Borgne : " [∞]"

This Swiss project is getting a groundswell of buzz from their 8th album.It's black metal with an industrial twist. The opening song as a weird swirl of atmosphere to it. The vocals are typical of what you expect from black metal. A mid range throat scowl sometimes double with a more shouted vocal. The drums at the very least are working off triggers if not programmed all together. I think the projects strength is the darkness in the atmosphere they create. This is not done in the organic buzz of the tremolo picked guitar that black metal normally conjures. The second song sticks to a more full frontal assault and is not as effective. There is still the backing of synths giving it texture, but the song it self has less nuance. "um temps perit" benefits from slowing down into a more deliberate pound. This allows the chorus of angelic synths to make more sense. While it might not be as dark there is more emotional weight to this.

The ten minute song that follows begins with a blast. Half the time they concede to keeping the black metal status quo. It rides the wave of  rapid drummed fury, toward the end this is replaced by electronic drums , it a blurred blitz of what you expect from black metal. This project continues to prove they are way better when not tying themselves to blast beats. While dynamically this song drones in another direction, the throb of " I Tear Apart My Blackened Wings" is a vast improvement. They hit more musical moments with the song building into sung vocals layered around the growls.The song has a part 2. The second installment is more of your typical blast beaten metal. After a interlude it breaks don into indie rock like folk.This is unexpected.

Then its back to more blast beats. They are broken up by a thrashy riff here and there. Softened by synths , but for the most part it's another spin on the same old wheel. They close the album by proving yet again when they deviate from the norm the bring a realm of new sounds to black metal. The instrumental "Chuter" is more of an outro than a fully realized song, it still displays a range of dynamics that would have been better coupled against the blasting. I'll give this album a 7.5. It sometimes exceeds my expectations, I wished it would stray from the color by numbers black metal more.

Besvärjelsen : "Vallmo"

So went into this album with zero history with the band. "Return to No Return" might be the album's strongest song as it blends a surreal darkness with doom tinged rock riffs these guys so deftly deal in. It's the more surreal swirl to their sound that helps elevate them from the rest of the retro occult rock. While they might not be as keen of songwriters as Devils Blood was they are going into a more drugged out direction. With some interesting melodic breaks these guys are like subtle weed as in they creep up on you and the songs often seep into your brain. When the go into more of a metal rumble it doesn't feel as they are having the same creative impact. Though on "Oken" they prove themselves more than capable of hanging with metal bands of their ilk. They can approach a the stoner/ doom vibe from many different angles. On "Under en Svart Himmel" they take a more blues based approach to this. It's also on the dark side so I am obviously going to prefer that direction to the more traditional approach. It sounds like there is more interplay between the male and female vocals, though there is a androgynous quality to Lea Alazam's vocals that makes the lines blur when they are blended .

The band continues to show different sides of themselves as I am surprised by the taunt Tool like prog metal groove of "I Skuggan av Ditt Morker". Some of the more impressive guitar solos are on this track as well.  I like guitar solos when do right and I think these guys keep it in good taste and in the context of the song. "Farsilsarium" winds around another progressive groove. Another one that is not unlike Tool or Katatonia in the serpentine manner it can writhe around the drums. By the time it gets to the guitar solo its morphed into a more rock feel. The album closes with the ten minute "Alone" that begins to solidify the albums third act turn toward a more progressive direction as their singer displays a more soulful touch to her vocals. The solo section finds the song ebbing out into a more jammed out ambiance. I'll give this one a 9, the turn the album takes is interesting and it stays dark enough to keep my interest.

Primordial : "Exile Amongst the Ruins"

So if you read the review of the compilation ep I did a few weeks ago then you know, I have been looking forward to this one. These guys used to be more black metal and have grown out of it, which you can't be mad at considering how dark they are and how they get pagan metal right. Right from the first song there is a passing return to harsh vocals for a few phrases. "To Hell or the Hangman" was the on the EP and in my review of it I said I hoped they moved more in this direction, so I guess they beat me to the punch on that one. There is more of a doomy feel to "Where Lie the Gods". The build up into the more dramatically sweeping sonics is pretty typical of their sound, so is no longer really going out on a limb, but it sounds good so hard to complain. Clean guitar opens the title track.It's a balanced blend of powerhouse punches with melodic metal that still carries grit thanks to the wonderful vocal phrashing of Alan, who is not a Ronnie James Dio, but knows how to use what he has and continues to push himself.

Epic is a word that gets over used when it comes to metal. These guys are one of the few bands deserving of it. They tap into some very grandiose. Here it is done in the context of the song with very little effort. It's not like they are setting out to be epic as their mission statement when it comes to song writing that is just the organic result of their sound. "Upon Our Spiritual Death Bed" is a good example of how this occurs. The guitar melodies are done in a very natural manner of layering the swell of dynamics. Harsh snarls also resurface on this song which has pretty much every side of the band you might want. "Stolen Years" lingers like hesitant folk and takes the first half of the song really getting to the point. This is probably the albums weakest moment, which could be worse.

"Sunken Lungs" finds the drummer keeping things afloat. It is really business as usual for the rest of the band, which is fine as them just dialing it in exceeds the best efforts of your average band. I think they extend themselves further on "Last Call". This feels like a more personal effort on their part. There is a greater range of dynamics and gives us something we have not already heard on this album if at all from them previous to this.  I'll round this one up to a 9. So it's not the band's best album, but as said before their second best is better than most. If you are a fan of the band this is going to be what you are waiting for as it's more of the same.

Zeke : "Hellbender"

This is there first album in 14 years, but don't get excited yet. The first two songs struck me as pretty typical punk rock more emphasis on the rock. These guys are punk for the trucker hat crowd that normally listens to AC/DC and drinks PBR. "Working Man" rushes by in 1,2,3 go punk fashion with a few phrases here and there sung more than yelled. Motorhead is tossed around as an influence for these guys , but I hear more Fear. They are not bass driven enough to sound like Motorhead. "Hellbender" is only 48 seconds. At the speed they are playing they cram more song than you think into minute songs. This also causes many of the songs to sound the same as they become outbursts of riffs and leave the shouted vocals to really establish the song.  The only trace of Motorhead I hear is in the guitar solos. Solos alone to not define a band's sound, or at least they shouldn't.

By the time I am at "White Wolf" which sounds more like he is yelling were-wolf, I am unable to tell any of these songs apart. The vocals begin to take a more uniform spit fire delivery. "Devils Night' might be a good song title , but I can't tell it from the other rapidly yelling bursts of recycled riffs.If you are methed up in a black out drunk I am sure this would sound great speeding down the highway to Walmart. There is a weird sound on "Ride On " that made me think my phone was going off , but that was the only thing noteworthy about. I was so glad when I saw I only had two songs left which equated to three minutes more of this torture.

I think the 2.5 I am rounding this one down to since a 3 might be two generous might be the lowest score I have given an album, since lower than that I typically can't get past three songs. Good thing they were short as it made it a little less painful. I would tell you if you are into this sort of thing to round it up to a 3, but chances are you will die of alcohol poisoning before you get a chance to make it through this entire album that for some reason Relapse records is seeing fit to release, I guess they need a tax shelter. I was about to say to take into consideration that I am not the biggest fan of punk, but that's not right as I do like punk done right with some thought put into the three chords it uses.

Weathered Statues : "Borderlands"

Svart Records is gradually getting more into goth and post-punk, which is fine by me. I haven't reviewed any in a while so I am taking a stab at this band from Denver, whats up with Colorado ? It must be the weed. Anyways members of Planesmistakenforstars and Woven Hand are in the band. It starts off making me think of Siouxsie due to the vocals, apparently Lol Tolhurst of the Cure remixed this song. The bass line stays at the forefront which is consistent for this sort of thing. The second song really doesn't go any where that different from where they started. By "Dark Tides" they begin to establish more of a uniform sound varying only by the syncopation of the bass lines. Drawing from the typical bat cave bag of tricks. "Heather" finds these elements shift in a more organic way that works better. There is a subtle aggression to the song's dynamics. The tension is more tangible.

They find a more Cure like guitar tone which works better . I prefer there more introspective and atmospheric moments. I prefer these from Siouxsie as well. The angrier bass tone to "Sabbat' is pretty awesome and the band sounds like they are beginning to find who they are here. It has that heavier sense of sonics like the Cure does when they are really bringing it home. Less impressive is "the Widow Sunday" that feels more like upbeat indie rock, thought after a few listens it began to grow on me when I focused on some of the layered guitar. "Ossuary"  had less of a post-punk feel and sounds more like new wave.

They close with the more driving  "Holy Masquerade" . The more aggressive touch is cool, though the vocals feel a little redundant at this point. It seems like we have already heard a performance too similar to this one already on the album. Overall despite the moments of Siouxsie Worship, there is not as much of this kind of post-punk coming out so I'm much more open to hearing it than when I was getting this kind of stuff in my in-box all day long. I'll give this album a 7.5 as these guys have potential and get some pretty cool guitar sounds. Svart Records is putting this out April 26th.

Wrekmeister Harmonies : "the Alone Rush"

This duo is not a metal band, but has collaborated with a great deal of metal musicians. This album was conceived in a more isolated setting in Astoria , Oregon rather than Chicago. The only guest contributor to this album aside from the producer is Swans percussionist Thor Harris. You know how I feel about Swans, so I have to cover this. The opening track is a dark introspective piece that is not far removed from Leonard Cohen or the more recent work of Nick Cave. JR Robinson possesses a rich resonate baritone. It anchors this song that would almost float away if not for his voice grounding it. I  am not sure I would call this goth, but it is heading in that direction. There is more of an organic almost Americana feel, that keeps it out of the bat cave.  The introspective tenderness carries over into "Descent into Blindness". The instrumentation might even be more surreal on this song.

Sometimes Robinson's phrasing falls in a way that makes it seem like he is reciting poetry rather than singing. "Behold ! the Final Scream" starts off not as dark, then three minutes in the bring in distortion that broods like a storm rolling in. The synths that float above the distorted guitar give it more of a horror movie feel. What I like most about these guys are Robinson's vocals so whenever those are not as prominent, I am not as drawn in. Fans of harder edged post-rock will enjoy this atmosphere. Lyrically lines like 'if I lie awake at night/ thinking of you drained of life" are what makes the song heavy more than the droning chug of guitar. "Covered in Blood From Invisible Wounds"finds Robinson coming to more of a compromise between a croon and spoken word. The lyrics roll more freely in this manner. "Forgive Yourself and Let Go" begins in an even more delicate fashion. For the first six minutes the song simmers. Samples bubble under the ambiance giving it a more dream like quality.  It is like dreaming of an orchestra tuning up and then things go astray.Things do swell in intensity . This is done in a more post-rock manner than metal.

The vocals finally come in four minutes into the hovering ambiance of  title track that closes the album. Some of the piano melodies in the background give the feeling this could be on the soundtrack of a David Lynch film. While I am not incredibly versed in this project's body of work, this album strikes me as being more introspective. The mood captured is the feeling of being numb after being flooded with loss. I'll round this one up to a 9 as they have obviously created the album they had in mind. In the perfect world I would like something more centered around his vocals, but can see where less in more in their minds. If you are already a fan of this project then you will find this stark piece of work an interesting addition.

Live Review : Watain & Destroyer 666 @ the Masquerade

This was my first time in "Heaven" the larger room at Masquerade's new location in Underground Atlanta. Higher ceiling and wider space, we were still in the security line for Nexul's set. This was my first time catching Destroyer 666 and they invoked many of the thrash bands I saw back in the 80s.  Considering what now appears to be sensationalized accounts of their more barbaric behavior, I saw little in their demeanor that would support claims against them. They have the typical metal bravado, but were gracious and inclusive, making not scathing remarks of any kind. Their detractors who claim they are such mediocre musicians they have to resort to stunts, would have been eating their words if they saw how the band won over the crowd that was very supportive of  what seemed to be a healthy metal spirit which some claim to be toxic masculinity. Though most of the females in attendance had very positive reactions to their performance. None seemed to be offended by anything that went down on stage. The most demanding Warslut was might have been when he asked them to lower the lights for a more introspective part of the song where he knelt and looked to be praying to his guitar.  So fake news is now in every sector including metal press apparently as it was an excellent set with little in the way of controversy about it. In fact it was more melodic than what I have heard from their studio releases. The bass player handled all the more sung backing vocals. I am glad I caught them they firmly cemented me as a fan and I bought a shirt to support them.

Watain is not a band that is going to sellout or blow up, instead each tour finds the band's fan base growing slowly and steadily.Atlanta has been behind the curve when it comes to black metal. The in-town metal scene in this city has it's roots more based in punk, so tends to favor thrash over black metal. However it was a solid showing with a crowd that got into the performance more fervently than previous times the band has passed through. My fourth time seeing the band the main difference seemed to be the energy they commanded the stage with.Since the Masquerade is a fairly new venue it seemed a few limitations might have been place on the band as the sweet stench of putrefaction did not ride the air. The score of tridents lining the stage were also not ablaze. The altar at the base of the drum riser was still there and various skulls adorned the stage. At one point Erik spat blood out into in the crowd from a skull chalice, but that was the extent of  ritualistic theatrics. The emphasis was putting the music in your face at high volume.

For me hearing "Total Funeral" and "Malfeitor" were my personal highlights, but I have a thing with "Lawless Darkness" being one of my all time favorite black metal albums so those songs will always have a special place for me live. I think the show for me proved how much of a seamless transition there is from  the three songs they played from their new album "Trident Wolfe Eclipse" and the rest of their work.  I think it's a testament to the body of work they have. With many black metal bands you are hit with a wall of sound from the blitz of blast beats, but Watain's mix found the guitar melodies cutting through.  Erik prowled the stage in his usual fashion, but it was the rest of the band that really stepped up their game in terms of stage presence. This made for a more powerful performance. One of the guitarists in my band was really impressed by them and he only had a sparse introduction to the band before the show and is normally into bands like Behemoth, so it shows their ability to win over metal fans who might not be devoted to "Transylvanian Hunger" . Black metal's impact on metal a whole is now a permanent fixture in the genre, and this show proved Watain's place at the upper tier black metal and silenced non believers.


set list... 
  Devil's Blood,  
Black Flames March 
 Nuclear Alchemy 
 Malfeitor
 Total Funeral 
 Angelrape 
 Furor Diabolicus 
 Outlaw
 Sacred Damnation
 Sworn to the Dark
 The Serpent's Chalice

Abhor : "Occulta religiO"

I really like the album "Ritualia Stramonium" this Italian band released in 2015. Keeping true to much of the darker Italian metal they have retained the horror elements of their sound, that put them alongside bands like Mortuary Drape. While this albums feels like it is giving in more to their death metal side, black metal is their in spirit as well as traces of doom can be heard in the riffs to "Fons Malorum". It's melodic and as catchy as they can be with the odd take on vocals that goes from a Gullom like gurgle to almost ritual exclamations. The keyboards are here once again to give it almost a Hammer Horror like take on Satanism. I had to go back and listen to "Engraved Formulas" as second time for it to sink in as I felt like I missed something the first time around. It mixes death metal with the gloom of doom in a way that takes you back to 80s Euro metal. The vocald don't contribute as much a feel like muttered growls rather than the more metal command that sort of thing normally invokes.

The first minute and a half of "Demon Forged From the Smoke" finds them on similar ground as previous song until the dramatic Phantom of the Opera like pipe organ comes in. From there it transitions into a more death metal like place. There are song head banging grooves that follow. They take an even more death metal turn with "Exemplum Satanicus". The lowers working better than the mumbled gurgles. Sure it achieves the demonic quality they are going for to have an array of growls, but the lower ones have more power. They do have some very forceful chugs that keep the song moving. The song even builds into a blast beat that is the most black metal moment so far. "Black Bat Recalls" starts off marginally more melodic and then builds up into something that is more in the same death metal realm that the bulk of this album is.

They end the album with the title track that has more of an aggressive stomp to it. The vocals remind me of when King Diamond was doing the demon voices for "Them".There is some impressive bass playing on this song. This album feels like it is heavier and more death metal than the previous album, which will appeal to some fans. I want things darker and creepier , I feel the songs are not as finely tuned as the previous album, though this is still pretty damn good I just don't think I 'll get a heavy rotation out of it. My 8 year old daughter had fun imitating the vocals on it though, I'll give it an 8.5 . Iron Bonehead is releasing this May 25th.

Ilsa : 'Corpse Fortress"

I reviewed this for CVLT NATION and the orignal review I wrote had been sitting here as draft so here it is. This D.C  band is refusing to hold back on  on their debut for Relapse Records. The band's 5th full length finds them continuing to hammer skulls in with the sheer density of their blown out sludge. Dirty and squealing with feedback. The pace picks up to more of a chugged rumble with"No Funeral" The vocals are phrased in a way that that give the coarse scathing shouts almost more of  sung feel. The lyrics cut through better with this delivery. Then they shift back into more of a low end pounding that owes more to doom when it comes to the ominous rumble of "Cosmos Antinomos" as it progresses the momentum continues to build. The flatulent bass can be heard in the din at times, but it generally hits you as one frequency.

The vocals take on an angrier hard core howl to aptly serve "Prosecutor" At times an under current of double bass flows through the bridges coming out of the verses to create a more death metal tone. "Old Maid" is drive by more of a punk energy.  There is something about the verse riffs to "Long Lost Friend" that remind me of old Slayer. It's pretty dense only broken up by a well placed guitar solo. The thick slabs of fuzzed distortion keep coming after you on "Rukenfigur". The vocals continued to shout out in a rough bark with punk intention behind it. When the double bass comes in at the three minute mark it's highly effective and this song proves the band has matured as song writers despite being moderately straight ahead.

They back down into more dismal and miserable doom with the sluggish chords of  "Polly Vaughn". The vocals sound more like nasty rantings. The album closes with "Drums of the Dark Gods" kinda drones with minimal drumming and is the only song that drags , but the other songs on this album compensate for it. I know it has hung tough in my iPod since I got it and has earned multiple listens I think it is a huge step forward for the band so I'll give this a 9.5 .

Monster Magnet : "Mind Fucker"

I used to love their first two albums. I did a shit ton of drugs to both. They eventually got a little to middle of the road rock for me and by today's definition might not be metal. So I am giving their new one a shot. First off lyrically they have gone down the toilet. There is an element to "Soul" that is a little too peppy for. This punk thing they are is not letting up and finds them having more in common with the MC5 than Black Sabbath. While I don't mind a little kicking out of the jams on occasion I am not sure this plays  to their strengths. The title track is the first song that really connects with me even though it might be a little more upbeat than I remember their old stuff being. "I'm God" also connects the dots to the band I used to listen to. It's not as upbeat and a little darker. These guys are such a guitar driven band that they need the level of playing on this song to compensate that Dave's voice is more attitude than pipes.

His voice takes a bluesier turn and almost sounds like Nick Cave on "Drowning". "Ejection" feels more like filler in it's proto-punk stomp. I don't think that this is what the band does best.  "Want Some" seems like a better use of their talents. It still has some of the raw power of early Stooges punk, but with the cerebral space rock that defines their brand of hard rock. Their is a hint of Blue Cheer and Cream to the more garage rock shuffle of " Brainwashed". I think what I want more of is the trippy haze that used to menace their songs and I am not sure where this punk thing is coming from. Gone is the hooky sense of adventure that used to define them . It's been replaced by a 60s vibe that can be felt on the boogie of "All Day Midnight" which is a step in a better direction for them. There is nothing that really comes close to being metal here except for the more powerful they take on the last song. The effects on his voice is a wise move. This what I want from the band so I am sure why there was not more of this on this album.

I'll round this down to an 8.5. This album is good and if you are a fan that has hung with the band in more recent years than this won't phase you as much as it does me since I want them to sound like they did 20 years ago. On most occasions they are good at what they are doing it's not what I want them to be doing so this album might be better than my sense of nostalgia allows it to be, but I think even with that in consideration, a 8.5 is a very fair score. 

Will Haven : "Muerte"

This album proves this band was  always more hard core than they were nu-metal, it was that tour with the Deftones that really put them on every ones map. The first song is aggressive as fuck, but the guitar sounds darker and more dissonant on the second song. In the last minute of the song it takes a turn that finds the atmosphere of the song getting sonically heavier. The production on the drums still has a late 90s kind of pop to the snare. "Kinney" finds the ban hammering harder with a dense pulsing. This is continued with an interesting shift in dynamics, despite the vocals staying the course on what in comparison is more of a one dimensional scream. There is a sense of atmosphere that lurks at the edge of the booming distortion. Perhaps it is just in the frequencies of the feedback.  "43" is more punishing. It's obvious these guys were ahead of their time as this stands up against the dark hardcore of today , but is not far removed from what these guys used to do in 1997. Mike Scheidt contributes guest vocals to "No Escape". The song takes a darker turn the last minute.

"Unit K" is yet another turn into something where they find away to hammer at you with building aggression, I guess this song is the closest glance back to the musical tone of 1997. There are moments of groove similar to those of the Deftones heavier moments, like the chug to "Ladwig no. 949". At times it is hard to not bang your head along which is always a good sign. That same balance of oppressive sonic atmosphere and chugged out groove permeates "Bootstraps". The dark hard core bands of today could learn a lot from these guys. Perhaps they already have an Will Haven has yet to get the credit they are due. Not that bands like Bloodlet were not already stomping out this kind of dark angry metal tinged hard core, this just seems more like a testament to their legacy.

There is almost a Starkweather like feel to "Now in Ashes".  They are not as relentless and give the song more room to breathe. Stephen Carpenter plays on the last song which has hints of his signature riffing. The band also has common ground with in the Deftones in the melodic dissonance of the guitars. Overall this is a fine return to form and I'll give this one a 9.





 

A Perfect Circle : "Eat the Elephant"

It opens with a piano ballad. Production wise it feels different like everything  is more compressed despite not using more rock styled instrumentation here. Maynard's vocals is what you would expect from him, though there are a few phrases where the using a more delicate almost androgynous head register. The guitar shows up for "Disillusioned". Lyrically its more of a social commentary, which splits the difference between Tool and what we have heard from this project in the past. The overall sound is more middle of the road like they are going for what was once called "adult contemporary"...think solo Phil Collins with none of the soul . Marginally more moody, Keenan's vocals are higher on "Contrarian". It has more in common with the Pet Shop Boys than Tool. There are some interesting guitar textures which is more than can be said of the first two songs.

They finally find the edge that has been lost for the first three songs on "the Doomed". The guitars get much more metallic. In fact its a more of a clear cut metal riff than we have heard from them before. It trades off with a tinkling synth riff. There is even tension in the guitar when the distortion pedal is not being so trod upon. "So Long and Thanks for All the Fish" is not the song from "Hitch Hikers Guide". It feels like post-90s David Bowie musically, with harmonized vocals. In fact they name drop both Major Tom and Willy Wonka in this state of the union. "Talktalk" is more of political statement about the "alt-rock" who they ask if they are going to talk like Jesus, to try walking like Jesus. The bloated glut of piano that I would be fine with on a Depeche Mode album continues on " By and Down By the River". Maynard's vocals take on more familiar melodies that will make long time fans a little more comfortable. Though if you have stood by this band over the years I don't think there is enough of a difference in the more middle of the road direction to shake you from their tree.

"Delicious" is more of a traditional rock format. It's also more traditional rock song writing which is odd for this band as it would sound more at home on an Hoobastank album. As if there was not enough ponderous piano on this album they have to include an interlude of more. I think my favorite song on here might be the weird electro groove of "Hourglass" that sounds more like a Puscifer song. "Feathers" is the kind of atmospheric rock power ballad that these guys tend to dish out owing equal parts to the Cure and David Bowie. The guitar tone is really dialed in here and maybe I just pushed my ear buds in further , but the bass on the past few songs in more present in the mix. "Get the Lead" out confirms the piano is here to stay. So lump them in with Tori Amos. There is a weird hip hop element that becomes an undercurrent to the song , but in more of a Massive Attack manner. The song cruises on it's atmosphere rather than building into anything substantial. I'll give this album an 8.5, which is better than most bands on the radio, but their first album and "13th Step" would both be 10s if you want some perspective on how it measures up.

HIDE : "Castration Anxiety"

Diamanda Galas probably never crossed paths with Crash Worship. If she had the results might be similar to the first song on this Chicago duo's debut album. Percussion driven, the synths provide a droning layer for her to chant over. The percolating beat to "Bound-Severed" creates a more manic feel to the song's trippy throb. The vocals wind around this, though in terms of what she does with her voice doesn't differ greatly. There is more of an angular chaos to "Close Your Eyes". The synths take on a more kraut rock feel on "Wear My Skin". The pulse of the beat keeps it from sounding to 70s sci-fi sound track.

There are more layers of fuzzy swirl to the synths on "Come Undone". This does make for an interesting sonic texture."Wildfire" is a darker turn, but like most of the songs thus far takes on beat and pounds it for all it's worth leaving little in the range of dynamics.They drive some of these into the ground more than others. Singer Heather Gabel sounds like a gothed out Courtney Love when she injects more anger into the vocals of "Fucked". This emotion is contrasted by a more robotic backdrop behind her. It is the first song that sounds like industrial to me. Though there are many moments that might have common ground with Swans "Filth" album if you took out the guitar.

It ends with the sparse moan of "All Fours". The moan shifts into almost more of a grunt. This album might be the only song I heard guitar one. It's pretty single minded and comes across as more of an outro.  I'll give this album a 7 as it is dark with cool sounds and a sinister enough emotional intent behind it but these are not fully formed songs. They are performance pieces that  might be cool to see live, but as far as having them in the iPod for day to day listen it's not really something I would get a ton of mileage out of.

Stone Temple Pilots : "s/t"

Well my first thought to find out Stone Temple Pilots  has a new singer from a "reality" singing competition was...uh oh. Jeff Gutt now holds the mic. He must have a death wish as both of the bands previous singers are dead. They are pretending the Chester years did not happen and trying to pick up where they left off with Scott. The results might not be as convincing as Alice In Chains comeback, but they were never as good as Alice In Chains to begin with. Gutt carries the torch best on "Meadow".  What is different is the fact the grunge trappings are long gone. Though they were heading in that direction with Scott. The first two songs were pretty much dialed in radio rock with touches of their former glory. Lyrically it's pretty bad. It's one thing to be able to sound like someone. Writing like them is another story.

I suppose the guitars sound like STP, it's hard to say as when you listen to this it is clear it's Scott who gave the band the personality as they are pretty middle of the road without him in the equation. "Just a Little Lie" is a good enough song. It leans toward bland with the few melodic touches keeping it fresh. The song that was clearly filler was "Six Eight". The ballads don't have the same melancholy and becomes a good argument for being on drugs. The first rock song that tries to rock is " Roll Me Under". It punchier than anything else on this album so far. The blues shuffle to "Never Enough" feels pretty color by numbers until the chorus.

They sound more like Incubus than themselves on 'the Art of Letting Go". This shows how Gutt's upper range is much different than Weiland's. There is a pretty decent guitar solo on this song, that drips with jazz. "Finest Hour" comes across as filler. "Good Shoes" a better sense of movement. Gutt is naturally more influenced by blues and soul than Weiland. Weiland's voice had more edge and personality due to the fact he was living harder so this album is lacking that sense of authenticity or the struggle that fuels creating from a place of addiction. The more ballad like "Red & Blues" is more going through the motions as it sits in a weird place heading toward country. I'll give this album a 7. It's not as bad as I thought it would be , but finds the band somewhat muted in this sense of transition.

Strvngers : "Amor / Noir"

+ This gem was dropped in my in-box and was a lucky surprise.Song's like "Fetisha" have nu-metal edge to their swelling dynamics , but the blood in the song's veins is more of a desperation conveyed in the smart and biting lyrics. The production on this album gives it a big arena filling sound. Sometimes the sound takes on more of a euro dance feel falling closer to Lords of Acid then at other times there is more of a cocky Mindless Self Indulgence vibe in the attitude that oozes from some of the songs. Where it excels at every turn is by their mastery of creating hooks that bring you back for multiple listens. 

The dynamic range of this albums goes from future pop with the vocals taking on more of a croon as the glide over bouncy anthems like "This Isn't a Phase" to more grandiose and cinematic swathes if apocalyptic majesty. "Hexxxed" has a slower bump and grind to it that reminds me a little of Marilyn Manson's "Apple of Sodom". The smoother pop groove of "Pink Coffin" is some what upbeat ,despite the lyrics, though the hook of "I don't give a fuck about anyone but myself" gives the song more attitude, as the edges of the song drip with the steamy porn sound bytes. A darker more industrial strength shadow falls over the stomp that rocks "Lethargy". This album doesn't just rely on cool beats, but has fantastic vocal lines that keep it compelling. In the album's third act , more guitar does begin to surface as it takes you down a much darker rabbit hole. I really love the more Depeche Mode like croon on the verses of "Porcelain". The chorus has a more explosive rock feel, but I think they achieve a perfect balance dynamically.

 Even as the album ends with more of a neon power ballad  you are caught up in the bleak longing this album invokes at varying speeds. This proved to be an infectious album that I found myself returning to many times over so it easily gets a 10 and it went straight to my iPod ,which is as big of a compliment as I can give any band. The real estate of gbs in my iPod is pretty competitive considering the amount of music I consume on any given day.
 

Black Salvation : "Uncertainty is Bliss"

Former In Solitude and Grave Pleasures drummer Uno Bruniusson. But each member of this trio is highly talented. The guitarist Paul Schlesier handles the vocals. He gives the band a darker sound with a croon not unlike that employed on In Solitude's "Sister" album though more Jim Morrison than King Diamond. "Floating Torpid" finds the more Doors side of the band being delved into while incorporating a raw garage rock energy.   This is the band's second album , their first with Uno on the drums, but they are very sure of the sound they want to create. "Breathing Hands" is jammed out from the previous song, it sounds like logical progression and at first listen thought it was just one long song.

The is a slightly more relaxed strut to the strummed "Leair". Less Doors influenced and like a gloomy version of the Rolling Stones. The emotive warble of Paul's baritone croon continues to be engaging. In some of his more aggressive phrases he has more of an Iggy Pop feel. While there is a retro slant to their sound. It feels very natural and not like they are just looking for an excuse to wear bell bottoms and smoke pot. There is more of  punk freak out boogie to "A Direction if Futile". They have a really groovy guitar sound, that has reverb to it, but doesn't force the notes to hide behind it. Even at their most jammy, the guitar solos work with the songs. At over nine minutes this is the longest track. It indulges in some of the albums more psychedelic tendencies. I imagine this would go over well live. They display some great dynamics in the explosive manner the build pays off .

There is a rowdier jangle to "Grey River". The bass player really help the song drive. It is the most straight forward song on the album, even in its most spacey moments.  I can hear traces of 90s indie rock in how the chords are struck, which is not unlike bands like Drive Like Jehu. "Getting Slowly Lost" has an almost ballad like beginning. The vocals continue to fall somewhere between Jim Morrison and Ian Astbury. In fact when I went back to give this album another listen I picked up on some Cult-ish moments. But the build on this song is more like a "5 to 1 " sort of thing. That is not to say this guys are a Doors tribute band. They have their own sound, but there is no denying their influences.  I'' round this one up to a 10. This had been sitting in my in-box so I am glad the fact the In Solitude connection caught my eye. While these guys are not metal, fans of In Solitude will find enough common ground to enjoy this one. It comes out April 6th on Relapse.

We All Want Our Time In Hell : A Tribute to Samhain

Of course I love Samhain, because it's like a darker, creepier version of the Misfits. I was the most skeptical about Joel Grind being on this album, but it is hard for him to fuck up "Night Chill" . Midnight then takes on "Mother Of Mercy" which has the line in it that inspired this album's title. The vocals prove to be the weak link here, but for what it is they do a pretty decent job and hit everything, but the vocals. You can tell what song it is, which is better than some black metal bands do when they cover a more rock oriented song. I think this darker direction would be a good place for them to move towards. Nil Eye is the one project on here that I was not familiar with going into this. They are more punk than Midnight. The vocals sound more Jello Biafra than Danzig. They still manage to capture the spirit of the song while being themselves.

Ringworm gives a touch of thrashing hardcore to "Black Dream".  I think the vocals on Midnight's song were better than the frantic barking that goes down here. Everything checks out alright, but that is such a crucial part of Samhain's sound.  Ghoul does a little better job. At least they are not just trying to growl or bark their way through this. The vocals are more spoken. They know what they have to work with and I am impressed by what the guitarist does here. Of course Acid Witch does "Halloween II " .  They totally nail the guitar parts in their own way. I was a little worried about the vocals , but while they are not doing a Danzig impersonation , they get the point across much like Ghoul, by doing a more spoken narrative.

Multicult's version of  "the  Howl" suffers from pissed poor production. The vocals might be decent or they might be terrible, it's hard to tell cus they are buried in the mix. Would Danzig's vocals ever be buried in the mix. I can tell they are the first band that is coming any where close to a Danzig impersonation. Their is a huskier and crustier stab at "the Shift" by Like Rats. There are briefly crooned vocals in the background, but at least they tried. Shed the Skin give's their brand of death a more skate punk feel on "Kiss of Steel". While the lead vocals are growled the back up vocals are sung. I have never given Immortal Bird enough of a listen. It sounds like I would imagine it might sound if Arctic Flowers covered the first half of the song and then let a grind core band take the rest. At almost four minutes this is an epic for a band used to throwing out songs in spastic bursts. It is the best I have heard from them.

Child Bite curated this album, so I am sure they got first dibs on "Unbridled". They did not knock it out of the park and it has a more Dead Kennedys feel. Brain Tentacles does a surprisingly faithful job of "Human Pony Girl". Ritual Howls " Arcangel" is kinda boring. Overall this is worthwhile if you are a fan as it is a more modern take on these songs . I'll give it an 8.5

Cvlt Nation Presents - Black Flag's My War

Cvlt Nation continues with their tribute series, where they take an album and have bands cover it front to back. You are probably thinking I am going to be biased because of my connection to these guys. I have reviewed this albums in the past, and leave my affiliation at my bed room door to give them an honest listen. Sean & Meghan would not want it any other way. We start off with a sludged out version of the title track by No Funeral . They hit some of the punches , but this pace takes all the punk out of it until the end. I haven't given this band much of a listen before which is why I like these tribute albums as I get a snap shot of what a band like this is capable of. My first impression of No Funeral is they are a more blown out and feral Eyehategod, maybe a little less swampy. Hellkeeper hits closer to home with their take on "Can't Decide". -(16)- does a passable job on " Beat My Head Against the Wall" . It more metallic and what I would expect for them. Bleach Birth tackles "I Love You " with great success. Though it's a song that would be hard to really fuck up as it's such straight forward punk, until the break midway into it. They also nailed this as well. They are always a band that I forget about so I need to keep more of an ear out for them as I have liked what I have heard from those guys.

The rest of the album consists of bands I am less familiar with. Fange offers an interesting industrial slant to "Forever Time" which is my favorite song so far into this. I think it shows who they are as a band and does the song justice though taking it into a much different neighborhood than the original. Now I am not going to be as emotionally invested in Black Flag as I am Black Sabbath, but I have owned this album and listened to it off and on over the past 28 years it has been in my consciousness. Kalloused comes close to have the same success with "the Swinging Man", but it is so over driven some of the songs finer points are a little lost in the translation. Then with Disrotted we are back to being drug through the murky waters in the bringing more density to "Nothing Left Inside".  They are paced like a doom, band but feel more like sludge as the emphasis seems to be on feedback rather than despair. This is the first song that I feel misses the mark and does so by consuming 21 minutes.

Devoidov does a really good job of "Three Nights". They capture the mood of the song and suceed at making it heavier without losing the song. Skincarver gets things back on a more sludged out road, which has been the path most of these bands have been on. So it is no coincidence that the album most shining moments came from bands that did not do this. Not to say all of the sludge versions were bad, some like this one buried the original song in the fuzz and dirge ridden dirt of what they do. I'll give this one an 8.5 , along with one of the Black Sabbath tributes Cvlt Nation did this is one of the strongest releases.

Abjection Ritual : "Soul Of Ruin, Body Of Filth"

 We have "Filth Pig" to thank for opening the cross roads where sludge and industrial music mix. Such is heard on from this sludge band out of Pennsylvania. They have a great deal of  potential is displayed on their newest album. Having added more live instrumentation to this release they follow the path made popular by Neurosis. The first three songs collide together and you don't really notice this until it is broken up by what sounds to be a sampled musing of a crack whore. I like the lyrical content that seemed to be about the dark side of urban life. Screams about hepatitis are rare on a metal album. It's not until this song "Blood Mother" that I really hear them breaking away from the "Through Sliver and Blood" influence and showing your their true face, which is delightfully ugly. Can they maintain this sense of identity? There is more a celebration of noise and ambiance on "Deathbed Conversion". It is very dark though not musical enough to be a song.

They do go into actual music on "Ruin". It has a more blackened feel. As the melody is somewhat sweeping on the verse and the vocals are more manic. A lower growl joins them on what could be considered the chorus. The singer from Starkweather shows up mid way into the song which is a welcomed surprise. The "song" after this is total noise. It is abrasive and unsettling which means it achieved it's goal but is more of an interlude than a song and not really my thing. They end the album with the apocalyptic crunch of the more doomed paced "Old Sins".  I like the effects on the vocals that are giving more of a Ministry sound. Though I would not call this industrial. It is more sludge. The song winds around to a more post-rock section where samples begin narrating more harrowing tales of loathing.

I'll round this up to an 8. While it is not an album I think I am going to get a ton of mileage out of , I greatly appreciate the mood these guys are going for. It is gritty and grounded in real world torment. If you are looking for a new sludge band, these guys have been around the block but just now fully stepping into themselves so check this out.
 

Winterfylleth : " The Hallowing Of Heirdom "

Well this is something that might not be totally out of left field for the band as they have always had folk elements to their sound, but for this album they have abandoned metal altogether to make a neo-folk album. The first song I thought was more Dead Can Dance for them, then I went and read the promo pack for this album to find it's all acoustic. I guess even them you could have double bass or growling without distortion, but I don't think that is their intention here. It might not be what I want from them but it is well done. The test will be is it all ballads. Just because you are playing acoustic it doesn't meant it all has to be ballads, but that is what we continue to get on the second song. This time is largely instrumental with the vocal parts mainly textures in the background. They find their way back to a strum for "Aecerbot".  I guess this still falls in the ballad pile. The strum of the guitars gives it a little more movement. The vocals kind of drag behind the guitar.

The bulk of the instrumentals on here just sound like they are playing around on the guitar and decided to record it. The vocals return for "Elder Mother". Another song that is more reflective in it's pacing. It gives a bardic recall about one of England's kings. Then "Embers" is something that feels more like an interlude than a song. But since they feel it is a song and the bulk of the album are pieces like this , then I will judge it accordingly when rating this album. A string section is introduced to the gloomy "A Latch to a Grave" this is one of the album's stronger moments. Much of that is owed to the strings and the layered vocals.

The last real song is also the title track that closes the album. The vocals are really well recorded and it's not a bad song, but it continues on the same gloomy ballad tangent they have been on for the bulk of the album. While I am fine with gloom, I would like some varied shades in terms of dynamics as this sits kind of flat with me. I'll round this one down to a 6 for this reason. If you are really into neo-folk, how much new stuff can be coming out ? so you will glad to get anything.

This album comes out  April 6th

the Crown :" Cobra Speed Venom"

Well as far as Swedish death metal goes, this is not a total rip off of  Entombed or At the Gates so that is a surprise. Of the two bands it is in more of the At the Gates vein. Three members of the band have been around since it's 1998 inception. So for twenty years they have been about the head banging. The frequently meet at the intersection of death metal and thrash. You can hear the Slayer influence on "Iron Crown" .  At one point thrash was called speed metal and as metal heads would have there was debate in line at concerts (since the internet did not exist) as to the difference between the two. Speed metal was cleaner and thrash was rawer with more of a punk influence. This would be speed metal. It is very refined. Some of this is due to the fact these guys have been doing this for 20 years. The arrangements are very fine tuned. Live this guys would likely be tight as a damn bastard.

 The solos have plenty of shredding for those of you into that kind of thing. There is more density in the driving riff to "We Avenge". It doesn't really grab me. The notes are all the right place, but I am not compelled to listen to this song more than once. The title track seems more of a show case for guitar wanking, with a few riffs that sound like warmed over System of a Down clustered around it. By "World War Machine" the album is beginning to get mired down into the kind of single minded aggression that hampers the bulk of death metal. "Necrohammer" is in more of an Entombed mindset, but it's an improvement. The chug is more powerful. More Slayer-isms can be heard hear as well.

There is a little more groove to "Rise in Blood" despite it's more hammering pace. The vocals drop into a lower death metal growl as opposed to the more mid ranged thrash rasp. "Where My Grave Shall Stand" is more melodic , but and instrumental meant to show case some guitar solos. It ends with more of the same that we have heard earlier in the album, just with a few more blue notes carrying over from the instrumental. Some of the bonus tracks might be better than the album tracks , but for the sake of this review I am just going to review the normal album tracks, which brings this album to a 6.5. Very meat and potatoes. If you want heavy, but no real sense of adventure and everything in your face all the time then this is for you.

Black Foxxes :"Reidi"

I really loved 2016's "I'm Not Well" so expectations are somewhat high. I want them to give me more emotive blues edged grunge. Their front man Mark Holley went to Iceland to write this album. The opener finds them remembering who they are but with a lusher sound that in it's androgyny reminds me more of Placebo than the last album did. It is suitably dynamic with smart melodies. Though it doesn't have the same raw urgency. There is more of a radio alternative rock feel to smoother "Manic In Me".  It's pretty content in this territory and upbeat considering what we have heard from these guys in the past.  Things continue down this more upbeat direction on "Saela".

There is a more organic sound to "the Big Wild". It is no where as brooding as their previous album. The casual strum has a more Police feel to it. The guitar playing is nuanced and these guys are good at what they are doing, I guess I am having to think about how invested I am in their previous sound. There is no way to avoid saying this is more middle of the road. This album sounds more like it was conceived on the beaches of California than in the cold of Iceland. I continue to wait for this album's explosive moment. Things do get closer to this on "Oh, It Had to be You". Gone are the almost punk like moments of tension. I suppose it could be described as introspective. They do have more colors of sound on this album. It makes me miss the band who played on "I'm Not Well" when this never moves into the dark corners that I want it to. It does have more of a dynamic build , but they never cut loose.

The first real rock is "Joy". It is still run through a radio filter and ebbs back down into this more atmospheric side. The rock that they do cut into still feels like they are driving with the breaks on. There are some cool guitar tones on the restrained "Am I Losing It". The guitar passages are almost Cure like. "Flowers" comes closer to resurrecting their older sound. Though with less teeth. Their is more of a Jeff Buckley influence on this album which really comes to the forefront on "Take Me Home". So in this way they are similar to Ours. There is a slight post-rock flavor to the atmospheric build of this one. It does swell into Holley using more of his gritty rock voice as well as a falsetto. He continues with this Jeff Buckley tribute on "Float On" which has a little more drive to it. While I am glad he found his upper register, I wish his vocals were at least more aggressive to compensate for the more atmospheric instrumentation. This is not bad it's just different and is going to take some getting used to. I'll give it an 8.5 and see how it grows on me. "I'm Not Well" got a 10 to put this in perspective.

Adversvm : "Aion Sitra Ahra"

Since Mournful Congregation is coming out of mourning to play a lot of guitar solos the quest must begin to replace them. The first candidate is this German band, who seems some what since in their occult approach to this. Right from the 12 minute opener they are heavier than the new Mournful Congregation. The vocals have a lower death growl to them. The patter of double bass follow the ringing riff to "Ps. XII Maledictvm". There is a subtle dissonance embedded in the riffs. Ominous and melodic , I'm am not sure that I would call these guys funereal doom, but they are a very richly textured mix of death metal and doom.

The title track just kinda floats out of the other songs as this album begins to fade into the back ground. It sounds good, but perhaps it's just this song that sounds like it is beginning to drone a little even though the drummer is still earning his cut of the royalties. The spoken exclamations accent the gradual build.They like their chugs and double bass, which proves their death metal leanings. This does take them out of the drone and assures they are not dynamically flat. They sample some evangelist ranting about hell going into "est in fatis". As far as instrumentals go this is certainly one of the better methods of approaching it as the samples occupy the place the vocals would normally sit. I think this would work better opening the album than in the middle of it.

The album closes with "Current 218" which is six minutes wasted on not a song but white noise. I'll give this album a 7.5. They summon some powerful sounds , but like the rule around here "cool riffs alone do not a good song make" the same could be applied to these sounds woven together. That is not to say this is a bad album, there are many good ideas in play I would just like to hear them applied to song that make me want to listen to them again. If you are into death doom, then wawit for this one to come out May 4th on Iron Bonehead.

Between the Buried and Me : "Automata "

These guys are a band I have appreciated for a long time, but never really got into. I saw them open for Converge when they were touring for "the Silent Circus", so my introduction to them was a hard core band with some technical acrobatics rather than the progressive metal band they have become. The first song on this album finds them returning to more of their metallic side. The clean vocals that follow the growls are almost like Korn. "House Organ" is more groove oriented. The verses narrated by growled vocals and the sung vocals come in on the dreamy passage that would serve as the chorus. I can hear the influence of touring mate Devin Townsend. They return to  heavier more Opeth like chug on "Yellow Eyes".  The song weaves around varied vocal styles leaning in a more grunge direction as it dances around death metal. At the midway point int breaks down into a mellower groove. Here you can hear traces of their other touring mate Cynic in the odd harmony choices of the vocals.

"Millions" kind of feels like it floats out of the previous song, particularly if you are leaving the album on and letting it play. This would not be the case if it was on shuffle mode. I like the off time groove of the song. The sung vocals alternate between Johnathan Davis and Layne Staley. The album closes with the ten minute prog Odyssey "Blot". In the first three minutes they have gone through more changes than most bands cover in an entire album. There is the vocal trade between the harsh and sung vocals as well as long instrumental passages. This album is really well produced. It is almost too clean. It has to be to some extent since their is so much going on, but I think this also dulls the edge and the guitars might sound heavier with a less fine tuned approach to lend some organic flavor to it. Some of the clean vocal melodies sound both too refined and flowery, when they could be sung with more grit.

Technically these guys are on point. They are heavier than Dream Theater and the current state of Opeth, but not heavy enough to make me take notice. Their songs even at the most melodic moments just don't have the hooks to make me want to give it another spin. If you are a fan then round it up past the 7.5 that I feel is being generous to a band that still manages to feign a sense of adventure in order to dial it in and have a reason to go on tour.

LLNN :"Deads"

It's rare that I download an album from a band I never have heard before. I typically stream it. I sort through so much music and know such a small percentage will be music that I need to own that I listen to an album a few times, review it then move on. So it says a lot when a really heavy band like this grabs my attention. Hard core might be at the beating heart of this monster. I think what I like about this the most is the sonic intensity. They are brutally aggressive, but don't stop there possessing a wider scope of dynamics, after a minute of ambiance on "Parallels" they come back and hammer you before ebbing back down a few degrees to give you room to breathe.

"Armada" has a powerful chug set against the sonic sprawl that hangs over it like a storm cloud. The vocals are delivered in angry screams. I can hear them becoming the one element that might grate against me in time. I am surprised that a band so intent on this kind of raw heaviness keeps my attention .  It's not that I do not like heavy music, as it's obvious I do or you wouldn't be reading this. It just that the bulk of band can see past the gain. There are some interludes of atmosphere. The first song where these two side are really combined is on "Appeaser". The thick bass line drives most of the song.  They get more in your face on "Deplete". The more hardcore centered vibe really comes on strong here.

The title track that closes this album has the most metal riff, if we are talking about metal in the conventional sense, though is bass driven almost like Godflesh. The raw power of what they do begins to get a little dulled when they swell into their heavier side, because at this point I am now used to it. So it behooving of them to pull out these other tricks. Tricks like the sonic buzz that it builds into which holds an almost black metal feel. Not unlike bands such as Nails or Hexis, where many different sub-genres collide This band is powered by a dark metallic hard-core draped in cinematic ambiance.  I'll round this one up to a 10. 

Leechfeast :"Neon Crosses"

This is the sludge band from Slovenia's second album. We know these guys are heavy so rather than convincing us that I am more interested in them convincing me they can write a song. The can add eerie ambiance to the background of what they do. They can play at tempos dismal enough to ride the line between sludge and doom. There are some sung chants in the background , but they are not remaking the wheel here. They use  similar formula on the second song. There are some different accents though the riff is similar in it's dirge like drag.  The vocals are in a dry rasp, a little more demonic than say Eyehategod, which has more of a punk influence.

The snarl of "Tar" picks up where the previous song left off. The only way I can tell the songs apart is where the chanted vocals drift in. There are a few variation in the riff, but we are getting pretty mush the same thing. There is a more whispered vocal that crops up here , but that is the only major change. Some odd bits of atmosphere haunt things here and there. At some points it sounds a little like Atriarch in places, but Atriarch is more dynamic and brings more musical colors to the table. I understand that the speed they play at dictates the length of the songs to some extent, but if you are going to have a ten minute song then you need to take me on more of a journey and less droning. I little drone can go a long way . Really pound it out for a good minute and you have made your point and can build from there.

The sung vocals leading into "Razor Nest" give the song more of a doom feel. I think this is because the melodies have more sorrow in them than anger or anguish. Samples are well placed here and used for atmosphere earlier in the album as well. The harsher vocals do return midway into the song. These guys are good at capturing a mood and creating the sounds to they succeeded at making the album they set out to make. I think what they made can be a little one dimensional for my tastes, so I will give it a 7. If you don't need much from you sludge and prefer it at more of a doom speed then this album is worth your time.


.

the Soft Moon : "Criminal"

The 4th album from Luis Vasquez finds him taking this project into  a some what streamlined sound. It is not as dark and dense. The vocals continue to be just as brooding as they were on the previous album "Deeper". The first song sounds a little more organic like some of the sounds are looped guitar parts and an actual bass with strings might have been used. It sounds like early Nine Inch Nails though with less of a metallic aggression. Then it's decidedly less organic on the second song"Choke". The vocals float under more effects against the groove. The vocals come across as more chanted than sung. The sounds all work together , but it rides the beat rather than coming together as a song. While I can accept this early on in the album as it progresses I am not going to be content with grooves alone.

The vocals float into a higher falsetto on "Give Something" . The instrumentation under them is murky and distant. Like the first two songs it rides the pulse. There is a more driving dark wave like beat to "Like a Father". The vocals are more spoken behind a distorted filter. The song has a fuzzy coat of feed back around it. The chant of "Somethings got to give" keeps returning. "The Pain" sounds like more minimalist Stabbing Westward, until the more post-punk bass line falls into place. It is when Luis finds the balance of indie rock cool to make this seem vital, with the depth of 90s industrial that this really works best . Some of this rides heavily on the mix and how high certain synth lines are in this balance. He also needs to put a little more behind the vocals than the chants he uses on "It Kills".

"Ill" is a droning instrumental that is more of an interlude. The more throbbing dark wave direction of "Young" makes it one of the albums best songs. The momentum of this creative spark carries onto into "Born Into This" and it begins to make the first half of the album seem like filler. The album closes with the title track and it takes half of the song for it to really get wound into it. This album sounds great and expands on the over all scope, though song wise I do not think it's as good as "Deeper", so I am giving it a 8.5. Out on Sacred Bones.

Knelt Rote: "Alterity"

This band from Portland has gone through a few changes stylistically over the years and it sounds like they have finally landed on death metal. They do this with enough savage grace to be convincing, but it is far from remaking the wheel. It is intense. If you are really into death metal and not so discriminating when it comes to what you want aside from fast double bass powered drumming and low growls then you might really be into this. The third song is the first one that I begin to hear a shift from what they started in the albums first few blasts. So this should be filed under very straight forward death metal. I would not go as far as to call it old school, as earlier death metal owed quite a bit in terms of song writing to thrash.

They sound marginally more feral on "Genetic Memory". This alone fails to wow me. Iguess their grind core past taught them how to cram a lot into under two minutes. The dive bomb solo at the beginning of "Othering" give it a taste of Slayer. This comparison would be blasted back out of the water when they momentum builds and this song get going. The song eventually becomes a blur of dark distortion and growling. It is not until over half way through the song after this that it begins to take on a musical quality and tries to live off of sheer heaviness alone.

Fortunately this songs are very short so you are never having to endure more than just bursts of this intensity. I'll give this album a 5 as it is too one dimensional. Though that could be said of most death metal as it seems to rely on aggression.If you are into just aggression and not things like dynamic song writing then you won't be able to tell the difference between this and the 100 other death metal albums on your iPod when you put it on shuffle.

Ministry : "Amerikkkant"

Al slows down and gives into his anger in a way that digs back into the darkness of "Darkside of the Spoon" rather than a struggle with addiction this album finds him struggling with the world around him. I interviewed Al  Jourgensen  back during the summer of the 2016 Presidential Campaign he mad his feelings known about the state of the union those can be read here...

http://www.cvltnation.com/cvlt-nation-interviews-al-jourgensen/

So it's easy to hear how this form of catharsis might find him returning back to true form. I don't think any Ministry album since "Dark Side of the Spoon" has fully captured who the band is from front to back, their have been glimpse , but it has all been a hyper punk metal hybrid with samples thrown at it. I like some of those songs and albums, as they can be fun on their own merit, but I think this finds them picking up where they left off. They do launch off into the faster guitar driven barrage, on "We're Tired of It". The vocals are almost growled, while run through the characteristic wall of effects.

"Wargasm" is ominous build with more driven metallic guitars. So if you like the band's more metallic side , then that is here for you as well. I think what works best for me here is the fact that this album is a lot darker. The sung chorus on this offers a balanced more melodic side. "Antifa" is the first song that might not be as good as the other. It's not bad, just feels a little middle of the road. "Game Over" has a dense rubbery bass line. It finds them locking into the machine like crunch that defines industrial. The title has a more melodic ring in it's apocalyptic intent. If we want to revisit your golden years this is the way to do. There is enough new to make this feel like it's not a retro flirtation with their past. I'll around this one up to a 10 as it's well balanced and works off mood more than just being in your face. Sure it has more of a smack out feel than a speed ball blitz, so perhaps that is why I am more partial to this side of the band.