “Space Was…” which only lasts for a minute and is followed by what could be the gnarliest track on the album “Space Is…” which is filled with mid-tempo blasts, pinch harmonics, and harmonized guitar licks.

From start to finish you get the feeling that If Only Minds Could Paint Pictures is totally unrelenting. At every point where it feels like there’s a down moment it lulls you into a false sense of security until you get fully-harmonized riffs forced with fury down your throat. Backed up by an extremely tight rhythm section, the very few breakdowns on this album are neither boring or stereotypical, adding another dimension to an already outside of the box style.

As a debut record, there’s not a whole lot you can ask from a band who went the DIY route, except maybe for more of it. Certainly a very interesting listen, if there’s one thing you won’t be while listening to If Only Minds Could Paint Pictures it’s bored. It’s hard to say where exactly the band might go from this release, but more of the same would absolutely be welcomed.

Song choices: “The Flood” and “Anatomy of a Bar Fight”

Overall score: 8/10 devil horns

Leave a comment

Posted in CD reviews, Death Metal, Deathcore, Grindcore

Tagged , , , , , , , ,

The Ciem Show – Lifelike Scenes [Review]

Posted on March 13, 2011 | 3 comments

When thinking of what the term “progressive” means in the metal world in 2011, it doesn’t really mean that the music it is attached to is really progressive, but rather that it fits into a certain sound or style loaded with technical proficiency. Bands like Dream Theater and Symphony X could be considered part of the reason for this. Some bands, however, are looking to atone for this watered-down meaning of the “progressive” label in metal.

Enter The Ciem Show and their 2010 release Lifelike Scenes. Sonically, the album might be able to find its home right alongside Dream Theater and Symphony X, but I’d be lying if I said that was the whole story. This album floats around through all sorts of metal styles; from the djent intro of “Scene II: Evolution Sickness: i. Existing Without Being / ii. Being Without Existing” to the melodically difficult “Scene V: Effects of Somnambulism” The Ciem Show aren’t afraid of mixing in whatever inspires them to their music.

Doom metal, power metal, heavy metal, djent: it’s all here in Lifelike Scenes. You even get a really good taste of the virtuosic playing that many prog-heads have come to love from their genre. The solo towards the end of “Scene VI: Theme for Lost Children” is fantastic, floating between jazz melodies and the heart-wrenching melodies found in some of the more somber heavy metal ballads.

There are really only two faults of Lifelike Scenes. First, the mixing makes it a bit difficult to hear and appreciate the intricacy of each of the instrumental layers on many of the songs. There are multiple instances on the album where the bass just becomes lost in the mix. The second is that the album just feels a bit short for a prog album, clocking in at only 36 minutes (seven songs).

Even considering the albums couple shortcomings, it’s still a great listen and worth checking out if you’re looking for some solid prog metal. You can pick the album up for free from The Ciem Show’s Bandcamp page. Let’s be serious, since you can get it for free, there’s no reason not to listen to it.

For fans of: Ayreon, Dream Theater, Symphony X

3 Comments

Posted in CD reviews, Prog Metal

Tagged , , , , , , , ,

The Weekend Rant, Vol. 2: Being “trve” and “kvlt”

Posted on March 5, 2011 | 3 comments

One seemingly ongoing and inexhaustible topic of arguments in the metal world is how the only “trve” black metal is the original black metal. I often notice that this argument is often used to castigate Dimmu Borgir and Abigail Williams fans (among others). I think old school and “kvlt” black metal is totally different from newer bands making it. Totally different circumstances and mindsets. I think both, musically, have equal merit but you cannot match the cultural implications of the earlier black metal bands in the early 90s in Norway, there’s simply no way. It is an inescapable truth that bands such as Darkthrone, Mayhem, Burzum, etc. are the bands that are often considered the pinnacle of black metal music, thus being considered the most “kvlt” or “trve” of all the black metal bands.

I don’t buy that whole “new bands can’t be trve” malarkey. It’s not like they chose to be starting their musical careers two decades after the movement they associate best with occurred. As long as they truly believe in what they’re doing, that’s as true as it gets. Sure, they might not come from a place and feel religiously oppressed by the people that wiped away their cultural heritage, but it doesn’t make their circumstance any less legitimate or meaningful.

There is, however, a scale of how traditional a band’s music is to the originators of black metal. Dimmu Borgir is the perfect band to illustrate this. In their early years, they were about as true to form to symphonic black metal as you could possibly be, their sound very much in line with some of Emperor‘s best albums. In recent years, since Death Cult Armageddon they have strayed from the traditional path to venture into more grand and symphonic arrangements and songs, forgoing some of the low-fidelity and ripping nature of their black metal predecessors. At that point, the black metal purists cried wolf. Apparently musical progression and deviance is taboo in the black metal world. I could draw a parallel to this mindset and that of the Christian mindsets that black metal once fought, but anyone who knows anything about black metal already can see that at this point.

What I find especially mind-boggling is that these stances are often taken by people who have absolutely nothing to do with the culture in which black metal originated, so their feelings of outsiders being unwelcome is absolutely unfounded. By stating that newer bands who aren’t from that specific era in can’t be considered “trve,” what does that mean for all of the black metal fans who are also not from that circumstance? Are they also not “trve?” It all seems just a small amount ridiculous to me. As far I can tell, the “trve” tag has come to just be a pedestal to promote elitism in metal, something I feel there needs to be a lot less of these days. It’s the only thing keeping metal from being a wildly successful genre of music.

Just think for a second, how these mindsets are stifling the metal world that is currently burgeoning with creativity. It truly breaks my heart. I hope we can all at least agree that Emperor is a great band. How about we just enjoy the video for “Empty” by Emperor?

3 Comments

Posted in Black Metal, Editorial

Tagged , , , , , , , , , ,

Derelict Looking To Perpetuate Band Success

Posted on March 1, 2011 | Leave a comment

If you’ve been a longtime reader here at The Heaviest Matter of the Universe, you may recall a review I did for the band Derelict‘s Unspoken Words back in early 2009. Otherwise, let this serve as your first introduction to the band. It’s the first single they’ve released since Unspoken Words came out, and it’s called “Perpetuation.” Here, have a listen:

This song is typical Derelict riff-your-face-off fashion, and in this case, typical is a great thing. The song is going to be featured on a three song “demo” (really more of an EP) soon as the band is putting the finishing touches on their next full-length album. If you like what you heard above, go pickup a copy of Unspoken Words online through Year of the Sun Records or Relapse Records, or snag it from iTunes. Make sure you keep on the lookout for the upcoming EP!

Leave a comment

Posted in Death Metal, Featured Band

Tagged , , , , , , ,

Deicide – To Hell With God [Review]

Posted on February 28, 2011 | Leave a comment

To Hell With God is the tenth release by Tampa-based death metal band Deicide, and was released February 15, 2011 as the band’s first release under Century Media records.

Known as one of the original, best, and most brutal death metal bands in the history of the genre, Deicide have never ceased to assault and please ears with each new release. In their history the band has seen little transformation or deviance from their relentless sound, though the lineup changes post-2004 when the Hoffman brothers ceased their guitar-playing duties with the band. To many cries of “not as good as before!” Deicide have still managed to put out another album that’s stands true to the genre they helped pioneer.

There is but one unescapable truth regarding To The Hell With God: while it falls directly in line with the post-2004 releases it lacks a certain leaded fury that was delivered when Deicide enlisted the Hoffman brothers. Unlike many accounts I’ve encountered, however, I think this is both a good and bad thing. Let’s start with why this sucks. Deicide were most certainly one of the heaviest and most brutal bands that seemed to get as close as possible to the “over the top” mark into the “silly” territory, and seemed to be masters of doing so, but they’re no longer quite as close to that mark, almost as if they’ve let off the throttle a bit.

Outweighing the negatives of being heavy to the brink of silliness is that the production is leaps and bounds better than the band had once featured on their albums. Glen Benton’s vocals are perhaps the best they’ve ever been and you can actually hear them in the mix–as you can each of the instruments in the band. There is nothing lost amidst the overwhelming heaviness of the album that Deicide occasionally fell prey to. With this more modern sound for the band also comes a more modern style of death metal than perhaps diehard Deicide fans are used to, but it’s closer to the classic Deicide than Till Death Do Us Part and The Stench Of Redemption.

Quite literally, the only “fault” of the album is that it’s not exactly like the Deicide of old, but I’m not complaining. To Hell With God is a great album, and it is fantastic to hear a classic band staying relevant by bringing their creativity and influence to the table in order to help reshape the genre in which they were of the first contributors to. Song after song, album after album, Deicide continue to show us why they’re a deserving candidate for the throne of death metal king.

Song picks: “Empowered By Blasphemy” and “How Can You Call Yourself A God”

Score: 9/10 Devil Horns

Leave a comment

Posted in CD reviews, Death Metal

Tagged , , , , , , , , , , , , ,

Crowbar – Sever The Wicked Hand [Review]

Posted on February 23, 2011 | 1 comment

Sever The Wicked Hand is the ninth album from New Orleans sludge metal legends Crowbar and was released on E1 Music February 14, 2011, the band’s first release in six years.

In the history of metal, there are only a few bands who can really be attributed with being pioneers and landmarks in their respective styles and Crowbar are just that. In the early ’90s Kirk Windtstein and company cemented themselves as the premier sludge metal band of the time. Even at their worst, they’re still as good as any band to ever make sludge metal (after all, the did help make the mold).

Sever The Wicked Hand is exactly in line with everything that you’ve come to know and love about Crowbar, except possibly a bit darker this time. Kirk’s concentrated and powerful vocal delivery over constant fuzzed-out guitar riffs. The flavor of this album is very slightly different than 2005’s Lifeblood of the Downtrodden; a slightly different sound is to be expected after six years and, aside from Kirk, a totally new lineup.

There’s not a lot of speed in this record, it’s as slow as ever. Many songs employ Kirk’s more sorrowful and semi-clean vocals with more slick (but still fuzzed-out) guitar licks. Don’t worry, for all of you that like the thick and thrashy chugged out riffs, they’re still there. In general, however, Sever The Wicked Hand is still an incredibly heavy album, just not in a modern headbanger sort of way. It’s a slow, marching, and deliberate heavy at most times that feels more like a classic Black Sabbath sort of heavy.

The most interesting part about this album, though, has nothing to do with the music or performance itself, but rather the production and mixing. It sounds totally unlike a vast majority of metal records nowadays, outside of maybe some of the more obscure black metal bands. It’s an incredibly heavy sound without having a ton of sound packed into the lower register, most of the meat of these tracks are on the mids and so you really get to hear the full effect of the fuzz. It almost sounds rough around the edges, but deliberately so. There aren’t any fancy bass drops to add extra emphasis on chord changes, it’s all natural kick.

As a whole, as I mentioned before, Sever The Wicked Hand is everything we’ve come to know and love about Crowbar, perhaps this time with a little extra sorrow embedded in its sound and lyrics.

Track picks: “Liquid Sky And Cold Black Breath” and “The Cemetery Angels”

Overall score: 9/10 Devil Horns

1 Comment

Posted in CD reviews, Sludge Metal

Tagged , , , , , , ,

Greber Wants You To Eat Shit

Posted on November 22, 2010 | Leave a comment

In all of my time as a music blogger/listener/journalist/obsesser, I’ve never come across a band quite like Greber. Normally, a statement like this is taken with a negative connotation, but in this case it is the exact opposite. The brainchild of Marc Bourgon (of Fuck The Facts) and Steve Vargas (of The Great Sabatini), Greber are about as bare-bones as it gets in terms of a lineup. There are two men in the band–a drummer and a bassist–but they make a sonic force worthy of a full band.

Hometown Heroin is the band’s debut release, and a mighty one at that. Clocking in at just under twenty-three minutes, it’s hard to understand how the band managed to fit such a huge amount of content in. Hometown Heroin is certainly not your typical album in any way, and Greber wants this to be known from the very beginning of the album. Starting off with a nice bass harmonic intro, you get the full-on dropkick to the balls that the album soon becomes and understand that Greber are in no way messing around.

At times the album borders on a very doom metal sound, but never becomes grounded there. Once your ear is starting to settle on the slow and sludgy doom sound, the Jacob Bannon-esque powerful barks come back in and the bass and drums kick the intensity up a notch. Frenetic rhythm changes and chaotic barks juxtaposed with relaxed bass grooves make up a large portion of the album, but somehow given only a few small elements the album is never predicable at any moment. Listening through it, it plays more like an extended jam session of one song or idea, expanded into multiple movements.

The thought of “Man, I’d really like some guitar there” does not cross one’s mind at any point during the album. The sonic force and intensity between the drums, vocals, and guitar are more than enough. Any space found on the album is a welcomed rest from the ear, and helps to created a great contrast to really show how massive of a sound Greber has found.

Be sure to check out Greber on MySpace and catch them on tour when they’re near you, as I’m sure their live show would pummel you into the ground. The album is a recommended listen for people who want something along the lines of Black Sheep Wall or Admiral Angry.

As the one-sheet reminds us: “We all need to eat shit sometimes and this band is a reminder to everyone.” So get to feasting on some feces!

Leave a comment

Posted in Featured Band, Sludge Metal

Tagged , , , , , ,

Irepress: We’ll Be Here Forever

Posted on October 27, 2010 | Leave a comment

Only a very limited amount of times in my life have I heard a band, seen them play, talked with them and thought “Wow, this band just gets it.” Irepress is certainly one of these bands. An incredibly streamlined and cohesive mix of more musical styles than I care to list, Irepress have the innate ability to appeal to nearly every sort of music lover under the sun. In some instances, you can clearly hear a Deftones influence, and at others you can hear Isis. Before you know it, they’ve switched gears and moved onto a Parliament Funkadelic section, then transitioned that into something more like Converge.

The easiest way to describe the sonic variability of Irepress would be to say that they certainly fit amongst their Translation Loss brethren such as Mouth of the Architect, Rosetta and East of the Wall with their eclectic mix of styles tied into one neat little progressive and experimental package. The only real difference is that a majority of Irepress’ music is without vocals; with the amount fantastic lead guitar parts, synth overlays, and texture changes the lack of vocals are never an issue.

irepressIf for some reason you’re not sold by any descriptions of the band or by hearing their wonderful records, you should still make a point to see them live. Irepress are consistently one of the best bands I’ve ever seen live. Every single second of every single set is played with 110% passion, it’s quite obvious that the guys love the music they make, and they love playing it for people. I joined Irepress for a pre-European tour practice to get some footage and check in with the band. Working to get their set tight for Europe I heard many a classic, but also a lot of fresh new stuff, including the new track, “Shaolin Knights” many times. The band released “Shaolin Knights” for free download via their Bandcamp page, so make sure you grab that song. It’s the first song since Irepress’ original albums that they’ve featured vocals heavily in a song, and it’s stellar.

I got some solid footage of the second half of of the leading track from the band’s latest release, Sol Eye Sea I, called “Diaspora” – a track that exemplifies pretty well what Irepress are really capable of. As an FYI, the drummer in this video is JR formerly of Big D and the Kids Table, he’s filling in for Sheel while his back heals up.

If you like what you hear, you should download this iPhone ringtone for the band’s song “Pah No” (which is the opening song from Samus Octology).

Download iPhone ringtone for “Pah No” by Irepress

So, for some actual useful information, here’s the bands extensive European tour schedule with Constants:

11.08.10 COLOGNE, GERMANY @ UNDERGROUND
11.09.10 HAMBURG, GERMANY @ ASTRA STUBE
11.10.10 KARLSRUHE, GERMANY @ JUBEZ
11.11.10 OBERHAUSEN, GERMANY @ DRUCKLUFTHAUS
11.13.10 BILBAO, SPAIN @ SANTANA 27
11.14.10 LEON, SPAIN @ TBA
11.15.10 MADRID, SPAIN @ WURLITZER BALLROOM
11.16.10 DON BENITO, SPAIN @ THE RINCON PIO SOUND
11.17.10 ST FELIU DE CODINES, SPAIN @ INCIVIC ZONE
11.18.10 FRANCE @ TBA
11.19.10 NEUMARKT, ITALY @ POINT
11.20.10 BULLE, CZECH REPUBLIC @ EBULLLITION
11.21.10 DORNBIRN, AUSTRIA @ SCHLACHTHAUS
11.22.10 BOLOGNA, ITALY @ Xm24
11.23.10 LUCCA, ITALY @ BLU
11.26.10 MUNCHEN, GERMANY @ SUNNY RED
11.27.10 SIEMIANOWICE SLASKIE, POLAND @ CENTRUM KULTURY
11.28.10 CHORZOW, POLAND @ MDK BATORY
11.29.10 TARNOWSKIE GORY, POLAND @ TCK
11.30.10 POZNAN, POLAND @ POD MINOGA
12.01.10 NURNBERG, GERMANY @ MUZ
12.02.10 BERLIN, GERMANY @ COMET
12.03.10 CHEMNITZ, GERMANY @ AJZ TALSCHOCK
12.04.10 DRESDEN, GERMANY @ AZ CONNI
12.05.10 PRAGUE, CZECH REPUBLIC @ TBA
12.06.10 VIENNA, AUSTRIA @ B72
12.07.10 BUDAPEST, HUNGARY @ TUNDERGYAR
12.08.10 CLUJ, ROMANIA @ IRISH & MUSIC PUB
12.09.10 TIMISOARA, ROMANIA @ DAOS CLUB
12.10.10 ROMANIA @ TBA
12.11.10 CONSTANTA, ROMANIA @ TBA
12.12.10 BUKAREST, ROMANIA @ CLUB CONTROL
12.16.10 BELGRADE, SERBIA @ KC GRAD
12.17.10 NOVO MESTO, SLOVENIA @ SOKOLSKI DOM
12.18.10 MARIBOR, SLOVENIA @ CHANNEL ZERO

Leave a comment

Posted in Featured Band, Prog Metal, Sludge Metal

Tagged , , , , , , , , , , , , , , , , , , , ,

Mushroomhead – Beautiful Stories for Ugly Children [Review]

Posted on October 4, 2010 | 2 comments

Beautiful Stories for Ugly Children is the seventh studio album from Ohioan nu metal troop Mushroomhead. Released on the behemoth Megaforce Records on September 28, 2010.

mushroomhead beautiful stories for ugly children

Back when I was a wee lad in middle school, I was what you might call a “fan” of Nu Metal, which included bands like Mushroomhead, Korn, etc. As my tastes grew from Nu Metal, Mushroomhead was one of the few bands I would still put on from time to time. “Solitaire Unraveling” remains one of the coolest songs to come out of the nu metal era. Other songs, such as “Bwomp,” also had their own unique charm (though, may have featured some cliché rap vocals courtesy of J Mann). Come 2010, and Mushroomhead seem to have misplaced their “creative” and “interesting” genes, and have come out with a record that’s almost entirely devoid of life.

There are glimpses of things that made Mushroomhead an interesting band littered about Beautiful Stories for Ugly Children, but seemingly none of these ideas are explored to their full extent. Instead, these great ideas are pushed aside for the increasingly stale chug riffs and monotone shouts from Jeffrey Nothing. The swooning and creepy cadence in Jeffrey Nothing’s voice is all but gone. He certainly hits his notes, has decent power behind his voice, and has varied his vocal style a bit – all good things, but they don’t quite make up for the missing element from his older style.

The second element that’s really missing on Beautiful Stories for Ugly Children are guitar riffs and grooves. Even up through Savior Sorrow there was some solid guitar work from the Mushroomhead camp, at the very least, guitar work that could hold your attention. There’s a solo in “Your Demise” but it feels a bit forced and out of place. Right after that you get “Darker Days” which provides the first real look at a riff on the album – and it’s not a particularly promising one.

All in all, this album feels and sounds like a shell of what the band once was. While I often welcome evolution as a band, it’s hard to approve of it when it removes the most interesting parts of a band’s style. Die hard fans may still like this record, but for anyone with less than an obsessive love for the band should look elsewhere. It would be hard to believe that this album was worked on for the entire four years since Savior Sorrow was released.

Track picks: “Burn Bridges” and “Harvest the Garden”

Overall score: 3/10 guys in masks

2 Comments

Posted in CD reviews, Nu Metal

Tagged , , , , , , , , , , ,

Rhapsody of Fire – The Frozen Tears of Angels [Review]

Posted on September 25, 2010 | 2 comments

Rhapsody of Fire are a band who have not missed a beat since releasing their first album back in 1997, and The Frozen Tears of Angels is no different. Released April 30, 2010 via Nuclear Blast, it is the band’s eighth full-length album.

Rhapsody the Frozen Tears of Angels

Rhapsody of Fire have had an incredibly consistent and productive career over the last thirteen years, even still The Frozen Tears of Angels is certainly their best release in a decade. Technically the third installment of the The Dark Secret Saga (which started with Symphony of Enchanted Lands II: The Dark Secret, which still doesn’t make sense to me). This time however, the album is fueled more by riffs than big orchestral parts, something a lot different than their two previous albums. It also once again features the legendary Christopher Lee doing narration, a welcome addition to any epic power metal album.

Where this album shines, however, is in the production and mastering. All of the guitar tones are incredible, and mesh really well with the orchestral parts. Though the orchestral parts are heavily compressed sometimes, it never becomes overwhelmingly so. I strongly prefer the production on this album to Triumph or Agony, as having the 70-piece chorus/orchestra play such a prominent role in the mix took away from the “metal” aspect of the album. Triumph or Agony was sometimes overly cluttered, but on The Frozen Tears of Angels everything has ample space to breathe in the mix (you can even clearly hear the bass lines in most songs).

And the riffs, dear God the riffs. They are wonderful. The guitar work on this album is the best that Rhapsody of Fire has ever featured on an album. They’ve made a transition from the Trans-Siberian Orchestra styled guitars from their early albums to more of a pure speed metal style similar to that of Blind Guardian. This is known almost immediately by the fierce beginning of the song “Sea of Fate” – as well as other instances on the album. There isn’t a single bad guitar part of the album, every riff and solo is good and they all fit really well in the grand scheme of things. Even in the song “Labyrinth of Madness” where it’s just guitar wankery for the entire four minutes, it’s still a wonderful closing note for the album.

Track picks: “Reign of Terror” and “Crystal Moonlight”

Overall score: 9 out of 10 wizard staffs

2 Comments

Posted in CD reviews, Power Metal

Tagged , , , , , , , , , ,

The Tony Danza Tapdance Extravaganza – Danza III: A Series of Unfortunate Events [review]

Posted on July 9, 2010 | 3 comments

Danza III: A Series of Unfortunate Events is the third full-length release from Tennessee-based The Tony Danza Tapdance Extravaganza, and was released on Black Market Activities on July 6, 2010.
TDTDE Danza III

It’s hard to imagine a band that goes by the name of The Tony Danza Tapdance Extravaganza would make ordinary music. Luckily, TDTDE push the envelope. Straight out of the heart of Tennessee, the band has created a unique signature sound using grindcore grooves, deathcore breakdowns, face grinding guitar riffs and hokey song topics—all of which are in full force on Danza III: A Series of Unfortunate Events.

If you’ve heard any Danza songs from their last album, Danza II: Electric Boogaloo, you will experience a similarly visceral assault with Danza III. In addition to the chaotic writing on the album, the production and soundscape really brings the beast to life. Every single bass drum hit done by Mike Bradley feels like a kick to the chest, every snare shot sounds like a rifle, it’s tough to keep your heart rate low. Combine that with the shrill, angular guitar parts played by Josh Travis and the raucous bellows of Jessie Freeland, and you’ve captured the essence of rage and adrenaline in audio form.

The lyrics on the album are based on unfortunate events (whether political, social, personal or otherwise) and the musical mood of the album appropriately corresponds. TDTDE do not plead their case with Danza III, there is no pussy-footing about. Instead, they impose their will with such vehemence and force even the most iron-willed of people have no choice but to succumb. From song to song, the listener experiences an aural bludgeoning until finally, when the album has come to a close, the listener feels like they have truly been victim of some sort of unfortunate event. The Tony Danza Tapdance Extravaganza have truly transcended any box they could have been placed in, and created what will surely be one of the most chaotic and interesting listening experiences of 2010.

Track picks: “12.21.12” and “A Trail of Tears” (though truthfully, every track on this album is single-worthy)

Overall score: 10 out of 10 devil horns

If you’re looking to be a responsible music consumer and purchase the album, check it out at the Black Market Activities webstore or on iTunes.

3 Comments

Posted in CD reviews, Deathcore

Tagged , , , , , , , , , ,

Whitechapel – A New Era of Corruption [Review]

Posted on June 19, 2010 | 1 comment

A New Era of Correuption is the latest release from Tennessean deathcore troop Whitechapel that was released on Metal Blade June 8, 2010.

Whitechapel A New Era of Corruption

I would be lying if I told you that this album featured anything that is completely new for Whitechapel. That being said, this album is still drastically different from the band’s two previous efforts. From the very beginning of the album, the feel and textures of the sound are much different than the all-too-familiar sound of The Somatic Defilement and This Is Exile. A New Era of Corruption finally sounds like the band is making use of the fact they have three guitarists, rather than having three people playing the same riff simultaneously in nearly every song. There are a lot of solid guitar harmonies throughout the album, something that wasn’t used much outside of breakdowns on This Is Exile.

The next huge step Whitechapel took for this album was switching up some of the songwriting and breakdowns they used. While not overly boring, This Is Exile didn’t have a lot of variation amongst songs, but A New Era of Corruption seems pretty fresh from song to song. In addition to the songs being a bit more varied, there are also a multitude of texture and mood changes – something else not found in previous efforts. No song demonstrates this better than “Reprogrammed to Hate,” a song that isn’t simply slams and guttural vocals.

I should make it very clear that I’m not stating that A New Era of Corruption is vastly different than This Is Exile, because it’s not. There are a few tweaks made to the Whitechapel formula, such as multiple guest vocals from The Acacia Strain’s Vincent Bennett, but all of the things found on This Is Exile and The Somatic Defilement are still ever-present.

The only real complaint I have about this album is that it seems to be separated between a couple really killer songs and some other filler material. The album can be somewhat boring on the songs that seem to be the more obvious examples in which the three Whitechapel guitarists get into minor second “chug chug” mode the most. The first few tracks on the album are easily the most boring, but the album comes alive at track four with “Reprogrammed to Hate” when we finally see what these guys can do.

If you liked Whitechapel before; or just want some heavy-as-hell beatdowns with some interesting guitar harmonies, tempo changes, and solos here and there; this might be an album for you. An album that showed glimpses of maturity and progression in the band’s sound, but one that shows they’ve still got a bit more refining and growing as a band to go.

Track Picks:

“End of Flesh” and “A Prayer of Mockery”

Score:

6/10 devil horns

1 Comment

Posted in CD reviews, Deathcore

Tagged , , , , , , , ,

Razormaze – Miseries [Review]

Posted on May 14, 2010 | 1 comment

Now, I don’t want to make it a habit to review EPs of bands all the time, but I’ve made an exception due to a special request. So, let’s talk about Boston-based Razormaze‘s new (free!) EP Miseries. The EP was released unto the word on April 27th through the band’s Bandcamp page.

Miseries by Razormaze

So, I’ve been listening to these guys a lot, including seeing them multiple times live, since before their first full-length, The True Speed of Steel (which I reviewed) back in ’09. Needless to say, I was quite surprised when I heard Miseries. Where The True Speed of Steel was a bit silly and funny at times, there’s little fun to be had with this EP. It’s foot-to-the-throat for all three songs, which is both good and bad. The most endearing part of Razormaze’s first full-length was how fun it was, which at times overshadowed the over-the-top attitude of the band members. It’s nice to know, however, that the guys can make music that’s more serious, though (which helps them avoid being treated like band who rely on schtick to be successful).

In terms of the music and production, though, it’s another stretch in the right direction for Razormaze. It’s still full of catchy riffs and melody lines everywhere, and the guitar solos just keep improving. A lot of people criticized Alex Citrone’s vocals on The True Speed of Steel (I always thought they were great), and he’s stepped up his game as well. The only real downside I can see to the new stuff is that they’ve started to wander away from their very unique brand of thrash in favor of a less original and more traditional thrash sound (which, if you think about it, might not even be a negative).

Regardless, Miseries does just what a good EP should do – shows promise of forthcoming new material and gets the mouths of ravenous fans watering.

Since there’s only three tracks, I’m not going to give the EP a rating or make track selections, but I’ll say it’s definitely worth checking out. You can grab a copy for free from the band’s Bandcamp page in just about any format you like.

1 Comment

Posted in CD reviews, Thrash Metal

Tagged , , , , , , , ,

Annotations of an Autopsy – The Reign of Darkness [Review]

Posted on February 4, 2010 | 3 comments

The Reign of Darkness is the second album from the English quintet Annotations of an Autopsy, a followup to 2008’s Before the Throne of Infection, and is released on Nuclear Blast records.

Among the clutter of the various metal sub-genres there lies a nice niche of bands that are a cross between deathcore and grindcore – no band embodies this better than Annotations of an Autopsy. This is known almost immediately after beginning the album when the first instrument you hear are the drums – a gut busting fill followed but a simple blast beat – then the rest of the troops fall into place. The grinding guitars and thick raspy voice follow behind the drums, and it sounds as though you’ve got a brutal death metal album on your hands. Then the tempo change, straight into the first beatdown of the album.

After you’re about three minutes into the album, you have pretty much heard the entire arsenal this band employs – the good news is that the limited arsenal does not hold the band back. All of the breakdowns are varied, the riffs never gets stale, and the drums are on point. By far the biggest letdown of this album are the vocals and lyrics. While Steve Regan’s (aka “Sewer Mouth”) enunciation is pretty phenomenal at times, he always sounds as though he has a mouth full of jello, or is simply gargling into the microphone. Every syllable of every word on this album sounds almost identical, and it becomes very repetitive and annoying.

Simplicity lends itself all to often to this style of music in terms of guitar work, but that is something Annotations of an Autopsy have decided isn’t really the best strategy to keep a listener’s attention. At times the guitar parts are very simple (see many of the verses), but when it is time for the guitars to step it up, the do so in a big way. Solos are not often a huge part of the more brutal metal styles, but this album has a few very tasteful and unique guitar licks and some very groovy riffs.

When taken as a whole, The Reign of Darkness is a pretty standard drag-you-through-the-mud deathcore/grindcore album that is not about taking prisoners or breaking boundaries. It’s a very humble album that knows what it does, what it wants, and how it’s going to do it. A solid second album from a band who put out an embarrassingly bad first album, something that leads me to believe this band has a very promising future.

Song picks: “Catastrophic Hybridization” and “Portrait of Souls”

Overall score: 7.5 out of 10 devil horns

3 Comments

Posted in CD reviews, Death Metal

Tagged , , , , , , , , , , ,

From Exile – Monolith [Review]

Posted on November 3, 2009 | 2 comments

From the heart of the south, Atlanta metal band From Exile are one of the few bands out there that refuse to be pigeonholed. Self dubbed as “progressive thrash metal” they truly transcend that, touching nearly every style of melodic metal out there on Monolith, the band’s second full length album. Currently, From Exile is only comprised of two members, and the band is without a label.

From Exile Monolith

Instantaneously when I began playing Monument I knew I was onto something interesting. Upon the first guitar chord, my only thoughts were about how horrible the recording/mastering work on this album was going to be. Fortunately, it was just an adjustment/placement issue. Upon further listening, the sound of the album turned out to be the defining factor for the album. When I spoke with Eric (guitars, keys, vocals), he said “it is truly a massive record” – something I was immediately skeptical of. I wish that I could come up with some better way to describe the album as succinctly as Eric, but I can’t. I simply concur, and state: this is one massive record.

More interesting than the sound itself is the styles the band plays in, and the incredible songwriting on the album. Unlike band such as Opeth, metal bands regarded as incredible songwriters, From Exile does not need fifteen minutes to write an incredibly deep and engaging song. The whole album spans only a mere 32 minutes, but is some of the most dense and prolific composing I have heard in such as small time frame. Monolith features a substantial amount of complex guitar work, including guest solos from Eyal Levi and Emil Werstler (of Dååth). Among all the dense and complex musicianship on the album, there is a lot of material I feel as though I have heard before. Not in the sense that it is old and played out, but a warm and familiar way. From Exile have presented many themes from their various influences with a fresh take, almost in a nostalgic way at times.

Easily the most shocking part of the album is the incredible lack of vocals. Amidst the fourth track on the album, “Exhumed”, I realized I had only heard a small handful of vocal lines, none of which were memorable or recognizable, even after a few more listens. At such a short length, the lack of vocals is the biggest downside of the album, though does nothing to lessen the listener experience. In fact, the lack of prominent vocals on the album only solidifies the band in their niche among the “post-metal” and “instrumetal” acts that play off the ambience factor.

Even after sixteen listens through the album, I always run into the same problem: there needs to be more. When the last second of the last track ends, I am not ready or prepared, even given the feel of “In The Faded Silence”. During the album it feels stretched out and that more time has elapsed than really has, but upon finishing the album it is noticeably too short. This is not to say Monolith is an empty or incomplete work. Imagining anything else on this album would ruin it, much like it would ruin Cynic’s Traced in Air to add anything more to its 34 minutes of music. A full and complete work that is compelling enough to deserve more time, but leaves the listener unsatisfied enough to be hooked like a junkie.

Crushing blows followed by majestic and glorious guitar solos, this is most definitely an album that fans of quality shred must hear. For those who are fans of brilliant songwriting, this is also a must hear. For those people who like hook-laden and vocal-centric metal, there is nothing at all here for you. Little to no vocals or obvious hooks can be found on Monolith. When you put this album on, be sure that you have set aside time to listen to it in its entirety, both to do it justice, and because you won’t be able to stop listening until the album is over.

Track picks: “Apparition” and “Veritas”
For fans of: Kris Norris, Dååth, and good quality guitar work
Overall Score: 8 out of 10 devil horns

If this review has piqued your interests, you can buy the album from the band’s MySpace page for only $7.

2 Comments

Posted in CD reviews, Prog Metal

Tagged , , , , , , , , ,

Converge – Axe To Fall [Review]

Posted on October 15, 2009 | 2 comments

Everyone, go home, Converge is officially this year’s winner. Few albums have floored me so immediately, and from start to finish, as Axe To Fall has. From the opening bass line to the serene ending songs, this album teeters on the edge of being completely overwhelming, but never crosses that fine line.

converge axe to fall cover

The first track of the album, “Dark Horse” couldn’t do a better job at setting the pace for the entire album. It features grooves, riffage, and everything Converge does perfectly on this record. If somehow, at the 1:57 mark of “Dark Horse” you are not kicking holes in walls, smashing your keyboard, or at the very least metal thrashing mad – you either aren’t human or you hate heavy music. From there on out, the album only further careens into the dark depths of chaos, beating your soul into submission with furious riffage and raucous rhythm changes. It’s amazingly cliché to say such things, but this album really will strike terror into your soul with such painful discord in each and every note.

Beyond the furious riffage and bludgeoning rhythms, the songs are written with very diverse structures, and flow amazingly well. They’re connected to the point where the line between songs is blurred, but not so much that it is unclear when you’ve hit a new song. It’s not foot-to-the-throat the entire time, either (something I feel limits many bands and albums in terms of actual songwriting). On my first listen through I was extremely shocked by the last two songs on the album, “Cruel Bloom” and “Wretched World”, and how they’re considerably less ballistic than the other eleven tracks on the album. Though a bit suspicious, once the album subsided to silence it all made sense. My ears were tingling, my blood was pumping, and I was completely and utterly speechless. I can say without doubt that I have never heard an album as emotional as this album. I don’t mean that in the “our girlfriend of two weeks broke up with us now we wanna cry” way, either. This album from top to bottom is filled with rage, pain, joy, fear, pride, and most of all passion. This truly is music you can feel.

Sonically, this album is near perfect. Nothing is too much or too little, and it is meant to be played way too loud. You can pick out each and every single instrument at any given moment, and can hear each and every nuance that is contained in the album (and boy are there a lot of them). To be completely truthful, I was never quite sold on Converge before Axe To Fall. I enjoyed Jane Doe and No Heroes, but this album is truly in its own league. I’m unsure if people who loved the old Converge stuff the best will like it, but Axe To Fall certainly cannot disappoint and will most definitely score the band troves of new fans.

Song picks: “Dark Horse” and “Reap What You Sow”

Overall Score: 10/10 devil horns

2 Comments

Posted in CD reviews, Metalcore

Tagged , , , , , , , ,