APRIL/MAY 2010 REVIEWS
AFICIONADO
THE MYTH ABOUT REAL LIFE EP
AFICIANADO
Albany, New York’s Aficionado is a spunky, talented band who has been making well-deserved waves with their quirky brand of indie influenced rock. Fans of Cursive, Kiss Kiss and the weirder tendencies of Murder By Death should peep Aficionado. Everything but the kitchen sink instrumentation (and maybe even THAT on a few songs) pops up to startle you within these four songs. “I Don’t Believe We’ve Met” is fairly rockin’ via the greatly placed mix of dirty guitars while near operatic backing vocals float in and out amidst organ and flute. Recorded with veteran sound-smith Don Fury (Civ, dayinthelife, World Inferno Friendship Society), this band has all the promise of a band like The Dear Hunter and could potentially pen a truly adventurous full-length. “Naysayers” opens like some weird radio transmission from fuzz land before upbeat and galloping drums push the tune into different realms. Aficionado are heart-felt in the best way during an era of overly emotive, badly compressed vocals and shit-sugar Mp3 mixes, plus they are obviously creating a real sense of communion in these songs. Ride the wild, baby. ----Morgan Y. Evans
ALDAARON
NOUS REVIENDRONS IMMORTELS
PARAGON
Radiating their brand of malicious mayhem with a majestic hue that sheds light in the shadows in the forests of black metal, France’s Aldaaron deliver a glacial eight-track offering steeped in traditional rawness entitled Nous Reviendrons Immortels. While an arsenal of unabashed regressive tendencies screaming for blood kick out at full blast (“Nirnaeth Arnoediad Part 2”), this unit also demonstrates the knack to throw in a barrage of well-placed atmospheric downshifts and clever dynamic tempo fluctuations that keep the listener intrigued and stick true to black metal ideals (“Nirnaeth Arnoediad Part 1”). While the album’s muddy production can be taken a breaking point for some, the band’s overall presentation contains its share of standard accoutrements from panicked vocal shrieks to solid accompanying keyboards (“En Route Vers La Bataille”) while sharp enough to exhibit a grim and foreboding aura draped in black metal’s shimmering bombast. ----Mike SOS
ANIMA
ENTER THE KILLZONE
METAL BLADE
German deathcore troupe Anima makes a return back to the scene with another run of the mill offering in the form of 12-track disc Enter The Killzone. While songs like “I Am Sick I Want to Kill” display touches of metallic maturation with an increased death metal vibe prevalent, this quintet ultimately falls prey to the familiar genre trappings with many of their peers with a horrendous array drum triggers and unrealistic guitar tones at the forefront of this mind-numbing attack (“Welcome to Our Killzone”). Despite a beefed-up Black Dahlia Murder-esque approach (“The Omnipotent Torture King”), Anima is still playing catch up with the likes of The Acacia Strain and Job for a Cowboy in terms of providing something more than a shot of banal brutality. ----Mike SOS
ANNOTATIONS OF AN
AUTOPSY
THE REIGN OF DARKNESS
NUCLEAR BLAST
nuclearblastusa.com
Reinvigorated UK metal upstarts Annotations of an Autopsy return with an unrequited
mix of brutality on the 11-track The Reign Of Darkness. While this
quintet has endured its share of growing pains, their strong allegiance to the
deathcore sound has shifted somewhat to include noticeable nuances of classic
death metal destruction a la the likes of Suffocation, Morbid Angel and others
from the vintage Tampa sound era, bolstering the squad’s overall ambush
significantly (“Impale the Sun”). Yet there’s still pieces
missing throughout AOAA’s overall attack despite blood-thirsty thrusts
on songs like “In Snakes I Bathe” where things grind to ho-hum halts
and become monotonous beyond normal standards, almost as if the band made an
outline of a drawing and forgot to color it completely in, especially glaring
on slower-paced tracks (which the disc is heavy on). Even though it seems that
this group is headed on the right path of death metal destruction, they’ve
got a long way to go before being considered in the same league as their newfound
aforementioned influences, but should appeal to the under 21 crowd that likes
to mosh it up. ----Mike SOS
ARMORED SAINT
LA RAZA
METAL BLADE
After a near-decade long layoff, arguably the biggest hard-luck metal band ever, Armored Saint, return with La Raza, an infectious multi-layered metallic creation brimming over with a deep wealth of hooks while retaining the ahead-of-their-time eclectic heaviness that made the band stand out amongst swarms of bands from the ‘80s. This Los Angeles quartet first rose to prominence in 1984 and have endured many hardships (most notably the passing of original guitarist Jeff Duncan to Leukemia, resulting in some major sabbaticals throughout their tenure, yet this 10-track release shows no sign of rust or stagnation. Instead, this veteran troupe sound rejuvenated, incorporating a more decisive hard rock flavor (“Chilled”) while keeping the listener intrigued with a barrage of melodic and crunchy tunes with a genuine reverence for the band’s middle of the road old school sound. Blasting out an impressive array of tasty solo work and powerful riffs (“Left Hook from Right Field”) while vocalist John Bush’s recognizably gritty delivery anchors the entire affair, Armored Saint displays an affinity of their former selves with a contemporary kick, resulting in another solid offering by a band known best as a squad who inconsistently deliver strong albums. ----Mike SOS
ASH GRAY AND THE
GIRLS
THIS COULD BE A WILD NIGHT
LUVROCK RECORDS
New York’s Ash Gray and The
Girl’s are a terrific band reveling in a heady mix of fun harmony and
retro cool laced with just the right amount of glam and grit. Guitarist and
principal songwriter Gray also moonlights in She Wolves, one of the very best
bands in New York City, and really proves his measure as a songwriter on This
Could Be A Wild Night. The 7 tracks here are like perfect little jellybeans
of late ‘60s and ‘70s nostalgia condensed into pop-song length.
There’s also a real garage element to some of this stuff, but Gray and
his lady friends really straddle the line between all the disparate styles well.
They would absolutely kill it on a bill with The Compulsions or somebody like
that. Think The Mamas & The Papas and a little Fleetwood Mac meets some
Stooges and as unlikely as that sounds, you’ll be kinda close. “Your
Gun Is Out” is a playful and concise little number and I like Ash’s
vocal range a lot, just really unassuming but classic power poppy in a Big Star
kinda way as he goes back and forth with the girls. “Wild Night”
even has some riffage that sounds a little like Slash, while “Rock’N’Roll
Record” keeps the dream alive. There’s some alternative rock stuff
sprinkled in here as well that reminded me of how cool it was when Billy Corgan
was playing with The Seeds recently. I like it when modern bands incorporate
classic elements in a fun way, like Type O Negative’s “How Could
She?” from their Life Is Killing Me record, a tune which almost
sounded like George Harrison playing doom metal. Those examples both don’t
sound like Ash Gray, but you know what I’m getting at. Gray is the kind
of dude who can talk about Accept and the Doors and Janis Joplin in the same
breath without batting an eye, just a really cool, laid back dude and a tremendous
player.
----Morgan Y. Evans
BATUSIS
BATUSIS
SMOG VEIL
When a band made up of Cheetah Chrome and Sylvain Sylvan forms, it’s bound to make waves in rock circles worldwide, and this seasoned six-string tandem’s collaboration entitled Batusis does just that on the eponymous four-track debut. Solidified with the rhythm section of Joan Jett and the Blackhearts, this conglomeration of lifer rock‘n’rollers stay true to their instincts and stick to their strengths, intertwining punk rock fury, surf rock serenity, and classic rock swagger while playing like their lives depended on it to pump out a rip-roaring rock music dripping with the brazen attitude of days gone by. Featuring two instrumental cuts and two balls-out tunes with vocals to match, Batusis unleash a batch of snarling songs with huge guitars, rendering the most smoking hot in your face rock‘n’roll history lesson of 2010. ----Mike SOS
BURY TOMORROW
PORTRAITS
ARTERY
The UK’s Bury Tomorrow have been making big waves and are sure to win stateside converts with their full-length debut Portraits. The Dorian Gray influenced record features cover art of a faded (but not quite fatal) portrait. The art direction has a vaguely unsettling sepia wash vibe, but is so simplistic it doesn’t seem to say much. The record itself is decent if nothing spectacular, but the band has a lot of potential. The problem is that there are just way too many bands with breakdowns and chug parts like this, and As I Lay Dying epitomized and set the bar really high for this metalcore style with “The Sound Of Truth” from their An Ocean Between Us release. Bury Tomorrow are passionate and try to capture a time period in a snapshot as the theme of the record, heartfelt but rife with cliché. The best thing this band has going for them is some great melodic guitar lines that sit atop the chugga or occasionally break things open into cinematic territory, like the excellent, sweeping ending of “Confessions” or in the chunky, melodic push of “Factory of Embers”. The screaming on here by vocalist Danni Winter-Bates is truly ripping, but the clean vocals fall flat with far less urgency. Danni has a nice range and a smooth delivery, but needs more urgency (not to be confused with sentiment). He almost gets there on “You and I” but it still feels a bit too radio emo and not EMOTIONAL. Listen to “1970” by the Stooges or even “Walk In The Shadows” by Queensryche. There’s an extra element of grab in the vocals that is pure life. Plus, I can’t fucking stand to hear any more breakdowns lately. Go buy the new Dead Swans for some UK heavy stuff or the new Fear Factory, or (if you must have breakdowns) the more musically interesting Before There Was Rosalyn. ----Morgan Y. Evans
CHARRED WALLS OF
THE DAMNED
CHARRED WALLS OF THE DAMNED
METAL BLADE
Iced Earth alumni Richard Christy and Ripper Owens work together again on Charred Walls of the Damned eponymous offering. This nine-track offering serves up a smattering of traditional heavy metal with an emphasis on presenting a progressive and powerful platter, complete with Owens’ histrionic vocals and Christy’s clinical percussion work at the forefront of the strike (“Fear in the Sky”). Providing a well-balanced metallic assault of neck-break paced technical excellence and memorable melodic sweetness (“The Darkest Eyes”), Charred Walls of the Damned deliver a solid slab of raise your fist and yell heavy metal executed with a sniper-like stealth (“Creating Our Machine”) that ardent fans of metal can definitely latch onto. ----Mike SOS
DANIEL LIONEYE
VOLUME II
THE END
It has been several years, (nine
to be exact) since Daniel Lioneye’s debut album The King Of Rock'N’
Roll was released, hence the anticipation for the various members of the
Finnish band H.I.M to come out with new material. This time around on the appropriately
titled, Volume II, Enochian Crescent drummer, Bolton replaced Ville
Valo on drums, Linde (HIM) vocals, guitar, bass, and Burton (HIM) returning
on keyboards. It is apparent by listening to the first few seconds of track
one “Euroshaman” that this is quite a departure from the first album,
which featured the theme song of Bam Margera's TV show, Viva La Bam. It has
an intense, in your face quality with insane guitar riffs and heart-pounding
drums that only a true metal album would and should sound like. The 9-track
album has a heavy, black metal vibe with Linde’s vocals/screams reminiscent
to those of Cradle of Filth’s Dani Filth. As powerful and thought provoking
as the lyrics are, the words are slightly hidden behind the music, thus allowing
the power of the music to speak for itself. Another pleasant surprise comes
from “The Mentat” which is a punch-in-the-face track that brilliantly
shows off Bolton’s sick drumming talent…and who would have known
Linde was such a beast on the guitar?? Simply amazing…
Volume II is an emotionally powerful, slightly experimental, and overall
heavy metal album. I welcome the grand departure of sound from the first album
with open arms, and I’m certain other Daniel Lioneye fans will too. ----Jelena
Glavic
DESCENDER
DESCENDER
SELF-RELEASED
NYC quartet Descender makes sure the flames of early post-hardcore are burning strong on their eponymous six-track introduction to the world. Creating music that is well-versed in the tradition of NYC underground heaviness, this unit does a solid job in projecting a relentless sense of immediacy with enough lung-ripping refrains that stick in your head for days while implementing the kind of Sick Of It All-esque moments of infectious melody that call for immediate pile-ons (“Crooked Teeth”). Fusing the indomitable spirit of DIY hardcore with a jagged blend of modern hardcore punk brutality and indie rock dexterity, Descender has developed a specific strand of blunt heaviness that doles out qualities you can still feel OK about throwing elbows to with rounds of stellar musicianship that transcend the throwback tag. ----Mike SOS
ENTHRONED
PENTAGRAMMATON
REGAIN
Belgium black metal merchants Enthroned are a seasoned unit who have been marred by a checkered consistency with both maintaining a lineup and producing advanced output through their long-standing career, but this curse seems to have bypassed their latest 11-track affair Pentagrammaton. Showcasing a step in the right direction, Enthroned’s barrage of blistering riffs, blazing drums, and bellicose vocal work especially intense during periods of the vicious triple vocal assault with a tenacious tact, ripping through your speakers (“Rion Riorrim”) with a panic-stricken aggression black metal requires (“Pentagrammaton”). Despite feeling a bit genre-standardized at times, Enthroned’s overall presentation endearingly exhibits all the necessary brutality to get the job done with a bombastic sound, a firm handle on controlling atmosphere from track to track, and an arsenal of clever nuances sprinkled throughout that traditional black metal fans can’t help but appreciate (“Unconscious Minds”). ----Mike SOS
EXODUS
EXHIBIT B: THE HUMAN CONDITION
NUCLEAR BLAST
Exodus unleashes a vicious collection of thrash metal driven by anger on the 12-track Exhibit B: The Human Condition. This underrated veteran Bay Area quintet raise the bar and deliver an intense slab of aggressiveness under the guise of metal guru Andy Sneap with the colossal twin guitar presence of Lee Altius and Gary Holt tenaciously throwing down catchy and crushing streams of razor-sharp riffs and over the top solos (“The Sun is My Destroyer”, “Class Dismissed”). Vocalist Rob Dukes really comes into his own here, reverberating with a harsh and menacing tone that sits squarely between former singers Steve Souza and Paul Baloff while the rhythm section pound out a flurry of the blistering and brutal tempos that Exodus helped to spawn nearly 30 years ago (“Burn, Hollywood, Burn”). Chock full of neck-snapping fretwork, jackhammer rhythms, and dizzying thrash metal expedience, the latest affair from Exodus portrays what the epitome of thrash metal excellence sounds like and is a must-listen disc for any self-respecting headbanger. ----Mike SOS
FLOURISHING
A MOMENTARY SENSE OF THE IMMEDIATE WORLD
THE PATH LESS TRAVELED
thepathlesstraveledrecords.com
NYC grinding death metal trio Flourishing exhibit their set of unorthodox and raw wares on the unit’s five-track endeavor A Momentary Sense Of The Immediate World. This band’s unhinged abrasiveness and buzzing dissonance merges bleak black metal malice with apocalyptic post-hardcore, sounding like a cross between a harsher version of Helmet and a more spastic Bloodlet (“Watching Sparrows”) while implementing a lithe array of industrial metal’s clangs and bangs into the fray for an increased increment of malevolence. Capable of causing a big mess yet able to survive amongst the wreckage thanks to shards of melody that rise from the rubble long enough to be noticed before the tumultuous and dense attack starts up again, Flourishing presents a discordant delight for those who yearn for a dose of extreme noise terror every now and again. ----Mike SOS
FOZZY
CHASING THE GRAIL
RIOT
Chasing The Grail is the album that helps you forget that Fozzy is a terrible band name and the unit’s lead singer is pro wrestler Chris Jericho with three-quarters of Stuck Mojo behind him, as the squad’s latest 12-track batch of tunes proudly showcases a killer band that bring a wicked amalgamation of metallic styles helmed by Jericho’s assured vocals to the table. Gelling as a band like previous albums never showed, Fozzy comes into their own here with a hearty smattering of heavy and melodic songs with a bevy of influences yield from Ozzy and Metallica to Avenged Sevenfold and Five Finger Death Punch that display an increased intensity, especially in the guitar department (“Pray for Blood”) while blending a steady stream of classic and modern influences from Blind Guardian to All That Remains (“Under Blackened Skies”). Retaining the patented Atlanta metal stomp guitarist Rich Ward helped to pioneer (“Grail”, “Martyr No More”) and going as far to include an 11-minute epic complete with a rash of twists and turns that would make Dream Theater proud, Fozzy’s latest album truly covers all bases and delivers a top to bottom solid shot of metal with a grab-bag, something for everyone disposition that erases the stigma placed on the band since their inception. ----Mike SOS
GAMMA RAY
TO THE METAL!
EARMUSIC
German power metal kingpins Gamma Ray return with their 10th studio effort, appropriately titled To The Metal! This 10-track affair features the quartet’s signature musical maneuvers and retains the outfit’s traditional metal approach, keeping a fever-pitched energy level (“All You Need to Know”) and melody lines soaring high in the sky. Branching out a bit this time around to include an orchestral introduction before kicking it up a notch, (“Chasing Shadows”) as well as a tender piano-led “No Need to Cry” in between dollops of Euro-heavy racing power metal and groove-laden Priest-esque rockers (“To The Metal!”), Gamma Ray presents a solid yet unspectacular slab of metal that stays true to the veteran group’s classic metal predilections. ----Mike SOS
HAKEN
AQUARIUS
SENSORY
UK prog metal unit Haken do an exemplary job at juxtaposing a decisively heavier histrionic Dream Theater modern slant and a Marillion meets-power-metal revelry on their lengthy seven-track debut Aquarius. This collection of tunes by this newly formed squad are a bit challenging despite a first-class production value and a driving rhythm section anchoring the entire affair, and are totally smothered by prominent keyboard and synth work that drag the entire affair down numerous make or break points between magnificent and meh. Yet this sextet reveal the knack for creating a type of white-knuckle composition comprised from a balance of obvious influences and divergent musical styles with an abundance of rousing choruses and oddball musician charm to come off as an awkwardly fresher alternative than the usual sect of prog-metal merchants. ----Mike SOS
HARVESTMAN/US CHRISTMAS/MINSK
HAWKWIND TRIAD
NEUROT
Seminal UK psychedelic rock outfit Hawkwind’s cult appeal is widespread and bountiful, especially within today’s tripped-out post-metal circles demonstrated by this three-band, appropriately-titled 11-track split disc homage Hawkwind Triad. The most stunning aspect regarding this release is far and away this album’s seamless flow which all but disregards the fact that this is the input from three separate bands yet sounds as fluid and cohesive as if one band comprised the whole endeavor, as US Christmas, Harvestman, and Minsk nail the tracks they tackle with a respectful regard towards the original version’s cosmic visions acting as each band’s foundation to renovate the overall sonic resonance of classics like “Master of the Universe” (done by US Christmas) and “Assault and Battery/ The Golden Void” (as interpreted by Minsk). Truly capturing the essence of their subject while giving the pioneer unit’s rich music a meticulously conducted modernization that virtually remains authentic to the original compositions, this release ensures the spirit of Hawkwind’s unique musical freak outs are still a major influence and will continue to flourish. ----Mike SOS
HEATHEN
THE EVOLUTION OF CHAOS
MASCOT
After a near 20-year absence, Bay Area thrashers Heathen return to the metal world with a hard hitting11-track studio album entitled The Evolution Of Chaos. This quintet’s comeback rings true to form with the classic thrash metal of yore at its core, complete with a majestic feel laden with solid twin guitar harmonic interplay, effective progressive metal movements, and a vocal presence graced with both NWOBHM’s soaring melodic tactics (“A Hero’s Welcome”) and old school thrash metal’s unmistakable malevolent snarl (“Dying Season”). Rather than taking a quick stab at the thrash piñata, this veteran act’s well-built excursion is a genuine example of revisiting roots the correct way, coming off as well-oiled and refined rather than a hapless retread attempt to cash in on the genre’s revival. If you dig the most recent works of vintage squads such as Exodus, Overkill, and Testament, there’s no reason why Heathen’s latest shouldn’t be in your collection. ----Mike SOS
HELLO LOVER
HELLO LOVER
SELF RELEASED
Earnest hard rock from Texas with one foot in the past and one pointed towards outer space. This outfit rock hard and have a big amount of space rock guitars (see the Nebula-esque “130 A.D.”) crossed with a hard charging sound reminiscent of Filter or Three Days Grace. “Shape Shifter” builds up and away while vocalist Robert Dunlap sing/speaks into a desert trance. Fans of Hermano’s less twangy side will dig some of the boogie fueled changes as well. Takes a good look at the world through a fun cosmic lens, reminding us not to “forget the magic”. The songs are about feel even when they have standard rock arrangements, and the Dale Crover influenced drumming of Joe Hardy is top notch, executed throughout somewhat akin to Crover’s drumming on the Melvins' cover of the Wipers “Youth Of America”. “Dr.D” is another standout, with silly lyrics about a girl still working over a trippy little foray into space indie rock. Grab a friend and dance. ----Morgan Y. Evans
ICARUS WITCH
DRAW DOWN THE MOON
CLEOPATRA
Pittsburgh, Pennsylvania traditional metal squad Icarus Witch provide an ample alternative to today’s modern metal with a turn back the clock blend of Too Fast For Love-era Motley Crue, the hard rock edge of the NWOBHM movement and a case of dramatics a la bands like Dio and Savatage on the nine-track effort Draw Down The Moon. Maintaining a well-manicured balance of half-doom/ half hard rock heavy riffs that meander between middle of the road and magnificent and a set sneering vocal warbles that fit yet stigmatize the entire affair as a bit dated with a durable rhythm section keeping the tempos steady and strong, this quartet’s borrowed musical output is strictly compiled from influences prior to 1987 with enough King Diamond, Rage For Order-era Queensryche, and Candlemass bits installed to maintain the soaring levels of classic metal copiously flowing through this 35-minute affair, going as far as to include an efficient cover of the well-tread Judas Priest classic “The Ripper” to further exhibit just where this troupe’s allegiances lie. ----Mike SOS
JON OLIVA’S
PAIN
FESTIVAL
AFM
Giving loyal fans languishing through year after year of Trans Siberian Orchestra’s heavy metal cash in on Christmas concerts something to rejoice about, the latest offering from prolific metal musician Jon Oliva fully revives the complete package of luxurious instrumentation, driving tempos, sinister symphonics, brooding atmosphere and dramatic heaviness from his best known band Savatage at their peak on Festival, a decisively dark and stimulatingly stirring 10-track release chock full of teeth-gnashing hard-edged rockers and soulfully heartfelt ballads. This release is an intense endeavor steeped in a traditional heavy metal mindset with Oliva’s trademark emotionally raw vocal delivery and soaring melodic composition skills working on overdrive to create the closest thing resembling a full-on Savatage reunion sans the actual members reforming. ----Mike SOS
KROKUS
HOODOO
SONY MUSIC
Krokus are back! I have to say when I got the new Krokus album sent to me I was rather startled. I sort of vaguely knew they had done a reunion show a few years ago, but I didn’t know an album was looming-and what a record! Hoodoo is top notch, one of the best things the band has ever done. All you pussies who think Krokus are way too Spinal Tap (like that’s a BAD thing!), listen up! This record, recorded with the classic band line up at House Of Music Studios in Germany, is just no frills, classic hard rock/blues metal. With the exception of the great “Rock N’ Roll Train” and a few other songs on AC/DC’s Black Ice, I will even go as far to say that Hoodoo from Krokus is overall more solid than that gazoodle selling recent record by the Aussie heroes. Granted, Krokus continue their tradition of unnecessary covers here with a decent but not-vital take on “Born To Be Wild”, but other than that, Hoodoo is pretty much all killer. From the cover to the song execution there is something-dare I say-classy about this record. Don’t get me wrong, there are lots of hard livin’ tales and songs about booze and various women in skimpy dresses, but there is a maturity and confidence here that you just can’t fake. “Drive It In” and the excellent “Shot Of Love” are gritty and loads of fun, while “Ride Into The Sun” is a big, unabashed, gnarly song that would sit well blasting loud in any Mad Max type setting. Everything about the originals on Hoodoo is just solid as hell. I wanna give Krokus a hug! And did I mention the GUITARS!!!! ----Morgan Y. Evans
LAIR OF THE MINOTAUR
EVIL POWER
THE GRIND-HOUSE
Chicago’s metal warriors Lair of the Minotaur return with a triumphant full-fledged metal assault in the form of Evil Power, yet another donnybrook perpetrated by this colossal Midwestern trio of metallic maulers. This sincerely sinister offering contains the primal rage that fueled the works of death metal progenitors Celtic Frost and Hellhammer with sonic blasts of raw and ruthless sludge metal and bouts of D-beat harshness to create viscous streams of whiplash-inducing melodies chock full of crunching riffs, bastardized screams and rounds of bass and drum rhythms custom built to dole out pure punishment (“Blood From the Witch’s Vein”). In your face and to the point is what this band is all about (“Let’s Kill These Motherfuckers”), maintaining the dastardly demeanor necessary to deal with the diabolical side of the metal spectrum throughout. Rollicking through 11 tracks of heinously hard hitting heaviness which containing an increased array of memorable hooks (“Riders of Skulhammer”, We Ride the Night”), this brutal unit’s fourth full-length is a focused release gushing with the rabid intent to destroy everything in its path while striking the battle-ready middle ground between Cannibal Corpse, Carnivore, Entombed, and Discharge. ----Mike SOS
LANDMINE MARATHON
SOVEREIGN DESCENT
PROSTHETIC
In their relatively short lifespan, Landmine Marathon have carved out a niche for themselves for both fully embracing the traditional grindcore and old school death metal sentiments of the likes of Carcass and Bolt Thrower as well as unassuming-looking frontwoman Grace Perry’s utterly seething vocal delivery. On the squad’s latest nine-track offering Sovereign Descent, the Arizona quintet manifest increased intervals of both strengths while fortifying their crunch on your cranium with rounds of crushing riffs and non-stop percussive punishment (“Foul Revolt”). Championing a bestial hammer to the face approach that steamrolls through your listening receptacles without a sign of reprieve (“Chained by the Same Fate”), there is little fancy, flashy or overtly technical to be had from this act, just a series of nasty rage-driven tunes wound tight and ready to explode once the pin is pulled when play is pressed. Like a charging rhino, Landmine Marathon is a dangerous entity that has unapologetically created music that will run you over without an afterthought. ----Mike SOS
MASON REED
YOU CAN’T COME BACK FROM HEAVEN
SELF-RELEASED
Bridging a Grand Canyon sized gap between folk and outlaw country, Mason Reed surely has his work cut out for him on his latest five-track EP, You Can't Come Back From Heaven. This self-professed dirty hippy (indignantly claiming to be the bastard child of Charles Manson), tackles the daunting task before him with a gritty gravel-throated delivery and a quirky style that finds a middle ground between ZZ Top, Waylon Jennings, Steve Earle, and Hank Williams Jr. Embracing modern alt-country moodiness without leaving two-step shuffling behind, while waves of rich instrumentation boost the overall power from expositions of heartbreak and woe, Mason Reed’s unorthodox and haggard style even finds itself traveling towards Van Morrison-like rhythm and blues rock‘n’roll, furthering this bluegrass and folk hybrid’s ability to do more than merely elicit a few tears in your beers. ----Mike SOS
MIKE PACHECO
PEACES
SELF-RELEASED
No stranger to the NYC scene, former Mortal Remains leader Mike Pacheco unleashes his second solo offering in the form of a versatile self-produced 46-minute adventure entitled Peaces. Chock full of catchy rock cuts that run the gauntlet from teeth gnashing heavy tunes to wistful pop melodies, Pacheco’s divergent interests benefit from a keen attention to detail that realize when to accentuate songs with lavish instrumentation or maintain a simple yet effective traditional hard rock paradigm (“Sweet Nikita”). With a firm grasp on progressive-minded outfits such as Rush or Tool with a decisively ripping guitar presence reminiscent of classic metal peppered throughout (“Peaces”), this endeavor encompasses numerous vibes and auras from arena rock enormity to coffee house intimacy (“A Promise”) to cosmic rock exploration without losing an ounce of sincerity or undermining any sense of identity. ----Mike SOS
NAAM
NAAM
TEE PEE
Brooklyn’s very own psychedelic delight Naam are a hard rocking yet trippy trio with an abundance of garishly galactic effects judiciously dispersed throughout their eponymous 10-track expedition. From their methodical 16-minute opener “Kingdom”, it becomes crystal clear that the key to fully enjoying this troupe requires either a lot of patience or a handful of hallucinogens. Adorned in blues-soaked swirls of mystical hard rock with its fair share of acid-induced reflective moments strewn about, Naam’s dipped in distortion and drenched in reverb presentation is bolstered with moody instrumentation and an organic vibe that emits welcoming waves of hypnotically-charged warmth while shards of tribal doom and sedated and meditative drone encompass your headspace (“Fever if Fire”). Secured with a sense of spirituality that launches Naam’s rocket ride towards the outer limits, this squad’s righteous musical projections showcase lush qualities typical of praise songs from Eastern philosophies with barrages of sprawling and sinewy rock that adroitly dodges across the extreme spectrum without landing in one place for too long, creating a head-spinning and soul-reaching array of transcendental heaviness. ----Mike SOS
NEKRASOV & ADERLATING
NEKRASOV/ADERLATING SPLIT LP
CHROME LEAF
A complacent yet chilling dose of ambient metal comes courtesy of a four-track, near 50-minute exploration into unearthly realms of bleak noise by not one but two one-man bands, Nekrasov and Aderlating. First up is the Australian-bred Nekrasov, whose 24-minute single-track contribution featuring a methodically malefic pace and a slew of suppressed terror in the form of spooky faraway screams that sound as if coming from a freshly buried coffin with a live body inside. From there, Aderlating, the project of Gnaw Their Tongues mainman Mories, takes the reigns with three tracks of subhuman scree eschewing all sense of melody to create vacuous waves of foreboding drone that is sure to leave scars on your subconscious. This split disc’s sprawling nature and industrial distortion properties definitely make it not for everyone, but if horror movie background music is up your alley, this release is right for you. ----Mike SOS
ORDER OF ENNEAD
AN EXAMINATION OF BEING
EARACHE
Order of Ennead doles out another installment of technically inclined blackened metal on their latest nine-track expedition An Examination Of Being. Ripping out streams of blistering guitars, tortured screams, and relentless double bass pummeling that reaps the benefits of this quartet’s broad extreme metal scope and advanced sense of composition, Order of Ennead’s blend of modern technical death metal and belligerent black metal yields numerous flashes of excellence, especially when John Li shreds a solo mid-tune, yet may not sound as diabolical as you’d imagine. In fact, this unit offers a unique take on extreme metal’s darker elements, opting to thrust levels of musical aggression and overall velocity to overload while keeping a menacing element constant but never overpowering the inner workings of their complex music. Melding skull-crushing heaviness and a morose gracefulness with a sleek sound that many metal fans may frown upon as too sterile, the latest album from Order of Ennead showcases this band’s experimental nature while dishing out a proficient slab of well-structured extreme metal. ----Mike SOS
ORWELL
ENDEAVORS
ZERO BUDGET
Midwestern metal maulers Orwell provide a sturdy yet predictable form of modern metal on the 10-track Endeavors. Doling out a standardized heard it all before blend of death metal and metalcore that an endless stream of bands seems to employ, this quintet makes no bones of heavily borrowing from the playbooks of expected influences, as snippets of everything from Hatebreed to Black Dahlia Murder can be found here. Orwell manages to juxtapose the nuances of Killswitch Engage, Darkest Hour, and As I Lay Dying with sparks of ingenuity though, drawing tastefully from both their Swedish metal CD collection and the second stages of every summertime American metal festival to create a unremarkably unoriginal yet spirited album showcasing a talented band whose tremendous metal acumen would benefit greatly from finding a distinct identity. ----Mike SOS
OVERMASTER
MADNESS OF WAR
CRUZ DEL SUR
Italian metal quintet Overmaster tackles the theme of war through the ages headlong on the group’s 11-track debut Madness Of War. This offering boasts a modernized twist on traditional metal histrionics, implementing a thrash-laden bite and a touch of a mean streak that juxtaposes the mighty gallop of Hammerfall with the brash temperament of Nevermore (“Marble King”). Technically proficient without sounding sterile, tracks like “Nameless Hero” manages to maintain its dark edge despite standardized acoustic guitar and keyboard power metal ballad flourishes while “Jungle of Madness” grabs for the jugular from the get-go with a standout blast of menacing double bass drumming and “Revolution World” lays down a touch of today’s vibe from the Swedish metal sect. Steeped in the power metal paradigm with oodles of catchy choruses that employ a decisively balls-out delivery, Overmaster produces an aggressive slab of music exploding with melody with hints of malice, progressing the power metal sound past the Helloween and Blind Guardian points on the spectrum into harder and darker areas. ----Mike SOS
PSYCHO
THE GRIND YEARS
SELFMADEGOD
Seasoned Boston grindcore pioneers Psycho have been at it since the early ‘80s, maintaining an endearing DIY mentality with an unquestionably staunch disregard for anything that foolishly gets in the way. Digging through their vaults to excavate a cavalcade of d-beat bashings with hardcore punk sensibilities, complete with razor sharp riffs and a guitar solo or two thrown in for good measure, foundational grunts and growls, and lightning fast tempos, the 52-track offering The Grind Years is a lot to take in at once yet provides thick chunks of classic brutality. Revisiting their salad days without removing a spec of grit and crud from the recordings from 20 years back, Psycho’s prolific presence and the primal power demonstrated on this collection allows for a consistent stream of unfiltered ferocity to shine, firmly fitting in between Nasum and early Napalm Death without an ounce of reservation. ----Mike SOS
PSYCHO ENHANCER
TWO SONG SAMPLER
SELF-RELEASED
The two-track sampler disc from Long Island’s Psycho Enhancer showcases this fearsome foursome’s wares as merchants of the moshpit. Fueled by a carefree get-drunk-and-fuck-shit-up-attitude and a nasty mix of deathcore, punk, and hardcore blasting out the speakers, this crew must be a spectacle to witness firsthand, as their breakdown-friendly structures, steamroller song structures and Cookie Monster vocalizations are angled to drum up chaos at any cost. ----Mike SOS
RAGNAROK
COLLECTORS OF THE KING
REGAIN
Veteran Norwegian black metal clan Ragnarok return to the frontlines of the battlefield with a tried and true black metal offering in the form of the relentless nine-track Collectors Of The King. Despite a major lineup reshuffle and a solid yet unspectacular arsenal of raspy demonic growls, diabolically crafted riffs, and frantic drums, this corpse painted crew’s unmistakable disdain for humanity, sinister sense of raw aggression, and heinous lyrical viewpoints help thrust songs like “The Ancient Crown of Glory” from the commonplace to something totally crushing. Effortlessly comprehending the evilest chapters of the metal handbook only to spit them with a bloodthirsty sense of destruction heading their learned surge, the latest from Ragnarok offers few surprises yet unleashes a beastly slab of punishing yet predictable rage straight from the lungs of hell (“Wisdom of Perfection”). ----Mike SOS
RAVEN
WALK THROUGH FIRE
METAL BLADE
A cornerstone act of the NWOBHM movement, Raven has returned in 2010 with an intense fire fueling their 12th studio offering, emitting nothing but the purest intentions on the throwback to their heyday release Walk Through Fire. Relying on their trademarked tried and true “athletic rock” nuances of intertwining undisciplined vocals, nimble fretwork, and of course, loads of speed-driven but neatly compiled compositions together, this storied trio pull off a formidable task of coming through with a winning batch of amped-up metal that is both cohesive and kicks much ass without sounding tired or dated. Thanks to a heartfelt application of songwriting that fires on all cylinders keeping the band on track from repeating their disastrous directional mistakes from the late ‘80s on, this 16-track affair tacks on a few live cuts and a Montrose cover for kicks, but it’s the meat of the recording where Raven’s expedience with experience shines brightest. If you long for the days of yore, Raven’s latest disc contains all the charm and grit of their most moderate successes and should pique the interest of old fans and curious newbies alike. ----Mike SOS
RENAE
…AND HELL FOLLOWS
HOTFOOT
Illinois-based post-hardcore quartet Renae demonstrates an impressively slanted rage channeled full on through the five tracks from …And Hell Follows. Effortlessly juxtaposing the best parts of screamo, metalcore, and emo punk with intense barrages yielding to suave transitions which aid this batch of lengthy songs from overstaying their welcome, Renae exhibits the ability to draw their own musical conclusions from influences such as Poison the Well, Glassjaw, and Norma Jean without sound like a cheap rip-off, injecting their own quirks along the way. Fortified with a strapping vocal presence with a raucous range that falls somewhere between enraged and enamored leading this grip on the rail modern heavy rollercoaster ride, Renae’s knotty jam band mentalities and kaleidoscopic blend of aggression combine to force the listener to feel the battering brunt of this band’s unorthodox assault on the ears. ----Mike SOS
RIFOKI
SPERM DONOR
DIM MAK
Taking the notion of presenting an EP to heart, the tandem known as Rifoki have produced an explosive five-track, six-minute endeavor entitled Sperm Donor. Brimming over with intensity while maintaining its strict sense of brevity, the duo comprised of Steve Aoki (Dim Mak Records founder) and Bob Rifo (The Bloody Beetroots mainman) step back into old skins, ditching high-profile positions in the music biz and spots behind the wheels of steel to let loose and immerse themselves into a self-induced hardcore punk time warp chock full of meaty morsels moshpit angst and aggressive angularity (“Zombie Attack”). Way too short but ultimately rewarding, Rifoki is a combustible entity that allows this twosome the luxury to shamelessly revisit their roots and show the scene they still got it in them to boot. ----Mike SOS
ROTTEN SOUND
NAPALM
RELAPSE
Paying homage to pioneers while displaying their own destructive wares, Finland’s Rotten Sound blast through a high quality yet short and sweet six-song EP comprised of three new songs and three covers of Napalm Death tunes on the aptly titled Napalm. Designed to split skulls open, Rotten Sound’s menacing mixture of depraved tones, distorted rhythms and blistering speed make for a vicious listening experience chock full of the crusty chaos grind fans crave (“Dead Remains”), while the faithful recreations of classic Napalm Death tracks “The Kill”, “Missing Link” and “Suffer the Children” come off as proper tributes to one of the undisputed pioneers of the movement. With a noticeable increase in speed and power, this veteran act churns out a deadly dose of skillfully executed grindcore goodness leaving listeners exasperated and begging for more. ----Mike SOS
SAYYADINA
THE GREAT NORTHERN REVISITED
RELAPSE
The latest endeavor from Swedish grindcore unit Sayyadina collects all of the band’s odds and sods from the years (plus four new cuts) and gives them an extreme metal makeover thanks to Pig Destroyer mainman Scott Hull’s studio savvy. Compiling 30 tracks of b-sides, seven-inches, and live performance recordings, the sprucing up of the tracks on The Great Northern Revisited casts a whole new shade on this squad’s ruthless assault to your existence, molding blackened crust punk, well-paced power violence, brutal d-beat movements, and raging grindcore tendencies into tightly wound combustible devices capable of massive destruction. This terrorizing trio, featuring members of General Surgery, Nasum, and Victims in its ranks, are a threatening lot with a pedigree that speaks for itself whose significant contribution to the extreme metal spectrum has deservedly called for the warranted remodel of their back catalog to go down, in turn making a release guaranteed to leave a devastating impression whether you’re a rabid fan or a first-time listener. ----Mike SOS
SLAM ONE DOWN
THE BASEMENT DEMOS
SELF-RELEASED
Taking equal cues on how to make folks move from both hardcore and metal, New Jersey quartet Slam One Down throw down a familiar yet heavy-handed blend of hard nosed music on their eight-track offering The Basement Demos. Striking the fertile middle ground between the brutality of Pantera and Hatebreed, this outfit is hopped up with a hellacious fury that surges through each pummeling riff (“Music, Money & Girls”) and gravel-throated growling vocal (“What I’ve Done”), giving the kids in the pit a soundtrack they feel proud enough of to beat the hell out of each other to. Despite the Hellyeah-esque missteps found when the band opts to change tempos (“Hell Doesn’t Want Me”), Slam One Down provides a barrage of musical firepower that contains the metallic muscle to summon a full-scale riot on the dancefloor. ----Mike SOS
STARK
RACE TO THE FLOOR
SELF-RELEASED
NYC female-fronted trio Stark unleashes a pretense-free slab of snarling yet simple rock directly from the gut on their latest nine-track excursion Race To The Floor. Crammed with a gaggle of foundation-shaking riffs (“End of the Line”) and the gritty no-nonsense Joan Jett meets Pat Benatar-esque vocal presence of Lani Ford leading the entire affair (“What It Is”), this release is anchored with an unabashed rock ‘n roll spirit (“Get It”) that so many modern bands lack today. Stark resurrects the punk rock attitude the Big Apple used to own with their own spin, injecting a slew of muscular hard rock elements (“Drunkaholic”) and a loud and proud DIY aesthetic that rounds out this unit’s punchy and infectious four on the floor stomp. ----Mike SOS
STELLAR VECTOR
A FLOCK OF COWARDS
SELF-RELEASED
Quirky Minneapolis, Minnesota quintet Stellar Vector provide a 11-track excursion laden with a bevy of stylistic shake-ups coupled with a prevalent pop sensibility and an electronica edge (“Fall-Out”) that gives A Flock Of Cowards a well-rounded and contemporary feel. Staying in line with today’s alternative rock structures while falling back on a totally ‘80s vibe on occasion (“Closing Notes” “February 14th”), this cerebral unit juxtaposes bouncy melody lines (“The Boy Who Cried Wolf”) with intricate borderline prog rock elements to create a complex and wistful strand of keyboard-driven rock music with a scope whose broad range leaves the listener on their toes anxiously awaiting the next cleverly picked genre jump or tricky musical passage. ----Mike SOS
THE AUGUST INFINITY
VOICES OF A GENERATION
SELF-RELEASED
Skillfully straddling the line between larger than life hard rock musings and multi-faceted modern rock malaise, NYC quintet The August Infinity exhibit a diverse sound that strikes a few familiar chords throughout yet doesn’t solely belong to any one particular genre on the 13-track Voices Of A Generation. Adorned with a powerful vocal presence whose broad range and higher register resonates a superstar ‘80s metal edginess with a soulful pop-rock side, the music behind the pipes finds itself spanning across many shades of the rock spectrum as well without losing an ounce of melodic bliss, adroitly skipping from Warped Tour pop punk bounce (“Feel This”) to shadowy pseudo-metal boom (“My Confession”) to alternative rock contagiousness (“Push, Pull, Shove”). Merging the wares of Coheed and Cambria, The Killers, Sevendust, Avenged Sevenfold, and Story of the Year into slickly produced explosive tunes that sound way too good to have been done at a home studio, The August Infinity stands out amongst the pack thanks to their undeniably fiery delivery and clever genre juxtapositions that are bound to appeal to a large cross-section of rock fans. ----Mike SOS
THE CRINN
DREAMING SATURN
NUCLEAR BLAST
Minneapolis mathematic metal mavens The Crinn hurl out a hodgepodge of technically advanced heaviness likely to induce repeated bouts of brain dizzying on their latest nine-track affair Dreaming Saturn. Building their fertile foundation from like-minded acts such as Dillinger Escape Plan and Psyopus, this fluid quartet cram an excessive abundance of extreme complexity into a relentless aural assault that merges jazzy sensibilities and twisty forward-thinking elements with the feral strike from the most uncompromising metal to render a listening experience reminiscent of the works of seminal units such as Death and Cynic. Bolstered with a manic sense of musicianship spawning volatile spurts of velocity and drop on a dime tempo shifts, The Crinn’s aggressively progressive experimental approach results in a frenetic cerebral attack custom made for metal fans who can withstand the impact of this squad’s jarring juxtapositions. ----Mike SOS
THE RESURRECTION
SORROW
HOUR OF THE WOLF
MIDNIGHT DREAMS
NYC quartet The Resurrection Sorrow is a troupe of grizzled underground heavy music scene veterans who have joined forces and unleashed a monstrous 10-track debut that yields a release with a definitive stoner rock heft with an abundance of doomy hard rock rhythms woven within the molasses-esque framework. Implementing the murky and syrupy tempos derived from both the flannel and denim and leather eras of metal music (“Unholy Divine”), the hypnotic nature of the guiding larger-than-life riffs found in tracks like“Buried Dreams” rightfully seize control of your central nervous system while “Soul of the Soulless” stomps with an unabashed fury not unlike a blend of COC and a more subdued High on Fire. TRS rarely trade in doses of sonic battering for melody, often times fusing the two to form an accessible yet menacing bond capable of crushing everything in its path. Resonating with the swampy and sinewy hip-shaking swagger much like Danzig, Sixty Watt Shaman, Seemless and Down (“Bloodshot Eyes n’ Soul”), The Resurrection Sorrow’s tasty guitar licks and well-measure dollops of ominous atmosphere place this band in a prime position on the path towards balls-out, down and dirty metallic salvation. ----Mike SOS
THIS MOMENT IN BLACK
HISTORY
PUBLIC SQUARE
SMOG VEIL
The third release by taut punk rock outfit This Moment in Black History yields the monstrous 13-track effort entitled Public Square. This Cleveland, Ohio quartet mesh terse shards of hardcore punk with dollops of stoner rock fuzz, robot rock precision, jazz-induced atmosphere, and garage punk experimentation unleashing a hellacious attention-getting hybrid sound chock full of bastardized screams and clever call and responses (“Makes My Teeth White”), anarchistic keyboards, and jagged rhythmic patterns that transcend across generations of rock‘n’roll genres. Unafraid to either rip the room to shreds (“About Last Night”) or push an extended musical jam towards the outer limits (“Pollen Count”), TMIBH exhibits an appetite for destruction with the organic soulfulness missing from the majority of music today, developing a brand of unabashed and raw music all their own that rarely misses the mark in delivering something that knocks you flat on your ass. ----Mike SOS
THROUGH THE EYES
OF THE DEAD
SKEPSIS
PROSTHETIC
South Carolina’s Through the Eyes of the Dead have endured a revolving door’s worth of lineup changes in their short span, yet have held enough together to unleash a seething 10-track death collection of songs entitled Skepsis. Shaded with more hues of traditional death metal while keeping its deathcore sensibility intact, songs like “The Manifest” and “Dementia” display the troupe’s newfound concoction firing at all cylinders. Bolstered by new vocalist Danny Rodriguez and his menacing phrasings and malevolent bark, while some this quartet’s self-produced output utterly reeks of a cross between retreads from the glory days of Swedish death metal and stagnantly standardized deathcore (bring back Erik Rutan behind the board, guys), their lethal blast-beat lunges bear a jugular-grabbing intensity matched by few currently on the circuit. Featuring some of the most skull-rattling rounds of pummeling double bass drumming and nimble yet nefarious guitars, Skepsis is a relentless record that strikes a brutal balance between modern and classic extremes. ----Mike SOS
TRIBELLA
THIRTEEN
ROCKLITTLEFACE
Austin, Texas all-female trio Tribella dole out a shimmering serving of psychedelic pop-rock with hard edged underpinnings revealed by a powerhouse percussive performance on the unit’s latest album Thirteen. Underneath smooth ripples of guitar (“Mister Mister”), unorthodox bass grooves and a muscular yet miniscule female vocal lie an undercurrent of imminent distress, almost as if breathy vocals act as the messenger breaking the news to you about the end of the world without an ounce of panic (“13”). Reminiscent of a cross between riot grrl rage and steady shoegaze with dashes of garage rock charm strewn about (“CSUS4”), Tribella’s post-rock potpourri constructs a luxurious realm where sticky sweet and unsettling pop strike a tenuous middle ground that manages to keep it all together even when indicating it’s all falling apart. ----Mike SOS
TRIDENT
WORLD DESTRUCTION
REGAIN
Featuring members of Dissection and Necrophobic in their ranks, it’s not too difficult to figure out what Swedish black metal unit Trident is going to deliver. Whipping up a guitar-heavy and furious yet all too familiar blend of anti-Christian aggression, this troupe’s 10-track debut World Destruction yields a solid yet unspectacular mix of the elegant malevolence you expect from groups who cross-pollinate across the metal spectrum. Imbued with a genre standard rasp-ridden darkness, this quintet’s musical output contains a smattering of razor-sharp thrash that brightens the brutal blasts of blackened metal blasphemy significantly on the title cut and the standout “Stockholm Bloodbath”. Unlike their peers, Trident uses a rash of slower tempos yet still maintains the necessary ominous atmosphere (“Nemesis”, “Slaves to Anguish”) that when coupled with the discernible melodic edge tacked on, gives this album a boost without tampering with the overall harshness factor. ----Mike SOS
UFOMAMMUT
EVE
SUPERNATURAL CAT RECORDS
Following up 2008’s Idolum, Italy’s experimental doom band Ufomammut are back with a commanding new concept record (of sorts) Eve. Dedicated to the “first woman of earth, who brought knowledge to Mankind, rebelling against her creator”, Eve is a thunderous and impressive release, a single 45 minute track akin to Sleep’s Dopesmoker. When I first threw the CD in I pressed play and was met with the cheerful piano of Thelonious Monk’s “Blue Monk”. This was startling until I realized I had placed Eve on top of Monk’s Alone In San Fransisco. When I did play the real Ufomammut record, I was met with quite the massive wall of sound I was expecting. Ufomammut achieve moments of truly elemental grace on EVE, with passages that are pure physical, elemental immersion ala Sunn O))). Ranging from ominous to pounding to reverent and ethereal, the record covers a wide range of movement, though I would say the overall feel is more “Lilith” than Eve, with a really dark feel that is heavy on expulsion from the garden vibes but not particularly feminine. Moonspell really struck a great balance on Night Eternal evoking dark odes to the female nature. Eve is really fabulous though, and I am not slighting it. Certain sections feature buzz saw guitar worthy of The Melvins or repetitive, dirgy Pelican-esque musing. It all builds and swells, the band’s “sound research” quite an engaging experience. It is so refreshing to hear bands doing what they obviously truly want and ignoring the mass market. The sludgiest, most aggressive sections remind me of the critically underrated Belgium based Ultraphallus (seriously, fucking go listen to Ultraphallus RIGHT NOW). Ufomammut deserve high praise for this invigorating, immersive, and thoughtful listening experience. Now where is that B-side “Bitch, gimme back my rib (Adam’s Lament)”? Just kidding. ----Morgan Y. Evans
UNLEASHED
AS YGGDRASIL TREMBLES
NUCLEAR BLAST
Swedish death metal mainstays Unleashed return with their 10th endeavor, the 13-track affair As Yggdrasil Trembles. This renowned squad continues their quest to praise Odin while lacing into your skull with some of the grueling and grooviest death metal gallops this side of Amon Amarth (“Far Beyond Hell”), complete with crushing guitars (“Dead to Me”) and seething streams of diabolical death metal growls leading the charge towards Nordic enlightenment (“Cannibalistic Epidemic Continues”). While Unleashed does their usual perfunctory job of laying Viking imagery on thick, this veteran outfit’s unquestionably thunderous poundings, versatile viciousness (“Wir Kapitulieren Niemals”) and precision-driven solos (“This Time We Fight”) render a cohesion strong enough to void any lyrical schlock and appeal to fans of all types of extreme metal. ----Mike SOS
VARIOUS ARTISTS
GRIND MADNESS AT THE BBC
EARACHE
Earache Records cracks the vaults open to unearth an 118-track, three-disc affair taken from the archives of the live in-studio performances from some of the most destructive metal forces ever captured at their most organically raw by legendary UK syndicated host John Peel’s revolutionary radio program. Properly entitled Grind Madness At The BCC, this meaty compilation yields a wealth of material that exemplifies the extremity of underground metal from the very roots of the genre (remember that most of this material was recorded between 1987 and 1990). From the surgical strike apparent in early Carcass to the mechanized chill brought on by Godflesh to the unabashed ferocity wielded by classic Napalm Death lineups to the death metal tumult of Bolt Thrower to the punkish anarchy implemented into blistering bits of speed championed by Extreme Noise Terror and the lesser-known UK-bred Heresy, this colossal collection fuses the furious fragments and punishing portions of a bygone era together to form a sturdy cross-section of incendiary heaviness that still packs the primal power to severely injure anyone at any given time. Rendering a veritable template from which bands still turn to today for inspiration and influence, Grind Madness At The BBC is an essential release crafted with the unique aural needs of fans of the envelope-pushing early days of metal primarily in mind. ----Mike SOS
VICIO
WAR ON YOU
SELF-RELEASED
Vicio is a punchy female-fronted pop-rock quartet that features members from both Brazil and the United States. Adorned with eclectic personal and musical upbringings, this band’s multiethnic rock ‘n roll middle ground is reflected on the four-track endeavor War On You. Despite the presence of sleek modern production with cutesy hand claps aplenty and a seemingly endless stream of feel-good vocal hooks, this band showcases a daring experimental flair and a keen sense of musicianship that propels songs like “Knock One Two” straight from dance rock bliss into something way less fleeting. Surprisingly substantial and endearingly engaging, Vicio’s solid guitarwork and penchant for writing songs with good melodies that also take chances helps this crew stand out amongst the sea of other bands championing their common sound. ----Mike SOS
WITH THE PUNCHES
KEEP IT GOING
SELF-RELEASED
Keep It Going is the self-released pop punk album from Newburgh, New York’s With The Punches that sounds totally professional but is still underground enough that the band has no trace of having been tampered with at all. I was really impressed with everything from the production values to the lyrics and packaging of this release. WTP put a lot of effort into this release and it pays off. “Don’t Catch A Brick” and “Corporate Ladder Match” are bright standout tracks, and fans of everyone from Midtown to Hit The Lights to New Found Glory will eat this band up. This puts you in a good mood, makes you want to dance and gets you thinking about your life and the days going by at the same time, everything pop punk is supposed to do. These guys recently opened for Every Time I Die and Polar Bear Club, so can hang with different types of bands on stage. It is kind of like pop punk played by hardcore kids, and well played at that. Somebody really needs to sign these guys. They are fucking great! ----Morgan Y. Evans
WORMROT
ABUSE
EARACHE
Singapore grindcore trio Wormrot doles out a superior blast of authentic and substantial hyper-speed insanity on the aptly titled 23-track, 22:45 excursion Abuse. Mercilessly expounding the values and virtue of developing short and sweet blasts of bass-less quickness while dialing volatility up to maximum thresholds, this affair is laden with relentless drums that jackhammer your skull while thick riffs bludgeon what’s left of your face and the chaotic vocals varying from scintillating shrieks to caustic Cookie Monster rumbles assault every cavity in your body (“Good Times”, “Condemnation”). Proudly following in the footsteps of bands like labelmates Insect Warfare and elder statesmen Napalm Death, Wormrot’s raucous racket make it simple to surrender to the breakneck paced tumultuousness this triad of rapid-fire technicians employs, implementing a slew of dastardly d-beats and infusing jagged fragments of hardcore punk (“Blasphemy My Ass”) into their centrifuge of carnage that you’ll find yourself sideways and broken because of in no time. Essential for speed freaks. ----Mike SOS
WUTHERING HEIGHTS
SALT
SENSOR
Danish progressive power metal crew Wuthering Heights return with their fifth installment of melodic metallic fare, an epic nine-track offering that takes to the sea for inspiration this time around entitled Salt. Comprised of exercises in symphonic speed metal with a propensity for galloping harmonies and interludes derived from both forest-dwelling folk metal and eclectic progressive metal, this sextet exude virtuoso chops with painstaking attention paid to the rousing and detail oriented power metal characteristics which allow melodies to soar with a distinct hard-hitting gracefulness (“The Desperate Poet”). Imagine the uplifting atmosphere of Blind Guardian with the technical prowess of Dragonforce (“The Last Tribe”, “Tears”) with a fiery lead vocalist leading the affair through the vast waters of the metal world for a reference point of what to expect from this passionate and boisterous bunch and their latest theatrically-driven metal affair. ----Mike SOS
YEAR LONG DISASTER
BLACK MAGIC; ALL MYSTERIES REVEALED
VOLCOM
Year Long Disaster’s sophomore effort Black Magic; All Mysteries Revealed continues this prominent Los Angeles powerhouse trio’s quest to revert rock ‘n roll back to the period when heavy, loud, and a bit mysterious was the order of the day with 11 tracks teeming with the indomitable grit and unencumbered spirit of classic hard rock acts like Led Zeppelin, Cream and AC/DC with touches of current acts like The Hellacopters and White Stripes sneaking in through the back door (“Major Arcana”). This album, produced by Nick Raskulinescz (QOTSA, Foo Fighters), is a no frills well-built groove-laden experience bolstered with dollops of vintage analog-esque warmth, allowing the guitars to snarl and bite with a convincing bluesy retro vibe (“Venus at the Crossroads”) while the bass and drums produce a bounty of rollicking rhythms that soulfully shake and shimmer throughout the duration of the record (“Love Like Blood”). Picking and choosing their spots to explode with rounds of hard rock histrionics (“Sparrow Hill”) or pensively withdraw with swirls of acoustic guitars (“Seven of Swords”), Year Long Disaster aim for the top of the hard rock mountain with the authentic sound and the subtle smoothness that should help achieve this group’s lofty goal. ----Mike SOS