Looking Back In Anger at Tool's "Undertow"

Continuing to listen back to Tool's catalog and see how it holds up in this case 25 years later. The timing of the band's first full length couldn't have been more perfect. Grunge had set the stage for something this dark and dense. Aside from Maynard's vocals the tight maze like winding of the riffs almost sound like a different band than the one that played on the e.p. Maynard's vocals go right along with the tension they are weaving behind him. Sonically this is like collision of early Swans with King Crimson. More groove than math the chanted vocal swells pummel you with tribal intensity. The bass sounds incredible. Paul D' Amour has a more growling tone than the more progged out groove that the band would eventually churn out. "Intolerance" is a perfect song and the same could be said for the more introspective victim anthem "Prison Sex". Here the groove slithers more fluidly and lends itself to a more crooned melody from Keenan. "Release in sodomy/ for one sweet moment/ I am home" are not lyrics you could find on another metal album up to this point, even Judas Priest' homo eroticism was veiled in thicker metaphor.

The abstract lyrics painted a picture of the dark struggles one suspected was in Maynard's head. These were shrouded in the kind of mystery that would continue to make the band an enigma. The introspective musings of "Sober" have a good dose of self loathing to go with the infectious pulse of the bass driving the song. Maynard's vocal performance here might be the album's most passionate. One of the rare occasions where the album's radio single was not pandering to the lowest common denominator. The self loathing continues on the tighter grooves of "Bottom" until Henry Rollins comes in for the self help seminar crammed into a few bars.  Their is more complicated resentments being processed on  "Crawl Away" which in the wake of nu-metal that followed might seem like more angst ridden metal fodder, but felt fresh when this was released and might not strike me as the album's most inspired lyrics listening back to this, but the riffs compensate for this. The bass playing continues to be incredible, and while Danny Carey has gone onto be known as one of the genre's best drummers, some of that is due to the fact he has had some hellacious bass players to keep up with. His double bass on this songs is pretty tasteful , though aside from the first ep, some of his most straight up metal playing .

The groove and mood to this song still reminds me a little of "Louder Than Love" era Sound Garden. The effects are really well applied to the vocals on this song and help to create the distinct sound we now think of as Maynard. Adam Jones also needs to get a little credit for easing into some more atmospheric moments to give a dynamic shift. The lyrics to the title track begin to paint a murky veil of metaphor and glances at the fact Maynard can really sing with varied dynamics. The drums also get more bombastic in their dynamics as well. This song also has a few moments that certainly seemed really heavy for when this came out, while this might now measure up against Meshuggah, I think the vocal melodies are creative enough to compensate for this. The more homo-erotic hints begins to re-surface in the lyrics to "4 Degrees" .  The song has a more sensuous throb to it.  "Flood" has a more sludge like atmosphere to the ominous pound it lurches out of .It's impressive how they come out of this four and a half minute drone with the groove of this one, it's a outstanding display of dynamics and Maynard delivers his best vocal performance of the album.  They end the album with a wild turn into the more experimental "Disgustipated" which finds the bulk of the song working of the chant of "this is necessary / life feeds on life" . Listening back you can hear the Godflesh / Swans influence on this part.

Overall this finds the band fully realizing their vision, so their only competition is going to become themselves as their influences become more obscured by their progressive leaning. I think this album finds them at their darkest and most tense, two of the things I look for in music, done very well, so this obviously gets a 10.

Looking Back in Anger at Tool's "Opiate"

With a supposed new album coming out this year. It begs the questions like...does anyone care? ...are they even relevant in today's musical climate, leading to ask "How well have those albums held up in the first place?" Now that is precisely the kind of thing I answer in the Looking Back in Anger column, so I am taking their first ep off it's pedestal to give it a critical listen. When this came out it was heavier at the time than it is now. I could tell that on "Sweat" the first song that bore the ghosts from the 90s in it's production. The picture the lyrics paint were strong enough to compensate for any elements that struggled to drag it out of the 90s. "Hush" is much less interesting on a lyrical level , though more aggressive. The bass playing on this song stands out more, though I do not feel it's as strong of song as "Sweat".

There is a stiffer militant anger to "Part of Me". The tightly chugged riff is a prophetic glance at what was to come on "Undertow". Danny Carey's drumming was not as nuanced as it would become on "Undertow". The taunt guitars are actually the song's strong suit, as Maynard's vocals hand really close to the riff. He does display a strong sense of dynamics, and though it's not his best performance on this album , it is more nuanced than the first two songs. Then comes the two live songs. "Cold & Ugly" reminds me of what my high-school girl friend said to me when she brought this album home from the radio station she worked at. "You'll like these guys they are like a more metal version of Soundgarden. I can hear the grunged out sinew pulsing on this song. Of the two songs "Jerk Off" is more like the sound they would further cultivate. Maynard's vocals are more melodic. Danny Carey also begins to really step up his playing on this as well. Not sure how a lyric like "maybe I should play god/ and shoot you myself" would sit with the p/c police.

Of all the songs the title track holds up the best against the band's current body of work. The vocals are the most melodically sung, and lyrically the stab at religion is well done. The production is a little dated in a few places earlier on in the album so I will give this one a 9.5 , it's more straight forward on a metallic manner which sometimes gives it more of a stiffness than the serpentine groove to come on future albums.

Cold Cave : "You & Me & Infinity"

Wesley is back with the second ep since 2011's "Cherish the Light Years " was released.  Things have change since then and the dark wave dance anthems we found seven years ago on that full length have given way to something with a more stark outlook. The vocals feel darker and have more of a traditional goth croon. Musically it's also not as upbeat and dancey. This is fine with me. Lyrically the romance gone wrong theme is far from new, I think the dry bleak delivery is the strength of the song mood wise. The doubled up vocals grow more desperate on "Nothing is True But You", yet side from the droning synth grows more generic. Musically hings get happier with the peppy on the song "Glory". The beat  reminds me of "Just Can't Get Enough" . It's the vocals that save this one for me and turn the mood around . Their is a depth of feeling in them. The melody is not unlike something Gary Numan might do, but delivered in a lower baritone with a brooding maturity that elevates beyond the average future pop.


The synths are darker in the pulse of "My Heart is Immortal". The vocals provide a more dystopian narrative . The futuristic movement of the beat falls somewhere between the 80s chic of "Stranger Things" and "Tron" or "Blade Runner".  The sparse female vocals that double his voice are nice touches and the passing buzz of noise provides a swathe of abrasion. I have considered if this is just something he wanted to put out so he would have something to go on tour for, but the sound of these songs is a logical progression and keeps up with where this sort of thing is heading. I'll give this a 9. I don't think it's perfect as the drone keeps things dynamically flat in a very robotic sense. I think this is a success in terms of what they set out to do and how he is meeting the expectations of his fan base. So this is very consistent. I hope this doesn't mean I am going to be forced to wait another 7 years for new music from this project as they would lose me at that point point.

Baptists : "Beacon of Faith"

Canadian sludge punks Baptists are back. The first two songs are more punk in form as they are under two minutes. The first more original in what they are trying to do though it doesn't feel like a fully fleshed out concept and the second song is more formed but sounds like feral distorted punk, which is what they are going for but begs the question...what are they doing that we have not already heard hundreds of other hardcore bands do ? Converge would be the first who comes to mind that fills this need for me personally and they do with more darkness and sonic intensity. So by the time I get to the title track I find myself asking what do I need this band for ?  There is not a resounding answer. There is a little more roar to the drive of "Gift Taker", but nothing that sets this apart from other bands doing similar, as from the aggressive density which they pursue this.

"Capsule" is the first song that breaks the two minute mark. The first minute is pretty much build. There is a more powerful almost Jesus Lizard that rumble to the stomp they finally settle on. There is a more musical quality to the tension created here that makes it the first song to really grip me. "Outbreeding" finds them rushing back into a more furious hard core take on punk that comes fully equipped with gang vocals. They pursue this further in a more Converge like direction with "Vicarious Trauma". The guitars are more interesting the anger in the assault unleashed here is something I have already heard Converge do better. They do implement some interesting elements of atmosphere on this one which is an improvement.

The angular jerk of riff to " Victim Services" keeps their momentum, but the vocal really begin to feel like a one trick pony here. "Indigo Child" keeps the rabid attack going for the throat. But this kind of single minded offense is one your ears are quick to throw up a defense against. The more melodic passage this evolves carries over into "Eulogy Template" that follows. This gives them more breathing room to prove what their guitars are truly capable of. The vocals can't really do much more than what you have already heard from them.The last couple songs are just marginally more refined versions of the same kinda mad dog metallic hardcore these guys are normally banging out this time the production is just better on this album. They can polish this sound they have and are good at what they do so I will give them a 7 as they accomplished what they set out to do , I just already own albums that meet that need. This album comes out May 26th on Southern Lord.

The Top 50 Metal Guitarists - 40 to 31

The death of a guitarist I played with turned my thoughts to what makes a good guitarist great. Metal finds the stakes for guitarists high. Shredding can come before playing a fucking song. While all of these guitarists can play a solo, I was also looking for tone, impact on the genre as a whole and how their personalities came through in their playing. So this list of the top 50 Metal Guitarists. If you don't find your favorite guitar player here then know they were just wankers.


40-Joey Z

How memorable is your work? Joey would answer very, which is why he is hanging tough along side guitarists who might be more technically sound. He is like the hard core little brother of Kirk Hammett the way he works cool melody lines into their riffs.


39-Eyal Levi

The problem with most death metal that makes it not worth a second listen is the guitarists all go for maximum speed and density, think being influenced by Slayer instead of Incantation is expanding their horizons, and play variations of the solos found on "Altars of Madness" . Eyal did not follow the status quo in that regard. He brought a hooky sense of groove to his band and layered it with neo-classical musicality that did not demand a pirate shirt to be worn.



38-Vivian Campbell 

He plays on the first 3 Dio albums...end of story


36-Chris De Garmo

There was once a awesome band who lost their guitarist who crafted their best work, then became a variation of Spinal Tap.



35-Bill Steer 

Helped create grind core. Napalm Death brought the more spastic elements, while his band brought the more gore ridden death metal elements to it. The riffs are so mean they would eat you if he was not a vegetarian.He proves brutality and melody can co-exist.





34 William Wright Barrow

This British gent brings a dignified and progressive quality to his band's brand of black metal that almost makes it steam punk in the nuanced Victorian quirk it possesses , so to make sounds that are visual is a feat. 




 33-Devin Townsend 

Got his start playing with Steve Vai. He then thought he could keep up with the drummer from Dark Angel. His various projects have covered a broad expanse some more metal than others. He has a distinct tone.


32-Peter Lindgren

He originally joined the band as a bass player and switched to guitar. As his band's vocals shifted their focus and added melody he augmented his playing to do the same incorporating a David Gilmore like sense for less is more.

< 

31-Greg Chandler 

He brought a degree of musicality to funeral doom that has been rarely rivaled in the genre. This tone grasps the kind of despair needed. He paints sonic picture rather than just overpowering you with a wall of feed back and distortion.


 

Sleep : "the Sciences"

Now that the smoke cleared from 4-20 we can now take a look at the first album in two decades from Sleep. If you are new to stoner metal and just crawling out from under a mushroom, then you might know guitarist Matt Pike from this other band called High On Fire. Al Cisneros who handles the vocals has also played in OM and this time they have the drummer from Neurosis sitting behind the drums. I'll go ahead and warn you that the first song is just feed back and distortion and not really a song at all, though it might scare you. However they have been kind enough buds to let you known when it's safe to listen by including the sound of a water bong being fired up. The vocals come across a little different than I remember. They are lower and not as soaked in effects.

I think  Jason Roeder's playing sparks new life into their overall sound. The lumbering thunder stirred up make "Sonic Titan" a fitting name for the song. I prefer the grooving movement of " Marijuanauts Theme", but if you are into stoner doom then this is the kind of volume intensive battery you are looking. The bass tone is thick and nasty as it should be, with fuzz coating your brain with every note. They wait for six minutes to bring in the vocals on "Sonic Titan" so have retained the jam like quality their brand of bong worshiping lends itself to.The album is produced in a way that begs to be played at maximum volume. It does have a dynamic ebb and flow as "Antarcticans Thawed" begins in a more subtle fashion with room to breathe in the chilly vibe. Four minutes into the song and it's not to bob your head along.

The albums  third act finds their slow incorporation of melodic embellishments beginning to peak. "Giza Butler" has a more sinewy slither to it's narcotic pulse. It's rides on this until builds up to gallop across the desert in the last minute. If you are into guitar solos "The Botanist" puts a David Gilmore like blazer into the spotlight. Matt Pike has become a better guitarist over the years and this will only push his status as such further into consciousness of the general metal populous. Is this worth a two decade wait ? Is anything ? It does a good job of picking up where they left off. With these guys older and wiser the results doesn't come short of them proving themselves capable of sitting along side the like of Kyuss in the smoky halls of stoner metal royalty. I'll give this one a 9 and see how it sits with me though due to the rambling length of the songs I am not sure how much air time this will get .

the Melvins : "Pinkus Abortion Technician"

Buzz and the boys are teaming up with Butthole Surfers bassist Jeff Pinkus for this album that puts an extra coating of weird on things. The Melvins have been heavier band that hipsters from many decades have been able to embrace, despite the band being not so closeted Kiss fans. Their love for Kiss comes more to the forefront on the cock rocker that opens up their new album. Two and a half minutes into this there is a weird break in the song, where there is a spoken or almost preached section about Florida. It kills the smooth rocking momentum the song had. "Embrace the Rub" is more punk, though much like the album title there seems to a Butthole Surfers theme here since Pinkus is on board. "Don't Forget to Breathe" might be my favorite song on this album thanks to the bass groove and the extra put into the vocals.

I had to go back an give "Flamboyant Duck" another listen to form my thoughts on it. I guess what I don't like about it is the fact it reminds me of the Butthole Surfers when I thought they sold out. It's not a bad song, but not the album's strongest moment either, kinda grunge lite with a touch of country. "Break Bread" is a better song with a 70's Comaro rock vibe. This continues on with their cover of "I Wanna Hold Your Hand"...if I need to tell you who did the original then go ahead and kill yourself. "Prenup Butter" has a bit of a psychedelic edge to it.Three minutes into it the song gets a little jammy. They close the album with a cover of "Graveyard" from "Locust Abortion Technician" and when you are covering a song with a member of that band in your band you are going to have the unfair advantage.

This album takes time to grow on you. It's more rock and roll than metal or whatever their heavier side might be. It does continue to fuel me missing the Butthole Surfers. The winks in their direction are at the heart of this album's core when they are not getting their van airbrushed. I'll round this one up to an 8.5. If you are a fan then this falls right in line with the long strange trip they have already taken you on.

Witch Mountain : s/t

Three years later the band is back with a new singer and bass player. The first thing that is obvious is the voice of the new singer Kayla Dixon.She has a lower alto that is propelled with more blues soaking her soulful approach. The first song might be the only tune on this album that really fits the doom metal mold. The rest of the album has a more organic rock n roll feel to it. I don't remember any growled vocals on the last album like those that appear in the corners of the first song. The opener grew on me with repeat listens though I never doubted it as a song, it just became something I had more of a desire to listen to again. " Mechanical World" has more of a Led Zeppelin pulse to the guitar. This gives it a more unique personality than just Sabbath recycling. They have more of a Mountain swagger to them.

Dixon gives good head register going into "Burn You Down". The guitars take on a more metallic chug for this one. Her vocals slowly form their melody round it in a way that reminds me of Royal Thunder, as there is a balance of vocal acrobatics. This feels heavier than what I remember of the previous album. The song builds into more of a gallop. Dixon's vocal proves it's self more capable of going into a higher Ann Wilson place. The growled vocals return with more prominence on this one. "Hellfire" is a slower soulful blues driven break from the metal. Vocally it's impressive. Musically it's more like an interlude than a song unto it's self , as it kind of circles it'self without really going anywhere.

Bass opens the 14 minute "Nighthawk" that closes the album. The first two minutes could have been cut for the sake of time and when we get into the meat of the song is a slower steamy song that is more blues in it's intention than doom. This song is loaded with guitar solos so if that is your kink you will be pleased. Nine minutes later the song builds into a storm of something more metal. I think the fat could have been trimmed on this song and streamlined it into a more concise seven minutes. The heavy parts don't let themselves build to fruition and feel more like a tease. Which would not be as big of a dealing unless it has not been 14 minutes in the making. Over all this album is an improvement for them and I'll round it up to a 8.5.

Ails : "the Unraveling"

I liked Ludicra, but am always skeptical going into American black metal with hipster buzz around it. I instantly like the dual vocals. I normally hate that, as I want the singer to be able to do both. It works here, and there brand of black metal has hints of Agalloch in the way it sweeps through with a blasting gallop. They go into a break down with folk quality that holds echoes of Ludicra toward the end of the song. "Dead Metaphors" goes in a more blatant metal direction and seethes with a little angrier tone. The big chug in this song feels like the thrashing sludge of old Mastodon. I didn't expect them to stay neatly in the black metal box. The arrangements are very fluid with none of the transitions feeling awkward or forced.

They return to a more conventional form of black metal on "Any Spark Of Life". So conventional that while it's well done it doesn't stand out a helluva lot from all the other black metal that crowds my in-box. "Mare Weighs Down" starts off with a more mid-temp chug. The more sung vocals become more sparse as the aggression thickens. They do return on the more blast beaten blur of "the Ruin". Sometimes they remind me a little of Ragana. Two minutes into "Bitter Past" they drop from the blast beat into a chug with more groove which might not be as black metal, but is less over done these days.

This albums starts off more inspired than it ends, as it first gives us a glimpse of something melodic and original that it could be then gets mired down in the conventions of metal. Almost like they are trying to hard to be accepted as black metal. Maybe they feel since two of the members are women they have to try harder to prove themselves as being metal. This type of overthinking smothers just focusing on the songs. They are great musicians and this project while it falls short of Ludicra in terms of originality does succeed where many American black metal bands fail. That doesn't mean it really warrants the hype around this album, it's well done , but not the best I'll round it up to a 8.5.

The Top 50 Metal Guitarists - 50 to 41

It's not a good year to have played guitar with me. The loss of my bud Shaun Dunn, marks the second guitarist I have lost in the past year. This turned my thoughts to what makes a good guitarist great. Metal finds the stakes for guitarists high. Shredding can come before playing a fucking song. While all of these guitarists can play a solo, I was also looking for tone, impact on the genre as a whole and how their personalities came through in their playing. So this list of the top 50 Metal Guitarists, is dedicated to Chris and Shaun, you two both talked about a few of these guys with each other and your favorites both made the list.


 50- Richard Z Kruspe

 He adds inspired texture and melody to the machine like grind of his employers.




49-Jason Weirbach

 One of the darkest heaviest and most interesting tones in the game. Much more muscle behind it than your typical tremolo picked black metal playing yet it still possess the hypnotic throb.





48-Steven Russell


 His two projects greatly differ one is atmospheric sludge the other is blackened thrash so this speaks to how he is versatile enough to shift his playing.





 47-Jon Schaffer

 His band has gone through various "lead Players" so he might be the only so called rhythm player on this list, but his tone and command of this instrument serve the song and power his band's sound no matter who is behind the mic or playing the solos. Though I prefer Matt Barlow handling the mic

.



 46-Oystein Garnes Brun

His band juggles so many vocal part and shifts in dynamics, he proves himself in one song being able master both epic almost power metal riffing and then dig into fast tremolo picked black metal. One of the most under rated prog metal guitarists out there.





45-Michael Keene


He has the worst tone of anyone on this list, but is fleet enough of finger to compensate for it , though live the sound was rather thin.



44- Justin Hartwig

On his band's last album he really stepped up to the plate and delivered stellar playing that should elevate this reputation beyond just playing in a funeral doom band.





43-Eddie Clarke

He is more of a rock n roll player who did just enough rough living to give his music a burly enough edge to be embraced as metal, He doesn't compete with the snarl of Lemmy's bass and occupies the right jagged mid range to cut through the blitzkrieg of bass and drums.




  42-Nergal

He has a dark dense tone, but I find his more melodic touches and more tender bits of musicality more impressive. Not the biggest fan of "the Satanist" , but trying to get over that and return to their earlier work that I did enjoy.




41-Hasjarl

His odd angular playing might barrow from Emperor, but I think his band is impressive in how chilling and dissonant they keep things, which lies in his ability to not over play despite playing very technical odd timed black metal.

 

Ghostbound : "All is Phantom"

It was a combination of the sounds described in the press release and the fact this one is on A Sad Sadness Song, that made me give this a listen.The song starts off a little disconnected in terms of the arrangement as the acoustic intro didn't really transition well. Then when the vocals that sound like then weaker lunged aged version of Bruce Dickinson come in I feel despite the brief blast beat I have been duped and this is going to be some kind of cheesy progressive rock album. The strum of the guitar leading into "the Wildest Of" is too happy for me. This goes to show that press releases can not be trusted. There is ,more of an angular math rock indie feel to this song that makes me feel it was at least written in the past decade. The vocals once again muck this one up a bit and I used to listen to yodeling prog metal. There is not an ocean of melancholy in the sound , but a few drops more on "Earthen Ground". The singer should stay out of his upper register because it cheeses out things in an 80s direction. This is an improvement over the first two songs. The guitar solo proves they are capable players just in need of stepping in front of a mirror to see 2018.

They think they are getting bigger in a Crowded House direction when they are moving toward Queensryche direction. Something can be said for a band that is self aware. "Keep" is another improvement , but the melodrama remains thick. The proggy croon is more awkward on "Tidings" . The bass gets busy like something from a Dream Theater song midway into it which is more interesting. I think if I knew I was heading into a prog rock album instead of thinking this would be closer to Nick Cave , I might have been more prepared. "Night Time" steps in a better direction despite the vocals , though I can do without the spoken word part. The instrumental portions of " It Goes Away " work really well. Not really sure what the point of the blast beats on "Roof and Well" are, as it sounds really awkward against the vocals. I don't have to have screaming , but I need more aggression than what is happening. The last song circles the drain in a similar vein as what we have already heard these guys do. I'll give this album a 5, it needs more self examination and commitment in terms of what they are trying to do. They are capable musicians who need direction. If you like prog this might appeal to you just don't go into this thinking they are either dark or metal. This album comes out June 1st.

Haunting : "Sealed Shut"

This first saw a tape release four years ago and is now being re-leased by Boris records. This release is of note in 2018 as before Scott Taysom formed Cloak , he was in this band. The first song shows shades of black metal influence , but it largely death metal. The vocals are a dry metal metal growl that is articulated enough to remind me of early Sepultura. The drumming is what held them back from really coming into their own as a death metal band as it's too rooted in punk. This can be a problem for a lot of bands that came from this  warehouse scene as the East Atlanta music scene which includes Little Five Points has always been rooted in punk so most Atlanta metal has leaned towards thrash since it's only a few steps away from punk.

"In the Mist" finds the band going on a much more straight forward death metal route that the majority of the EP finds itself following . Straight forward to the point of being stiff until they come to the Slayer groove of "Buried In Misery" . When the song accelerates, it's feels like they are running down a hill too fast. When they slow down and give the riffs room to breathe what they do certainly works better. At only four songs what are all briskly paced it might take another listen to absorb the finer points. Then it will become further cemented how this band worships the earliest days of death metal where it had not fully formed it's identity from the thrash roots it sprung from. There a some moshy break downs, placed where those typically go some where after the solos.

The more thrash of buzz saw to the gallop of the title track grew on me a little more. Lyrically it's pretty unimpressive. The lyrics are more articulated than your average growl. With more listens the Slayer influence becomes more pronounced. We are talking "Show No Mercy" era. Repeat listens did not help all the songs as "Buried In Misery" became background buzz despite the Slayer groove that originally caught my ear. It sounds like the bass might be doing something interesting , but its' buried so deep in the mid-range thick mix that it's hardly audible. With better production and drummer these songs could be taken to the next level, but this band has broken up so it's neither here nor there now. I'll give this album a 7.5 , which questions calling it an Atlanta classic, but if you are into collecting underground metal releases from this kind of death metal then it's worth having in your collection.

Soliloquium : "Contemplations"

We are not at the half way point of the year yet and I am already done with death doom. This makes me hesitant to check into doom, as I am afraid of stumbling into more of it. That is not to say I am opposed to mixing death metal elements with doom, in fact this band from Sweden does it well. The take the power of death metal and give a punch to the mourning atmosphere of doom. They are not just playing slow death metal and trying to pass it off as doom. The bass does some interesting things when the guitar gives the songs room to breathe. Clean vocals begin to make an appearance on the second song. By "Street Lights" things get darker and more interesting though there always seemed to be a correlation with me. The drummer starts thinking more out of the box, though I can hear a little Katatonia influence in his playing.

The death metal vocals return with more power in their growl on " Unfulfilling Prophecy" . These dudes are smart for they know to get  heavier doesn't mean just defaulting to predictable chugs or gallops. The ebb back and forth from more delicate picking on cleaner chords to more crushing waves of distortion. When the sung vocals come in they are more effective. It is almost hard to hear how it transitions into the Alcest like "22" until you go back and listen as it sounds more like a transition in a melodic break down. The first three minutes of "For the Accursed " if more like post-rock or some shit Agalloch would do, which is good shit , but it's in no way doom.The growled vocals wait til the five minute mark before coming in. So it's more like post-death metal as double bass drives it. This kind of melodic post- death metal carries over into "In Affect" . It's punchy and well written. I guess to some extent old Opeth might also be another reference point, but being from Sweden I can understand the reluctance to connect those dots. But Opeth is no longer death metal so there is a lack of this kind of thing being made with this brand of gloom about it. The clean vocals are not at the "Blackwater Park" level in terms of soulfulness, but they are not that proggy either.

They close the album with "Wanderlust" , it's darkly melodic and slower paced death metal, but listen to the solo break and tell me that's doom, and I will tell you how you know nothing of metal so your opinions not only don't matter on this blog, but my 8 year old knows more about metal than you. It's some good melodic death metal this is true, though this song wows me less than the otherwise adventurous songs on this album. I'll give this album an 9 as it's way better than expected when I checked it out on a whim thinking it was going to be doom. If you miss the band Opeth used to be on "Orchid" then this is worth your time or if you want dark melodic death metal of any kind then it's also worth your time.


<br />

Voices : " Frightened"

Former members of Akercocke formed this progressive metal band. This is way more melodic that I expected and that is what drew me in further to this album. It has a wide array of vocal colors. The metal core of what these musicians creates from doesn't hamper it from bringing other elements ranging from post-punk to post- hardcore, though I guess these post-men aren't just ringing twice as any other post-sub genre can also be found. The mood at times reminds we of Katatonia when it comes to the shades of gray they languish in.Lyrically it's a pretty despondent look at the stories of the naked city. The opener also reminds me of Katatonia in how the drums gracefully move the song. The vocals are the rightful centerpiece as they go to some interesting places. Like the rest of the album they are well produced with effects layered over them to make give the feeling they are another instrument.  Harsher touches are applied , but the balance between singing vs growling seems to be perfect for that they are doing.

Before taking you deeper into this album I'll admit two things. One being I have not heard their first two albums. Second I haven't listened to Akercocke in seven years, though I used to like them.It's hard to hear where they second song begins and the first song ends, if you are sitting down to listen to this album straight through. The vocals get more dramatic and it ebbs down into a slower more sensual pulse. I have to keep looking up to check where I am at in the album, as the songs move from another like movements in a larger work. There is a more gentle almost David Bowie like vocal that I obviously love on "Evaporated". They managed to make their riffs angular without abandoning a sense of groove.  The first time is noticeable we are on a different song is due to the huge shift of dynamics going into the power ballad "IWSYA". This transitions into the heavier part almost like a depressive black metal band, though the drums keep it locked into a more progressive side.

"Dead Feelings" goes towards a more aggressive black metal side, but that is not to say they forsake the more melodic progressive leanings, as clean vocals surface along with a more Cure like guitar tone. "Manipulator" is way more melodic, though maintains the album's drive. Katatonia comparisons could be made though the likeness is merely circumstantial with them falling inn the same sonic realm. "Funeral Day" shifts the mood to a marginally darker direction, taking them further into a melodic direction. The keyboards are well placed through out the album. At a minute and a half "Fascinator" is more of an interlude than a song. "Home Movies" picks up the pace, before going into a more death metal section. This is the first time on this album the verses don't come together as well despite the excellent bass playing. Though it could be how it's venturing out of the pocket that is not giving it the same sense of groove previous songs had. It doesn't suck the first seven songs just raised the bar.

The brisk pace of "Sequences" does have a little more of a post-punk feel. It builds it's way into more of a metallic roar. One of the album's most impressive songs is "Footsteps". The punches swell like post-rock. Overall this album is very impressive  and I'll round it up to a 10. This might be one of the first contenders for prog album of the year and I normally hate when people say that , but it's hard to imagine someone bringing it in the dark and aggressive fashion these guys do though Katatonia might have an album coming out.  This album comes out April 28th, sadly there wasn't a download of it available so I'll have to keep watch for it to pop up on the normal places for consumption within the next week or so, I downloaded "London" to keep me occupied by then, so with

Ihsahn: "Amr"

The ex Emperor master mind's last few album's drifted further into progressive rock. The opening track of his new album is much more metal, closer to even black meta; when the drums come in. Synths are more to the forefront. Not just any synths , but very retro synths that sound like they are from an 80s horror movie. The metallic momentum doesn't let on the second song  even though it includes clean vocals. The choked croak almost picks up where his first solo album left off. More of the progressive elements begin to return this as well. The title track digs deeper into the more melodic slant the second song hinted at The clean vocals on the verses remind me a little of Elfman's Jack Skellington tone. Like many other progressive vocal approaches the melody is more relaxed and more focused on the grandiose than hooking you in.

"One Less Enemy" finds itself locked in more of a groove before the wretched vocals come in an the music fall into a more staccato pattern behind it. It rides the tension with a dark chug that reminds me a little of King Diamonds heavier solo moments. The haunting melodic throb of "Where You Are Lost an I Belong". The vocals build while the music lays back and gives them room to breathe. "In Rites of Passage" picks up the pace in a more traditional metal manner before going off into some weird electronic passage, while the vocals keep the song's trajectory. On "Marble Soul" things start heading in a more upbeat prog direction with the majestic melodies replacing feelings of melancholy. There is a lot going on with "Marble Soul" it is almost like Pain of Salvation in that regard. The 80s synths lead into " Twin Black Angels. It has a suitable palm muted tension with hushed vocals until it gets to the chorus. The chorus is a little too happy for. Almost to the Dream Theater level of happiness, though less Journey vocally. On the second listen to grew on me a little more.

The album closes with the much heavier black thrashing of "Wake".  This starts as one of the album's heaviest moments, though when the clean vocals come in at the chorus the mood brightens for better or for worse. As the song progresses it gets more progressive and these elements make the mood more grand than grim which might not be where I want it to go. He has certainly band albums that were more progressive. I think the inclusion of 80s synths is a nice touch to make this album stand apart. I'll give this a 9, while it is not his best work, its a shade better than what most other artists in progressive metal are doing, though the progressive side is what breaks up the dark aggression that we came to know and love him by. The bar is set pretty high and my threshold for darkness is at the level of soul sucking so if you like darker progressive metal it might be your favorite album so far this year, I a step away from being vampiric in my lust for darkness that will never be quenched by the metal of mere mortals, so take that into consideration. This comes out May 4th on Candlelight Records.

Look Back In Anger : The Cure's "Faith"

 Once again I take a look at a classic album and see how well it not only stands up over time, but resonates with me. Since today is the 37th Anniversary of the Cure's 1981 album "Faith" , Their 3rd album , "Faith" finds them hurling further into the dark place they began exploring on "Seventeen Seconds"/"The Holy Hour" is heavy in it's gloomy plod. I normally doing like their more up beat songs. "Primary" was still in touch with their punk side, and aggressively shoves it mood in your face. The taunt tension it moves with has gone onto to influence tons of post-punk bands. There is a colder stiffness to the bass groove of "Other Voices", yet it is a lighter mood than the first two songs.

Once we get to "All Cats are Gray" the sonic rain clouds begin to settle over the albums more narcotic drone. Synths begin to play a larger role as the atmosphere begins to thicken. Robert Smith's begin to show another side . His vocal is less of a staccato punk and more of a smoother vulnerable croon."Funeral Party" finds his vocals coated in a more despondent longing as the synths form a more dream like wall behind him. With lyrics like "two pales figures ache in silence" I think you can't get more goth than that, though Smith insisted the band was never goth. They just like to dance at funeral parties. "Doubt" finds them picking it up into more of a punk pace and Robert Smith's vocals revert back to what he was doing on the first two albums. Lyrically it's more aggressive, it seems ridiculous for Robert Smith to sing about beating someone up, but that is what's happening.

"the Drowning Man" might be the album's most powerful song with it's ethereal drone. The few people who I have spoken with who aren't into the Cure site the reason as being Robert Smith is too whiny for them. This is one of the few songs where his emoting might have a whine to it. I also doubt some one giving them a casual listen is going to hear since it's a deeper cut on an earlier album and not one that garnered much in the way of radio play. The title track closes the album. It follows a simple beat with the layers of single note guitar creating another drone. The lyrics might be the album's most depressing. There are some more abstract and some what religious metaphors in the them.  I'll round this one up to a 10 not their best album, but we are talking about at band who has made some of best albums of all time, so the bar is pretty high. It is still an important piece of their evolution and a great getting high on a rainy day album.

Wrong : "Feel Great"

Making the kinda rumble once popular with hispters in the 90s which flourished on Amp Rep, these self professed Helmet worshipers are back with their sophomore full length on Relapse Records. They stomp through the first two songs in a rather uniform fashion. The vocal's are a shouted drill Sargent style that looses it's effectiveness the more you use it and only has command to it when used as another vocal color. The vocals finally switch up into something more melodic which also kinda goes for a more Page Hamilton vibe on "Nice Job". The drummer is obviously talented as the riffs shift in their staccato jerk.

These guys do have more guitar solos than Helmet. They slow down there herking and jerking on the title track. It kinda sound like a somewhat slower version of the first three songs with 'Nice Job" still the big winner here. All because the barked vocals are now boring. The singing comes back on "Upgrade". It's more of a slacker tone than being as Page Hamilton as the last time he sang, but heading in that direction. The little harmony run the guitarists do suggests that they are more into metal than Helmet, they used to be a punk band. Though Helmet has been known to cover Black Sabbath so that one might be too close to call. They get more punk on "Crawl Instead". It slows back down int oa more angular groove and speed back up.

They do get more melodic on "Come Apart Mend". Playing octave chords and such, kinda like late 90s post- hardcore. They get back to the tough muscular riffs with "Zero Cool". This song sounds better since a more melodic song came before it to give a little more dynamic contrast, which is what this album needs more of. They are back to actual singing on "Gape" . It has more of a Hum feel here, though you also says it's more "Betty" than "In the Meantime". The last song feels like more of the same stomping about in feed back with burly bass and frantic drums. I'll give this one a 7.5, it works more than I was afraid it would not despite rehashing what we have heard before.

Vowws : " Under the World"

These guys have been on my radar. I think this album is more stream lined than what I heard from them in the past. But I like how the darkness comes through even on these poppier songs. The first two tracks are a little more tightly focused on it than "One of the Other" . The bass line lays back and warbles into the swirl of the mix. This creates an almost shoegaze like sound. "Burn" finds the album settling into a more laid back vibe not far removed from post- "Ultra" Depeche Mode. I prefer when the bass carries more of the weight in building the groove on "Structure of Love" . The male and female vocals sing more in unison. The groove seem to get a little more relaxed as the album progresses and some of the darker feeling is replaced by indifferent shades of gray. They still get some interesting sounds out of this .

Depeche Mode comes to mind in the chorus of "Agents of Harmony". These guys do prove themselves very capable of invoking many different vocal colors between the two of them.Not in a spastic Mike Patton way, but by uses a wide range of dynamic in the very condensed breadth of the vocal range they explore. By the time we get to "Inside Out" it's obvious the pace needed to be picked up. The more passive vocal floats around the more rock inflections of the instrumentation. There is a trashy electro punk aggression to "Forget Your Finery" that makes it one of the album's strongest songs. The vocal interplay is more complex than you are lead to believe at first listen.

I listened to "Charm and Demand" twice for it to sink in. It is another than floats by in a narcotic cloud. The screamed chorus is more explosive than the bulk of the album. It goes back and forth from this soft to loud dynamic. Not really playing good cop/ bad cop with it as the song maintains a similar mood. "Game " finds them returning to a more Depeche Mode like place and is kind of anti-climatic.I'll round this up to a 7.5. I have a feeling some hype will propel this further in some peoples minds it starts off well and the beginning of the third act is pretty good, but the middle kinda walks to much of a middle like that could have been less Depeche Mode and darker. I like Depeche Mode , but I already own those albums. They have some good ideas and strong moment , more consistency is needed.

Heads : "Collider"

In the wake of the short lived post-punk revival we are beginning to get bands who might have been inspired by bands like Joy Division, but go deeper and pull out thoughtfully bleak work of their own. This is one of those bands. I like the fact it reminds me of  Swans, as its post-"Greed" Swans where most bands are stuck on that era. They do have their own personality and are not as pounding or sonic as Swans. There  are some angular guitar moments, but it comes from more of a rock n roll place. The vocals go into a slightly higher shoe gaze coo on "Urges". They go into a more speculative grunged out indie rock drone on "Last Gasp Shout". This has some excellent guitar textures that are powerfully melodic. The post-punk pound of "Mannequin" creates mood and sets the stage for the chanted vocal to float over as they maintain the tension thanks to the pummeling bass line.

The bass stays beefy against the more sonic swaggering rippling over "Smile". There are some harder rock accents, but I would not say the intent is to be heavy. "Wolves At the Door" has more of an ebb and flow. The baritone spoken vocals are a nice touch, giving a Swans feel. Dynamically intense in the manner it hits you with a gradual build. More motion flows through "Samsa". The vocals have a subtle sneer to them, but continue to smoothly glide over the drone. There is a more industrial pound to the feed back fringed "To Call and Let it Ring". When the low monotone narrative comes in this is reined back with metallic shards thrown in as accents.  It has an oppressive and depressive mood to it when the vocals come back singing. The title track is more like a minimalist spoken word interlude that only had acoustic guitar come in at the end.

This album has been pretty dynamic in terms of the journey it takes you on so the tension is maintained on "Youth" that closes things. I like lyrics to this one. It's more rock n roll in it's jangle than most of the other songs , but fits well into the whole of what this band does. They set  sax against the heavier pound it swell into. I'll give this album a 9.5, it' impressive at vocals sometimes go into a Morphine like croon that can become a little uniform, but over all this is a great narcotic listen that is beautifully bleak,

Casual Worship : "s/t"

This is a weird one that reminds me of the Butthole Surfers, if they had more of a middle ground between "Locust Abortion Technician" and "Independent Worm Saloon". The album opens with more of an apocalyptic crust aggression. This might fool you into thinking these guys are a metal band. Truth be told you begin to hear that much like the Butthole Surfer's it's only a dynamic they use. "Kevin Bacon" proves this point as the drums are way to peppy for metal and there is more of a reckless punk attitude. In fact the song itself is a little too happy for me.  "Crawler" finds things darkening back up again. The opening guitar riff being more ominous. There is more of Mudhoney grunge feel. This could have fit right in with some of the cooler music that came out of the early 90s. The spastic punk they launch into before giving more of a hammering on "We Like To" feels more like an idea for a song than one full realized. They use their frantic energy to push you past this fact.

They continue to try and bull doze past you with manic glee until it comes to the more commanding bass line of "Human Vapor". The vocals are obligatory mumble in the background. They snarl out with a crazed desperation when the song explodes as the brooding verse indicates it should. "Slop City" kinda rants with a bouncing dissonance much like the previous songs. They are not the Butthole Surfer in the sense that the Butthole Surfer could mess with you and make noise, but put it in the context of a song that you not only wanted to listen to but was not like their other songs, as things become a little uniform here.

I like the thought behind "Quitters Inc", as it's one of the album's better songs. I'll give this album a 7.5. These guys have a lot of potential and when they hit the mark it's a fucking bulls eye, meaning maybe two out of eight songs are stellar, leaving the others to sometimes carry great moments and at other times descend into rambunctious noise. To some extent this is the point , though I think some maturation in the song writing process is in order.

War On Women : "Capture the Flag"

One of the most hyped punk releases has to be  the newest release from the co-ed  feminist band the War On Women. I don't give a fuck about your politics can you write a song? What sets you apart from the other punk bands. There is a metallic energy to the riff that propels "Lone Wolves". This song is decent , I think what I like the most about it is the vocals that veer from the typical shouting into a more sung vocal. A bass line drives "Silence is the Gift". The song doesn't grip me into as urgently as the more powerful opener. They are back to  rant that owes a little more to the rock n roll of early punk on the title track. The lyrics are heavy handed, but the music speaks louder than the words. Though the lyrical content is what defines this band. If you were going to fact check their perspective then it makes about as much sense as the bulk of Rage Against the Machine's bull-shit.

"Dick Pics" is a more brooding commentary on sexuality, that seems confused in it's metaphors and sends mixed signals. "Pleasure and the Beast" starts of with a more melodic color and then stomps off into something that's a mid-paced punk for more mainstream audiences. They embrace sex a little more her lyrically. As long as sex is empowering in some way, I 'm good with it. The #metoo attitude had a more puritanical bent to it, so this feels like a better balance of perspective. They are more explosive on "Child Birth". Which seems to be about abortion and single mothers. Musically is a mess. Lyrically it's confused. "Violence of Bureaucracy" is run of the mill fast hard-core punk that just shouts at you, and bores me. She does go into more of a screamed vocal that has a metallic rasp to it.

This album is well produced like a modern rock album in it's density and no lo-fi like most real punk. There is a pretty compelling tension to "Divisive Shit". "Predator in Chief" is well paced, but doesn't deviate from punk conventions falling into middle of the road rock with an social justice attitude. The color by numbers guitar solo, pretty much says it all . There is a lot of pumping themselves up with threats, but never feeling any real danger. "Anarcha" has a lot of drive, falls right into the formula they have been working off of the whole album, so it falls a little flat dynamically as they whole...1,2,3, go! only goes so far. It does break down for a few measures in the middle of the song , but it's not enough. Most of the songs are in the three minute range. "the Chalice and the Blade" has more of a groove to the guitar riff work a little better, as the lyrics explore goddess myths vs Christian myths.I think they will one day be able to make a great album, this one gets bogged down in what it wants to say without fine tuning how they say it. I'll give it a 6, they sound good and have some original ideas just not enough to rise above average by much.  The irony should not be lost on the fact  their singer being kinda hot helps get them attention.

The Weeknd " My Dear Melancholy"

I was afraid that he might have become too preoccupied with being a TMZ personality and consumed with the celebrity of being a celebrity or trying to make comic books to focus on music. He has had enough in the way of personal drama to fuel a song or two , but would this happen. If he pushed the pop envelope further I felt he was going to lose what set him apart from the other mainstream r&b singers, though artist could apply to him the same can't be said of his peers who are closer to being entertainers than musicians. My fears were laid to rest as picks up where he left off before "the Beauty Behind the Madness" . It has a much darker feel to it and employs some of the pitch shifted vocals that remind me witch-house. "Hurt You" is the only song that really strikes me as coming from the era of the "Star Boy".  This is mainly do to the beat which has more of an 80's 808 sound and a few bpms more up-tempo than the other murky ballads.

The six songs breeze by pretty quickly. I think with all the press in his personal life we know who these songs are about. It is a similar brand of ballad as "Earned It" though with less sex fueled momentum. It's more introspective and shows him feeling sorry for himself. "Try Me" feels like an over all better song. Musically the production is more interesting and experiments a little. He floats up into a falsetto. The chorus is chanted with more of a hip hop hook to it. He has some pretty good lines in "Wasted Times" like his dick is in auction and if you are an equestrian then ride it like a champion. We also get more of the witch house pitch shifted vocals and a more interesting beat.  It is slicker than when he used to do this sort of thing, but more money is changing hands when he goes into a studio these days. There is a weird juxtaposition between the darker current running under the synths on "I Was Never There " and the more hopeful melody of the vocals. The vocals feel less focused and more like they are wandering around the song. The hook is more focused on "Hurt You" which I have already mentioned. I am not sure I feel the same depth of emotion on this one, but it's a decent song.

The album closes with "Privilege" which is thick on the atmosphere and more minimal. Vocally its a fine performance, think it could use a more solid beat, but as far as pop ballads go it's better than most. The first song he really mentioned drugs, so I think he might be sobering up a bit in real life. No coke references. I'll round it up to a 9.5, not his strongest work , but good enough to fit along side the other albums for now.

Fister : "No Spirit Within"

I was surprised these guys didn't lead off hitting me with a wall of fuzzed out distortion. Instead it's reverb drenched western sounding guitar. The first song is just an intro rather than an actual song, as it gives way to the wretched vocal howls and crunching slabs of low tuned riffs I was expecting. It poses the question where does doom begin and sludge end. This track is particularly puzzling in this regard as there is more of a woeful feel until things begin to pick up pace. The guitars capture a sonic atmosphere that's dark and impresses me. This also sets the course for the song to take a more jammed direction.  Then things take a much more brutal turn with "Cazador" the guitars becoming a demolishing swathe of pounding distortion. The vocals go into a lower more guttural growl to accent this. It moves into a more up tempo punk feeling riff. This is an interesting shift in dynamics which doesn't go into normal places as the band keeps you guessing. The guitars eventually wind themselves around to a more haunting melody.

" I Am Kuru"  slows down to more of a doom punch. The vocals have more anger to their gritty howl. Weird samples swirl with effects around the song to create a surreal atmosphere. The title track starts off with their dismal anger and then backs off into the more reverb friendly clean guitar that the album opened with. Less oppressive, the song has more room to breathe and works off the empty spaces where the atmosphere is until the drums speed up. Then they are back into the punk hybrid metal. They drone off this more atmospheric section. They combine their anger with the side of the band that enjoys to cast shadow on the atmosphere to create "Star Swallower" which lumbers and tend to fall along the lines of most doom tinged sludge I hear these days. The vocals go into a lower grunt.I don't feel this is the album's strongest song, but gets the job done for what it is, yet unlike many of the other songs it doesn't go above and beyond in the investment of creativity used to do this.

I'll round this album up to a 9, as when it excels it puts them onto top of  the sludge sub-genre. Much like the Ilsa album this one made me take a liking to this band , which is an accomplishment since I get so much of this thing coming through my in-box. I have to admit I like the trend of atmospheric sludge more than death doom this year. If you are bored with your current stock of sludge and want something with more thought then this is worth your time. This album comes out May 18th on Listenable Records.

Necros Christos : " Domedon Doxomedon"

The third album by this German band is being heralded as their last. It is more melodic and straight forward . They have come out from the murk of cavernous reverb to have a more organic sound. Gone is the darker Incantation worship. For matter there are few moments that sound like Morbid Angel. The vocals carry more of a croak, than the deeper growl I remember from these guys. Due to this the lyrics are more discernible. They are also more of a focal point with the opener being a clear cut take on the Jesus myth. Three of the first five songs are atmospheric interludes. The opening solo of "Tombstone Chapel" has hints of Morbid Angel. It's mid paced death metal. Two songs in it's becoming clear the theme of this album is Jesus. But in the most blasphemous sense. It might not be as dark or evil sounded as "Doom of the Occult", but the songs written in a very mature manner that is reflected in even the solos whose melodies compliment the songs.

"He Doth Mourn In Hell" finds them slowing down to a more doom pace before the double bass accelerates them into more of a death metal groove. Lyrics are about Jesus going to hell. I have always thought Jesus and Lucifer were two sides of the same coin, so I wonder if this reflects this. Though a closer listen suggests another alternate version of the tale. The album continues to be littered with interludes until you get to "Seven Altars Burn the Sun". This has a more of a thrashing gallop. It goes into a groove that has a surprising amount of swing to it until going into a very Slayer like riff. It seems the lyrics are straying from the Jesus. There is a very melodic break for the guitar solo, that continues the 80s thrash influence. As far as solos go it's well played and not just mindless wanking.

"Exiled in Transformation" has a more deliberation stomp to it. Lyrically this song has more to do with the Tree Of Life. Perhaps working the shadow side of it. Things speed up for "the Heart of King Solomon in Sorcery ". It smooths out into a aggressive double bass driven verse riff that recalls 90s death metal. There is an interesting break involving cleanly strummed guitar that a solo section is built off of. "The Guilt They Bore" starts off fast and in your face before going into a more grinding riff. Lyrically it's back to being a bastardized Biblical commentary. "Exodus" is more of the same and a little less adventurous until the break seven minutes in . Which is a nice melody, but more death metal as usual. They do bring in some new sounds for "In Meditation On the Death of Christ".  After the melodic intro riff they roll into a bulldozing Morbid Angel like riff that carries a great density. Lyrical we are back to the devil and Jesus dynamic. This might not be what I loved about "Doom of the Occult" but in a genre that often is a one trick pony fueled only by aggression, this album has a range of dynamics and solid songwriting that proves death metal can be much more than that. I'll give it a 9. Be warned in physical format it's 3 lps. Of the 26 tracks only 9 are actual songs.

The album comes out May 18th on  Sepulchral Voice Records

Wolvhammer : "the Monuments of Ash & Bone"

These guys are intermingled with many other American metal bands some more blackened than others. The members play or have played with Abigail Williams, Skeleton Witch, Chrome Waves and Nachtmystium. The first few song have a mean spirited mid-paced rumble to them. Almost having more in common with more aggressive strains of sludge than black metal. On the second song the vocals take on more of a scowl. A guitar solo surfaces on the second song proving these guys can be as fleet of finger as needed. The rough edges of their sound certainly warrant an Entombed comparison, though there is less of a death metal edge to their sound. Sung vocals come in when the song slows midway through, which is a nice touch. They are low and mournful, almost Burton C Bell like.

In comparison "Law of the Rope" is much less interesting in it's deliberate throb. The vocals are a roared static sound. The solo is pretty cool though and they do stumble into some blast beats on the way home."Bathed in Moonblood and Wolflight" is a great title. As a song it's pretty decent too. It moves at a steady gallop. It good but is not the band's best song. I find increased feeling in the atmosphere to "the Failure King" more interesting. Then the are back to more of  an Entombed styled thrashing on "Dead Rat Rotting Raven". One of the album's most interesting moments is the last song which is also it's least heavy. There is a cold melodic longing to it as clean vocals float against the bleak gloom of the guitar chords.

I'll give this album an 8.5 as I am most impressed with the fact that continue to show the maturity to expand there sound and bring in more melodic elements. This sets them apart from many extreme metal bands who find being crushing to be more satisfying than writing songs and growing with their sound. That is not the case here as they journey they take you on reflects the journey that is their body of work.This comes out May 4th.

Nigredo : "Flesh Torn Spirit Pierced "

This Greek band features members of Ravencult. They ride a fine line between being black metal and death metal, to the extent that they remind me of Goatwhore. The drums are fucking insane. These guys are aggressive as fuck. This can be their strength and foreseeable weakness. I can feel the momentum of the second song kind of numbing me a little as it doesn't match the urgency of the first song. The guitar does have a dissonant pulses which is the most black metal thing about these guys. Though the vocals have a coarse command similar to what Marduk does. There is more of a gallop to "Chronzon Possession" which is needed to switch things up. They do tend to default to blast beats . The best moments is when it is given room to breathe, so the song can briefly take on more of a angular throb..

There are moments like those on "Mental Glimpses at Cosmic Horrors" when you can hear how far reaching Watain's influence is beginning to be on black metal. When they become too reliant on their need for speed is when things begin to get boring. Even the shift into a catchier riffs is just a diversion. It's official I am bored by the time I get to "Sons of Worthlessness". They get into a more punk rock like beat that I don't like. It's too right up in your face at the same speed they have maintained for the majority of the album, so it's beginning to get stale. "Towards the Monolith" tries to compensate with it's double bass. The manic energy of their incredible drummer continues to carry the frantic mood. The guitars make another attempt in creating a melody, this time you can also hear traces of Immortal in their playing as well. The vocals which are a coarse mid=range bark more than a full fledged growl stick to the one dimensional scowl in their raspiness and is one constant factor that has given this album a rather limited ceiling dynamically.

These guys are more than competent musicians. Even their arrangement prove they can write a song if they want to , but fall into the trap of many extreme metal bands and allow intensity and sheer weight of their heaviness eclipse the point of song writing. The trash in what they do reminds me a little at times of a more metal and less sonic Mutilation Rites. This album gets a 7 due to the fact they are so good at what they do. What they do just falls a little flat for me and doesn't distinguish itself from being just another black metal ish band.

Messa : " Feast For Water"

My first thought when I heard the beginning moments of  "Snakeskin Drape" was this is like a metal version of Lana Del Ray. The tempo picks up and finds them falling closer in line to other "occult" rock of their ilk like Christian Mistress. There is more raw rumble going when they gain speed that what their peers typically muster. The over driven roar is more of a production choice as cleaner mixed guitar play around it. There are plenty of guitar  solos that give it a more jammy feel. When the tempo drops down for the next song I think they have more room to let their singer cut loose. Things get more interesting for the blue based touches applied to "the Seer". The cleaner reverb bathed guitar tones being my favorite. They have a great sense of dynamics and the guitar reach beyond the normal confines of meta with the style of their solos.

The first half of "She Knows" is a "No Quarter" like instrumental before building up and ebbing back into more of a torch song. They continue to merge odd pieces of other genres on "Tulsi" which blends both black metal and rock, before descending into a gloom draped jam. The sax that comes in over this is really what brings out their jazz side. It also makes me think a little of Hawkwind. They fall back into doom with "White Stains".  The organs on this song return to a more "No Quarter" sound. They back off into a more gently picked guitar for the last song. This instrumental is more of a noodling outro that builds into a more stormy rock pulse.

So for the sake of this review I am not counting the first or last track, since they do not feel like fully formed songs but transitional ideas. The six songs that serve as the meat of the album are going to get a 9. I think while this band shares a similar sound to others in the occult rock genre when it comes to the broader sense of having a more retro sound, what they do with that sound is much more unique and sets them apart from most of those bands giving them the most common ground with say King Woman. If you like dreary doom influenced retro rock then this is worth your time for sure.