Anthrax : "Cursum Perficio"

 It's been ten years since their last album was released, and while metal has changed a little since then, it hasn't changed as much as it has over their career, which reaches back to the 80s. They tried to shake the 80s from their sound to survie the 90s and did better than some bands in that regard.  Rather than expect them to sound likea band from 2020, what I am listening for here is how this measures up against the likes of "Among the Living," a top-tier album not just for thrash but metal as a whole. Even on "State of Euphoria" and "Persistence of Time," they had a hard time measuring up to that one. They open this album with "The Long Goodbye," which is what the band should be in 2026.

 At 65, Belladonna's voice has held up in a way that serves the band, as he retains a commanding tone, but it's unlikely he can still reach his upper register. In 2026, the falsetto yodels would point them in the direction of power metal. "It's For the Kids" feels like filler from the "State of Euphoria" album, almost trying too hard to be anthemic and not as focused as the previous song. They reach a better balance of hardcore punch with melodic 80s thrash sensibility on "Everybody's Got a Plan.". Scott Ian has called "Edge of Perfection" the best Anthrax song in the history of the band. It sounds like they are trying their hand at being Deafheaven until they lock into a groove for Joey to sing on. I will go ahead and say this song is nowhere near what they did on "I am the Law" or even "Keep it in the Family". Not sure why they need to use a blast beat to make themselves feel relevant. I like the effects they use on his voice midway into the song before the guitar solo. 

I will tell you that "Infectious" is a better song than "Edge of Perfection". It has more groove, and the vocals fit with more confidence. Sure, there is a little rock swagger to it, but a good song is a good song. Thanks to the ex-Shadows Fall guitarist Jonathan Donau, their guitar solos are less chaotic, and those sections flow more smoothly. "NYC 93" finds the band trying to convince themselves they are still a crossover band. They sound more like themselves on the title track. This does not mean it's a nostalgia fest but a more effective modern translation. 

'T.O.M.B" finds a meaner guitar tone crunching in, but the groove keeps things in the wheelhouse of what you want from these guys.I guess playing in Pantera has rubbed off on Charlie when it comes to this one.  "Watch it Go" works well and shows they can add a more modern approach to heaviness without compromising who they are. "My Victory" also finds the balance of flirting with hardcore aggression while still being who they are. I will give this album a 9.5 and see how it sits with me , there are songs that I am unsure of biut they are balanced out by strong moemtns that stand against their classic work, which is all I am asking for. 

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Zero Hour : "No Man's Land"

I've been into these guys for some time. They are one of the few progressive metal bands from the Queensrÿche school of thought that are not lost in the melodrama. Queensrÿche is one of my favorite metal bands from the 80s, but I don't need anyone else to sound like them or Fate's Warning, for that matter, which is the problem most bands in this genre run into. These guys are influenced by both of those bands but not defined by them. The melodic vocals are emotive and dramatic, but work with what is going on here. They are not just Journey fucking with odd time signatures and trying to cram a solo into every nook and cranny. 

Granted, this album is 2 thirteen-minute songs, and the instrumental versions of those songs. Add this to the fact  I am not a fan of long songs, but here we are. Things don't get heavy until five minutes into the first song. He even unleashes a little of the falsetto yodel. The syncopated riff that dominates the metal half of the song is effective. At the nine and a half minute mark, they begin to get somewhat chaotic with this as it drones on a bit and puts the weight on the vocals to carry the song. It is impressive playing no matter how you spin it , though some might think it's pretentious despite the very tasteful jazzy section.  At 56 the singer's voice has held up pretty well. 

The second song finds them kicking in with metal from the jump. They fight off the ghosts of the 80s that tend to haunt these kinds of bands, thanks to the clean production. They hold a tension with the main riff that flows through the song. The technical aspects of what they do are not pure masturbatory excess, as they find a groove amid this storm. Three minutes in andd it feels like the vocal melodies are not as catchy as what they did in the first song, as it's harder for them to lock in. When they are a more atmospheric texture, it works pretty well, as they have to ride the wave of riffage. When he reaches up for higher notes from his chest register, the age of his tenor shows more of it rough edges, but it is generally produced in a manner that smooths this over.

A piano line brings a more Dream Theater-like feel to things. Yet this is not as flowery a power-ballad tone as what those guys do, thanks in part to the more interesting drumming. I'm not sure about how rocking they started off and then let things lose its momentum; it would have made a better middle section than climax. It's one of the things that Dream Theater does that I hate, and while these guys are way better than Dream Theater, I will give this album an 8.5, since when there are only two 13-minute songs, every minute counts; still, this score makes it an admirable effort and, at the end of the day, still euals and album prog metal fans need to listen to. 

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Great Falls : "The Bite That Grows Up"

This band features members of Kiss It Goodbye, Undertow, and Playing Enemy. However, musically, this time around they are playing sludge with shouted noise rock vocals. Thi si not to say their hardcore pasts do not shine through as they do. The creepier, more melodic passages are some of the most interesting parts of the opening track, and it makes the build-up pack more punch when it comes. The vocals are emotional, but burlier than screamo, so a lot is going on here. They blast into the more punk "Pinned Against Time". It is as chaotic as you might like your power-violence, but without fitting the parameters of that genre. It is, however, not as well written as the first song. 

The bass player is going crazy on "Worse Than Sleep," but for the sake of their sonic oddity and confrontational collision, they sometimes sacrifice the finer points of songwriting for this sound. This is, however, a little better than the previous song, as it locks into a tense palm-muted groove of sorts. They can obviously play their instruments and are capable of delivering, but are possessed by a fetish for aural abrasion. So three songs in and they are obviously more of a noise-rock band. "Hailstone Numbers" is the most minimalist, with his howling the focal point until midway in, when they start bringing the wall of crunch down. The drummer is impressive here, but finding a groove might work better. They throw in some angular riffs to jerk you around and command your attention. At seven and a half minutes, this is the album's longest song. There is, however, some dynamic ebb and flow that fans of this sort of thing might appreciate. "Debt Ethics" finds the drummer approaching it more like free-form jazz, where they jam around. If King Missle were angrier, they might have done something like this. 

At this point, I am getting sick of the vocals. It does not seem like "Nicotine in the Spine" is going to change my mind in this regard. Sure, I don't mind when Henry Rollins does this sort of thing, just like I think Ian Curtis's voice works for Joy Division, but I don't need to hear other bands doing that. There is some darker dissoance I appreciate. Two mintues in and they get more aggressive. This builds up into a furious buzz; "Buildings Full of Rope" just feels like what they build the previous song into, though it ends with a more metallic riff. I like the contrast they pull off with the more deliberate drumming conrasting the more frantic clanging drone. They have potential; all capable players. Maybe next time they will settle down and write more songs and not just clang up something to scare your ears with. I will give this one an 8, it drops October 18th on Neurot Records. 

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Gore. : "...Then You Cannot Love Me"

 

I became aware of this band through the YouTube algorithm, as it was like, "Oh, you like pop oriented nu-metal with hot chick singers? have a look at the tits on this one." So I gave the video a watch. Well done, but following the formula currently being pushed. It was memorable enough for me to check out this album. I did, however, get on YouTube and watch the videos they have for this album first, as they are better to take in visually than just listening to or perhaps one complements the other. The first song I heard from this album was "Crucified," which made me think of the band Issues, though there was a more screamed section at the end. Then it was 'Lead Me to the Slaughter' which is the second song. It has an anthemic chorus. 

Their singer Haley has a decent pop voice; when she uses a harsher tone, she sounds like every other metal chick doing this sort of thing, so she needs to place the focus on her singing as she does some intersting things with her melodies. Is she in Courtney LaPlante's league? No. The album sounds good, and they have dialed things in when they went into the studio, for sure. The guitars touch on a little melody and dynamics rather than the more typical nu-metal bouncing chug on the first song. You also get to hear more of her range on this one than the singles. Is it predictable? Yes, but it's a fun listen; not everything has to have Chelsea Wolfe-level depth. 

"Bones in the Garden" has more of an electronic thump before the djent-gone nu-metal guitars come in. I like how her vocals are produced on the verse. It's more of an Amy Lee-style turn on the chorus. But their riffs are more intersting and there is less piano here.I already forgot what "Crucified" sounds like, and I just listened to it for songs ago, so that tells me something. I forgot the bass line had a groove to it; there is the thing about making deals with the devil, which comes back to me once it kicks in again.

"Walk on the Moon" is less experimental and more formulaic, which does not capitalize on their strengths thus far, but it doesn't suck either; it just feels very middle of the road. All the screaming won't make it any heavier either. This is where self-awareness goes a long way; I am unsure wha tthey think there is to prove if they are better at pop than trying to be metal.  In This Moment, who are better at this alreaddy put out an album this year.

 It lets you know Spiritbox is doing something right when you have bands trying to jump on their bandwagon with "Hallowed Ground". They almost pull it off. Starting to get bored with this one, but I only have one more song to get through. It starts off more like a power, then they throw an almost gospel clap into the chorus, which feels too hopeful for me. They do a melodic breakdown in the middle that adds to it though it does not have the same hooky bump as the other songs. Though I get that they need to have a range of dynamics. I will give this one an 8.5; they have potential. Let's just hope they find themselves before this trend washes over, as she could take her singing to the next level with the right songs. 

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Mother of Graves : "the Light That Keeps Us"

 

This death doom band continues to be consistent; in fact, they might have pulled out their hookiest batch of riffs yet for this album. This says something, as their 2022 album made the top 10 Doom Albums of the Year list, putting them in the top tier when it comes to this style.  Dan Swano on the first track should tell you where they're headed, and they are not satisfied with just sounding like melodic European death metal from the 90s; the gloom of the Peaceville bands is all over the first few songs.

 The title track is the first song that really builds momentum, andd even then it's pretty melodic. Though I had to give it another listen, as the first time through it just kind of drifted by. It grew on me with another listen, though it might not be as memorable as the first couple of songs. The guitar melodies stood out and hinted an Iron Maiden influence lurking in their past. They get heavier on "Even Tide Angel". The tight chug of guitars is more aggressively locked in, and it is a more dynamic song than the title track making it more memorable.

 "The Silent Weight of the Stars" highlights what great riff-crafters they are. The growled vocals are articulated and purposeful, showing they are serious about writing songs. Granted, if you are familar with their past work, this is not a surprise, but they are keeping the quality up for sure. The guitars are really well produced; I normally like them dirtier, but this works for what they are doing. "A Moonlit Tryst" is more death-focused in its intentions, reminding me of old Opeth. The guitars chugging, lurking behind the more melodic passage, is very effective. 

PThey pour on the most speed in the middle. The last song is doomy and dynamic; the vocals feel a little more obligatory, but it might need to grow on me. In fact, this album sounds better with additional listens that allow it to simmer and sink in. I will give this one a 9.5. Profound Lore should be very proud of these guys and give them as much of a push as they would give their biggest sellers.Drops October 16th  

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Embers of Dawn : "Infernal Culture"

 

Here's an industrial-tinged death metal band from Florida, though not the death-metal part of Florida. The guitars are locked into a tight chug when the album opens, with electronic flourishes accenting the riffs. "Infernal' has a more Static X-like hammering groove, and you guys have to hand it to them, as they care about songwriting. There is more of a gothy singing vocal on "Don't Wait to ie' but it feels like they are trying too hard to play Welcome to Rockville when it reaches the chorus. It is a big-sounding, well-produced record, though. 

"Shadow of Her Veil" seems like they are intent on keeping moving in this direction. It ends up sounding likea heavier version of The 69 Eyes. It works for me, and I am glad this sort of thing is making a comeback; it feels like we are back in the 90s. "Age of Corrosion' has more of a Ministry thing going on, but as the song progresses, they get more metal. "The Passing" is supposed to be about Peter Steele, but it sounds more like Korn. "Static Prayer' just sounds like most metal from the 90s crammed into one song.

The album ends with two remixes. I never heard their first versions of these, so I am going to count them for the purpose of this review. I can appreciate that they are also into Fields of the Nephilim, though; they speed things up into a frantic flurry of double-time and lose some of the mood. They remixed their cover of 'Wolf Moon,'  which is a little self-congratulatory; his Peter Steele is fairly limited, as it lacks all the nuance. He does go up into a higher belt, which works ok. I've heard worse covers of this song. He is a little pitchy on the chorus. Overall, they are riding a wave of nostalgia that I am here for, so I will give this one an 8.5

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GODFLESH : "Decay"

The 10th album from JustinBroadrick's crushing British industrial machine is a harrowing portrait that reflects the state of the world back to us sonically. The nightmarish opening track his a huge sound. As a song, it's more of a hypnotic, droning mood, andd a fitting soundtrack for the end of days in any case. This also marks the end of Godflesh and perhaps music for Broadrick due to health issues.  Vocals come in for the second song, "Living / Ending," which finds a powerful groove that throbs and captures the classic spirit of this project. The guitars carry a gargantuan chug that sounds like a monster stomping through Tokyo.

 Ben Green joins Broadrick in this farewall with his bass thumping as aggressively as ever. "Feral Colony" finds the momentum building even though his vocals are more of a distant chant over the collapsing world captured in the samples of this song.It shows that atmosphere is just as important to industrial music, as it brings balance. This carries over to some extent in " Fear of Man", It's less droning than the opening song, but not as song-focused as the rest of the previous songs.  

"Fodder' has a more malicious intent in its pounding...It varies just enough to create the illusion of having a verse and chorus section. Their version of dynamics is how many layers of sound are included in pounding your ears. "Consume Me " is the lat song on their last album, so that puts the pressure on. It is sonically heavy and rings out with dissonance. The vocals are a lower,\ snarled mutter as the song unfolds in a singular point of bleak expulsion. This sprawls out for almost 12 minutes. This does sum up who they are and what they do even if it is not their best batch of songs, it's better than many bands' best batches of songs. This band just raised the bar for themselves really high, but with that said, I will still give this one a 9.The end comes September 25th on Relapse Records.

 

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