The German duo, is clearly not making sludge any more , this is a more thrashing affair with a Venom feel to it at times, High on Fire would be another reference point I suppose , though what is going on here is more refined and metallic that rumbling punk tinged metal. There is a palm muted chug to "Seek + Forget" it builds into more of dense rumble. The guitar riffs have more of a classic metal galloping dexterity to them. There is a weird melodic section. There are shades of their older sound on songs like "Taurus". The vocals are largely a nasty rasp that is not quite a death metal growl and sound more thrashy. There is a more Mastodon like riff going into "Midgard Serpent". There is a great balance of melodic guitar riffs set against groove.
There is a more stream line post- thrash style riff to " Dynasty of Nails" . It's almost too stream lined as it is pretty much color by numbers metal. The rock groove gradually become more defined on "Anti Eternia". By the time it gets to "Formation of Night" it is almost at a more Tool like level of grooving tension. The vocals stay raspy. The songs are pretty condensed and get to the point "Teeth of the Sea" is just over three minutes, though it is more uptempo than the bulk of the album. "Funeral" The lyrics pop out a little more on this song.
Overall it might not be the most original brand of metal these guys cranking out, this album is heavy as hell and sounds great. In fact it could be argued this is the bands best sounding album. The hooks grab you and make it a really album to listen to. I'll give it an 8 as some of the songs begin to sound the same and I already own all the Entombed albums.
This French band is gloomy enough for me. I was at first worried they were going to a French version of Katatonia. But the vocals have a more desperate urgency. They have a higher more Ozzy like timbre to them. The production certainly aides in creating the bleak urban landscape they are going for. There is a more Type O Negative like atmosphere to "Sleep Juice". Not that it's goth, it just shares a similar sonic space, though I can also hear the more power ballad like guitar tone from solo Ozzy. The vocals are more vulnerable on this song. Here is a guy that can fucking sing, but doesn't waste notes trying to sound like he is on "the Voice". They have been around for 13 years, so I am not sure how this band has eluded me.
"Touch the Razor" is impassioned, a feels a little to me like something Pallbearer might do. They do not have the affintiy towards angular low tuned riffs that Pallbearer does. It's not like they are setting out to be a doom band. They are just writing songs with a sense of mourning to them.There are big guitar riffs that hold a great deal of weight and in this way I suppose the comparison to Katatonia could be drawn. "Tara" is a atmosphere instrumental , more of an interlude or what might have been better served as the intro to song that follows. "4/19/16" has more drive on the verse leading into the song then begins to swim in it's melancholy. "Tired Eyes " begins to gather then kind of muscle associated with more traditional forms of doom.
"Negative Male Child" is not a ballad , but does has a poppy grunge sense to it that reminds me of much of the music I listened to in 90s that was not industrial. There is even a stronger sense of hooks in the vocals. There is another instrumental after this that . The last song "Full Ashtray" carries an ominous stomp.It fades out into ambiance, but over all is a solid song. I'll give this album a 10 when you strip away some of the atmospheric interludes as I think they are dark and emotive, in a sincere and powerful manner, I want to let it sink in more.
This band needs to convince me they are not just trying to be the Deafheaven of Sweden . Upon hearing the first single "Vacant Eyes" you might assume the hardcore stomp is a variation of Deafheaven used to do. The first time I saw Deafheaven live it felt like a hardcore show more than a black metal show. When you go into the actual album the opener paints a different picture. There is still the post-rock haze of gazing, but with more of an explosive tension. The drummer in this band is on point, There is a more of a punk jangle to "the Sun is Away". Clean vocals have a indifferent yet sleepy shoe gaze color indie rock tone. This makes the initial single more deceptive. They are a punchier brand of punk flavor indie rock , who really rocks out. This dreamy turn is a impressive dynamic shift from the first song.
"Regn" is more if Deafheaven's producer recorded a more mellowed out Converge. It has the shimmering post rock guitar, while drummer is intent on playing hardcore. On the second listen this proved to be more interesting. The dynamics are impressive. There are many interesting guitar tones on this album and none of this is coming from a place that finds them compelled to make a metal album, metal is just sonic color being used."Misery" is a fragile shoe-gazing affair that is more Bright Eyes than Deafheaven. There is an interesting interplay of guitar on the more aggressive yet melodic nature of "Juni". The bass holds most of the overdrive on this song. The vocals are more emotive and I could see this being thought of as screamo. The songs swells and takes you away with both anger and beauty.
The drums set a more subdued groove while going into the title track. It's not as explosive and simmers around in more indie rock territory. "I Flew Over Your House Last Night" takes it's time bathing in atmosphere it does eventually build up into a more pounding place where screams echoe beneath it. I'll round this one up to a 9 and see how it grows on me. The only thing that doesn't sell me 100 percent on 100 percent of what goes on here is sometimes the songs are so atmospheric they float away from you and I think more could be invested in makes this songs that you sink your teeth into as they prove at many other points on the album that is what they are capable of . But it's still a great album.
Keeping with the theme established last week where we featured on artist for the week's playlist. Granted it was aimed at one specific person, as I thought given their tastes in certain kinds of music that Nick Cave would be the perfect choice. This week I am focusing on one artist again. Many of these have been thinly veiled dedications, this week the fourth wall comes down in order for me to explain the why I picked Morrissey. Why would I not pick Morrissey is what you are asking yourself. originally asked what artist made them think of me and they said "it would be one we have discussed" so this artist is one that has probably come up the most in conversation the most. While it depends on who you talk to , I think most people would say Morrissey or David Bowie if asked who is my favorite artist. The reason I would pick Morrissey to dedicate this blog entry to is because he is a summary of emotions.
Bowie is grandiose, and in fairness should be next weeks, but if I am going to pour my heart out to you it will resemble Morrissey lyrics. This out pouring is not the pristine thing of movies, it's complex and uncompromising. Past pain might have left me slightly jaded, but that was pierced by the hope I could be seen for who I am . That longing is what Morrissey is all about. Some people might say Morrissey is depressing and those people have all the depth of a paper plate. Morrissey shoves an entire emotional spectrum into one song. As it should be because the dive into feelings at the rawest level is fucking scary. It require the kind of vulnerability that Morrissey is the patron saint of . It's perfectly imperfect messy maze of feelings that you are forced to feel, because you took a risk and let your self feel one. The last song might be the most perfect. Its like Morrissey always has the ability to look into my soul and put it into words. To share a Morrissey song I am really sharing a part of myself. While this public display of affection might you dear reader the innocent bystander feel sick, just know all of these songs but two are all from different albums spanning Moz's career, so this is a very comprehensive look at who he is.
This band from Finland supposedly plays industrial black metal according to their press release. The first song sounds more along the lines of Behemoth. This is not a bad things as there is some groove and the riffs are catchier than if it was just a bunch of blasting. Even the big march of "Deathless Form" shows they don't have a clear understanding what it means to be industrial, so I am no longer going to listen for that. The vocals are the only monotonous element to their sound. While it's rasp might not be like the croak Immortal uses, it could stand to be more expressive. More blasting develops on "Omega Angel". This is their first album in 15 years, so to their credit they are cranking out the kind of black metal that still feels relevant today. This doesn't mean it's always the most original. The effects layered over the vocals do provide an interesting effect, they just need more of it.
"Holy Black Sun" has the keyboards more pronounced and captures a different feel. Not industrial , but more sci-fi tinged. "Twilight" is darker , but not interesting enough to merit being an instrumental. The Behemoth comparison's could be more noticed on "LFXR" Here the vocals take more of shout than the static growl they held earlier. "The Earth's Last Stand" is pretty run of the mill for metal of this kind and finds the band really failing to establish their own identity as it could be any of a 100 bands.
I'll give this album a 7.5 They are not really breaking any new ground, however they are good at what they do . The first half of the album is catchy and well written. Sure their musical ability is on par. The pull off all the guitar solos, blast beats and double bass sections that is expected of this kind of metal. But that is just it. Any band whose album's I'm listening to at this point needs to do more than just pull it off well, you can throw together any group of actual musicians and they can do that I want to hear the sound created that is the signature of their chemistry and what makes them the band they are, that might not have aged like the fine wine the 15 year hiatus should bring. But if you can't wait for the new Behemoth this will make for a good supplement. .
Right from the first few seconds of noisy atmosphere I can tell this is the perfect album for anxiety ridden moments at 5 AM after waking up from a night mare. "Tomb Puncher" is the first actual song. Scott Kelly is singing over electronic beats, but in a manner than would not be totally out of place on a Neurosis album, just coupled with more effects. "Body Ash " works off the same formula , but is not as effective after already hearing this dynamic. I think on "Flat Rats in the Alley" what they do works better due to the fact it's darker so creates a different shade of intensity. On "Thing of Knives" things start to run together with the song that comes after. It starts off with more noisy ambiance which for me fades into the background since it's an effect and not part of an actual song, until a beat begins to form a minute and a half later. When the chant of "my reasons where unknown here" comes in then you are re-engaged.
"Crooked Teeth" starts more minimal and darkly builds into more of a throb as Kelly chants under this. Vocally he is pretty simple here. At first I was thinking this is almost like the industrial album you might have always wanted from Nick Cave, but Cave sings more and displays a more fluid range when he does. This is almost more like spoken word. Due to this mono chromatic vocal approach it causes a song like "Death Cart" that might have more going on musically sound like all the other songs. "Coward Heart" is almost like a sounds from the haunted house sound effects album. It work off of creaks and various glitches. His gruff spoken word is more at a Leonard Cohen like whisper.
I'll round this down to a 7.5 as the songs tend to be rather a one dimensional drone thanks to the vocals that just work off this gruff spoken word thing. This album is pretty dark and atmospheric. The beats don't always converge around these themes to propel the songs in an effective industrial direction. If you are looking for some dark and gritty background music where the spoken vocals would provide much of a distraction then check it out. If you are wanting something as heavy as Neurosis or Graves at Sea then you are looking in the wrong direction.
Pop doesn't have to be an ugly word. This band from Finland draws from what it meant in both the 70s and 90s. Either that or this is what it sounds like to get stoned and play pop songs with actual instruments. The vocals have a touch of Stevie Nicks in how they warble with vibrato slightly. The guitar melodies glide with single notes in a manner that owe props to the Cure. "Nice Sunglasses" might be about the summer, but the melodies remain layered with moodiness. There is more of a upbeat jangle to "Green Sixteen". There is a lighter floating atmosphere to "Pale & Blue". This creates a very dream like haze to what would otherwise be more sugary. I can also hear some country influence mixed in here.
The indie rock side of the band gathers more momentum on "Vegetable State" to try to actual rock with blown out guitar solos. The country hints return but from a more Neil Young angle on "Gutter of Hearts". Her trembling vocals are still as delicate as always. The droning atmosphere of this song, allows theme to float over the songs pulse. The song builds up in a way that brings older Arcade Fire to mind. "Coming Over" the first song thus far that doesn't fully connect with me. There is a brighter guitar tone to "Nightgown", that might bring the Beatles to mind. But this doesn't mean that they are fully committed to the psychedelic thing. At times the vocals make me think of what it might sound like if Courtney Love decided she wasn't to make an album of psychedelic garage rock. Two and a half minutes in the song begins to take a weirder turn.
There's a 60s psychedelic feel to "Leave a Trace" that closes the album. It ebbs down into something with almost more of a country feel. The Stevie Nicks comparison is more prominent when it breaks down to something that leaves the vocals more exposed with less layers of sound for them to hide within.The flowing chorus of this song is one of the album's strongest moments. There is another oddly retro distorted guitar solo on this song as well though it doesn't summon the ghost of Jimi Hendrix like the first one did. I'll give this album a 9 and see how it grows on me it's very well done solid effort.
I thought "Black Gives Way to Blue" was an excellent album that upheld the band's legacy, while "the Devil Put Dinosaurs Here" was unfocused and weak, showing possible signs of DuVall overextending his welcome in the studio, where Cantrell had more of an obvious hand in the writing of the first album without Layne. The opener of their newest finds them back closer "Black Gives Way..." with the title track a little more upbeat , but not a miss step , just something that needs to grow on me. Things get heavier on "Red Giant" with a huge crushing dark riff. The vocals slither out of the shadows and it's everything I could want from this band. It's when they get into the acoustic of twang of "Fly" that I begin to get cautious. Not that this is a side of the band that they should avoid it is just the side that has had the most margin for error. The verses are better than the chorus that tries to hard, but the guitar playing and some of the vocal refrains make up for this.
There is a sludgey hint of grunge going into "Drone". Midway into the song there is a more melodic touch and some great guitar playing through out. If they did not preclude the stoner metal trend this would fit neatly in that. "Deaf Ears Blind Eyes" keeps things suitably dark. Think darker tone of this album is what places it more solidly behind "Black Gives Way..." The melodies are more minor , which is really the only thing that works for these guys. When they open "Maybe" with Eagles like harmonies it's also concerning. But it's clearly written well enough to pull it off. It might not hold my attention as well, but it's well done. "So Far Under" is another sludge tinged rock song that doesn't what you expect from these guys but almost obligingly so. The pace picks up for "Never Fade". The hook in the chorus is more memorable than that of the previous song. As it progresses its more straight up rock n roll.
The album closes with "All I Am " which is a ballad in the spirit of "Down In a Hole". Not so say it revisits that place, it just possesses a similar smooth dark dreamy quality. Things build on the chorus with it feeling like all the lighters should be pulled out for a power ballad. I'll give this album a 9, as it stands up against "Black Gives Way..." perhaps not always shoulder to shoulder with the Layne albums, unless with are talking about the self titled one. It might be better than that one. Much Like "Black Gives Way" it's hard to tell where Cantrell's vocals begin and DuVall's end, so DuVall works better as a tribute singer than showing too much of his own personality in these songs. I am glad that they have taken a turn back to a darker direction.
These guys had to grow on me. When I first heard them I tried to write them off as a Joy Division knock off. I gave them a chance and heard differently. Now I find myself wishing for more Joy Division to be injected back into their sound as 2014's"El Pintor" was just not dark enough for me. I dont these guys to be happy. Things do start off differently. The vocals are higher, floating without the sardonic starkness to their narrative. I am willing to compromise with the groove presented on the opener, but I don't want them to perk up much beyond this point. "the Rover" is not a Led Zeppelin cover, though that might be a better move than the peppy energy trying to urge a garage rock dance before the more textured chorus. I am also unsure of the higher vocal tone employed here. "Complications" is upbeat , but has a more somber tone, so I don't need everything to be a dismal drone, since what they are doing here works just fine for me.
There is more hint of rainy afternoon on "Flight of Fancy". There is enough rock to this in the drumming and the chorus is not too poppy, so we are still in the right zip code on this song. They seem to be remembering who they are more on this album as " Stay in Touch" carries the moody introspection I want from them. They gather many interesting guitar tones as the bass carries the tension beneath. The up tempo "Mountain Child" just breezes by without really engaging my ears. "NYSMAW", finds the band returning to form and is the first song that really wows , me as it broods while soaring. The vocals might not be as bleak , but the melody makes up for it , proving things don't have to be the slate gray shade I would want them to work,
The atmosphere of "Surveillance" helps the band to continue to show their various strengths as the pulse of the song flows against it. This is the sound of what I prefer to listen to when I am depressed. Which is 40 to 50 percent of the time. The skip return to their step on "Number 10" but it's disarmed by the swirling sense of sonics to the song. Not the album's best song , just not as engaging. The drumming to "Party's Over" is a little Led Zeppelin, as they excel at creating a groove. The vocals are under stated on the chorus. "It Probably Matters' is an odd blend of various pop elements run through their grayed out trans-metropolitan filter. It works for them well. I'll give this album a 9 it's a better return to form for them.
The 4th album from the Finnish metal mongers, finds them sticking firmly in the ghastly brand of death metal that has marked previous releases. Their attitude and passion for the Left Hand Path, gives them more of a black metal feel. The guitar solos are more nuanced than the riffs of some songs. There is always a clarity to what they are doing, so it never comes across like they are just hitting you with a dense wall of blast beats.Though blast beats do come on "the Messiah Of Pigs" which is handled in a way that reminds me of old Cannibal Corpse. The low gurgled vocal are perhaps even more on the one dimensional side than Chris Barnes. There is more of a thrash tinged groove to the riff of " the Darkness Has Returned, It has almost a more punk feel in the way they frantically lash out. This gives the song more of a thrashy feel, despite the low growl.
"Sorcery and Doom" blasts in with a gritty explosive style of in your face death that disregards finesse. Midway into the song that regroup to find more of a double bass groove, before speeding back up. They ebb back and forth form this use of dynamics. The second slightly different to create more of a moshy feel like the death metal of the late 80s. There is a little taste of ominous atmosphere at the beginning of they hyper blast speed fest that is "Star of Darkness" . The synths that sit low in the mix add some texture, but truth be told this album could certainly use more sonic colors. It get it's intense and heavy, but the breakdown like turn the song takes midway in proves to have a darker result. When things slow down for "the Obsidian Flame" it opens the door for some musical depth. The synths make more sense. It might be the best song so far.
The speed back up for the title track. It's very much about the blunt force trauma of jamming its speed into your face. This also makes the song one dimensional. The album closes with "I am Lucifer's Temple". The more mid pace throb of the song, helps to set it apart from what has more often than not been a lust for death metal speed. A minute and a half in it drops down to just the bass, then builds back into the pulse of their march.I will round this down to a 7.5, while it's better than many bands doing similar, I preferred the previous album as this one relies too much on speed. Granted if you like fast death metal that asks few questions the round this up to an 8. Regular reader will know my tastes lean more toward black metal as it offers more emotional color than is presented here.
Thanks to the proper inspiration I am staying the course and now on the 3rd installment of the Weekly Playlist. While up to this point they have been thematic, this time we are taking another slant and focusing on a particular artist. The reason I picked Nice Cave is because when someone has an itch for folk that borders on country, and suggests they like the fact the singer sounds like a preacher, how can Nick Cave not come to mind? This is not the first time I thought about making this for them as other things they listen to point in this direction. Granted the lyrical content of these songs leans heavily to convey a certain message, so I am not saying these are the top 10 greatest Nick Cave songs ever in fact the might be more like ballads than his typical sonic saunter, but they touch a place in my heart, I can’t stop expressing even at the grocery store after the deli clerk who can’t tell the difference between a wolf and a furry asks “Are the cats in town?” So here ten of the most heartfelt Nick Cave songs that also hold hints of his twangy preachy side.
This project out of New York has a lot going for them in the fact they have added Liturgy drummer Greg Fox. They opener up their new album with a great deal of sonic power and intensity. By the second song it's still pretty clear that this is going to be one of their heaviest offerings yet and Fox's drumming is only adding to that. There is more of a punk feel to "Inhuman Condition" , most of this is due to the yelled vocal. By the time we get to "Found" which opens with a mother fucking mean ass riff, it's obvious this is going to be the band's most metallic offering yet. However it's by the point that you also realize these vocals are just obnoxious as hell. If vocals are something you tune out anyway when you are head banging then this might not bother you as much. The blown out riffs get so rumbling they almost make me over look this fact as well. Almost.
Purposefully lo-fi and ringing with feedback, they relent very little on "Transubstantiation" until they drop out and it becomes ranting over the pulse of a bass frequency. When they kick back in, despite the vocal annoyance it's undeniable its powerful. Its hard to tell where punk begins and industrial strength sludge ends. "Alone In the Dark' keeps the momentum going, but the fact the vocals are little more than the same indiscriminate yelling, makes it begin to lose some of the luster. The riff to "Headless Eyes" compensates for any and all finesse that the vocals lack. The double bass on this song steamrolls everything else. This is the only way they can make things really work with the vocal handicap. When they do not have the benefit of this kind of riff , then on a song like "Anointing of the Sick", where the vocal ranting is even more tedious it becomes unnerving. Half way into this song I am thinking "God, is this over yet".
The album ends with "Peaceable Kingdom". They slow down and there just doesn't feel like there is enough direction for them to let up on the more relentless side of their sound.Despite the terrible vocals and the last song that lacks direction, I'll give this album an 8, on the merit of how well it works despite some of these factors that play against it. If you are a fan of these guy and tone deaf enough to ignore the vocals then this will blow you away. It feels like this is for punk with an appreciation metal rather than a metal album though it is heavy.
I'll say I went into one of the recent stops of this tour with Marilyn Manson's full discography in my iPod so the deck was stacked in his favor. I had seen both Manson and Zombie in concert before. Manson the more recent of the two, as I saw him open for Slayer in 2007. Zombie I caught at an Ozzfest in 99. I liked his "Electric Warlock..." album , though a bigger fan of White Zombie. So the deck was stacked in Manson's favor. My she-wolf (girl friend in muggle speak) had never seen either so was a clean slate only biased by the fact she knew I was going for the express purpose of seeing Manson and told her going into we did not have to stay for Zombies entire set. She was braving the outside world for this show in a new cast after a paw injury, so was total super trooper the entire evening though I tried to do what I could to make the night as safe and easy as I could. Ok I'll stop gushing and get to the meat of this.
Manson
He was two songs into his set by the time we got in the line being told she couldn't wear a spiked bracelet, which I pocketed rather than threw away...duh.In line I heard "This is the New Shit" and we walked up while he was playing "Mob Scene". So we saw six full songs , which was more than enough considering how wasted he was. For "Say10" is seemed marginally more enthused. But he sat down to sing portions. He smoked a cigarette for this one which impressed the girl friend who had not seen someone smoke while they sang before. He faked like he was going to play "I Don't Like the Drugs", but instead went into "Dopeshow". His first costume change also occurred where we wore a gaudy jacket that looked if Big Bird was a raven. "Sweet Dreams" was well received and perhaps the smoothest execution of his set. Though he kept hitting things with his microphone then acting surprised when it didn't work. I know part of his persona is not giving a fuck, but at least give enough of a fuck to do your job or go act like a baby in Hollywood. "Kill4me" was decent considering I had never heard it live before. It was when they went into the "Anti-Christ Superstar" songs at the end that things got really underwhelming. The title track with the Bible burning at the podium was better than "the Beautiful People" which put him on the map. It was also during his set my wolf realized two things, it was really fucking hot outside and there was literally no room in the seated area to dance. She was however pleased as she could cross Manson off her bucket list.
Zombie
Rob was the underdog going into this. I had more experience with him in recent years working on Halloween 2 than I had his music. Manson's stage show had been underwhelming , so when Zombie exploded onto a stage lit up by video screens it was as impressive as the energy invested into playing the songs. Rob has to work harder for it as his range is somewhat more limited than Manson. He dominated the stage in terms of presence. While he talked about drugs later in the set , it was safe to say at his age Zombie was sober. "Superbeast" was pretty pumped up and high energy as well. Funny enough half Zombie's band once played for Marilyn Manson. Granted John 5 is an impressive guitarist so anyone he is playing with is going to have an ace in their sleeve. I liked the movie playing on the screen while they were doing "Everybody is Fucking In a UFO" since it had Rob's wife being molested by aliens. He had all the ladies and she-wolves stand up on the chairs and dance during "Living Dead Girl" so I am glad mine got some room to dance here. The only fly in the ointment was "More Human Than Human" which seemed a little slow and like Rob could not keep up the pace of the rapped vocal. But if he missed the mark on one song then that put him well ahead of Manson.
Right before "Gore Whore' we retreated from the seated section to the general admission lawn so the Wolf would have room to dance and vent some of the energy gathered from being housebound the bulk of her injury. Not that dancing in a cast is an easy task, but a beautiful creature can always pull it off. Before playing "Thunderkiss 65" Rob told the crowd to put away their phones for 3 minutes and was almost into the song before they stopped so he could tell someone to turn their phone off. During this song they went into a cover of "Schools Out", then closed the night with Manson coming out to join him for a cover of "Helter Skelter" . While we had a wonderful evening, it was clear that Zombie won this contest.
Here's one from Groovie Mann the lead singer of My Life With the Thrill Kill Kult and John Norten of Blue Eyed Christ. The first two songs do sound like Thrill Kill. Less of a disco groove and more like their earlier work, though not as dark. "Fame Games" has a little darker pulse with it's more cynical commentary. "Frantic Child" has more drive , but the vocals are getting a little stale at this point. I like the use of samples , but the song itself feels a little regurgitated. I'm not sure if I would call this industrial. I never thought of My Life With the Thrill Kill Kult as industrial just sometimes darker electronica. "A Perfect One" feels more like an interlude from a Revolting Cocks album.
While it doesn't have the strongest chorus, I like "Hard Drive". I think they could have perhaps benefited from taking other musicians on , rather than trying to do all of this themselves. "Finger on the Trigger" grooves along with a very 90s feel. It's in a weird gray area. Not really that dark, but still not pop. "Emotion Matters" has enough groove in it's futuristic drone to keep my interest. When we get to "Icons & Idols" I realize my only qualm with this album is the production on the drums could have been better. I feel if these beats really hit you then the entire album would have a greater sense of urgency to it.
I'll give this album a 7.5. Some of the songs work really well. I think the production value doesn't hold up to where Thrill Kill was at back in their day. It would be nice for Mann to have to measure up against himself in that manner, but he has a legacy to up hold. I thinks he likes the idea of being a rock star more than he seeks to invest into some of the sounds committed to this album. He more of less lives up to his end of the bargain, as he does what he does. I did not go into this expecting him to have become an incredible singer, I just wanted him to do what he does. Where he is accountable is more of an issue with quality control unless he was too high during the final mix. Granted I am not cranking this through studio speakers at present so maybe louder makes it better. I am not saying it sucks . I am saying he has to bring it like he used to.
Ever since 1988 I have been a fan of this band. I have followed their journey from thrash to prog to weird Pink Floydian places. The 14th album from these legends finds them embracing all of their sides. The opener takes you through a wide array of dark and melodic places, with Nothing Face" like drive rather than thrash aggression. Snake's voice sounds great. Their is a more angular stomp to "the End of Dormancy". Weird effect on his voice create an interesting narrative. I love when it gets darker with the more subdued vocal. Snake is really stealing the show here. Older and wiser I can hear more Killing Joke in their approach. "Dimension Hatross" is dark in a very dystopian manner, where this album is darker in a more introspective manner. There are still many injection of progressive rock woven in. It's not as heavy as "Killing Technology" but why would it be?
There is a more upbeat mood to " Orb Confusion". It still sounds very Voivod. Away's drumming is also very consistent with what has made these guys who they are. The new kids Chewy and Rocky, get what Voivod does and conform to that vision. The riffs are still angular and dissonant. There is maybe a little more shred in the guitar solos. "Iconspiracy" finds a weird even for these guys symphonic element creeping in. Fans of progressive metal will really appreciate this one. "Spherical Perspective" is more melodic and mid-tempo. It finds Snake going into his more gritty vocal roar. They continue down more of this middle road for the marginally more frantic math of "Event Horizon". "Always Moving" starts off with more of punk beat, but falls into something very surreal, which is the kind of unexpected dynamics I love to get from these guys. In converges into a rather tension and ominous chug.
The album closes with the 12 minute "Sonic Mycelium". It starts off with a languid psychedelic tone. Five minutes in things get weird when it takes on a more circus tone, before flexing into a burly bark. The acid continues to find them peaking as they come out of this part and into a more angular that Rocky really does well at . If you are going to do a 12 minute song then you have to make it as interesting with as many twists and turns as these guys do. It ends with strings which are the one thing on this album that is going to take some getting used to. I'll round this album up to a 9.5 and see how it sits with me. I think while it's not the very peak of the Piggy years , still holds ground against their body of work as a whole.
I like trap rap more than I like Hot Topic brand metal core. I will give Attila credit for writing catchier shit that the bulk of their peers . One thing I can say about this ep is that is reminds me of Upon a Burning Body's team up with Ice-T for their cover of "Turn Down For What?". The rapping courtesy of Da Boi J is not hindered by the sense of nostalgia that haunt Ice- T trying to stay relevant. Without question this is dangerously close to nu-metal, which is traditionally not my thing. The first song that opens the album is the lowest common denominator. Its not until the rap comes in at the verse that it really catches my attention. The screamed vocals from the Attila front man, just sounds like everything else from that genre. "
Back it Up" has a melody to it that reminds me of "Big Pimpin". It's a much better song than the opener and all of the elements mix together much better. At times some of the more abrasive elements remind me of Death Grips. "WDGAF" or...We Don't Give a Fuck, works pretty effectively as well though there are more bone headed elements in the attitude that brings to mind Eminem's more belligerent moments. "Real Ones" seems to find this project falling into more of a formula. The more death metal vocals that pop up are not my favorite , but I understand that is the zip code we are in. Some of the shifting heavier grooves toward the end of this song work really well.
"Tunnel Vision" doesn't work of the kind of hooks that I expect from this kind of rap. I suppose the more metallic side of this takes the emphasis off of this . Not sure if it compensates as well as some of the more stellar match ups of this kind that occurred in the late 80s or early 90s when this kind of pairing first came into being with actual metal and not Areosmith. I'll give this album an 8 which is better than what I expected going into it.
In the modern revival of what for lack of a better term we might call hipster industrial, since gone are the Hot Topic like trappings that once draped the Cleopatra records wave of these bands in the 90s. These guys are heavy , At the same time they are noisy and lo-fi. Most of the songs seem to work more of a drone than to really have a wide range of Nine Inch Nails dynamics. I supposed this could play off the drum programming. One thing I like about this resurgence of Industrial is that if you took these guys, Youth Code and Author& Punisher none of them sound the same. Things get darker on the title track. When I first heard this album it was late at night and I was tired. Upon that listen I heard more of a black metal influence in the vocals than I do now as I type this with my first cup of coffee in hand.
"Small Print" is kind of lost in the noise and I had to listen to it a few times to make out if it was an actual song. Rather than listen to it a fourth time I decide it's not an movie on. "The Flaw is in the Design" is as it works off a very defined guitar riff. It's overall slower and more brooding. By the time we get to "So Many Ways In" it's clear that this projects prime object much like Godflesh before them is not to make you dance but create brooding throbs for the apocalypse to come. With that said their is almost a dancey pulse to the song after this , but in the same way that even the more angular rough edged Skinnyt Puppy can be danced to. "Only Surfaces" also finds it's own opaque groove.
"Access Control" gets darker and finds this project going down the bleak and blurry path that Skinny Puppy first struck out upon. The difference being in some ways this reminds me more of old Swans as they are once again running off a dark throb. The album ends with their most conventional take on industrial as the beat captures a more defined groove. That is not to say they have abandoned the identity already established on this album. It still contains the unnerving layers of jarring atmosphere. I'll give this album a 9 and see how it sits with me. If you are a fan of industrial , but not tied to the idea of it having to sound like Ministry then it might be worth your while.
Half of the time when band's submit something for review it's painful, the other half is a lucky surprise, this album falls on that side of the fence. Almost like a more glitch ridden version of Pale Wave. This project takes you on a more glitchy and experimental ride with twisted pop groove and hints of dub step. Mindless Self Indulgence might be another point of reference. The album flows really well and I can just leave it playing, this is always a good sign for me.
The opener "Mountain" has more of a bounce in it's step. The vocals remind me of St Vincent due to their quirky nature. It finds it's way into a groove as layers are added. "Castle" starts off with a little more unconventional chaos, but a minute in it morphs into something that grabs you with an almost hip hop beat. The continue to defy not only genres , but the rules of what electro pop should and should not sound like on "Thick / Clear". The sugary sweet vocals bob and weave between the beats. I would be hard pressed to refer to their sound as dark, but the shadows tend to color undertones they use. Lyrically the themes seem pretty loose, though on "Thick / Clear" the message seems to come across the clearest.
"Depth Denyting" the fourth and final song has a very strong beat. While there is a more somber and melodic mood. The vocals dance around this in more of a chanted feel and are less sung. Once again defying any kind of sub-genre title. The mood brings Portishead to mind , but this is not acid jazz or trip-hop. In the songs last minute the pace picks up a more soulful melody develops. Overall this ep is great and while it fits into the bigger picture of what goth/ dark pop looks like in 2018, it doesn't feel the need to really conform. The fact I loaded it into my iPod is bigger compliment than me rounding it up to a 10.
This New York blends almost as many takes on punk / hard-core as the Refused used to. The opener is angrier and more metallic. Botch is probably one of their influences due to the angular passages and jerking motion that keeps things frenetic until going into more melodic passages. "Dogsbody" is an incomplete thought that feels more like an interlude than a actual song. If it was grindcore then perhaps something like that might have worked better. The chaos of "No Gate to Close" gets more organized half way into it. The guitar tone on this album is very organic and not going to far with jagged feed back offering some clarity to the riffs. The title track has a decent riff going into and might have been a good song if it had been given more than a minute to develop.
A minute and a half seems like a better compromise on "Plain Ol Bastards" It starts off with a brief blasting before going into a more atmospheric angular verse that trades off with the more pummeling riff. It's clear the drummer is the superstar of this band. At six minutes the more brooding post- hardcore of " Days Gone Has a Sung" vocal filled with rasp and emotion not unlike Planes Mistaken For Stars. The guitar work here is more nuanced. While it's tense the build up is sparse and the one and a half song seems longer. "Inverted Cross Tattoo" works of a more refined palm muted tension. The drummer once again lays down an intricate groove. The vocals are half shouted half sung. This creates an almost Fugazi feel before becoming more metallic.
"San Kalpa" starts off with more rock n roll sounding guitar before the drums come in a give it more drive. The vocals try singing with robust punk throatiness. The a weird mathy riff comes in a dances around things.This works fairly well and doesn't seem awkward. There is a more screamo undercurrent. There is a darker more lumbering stomp to the scream of "Dead Letters Sent", this could be any of the Converge influenced hard core bands out today and while heavy it doesn't have as much of their personality in it. "Good Old Way" sums up the album by setting a dense blast against the contrast of more delicate guitar. I'll round this album up to an 8.5 , because the attention to detail they give things is more than most punk and hardcore bands do these days. I looked forward to hearing more from this band
Take Over and Destroy have always had a dark side. This time they have given over it as the singer formed a new project called ...well you saw the title of the review didn't you. Anyways these guys are more of a post-punk thing. That's right post-punk. It might be confusing , if you had heard other things about them but some music journalists at some blogs don't know what makes a band post-punk and what makes them goth. So we will get a lesson in this. So the key to what makes a band goth is elegance. Here is a shocker Joy Division is not goth. Not goths might listen to them , but they are not goth.These guys have some cool guitar melodies and I like the moody baritone croon of the vocals, but they are still too punk to be goth.
Just because of the bar being held high here since I grew up a poor goth child , they might only be taking stabs in the direction of goth guitar leading into "Don't Pull Out" . Female vocals are layered into this . Now just because this is not goth doesn't mean it's not dark nor does it mean it's not good because it's both of those things. But referencing vampires or Halloween in context of what these guys sound like is just ignorant. The lyrics are grim and vaguely romantic, but they would need to give me more emotion and drama to be goth. They have heard Sisters of Mercy in the manner some of these bass lines drive the song with the title track being an excellent example. At times they remind me of where In Solitude was heading on "Sister" . "And Yet" is not as strong of a song as the first 3. It is not terrible it just doesn't flow together as well in the strum of guitar.
So gothness aside I really like the first three songs. I'll give this ep a 9 and look forward to hearing a full length from them. I might even like this more than Take Over and Destroy. Perhaps they will listen to the music of the night and move in a darker, more romantic and elegant direction and become goth. If they dont I am still satisfied with who they are an like hearing a more emotional take on post-punk.
I like the fact this Colorado based black metal band doesn't start their album off with blast beats. Some do show up a minute and a half into things, but that is more variation than most of the black metal sitting in my in-box. Three minutes in it slows to a darker more melodic section that has a slight western feel. The 13 minute "On Horseback They Carried Thunder" is more metallic in it's intent , but otherwise sonically in the same range as the first song. The only difference is much like the title suggests the guitars take on more of a gallop.Unlike the first song this is also more typical black metal. In the final moments of this epic they twist in more atmosphere.
"the Crows Ahead Cry War" opens with reverb tinged guitar stirring a storm over the old west. It builds more like something Neurosis used to do when they were a metal band. The dynamics allow the song to simmer rather than pummel you. The vocals are lower throaty growl. It gets even more melodic in the last two minutes of the song, finding this band continuing to expand the range of color they use. "the Dreaming Plain" stays at a mid-paced throb. The vocals go up into more of a croak. They use double bass to build it up in almost a more Enslaved like manner. This picks the pace up and keeps the song moving. It evolves from the original pulse building from their rather than a shift in riffs altogether. Their are some stronger accents employed and dynamic shifts into more melodic realms.
The album ends with the almost country strum of "A Nation of Immigrants". Clean vocals appear, there are a hollow mournful chant as much as they are sung. The song has a hypnotic drone. While I like where they are going, they never seem to get there as the song stays on this drone. I'll round this album up to a 9.5 as it brings fresh sounds to the table, while it might not be the most Cvlt take on black metal its a great album that is both dark and melodic in the face of dense heaviness.
With the driving bass and atmospheric guitars that hold more of sonic attack than your average post-punk band these kids caught my attention with the first track off their "Arc of Descent" album. This Rhode Island band makes me happy because they are not trying to impersonate Joy Division. I love Joy Division, but I own those albums. The vocals were what I keyed in on, as they are the only aspect of this band that might cross over into death rock. I don't think their overall sound is creepy enough to be death rock, but the vocal delivery is impassioned. At times it reminds me of Beast Milk.The frantic tension of 'Healer" doesn't stray very far from what they established on the first song and has a high energy punk feel to it.
"A Presence"is not as focused and sounds more like a jam. The vocals begin to become less of a focal point as the band kicks up more of a sonic clamor on "Portal of Dust". For a trio they kick up a pretty big sound. The last track "Visions of Martyrdom" finds the band polishing their songwriting skills again with something that despite the clanging of the guitar comes together as a more gripping song. The vocals are not at the forefront and battle the guitar for center stage, but somehow it works. I think the song's most impressive quality is that is shifts tempo and slowing down gives them a chance to explore more melody.
I'll give this album an 8.5. I like the fact that they don't conform to the status quo of the sub-genre. They take a great deal of dense sonic chaos and throw it at you in a way that has more in common with A Place to Bury Strangers. The punk pace and drive of the music provides a frenetic energy that keeps this from being bogged down by it's atmosphere.
It is obviously a slow week if I am listening to this. They were always par for the course when it came to the tail end of nu-metal that was transitioning into the era of Myspace.There is a more thrash feel to the opener , but in a Slipknot manner and the vocal hooks have a Sevendust feel, so they are not evolving a helluva a lot. "Chaos & Earthquakes' works off the familar bounce of nu-metal to create it's groove.The first song that connects with me is "Fix This" which has more soul and just sticks to my ears better than the first two songs. While its more melodic "Crashing " really just kinda breeze by in the background without catching my attention. They feel like the are just dialing in a formula on "Passive Aggressive".
The songs began to run together at this point. Both "Dodge Your Destiny" and "Wheel Against Will" run of the same energy, thought the latter has more tension. For what these guys do , I guess it works. Not really breaking much new ground.The more bass driven, has to Rage Against the Machine rap influence come more to the forefront with "Milestone". The vocal on the chorus bearing a more Sevendust slant in the soulfulness. The is a more melodic tone to "Feel the Way I Feel". This song works well for what they do and finds the band staying true to who they are , like it or not.
"Position One" also finds the band doing what they do to the best of their ability. I might prefer the groove to this song marginally better than the previous song. I'll give this album an 8.
To say this album is darker might be an exaggeration, but it does come from a place more like the shadowy paths the likes of Nick Cave or Micheal Gira normally walk down, but how far from there was he to begin with? There is a smoother touch to the croon of the vocals. Piano also plays a more dominate role. "Velvet Rope" feels like a more organic version of Sisters of Mercy. The song is driven by a more post-punk beat. "Good & Bad" is a un-intrusive duet with Josephine Olivia. There is more of a rock feel to "I Don't Write Love Songs Anymore". The rough edges of this one are coated with a more atmospheric noise feel. The Iggy Pop like punk of "Dead Before the Chorus" is driven by electric guitars.
"Twin Brother of Jesus" has the chain gang clank of chains for it's percussion. Moderately more soulful, the vocals move at a lower croak. Female vocals join him midway in to aid the ominous atmosphere. The song drones off the same riff, but creepy layers are added as it progresses. Production wise this is one of his most ambitious records yet. "In The Garden" is very different for him as it works off a 90s style electronic beat that reminds me of Depeche Mode.There is a more garage rock swagger to "The Castle" which is a jerking change from the groove of the previous song. "Let it Burn" has a reggae groove to not unlike something the Clash might , do but darker.
The drab introspective piano ballad "God Like Me" would male more sense from Nick Cave. Perhaps he is trying to be Nick Cave, but he lacks the same distinct personality that makes Cave a more convincing story teller and capable of heart felt intimacy in his singing. That said Cowgill might be technically a better singer, however Cave would sell this song better. I'll round this one up to a 9 as it works more than it doesn't the last song is the only one I hear as a total misfire. It's being released on Van Records on the 24th of August.
In the past I have done the iPod shuffle where I just hit shuffle mode and reviewed the songs that came up. These songs have provided a soundtrack to my week. It's the emotion behind them that is being shuffled. This week was one where when asking "What Would Love Do ". The answer is sometimes wait. The sense of longing is conveyed in these songs which might seem out of character for me to have these largely mainstream songs on here. Many of these song are closer to pop or folk than rock . What counts is how they speak to me . Since it's my blog , if music connects with me then it's worthy of being on here even it might not be as dark as what I am normally doing. Lately my emotional scope has expanded beyond my comfort zone, but with great reward comes great risk and sometimes you just have to trust your parachute. Lyrically today most of these songs connect with me in a emotionally powerful manner. It's like the audio equivalent of being a four foot bubble of bliss. Perhaps there might be one creature whose beauty might translates on a physical level how these songs sound. These sing of faith in a connection that endures, giving hope in the moments of melancholy.
Falling in the fog somewhere at a dark cross roads where black metal meets doom comes Norway's Faustcoven. The riffs have more hooks in them than your average underground black metal band. The fact things are chugged in a more Celtic Frost fashion rather than blasting at you certainly factors in. The vocals are growled with a more sinister death metal intent as they are lower and almost gurgled. There is a bluesy riff that opens "the Devil's Share" and this certainly casts more of a doom like shadow over the album. "Yet He Walks" is darker , but it is also murkier and come across to me as a song not as well defined as the first two. The bass and drums are not as locked in with the guitar and perhaps things are given too much breathing room.
"Marching In the Shadow" has more form, it also weighs in heavier on the death doom side. The vocals stay in their low growl for the duration of the album. The guitars add a little more melody than what we have previously heard here. "Sign of Satanic Victory" is more straight forward favoring black metal with it's attack. "Lair of Rats " has a more powerful stomp to it's bulldozing gallop. The vocals are still a little more death metal. There is a more Sabbath like feel to the rock n roll injected into the riffs of "As White As She Was Pale". While it is not the most original thing to do in metal, it sounds good here.
The last song is both a great deal slower and darker. I prefer this mood more, while as far as blackened doom goes I have heard other albums that gets the mix more to my personal liking what he is doing on this song works. As a whole this album doesn't expand upon his own personal style or do much more to further cement his identity. I'll give it a 7.5 as it works for what this is an will appeal to those that are hungry for this sort of thing, suppose I hear so much metal on any given week I need more to make it stand out from the masses.
While this project out of New York has a new single out , I'm reviewing their ep that came out last December and flew under the radar, because I the first song drew me in and two I don't like trying to review singles as their is never enough to talk about in one song. I hate doing track reviews for other sites I write for so I obviously am going to try to avoid them here where I am king. Anyways, while there is a Interpol like tension to what they do their songs have a hypnotic almost shoe gaze glaze to them. "Hollow" is darker and creates a more dream like trance. Mood wise "Eyes Turned White" despite the lyrics is more upbeat.
Vocally while there is some similarities to Interpol in the stark baritone narrative of the songs, it almost reminds me of a croon similar to Brendan Perry of Dead Can Dance, though doesn't belt it out like he does, yet they get credit for not just trying to mimic Ian Curtis. The bouncing bass line of "the Silk Road"gives the song a different roll to offer just enough of a change to things so the songs don't have a uniform throb. The more straight forward drumming does leav it open for things to drone more than groove.
"Death Weights" finds the pace picking up into a brisk skip. Maybe not as gleeful as say the Cure gets in their more joyous moments, since the mood doesn't change much from their more introspective declarations with lyrics that seem like observations of a passing landscape detached from the people occupying it. I'll give this album a 9, as I like the mood it creates and the hypnotic way it flows.
This band from Norway is a weird mix of Brit flavored 60s rock and indie rock , but they are not afraid to crank up the distortion. Since they are from Norway their press release tries to connect them to black metal , but I am not hearing how those dots could connect. This is their second album and it offers a pretty wide range of sounds and moods. More synths color "Taste of Blood". I like the dark and drug lidded slur of the guitars and vocals.If something sounds like it is being played people musicians on drugs for others musicians doing them it wins in my book. If the Flaming Lips were darker they might sound similar. There is a mix of Brit Pop and post -punk on "Brainmelt" which is more upbeat.
The fuzzed guitar of "I can play myself" begins to find a more uniform punk meets T- Rex sound.If it wasn't for the gleaming drugged sheen causing the sound to stagger this might be too happy for me. "Gout Lord " continues down the more punk path they hinted at earlier in the album. The vocals are not really screamed, more drunkenly muttered with resent. I like their more drugged indie rock side better than the punk one , it's just more interesting and doesn't sound like every hipster garage rock band. They head back in that direction with " Did you do it again" . The dreamy glaze is cast back over things.
"We'll make up your mind" has some jagged rock edges. Kinda 70s glam influenced. I guess what they are going to try to call black metal is the more Motorhead like vocal on "Funeral Fist" . While it's not a terrible song its still more punk than metal. The last song "Levitation" has a almost folk jangle to it. The trippy elements are still in check they just are not using them as well as they did earlier in the album though even then it doesn't suck .Very Syd Barrett influenced. I'll give this album an 8, it starts off stronger than it ends . I think these guys have potential to do some great things, I like the bulk of the sounds, I think some of the punk parts are not true to what they do best or maybe its the sound of them growing away from that kind of thing.
This band's second album came out back in May and has flown under the radar. It's woeful blackened Sludge that throbs against scathing screamed vocals . Occasionally the vocals drop down into a lower growl. There is a weird almost industrial pounding breaking down mixed with post- rock , so these guys are not afraid to step out and experiment. They have the dark sonic intensity that I am on the look out for in heavy music. Blast beats come in on the second and find the band heading in a much more black metal direction. While this was hinted at in the first song they are fully committing here. Sung vocals come in when the song slows down , but it doesn't feel like they are working off a good cop /bad cop dynamic and are well placed. The fact it remains dark and emotive certainly holds my ears.
"Raising Barrows" could fall into the black - gaze sub genre, but they don't fall into wanting to be Deafheaven when they go here. The vocals are a lower growl and when it kicks in there is more of a punch. The post rock swell does rise against something that mixes black metal with a more crusty sound. The drummer really earns his pay check when the song builds. After this song they go into something more straight forward , trading off between atmospheric sludge and black metal. After this they give you some breathing room and let the album simmer in more ambient post rock guitar. It retains a melodic quality , along with a darker brooding. When it blasts off into black metal it fades into the background until dropping down into a soulful female vocal.
Regular readers know how I feel about songs over ten minutes...I'm not crazy about them. It's not a totally deal breaker, though most bands these days drone on a blast beat for the first 8 minutes, so it is really going to depend on what they do with the next 15 mins. I can say a 15 min song will never make it over to my iPod. The first five minutes does find them shifting into a more pounding half time riff. When the song takes a more dramatic shift at the 7 :30 mark, it's not the smoothest transition as hanging on distorted synth is kinda awkward. But I have heard Agalloch do similar, so I will try to let it slide. At the ten minute mark, another five minutes is not making sense to me. Behold the end just kinda breezes past me and sounds like its par for the course when it comes to post-modern black metal or however we are choosing to label it. I will give the album an 8 because despite this over the top end that never reached it's potential I think the first song is incredible and the album is strong up until the last song.
