WitchHands : "Nox Nihili

The death rock revival was more short-lived than I would have liked. We did get the likes of Alaric and Atriarch from it, and Astari Nite started off in that vein but has integrated more 80s sounds. So any addition to the genre is welcome. This is a re-imagining / re-recording of their first album, which I do not recall hearing, so this might as well be new. This death rock band leans into the more punk side of the genre. The vocals are belted with moments of creepy crooning. The pace picks up to more of your standard punk fare on the second song. I am not sure Wilson Pickett is best translated over into this sort of thing.

"Belle" creeps to life at first, but the vocals come in and bring a more bellowing explosion. The bombastic manner things are built is not unlike Killing Joke. The is more of a punk attack to "Demons". This makes the raw nature of the vocal make more sense. I can also hear how New Model Army might be an influence at certain points. "Ozymandias" finds the vocals taking on a more gruff bark. The drummer holds everything together, I am surprised the bass in not more crucial to the mix as that defined Christian Death's sound. 

"Night Falls" finds the guitar bringing a darker pulse. The song does build off this more melancholy pulse.  From this point on, the album pretty much goes in a more punk direction. The lyrics to getting more horror-oriented, which I can appreciate. The title track closes the album. It finds a pretty effective groove that is the first song that has a metallic edge to it, though this does give more of a Killing Joke vibe. I will give this album an 8, it's fun and very raw punk in its aesthetic. 

LIGHTS OF VIMANA : "Neopolis"

 I am always impressed when a band takes me somewhere different than where I expected and the album to go. This band does that. They are a doom supergroup featuring SLOW, Pantheist, and Void of Silence members. The ambiance they invoke leans into cinematic waves of synths. At times, they create an almost krautrock feel, which is where they diverge from my expectations. The opening track finds mournful sung vocals coming in with a low funeral doom-like growl, offering a call and response. It feels like the song should have ended at the eight and a half minute mark, yet they hold it together with fragile atmosphere. A pretty massive chug comes from this, which works to bring things to a climax. 

"Endure" feels more like early Katatonia. Though it builds into a much heavier vision of death doom, with the growled vocals sounding larger than life amid the boom of the mix, that brightens for guitar melodies.  The guitar solo is very tasteful. The ebb and flow of dynamics remains balanced to place the focus on the song. "Reals" leans into the atmosphere more than the previous song. The guitar playing is still pretty impressive. They jam off of a great deal of interesting sounds, but things tend to drift in this neon cloud the song floats on. The overall sound is still impressive. 

The neon cloud keeps floating in the title track, and while it's easy to get lured into the splendor it invokes, not a song that hooks me in, though to their credit, this is an album that you can leave on and just let play. The vocals hook in a little more solidly to "Remember Me".  The song itself is pretty epic, though, sticking with the common theme of this album, the atmosphere builds its climax, though they do keep more of a metal backbone here than most.  I will give this album a 9, as there is a great mood, and it does's own thing, which can be a rarity in doom that often relies too heavily on sounds of the past.

Drops June 13th on Dusktone. 

Chepang : "Jhyappa"

Based in New York, this grindcore band is from Nepal, and use the ethnic tones of their culture as window dressing for the music. The first actual song is just over a minute, and finds these guys riding cool riffs rather than using their time as wisely as some of the grind core bands we have praised in the past. "Gatichad" is three and a half minutes long, which gives them more time, though the vocals are just screamed as a texture, sometimes doubled with lower death metal growls. They are more metal and less punk than a band like GISM. 

The main emphasis of "Ek Hajar Jhut" is the fast blasting section, though they do bring it down to a more deliberate pace. The production is raw enough to capture the feel of what they are doing. "Khel' has some heavy chugs that are brought to a chaotic boil. "Drivya Shatki" is a little more deliberate, but it doesn't get anything we haven't already heard on this album from them on it. The song after it is more tediou and punk, though just over a minute, so the ambush of stiff riffing does not last the song. 

"Niryana" is more like death metal with a hardcore accent of gang vocals chiming in. "Bidhai" is an instrumental outro, but it might be the album's best-written composition, almost making it feel like a waste of fine riffing. I will give this an 8. it works for what it is, though I think people will hype this up as the band plays up the immigrant angle, which got them recognition in the hipster circles of New York. It drops May 23rd on Relapse Records. 

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Peter Murphy : " Silver Shade"

At 67, Murphy looks older than he sounds. The album up with an upbeat song that would not have been out of place on his 89 classic "Deep". It carries the new wave bounce, though not as dark as Bauhaus, it is true to the era. He keeps the '80s pulse going with "Hot Roy," which captures the late '80s synth pulse perfectly. Perhaps he is paying a great deal of service to his fan base, which is wise. His pipes stay fluid even when going up into the wavering vibrato of his upper register. 

Morrissey could stand to take notes here as Metropolis Records quietly dropped this album without a great deal of fanfare, and you can't tell me these guys or someone like Cleopatra would not release a new Moz album. "Sherpa" has "Cuts You Up" energy. However, the hook is not as sharp as that song. This song has a very raw, organic production sound that is interesting. The title track grooves with a little more of a smouldering slither. It rides the synth bass tone hard. Not really going to pop hooks on the choruses, but they work. Some of his later solo work has been more along the lines of Dead Can Dance, so this is a welcome return to the punk-inflected roots. 

"The Artroom Wonder" has more of a disco pulse to it. If it were not for his trembling baritone, this could almost be a Depeche Mode song. Not as funky as 'Stayin' Alive" but heading in that direction. There is more of a 90s hip grinding to the tension of the pulse to "The Meaning of My Life", voice swelling to a more powerful climax on the chorus here. The song structure is often simple on this album, but dynamically effective. "Xavier New Boy" is marginally darker and more reflective as it unfolds in a dramatic build.  He is back in motion for "Cohita is Lame". This perhaps feels more like Bauhaus than the songs before it, even with the synth riff 

The most guitar-driven rock moment so far comes from "Soothsayer."  Then things switch over to a more exotic Middle Eastern flavor tango for "Time Waits," which is more like his more recent solo efforts. The dramatic ballad "The Sailmaker's Charm" does not connect as much with me as the previous songs. The is a slight Beatles vibe to it at times. Though it might be more compelling that the ballad he does a duet with Boy George on. This is another one where I can hear a Beatles-like atmosphere in the background. Boy George's voice has not held up as well as Murphy's. Despite this, the rest of the album nails it pretty hard, and it's impressive that he found his way back to this place and delivered in this manner I will give it a 9.5, way more impressive than Billy Idol's new one. 

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Activity : "A Thousand Years In Another Way"

 The last album reviewed by this band was their previous effort, "Spirit in the Room". This one starts off with a tenser, more brooding vibe. The fragile vocals still bring Radiohead to mind. They employ swathes of sonic noise to create the atmosphere here. The second song features female vocals and is more atmospheric, but in an almost whimsical manner. "We Go Where We Are Not Wanted' is more like the more experimental post- "Ok Computer" era of Radiohead. Their sounds are well-layered, but the beat brings this comparison further to mind. 

There is a more conventional song structure to the lazy strum of "Your Dream," which seems to find them more well-fitted into their own identity as artists. Midway into the song, the drugs begin to kick in. The mood reminds me more of Blonde Redhead. It makes sense that "Scissors" would be the lead single for this album as it finds the best balance of all the band's varied elements. "Heavy Breathing' drips out of this song, and is a more atmospheric jam. 

"Her Alphabet" drifts more deeply into its own cloudy ambiance. "I Came Here to Hurt" sounds like a Smashing Pumpkins ballad, but without any of the band's '90s grunge influence. It ambles with more of an indie rock shuffle. It builds a little in the final minute, but nothing that we would refer to as heavy here. The last song does not deviate from the mood of the album, which is a wistful ambiance with an introspective undertone. Perhaps a little more sedate and less dynamic. I will give this one a 9, as I think their songwriting has improved and they captured some impressive sounds. 

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Who Not to Miss At Welcome to Rockville 2025 (a curated guide)

 

Lots of bands are playing throughout the weekend at Welcome to Rockville this year, with festival set times compressed, you need to make the most of your time, while still giving yourself time to rest, so you make it to Sunday. Here is a guide to getting the most from your money, with the bands that are going to give you your money's worth. Let's face it, tickets for the entire weekend are expensive, even on the payment plan. from. I am not suggesting the most popular bands, so if you want to avoid the crowded stages, this list is for you. Given the fact that I hate most radio rock, we are going to be avoiding that and picking the most interesting artist who delivers consistently live. You can argue these picks all you want, but can the 2 million that read this blog be wrong? So let's jump into it...

Thurs

Inferno Stage 

Frozen Soul

 1 to 1:25 

Saw these guys open for Amon Amarth and Cannibal Corpse, they are crushing. 

Garage Stage

Candy

2:10 to 2:35 

This band is kicking off our campout at the Garage Stage, which is always a solid plan to find a spot and get comfy. High energy, hard-core that is willing to experiment, they are filling the void left by Code Orange, who just went on indefinite hiatus.  

Harm's Way

3:05 to 3:30

This band's burly metallic stomp blends hardcore fury with industrial weight; they are incredible. 

Full of Hell

4:00 to 4:30

Last conert I went to saw these guys blowing Better Lovers of the stage with their spastic blend of blackened grindcore drenched in bizarre sounds. 

Converge

5 to 5:30

Have seen this band multiple times, they always bring it, the godfathers of metalcore. 

HEALTH

6 to 6;35

The perfect blend of detached androgynous vocals muses over the end of the world, while bringing the beats to bring said apocalypse. 

Quicksand

7:05 to 7:45

Ok, no Deftones. You are getting one of their ex-bass players and a band that influenced them. 

Apex Stage 

The Pretty Reckless 

8:00 to 9:00

Thankfully replacing 3Doors Down, the sultry Taylor Momsen and friends have impressed me with their last couple of albums, and by this point, you will want to switch things up a bit, and they promise to be a fun live band. 

Octane 

Rob Zombie 

9:05 to 10:15

Sure, he now makes big, dumb music for people who drink domestic beer and like goth girls, but he is also a total pro who puts on a great show

Friday

Vortex Stage

Left to Suffer

12:35 to 1 

Their take on metal-core is fresh, but legit, worth waltzing through the gates at noon for. Then you have most of the day to relax and just take in the sights as this is the weakest lineup of the weekend. 

Octane Stage

Bush 

5:15- 6:00

One of the last great bands from the grunge era was not even from Seattle; these guys continue to put out great stuff that is better than what most of their peers who are still alive from this period are doing.

Inferno Stage

Jinjer

6:45- 7:25

At this point, does this band need an introduction? They are great at what they do, and bring live harder than other bands playing at this time slot.  

Aliee in Chains was supposed to play the 7:50 -8:50 slot, but cancelled, so I suppose as a default, if you have to check a band out, go see Killswitch Engage, but I felt like the last Killswitch album was so mediocre it bored me, so I can't stand my recommending a band I personally would not stand through, so take a break and position your self to be near the Vortex Stage for my next recommendation.  

Vortex Stage

Knocked Loose

9:10 - 10:00

If you have a friend who would pick Good Charlotte over these guys, you need to get new friends. Ending their set at 10 gives you time to get out while the idiots at the main stage are watching Billie Joe try to pass off 90s pop music as punk

Saturday 

Vortex Stage

Havok

2:30 - 2:55

Hope you enjoyed sleeping in, eating breakfast, and hitting the gym before your casual stroll in to get really woken up by these thrashers. You also get to camp out at this stage for the bulk of the day. 

Nails

3:35 -4:05

The second heaviest band of the weekend

Obituary 

6:05 - 6:40

Florida legends always deliver

Acid Bath

7:30- 8:10

These guys were the main reason I wanted to go, but they booked a show in St. Pete! Any metal band out after 1991 owes them a debt of gratitude. Dax Riggs is the most underrated metal singer ever. 

Octane Stage

Pierce the Veil 

9:05 - 10:15

You're are not gonna want to see another heavy band after Acid Bath, and these guys might be a pop band, but they are a lot of fun, and write cute lil tunes to smoke one to. 

Sunday

Vortex Stage 

Sanguissugabogg

1:35 to 2 

The heaviest band of the weekend

Gatecreeper

2:35- 3:05

Keeping the death metal day going, these guys are sure to be headbanging fun. 

Garage Stage 

200 Stab Wounds 

4:00- 4:30

Their last album was killer, and they are the future of death metal. 

Deafheaven 

7:05- 7:45

It was hard to consider Deftones heavy after seeing Deafheaven play before them a few years ago. 

Powertrip 

8:15 - 9;05

Never saw them with their original vocalist, but can't imagine his more hardcore-leaning delivery would be hard to replicate. 

Apex Stage 

Korn 

10:20- 11:50

Haven't seen these guys since "Life is Peachy," and while their output has been a mixed bag in recent years, they should still be fun. 

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Pixel Grip : "Perceptide the Death of Reality"

 This interesting electronic band has been on my radar for a minute. Their new album opens with an atmospheric pop song that simmers in introspection. The alluring vocals of Rita Lukea, give everything a sex dripping sheen, as they jump into dark 90s techno for the second song. She grinds her hips into the dance floor for "Stamina" as she asks daddy to come over and fuck her over and over to this dark wave influenced throb. Works for me. They are not just here for your erotic delight, as Rita gets angry on "Reason to Stay," which is more industrial influenced than actual industrial music. 

Imagine a world where Lady Gaga did no have a team of producers writers her songs for her and she did not give a shit about keeping up with the jones on the radio, the results might be similar to "Insignificant". Things begin to darken for "Noise," making me think of Chelsea Wolfe's more electronic output as the vocals occupy a more ghostly place, though this one has a more dancey groove than what Chelsea does. "Moment With God" moves with a more '90s alt energy. 

They dance closer to the kind of brooding sonic throb that bands like Boy Harsher make on "Split". Rita's vocal range is wider, giving her the chance to add some brighter emotional colors to her delivery.  "Last Laugh" has an awesome groove, making it one of the album's best songs. "Work or Shut Up" is on the more booty-shaking end of the '90s electro spectrum. "Jealousy is Lethal" has a playful melody that is more pop than not. 'Gonna Be Faster" is more like an indie pop ballad. I will give this album a 9.5, I really like this album a lot , if you are looking for something that is pop, but not in the pre-packaged radio friendly box, with darker 90s vibes then this album is for you as well. 

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Rivers of Nihil - "s/t"

The band's 2021 album 'The Work" found the band firmly planted on the progressive side of progressive death metal. This album finds them moving further in a melodic direction. It is not until the second song that it feels like death metal to my ears. There is still an atmosphere lurking under the more jagged attack. While the death metal vocals feel more garbled, the sung ones feel as self-indulgent as Opeth can get at times, rather than being a balanced approach. It sounds best when things slow to a more deliberate crunch and the growls get a layer of effects. 

The fact that there is more groove to "Criminals" is what makes it work. They keep the shredding to a very balanced dose, and their guitar solos are not the centerpiece of the song. There is a pretty catchy riff center stage on "Despair Church," but it sounds like a death metal band trying to be Mastodon. The more dramatic vocals on the chorus soar past Opeth toward Dream Theater. It's well done, the vocals are a little bright for me. I could stand for this song to be darker. But if you are a fan of prog metal, things being dark is not your priority. In fact, when it does get darker in the song's middle section, that might be as deep into the shadows as you normally go. The album is well produced and sounds great with guitar tones, a guitarist might idolize, but not really all that heavy. The end is the first time the sax has stepped into the spotlight thus far, at least that I have noticed. 

"Water and Time" has a more creeping groove and cooler vocal melody but feels like a mix of Incubus and Dillinger Escape Plan, some of the more jazzy exotic texture surfaces thanks to the sax, and a little growling. The solo section rips hard. "House of Light" goes from a jazz-tinged intro into a punchier death metal part that brings back some of the metal backbone to things. They go for a big soaring chorus, but it does not work as well as it did on the previous song. To their credit, the songs do not go over the six-minute mark, which his conservative for prog metal."Evidence" also starts off launching things in a more death metal direction. The song is broken up by a Faith No More-like vocal and huge anthemic gang vocals. Would not say this is the most focused song. It winds around to a jazz jam for the guitar solo. If the drummer is not playing triggers, he is impressive. 

"American Death" is a more blistering attack, with a big guitar sound that sonically feels like Dimmu Borgir without the orchestra. From the overall sound produced here, it sounds more like mainstream metal, along with the sung chorus. It's effective, but not the most original thing I've heard on this album. There is more of a groove to "The Logical End," which, along with the saxophone and solo section, leads things back in a more progressive direction. The last song is more melodic, almost like Dream Theater if they did not feel to need to fuck with time signatures. I'll give this album a 9, it's more accessible than I was expecting, but this is clearly the album they intended to make, for my tastes, I like prog to take more chances, but these guys took it in a more classic metal direction. 

 

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BLUDGEONED BY DEFORMITY: " Epoch Of Immorality"

Helmed by the lead gurgler of Sanguissuggabogg, this is one of the most brutal death metal slabs you are going to hear in some time, well, until his day job puts something out.  Less gore, grind grooving than the Suggabogg, they do stomp down on things pretty hard. I went into this expecting to be hit by something more blasting and perhaps more technical than, well, you know who I am going to be referring to for the rest of the review, so there is no point in my trying to say their rather long name in other ways. 

The deliberate crunch of these songs is infectious. Pig Destroyer Drummer Adam Jarvis finds a more lo-fi pattern in his drum tone that reminds me of the first Lamb of God album's sound. Normally, I am just giving my first impressions when I review an album, but this time it took a couple of listens. Swank's voice is not as low and gurgling as what we have normally heard; in fact, sometimes there is more of a commanding hardcore bark to it. I like how they use samples to create some atmosphere at the end of the opening track. 

"Immorality" is more straightforward in its bludgeoning, but not devoid of headbanging groove. There is more blasting force propelling the chugs of "Intestional Suspension." This is where they show you they push the bonus to songwriting to create something brutal without just being a wall of distortion. "False Deliverance" finds the guitars grinding with a more Entombed-like density. He goes into some higher screams on this one as well. The last song has a more deliberate grind of guitar, before the flurry of double bass speeds things along. Almost makes me think of early Sepultura. I will give this album a 9, it's one of the most solid albums song wise that manages to be this heavy I 've heard since the last Nails This comes out June 6th on Iron Fortress Records. . 

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Sleep Token : "Even in Arcadia"

 

I like pop music. I don't feel so guilty about liking it that I have to convince myself that I am still listening to metal when I am listening to pop music. With this band, it's almost comical. It's like that one dude whose purse falls from his mouth every time it opens, and everyone knows poor is gay except for him. If he just came out, life would be so much easier, but denial has become a part of his identity. There was maybe 20 seconds of nu-metal guitar, and a scream that needed every bit of post-production effects on it in the first three songs. But some slapping beats, and hooks that would make Sam Smith jealous, this is the kind of music Justin Timberlake wishes he was making. Justin Bieber, rinse off the baby oil and get these guys to write your next album. 

If the music press tries to play these guys off as even rock music, much less call them metal, then I am personally going to call them out from now til the Russians kill the internet. It's time to rip the band-aid off. The first song I am not as impressed with is the ballad "Dangerous", which is as boring as most pop ballads. Maybe Joji did not just drop off the edge of the world, maybe he put on a mask and this is what he is doing, as it really sounds like him on "Caramel" it's a great pop song, yes there is guitar on it, Micheal Jackson's "Thriller" album had Eddie Van Halen on it, but no one back in the day was stupid enough to confuse it with Judas Priest. 

The heavier elements are mixed back and not given center stage, as they are not who this band is, and the band themselves were smart enough to keep up the charade. If you hear the isolate vocals tracks, the screams will make you think what Chris Rock thought when Will Smith slapped him "I got smacked by the softest nigga that ever rapped".  The title track wanders around lost in its own emoting, similar to the previous ballad, though the mood has more melancholy to it. By the time we get to "Provider," I am 100 percent convinced no one in this band has ever listened to a Slayer album, much less Goatwhore, but things are starting to get bogged down by ballads.

At their best, they are like a softer version of Spiritbox, perhaps their singer does a fire Courtney LaPlante drag routine in their spare time. 'Damocles" at least flows better than the previous song. Lyrically, "Gethsemane" reminds me of Taylor Swift. The drumming is pretty great on this one. These guys are talented, and this is brought out more as they embrace who they are. Perhaps this entire project is a metaphor for being afraid to come out of the closet, as earlier in the album, the singer admits to being the "demon of Sodom."

"Infinite Baths" is another atmospheric power ballad.  The album is really well produced, but they are now on RCA, so a major label is not going release albums that sound like shit. I will give this album a 9, it's a great pop album, even the last few minutes of the last song when they try to convince you otherwise, three harder riffs on an album does not make it metal, so enjoy this album, but face the reality of what it is. It's not gagtekeepiung it's just stating the obvious. Though I am not not opposed to gatekeeping as some one has to stand up and speak the truth of the masses will lose themselves in the comfort of their delusions. 

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Freeze the Fall : "The Red Garden"

In some ways, this comes closer to radio rock than what I am normally into, but the anthemic choruses are balanced by the brooding atmosphere that is dark enough to keep me interested, despite the more hopeful mood they build. It is funny I can say this as they are singing about never breathing again, but we like it pretty fucking dark around here. This young Canadian trio is great songwriters who sometimes find their overall sound having a uniform feel by the third song as they are working off a formula, even if it is effective.  

They break things up by getting heavier for "VHS". There is a late 90s nu-metal vibe, without any of the Adidas attitude. One of the band's strengths that helps set them apart is the ability of their guitar and bassist to harmonize their voices. The slick production of this album, not hype this fact with overproduction, but brings this out in a spacious, crystal clear manner. "Aurora" has a more rock bounce in its step, with radio-friendly 90s metal in its veins, but less about the Slipknot life than, say, Kittie. Quinn picks melodies that further distance themselves from nu-metal, in fact, provide a dynamic contrast to the guitar riffs.

"Obliette" is a little more middle of the road, though it does have a guitar solo, which I was not expecting, so these kids have more chops than they let you see on the front end. There is a pretty crushing riff for the last few measures. The last song is a ballad that finds a piano line flowing through it. I will give this one a 9.5, and see how it grows on me, but I think they did a stellar job of making the album they set out to make, the question will this kind of music grow more endearing to me over time or will I forget it about it by the end of the year? If you are into female vocals layered over melodic hard-edged rock, then this is worth your time. 

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Age of Apocalypse : "In Oblivion"

I loved "Grim Wisdom," so expectations are high for this one. The opening track has a more thrash feel, until things slow and get more moody and melodic as the song progresses. There is still a Life of Agony vibe going on, but they are covering way more ground sonically this time around and throwing down with more punishing accents to pound you with what some might consider breakdowns. "Maximum Suffering' sells the melancholy while rocking the fuck out, which is what I liked about Life of Agony, that winning combination works equally well here. 

"Gilded Hatred ' highlights the fact that the melodies are punchier this time, but hold more hook, yet the band does not shy from balancing this out with a heavier drive. The title track carries a more deliberate stomps, as the riffs jerk you about with dizzying transitions. The songs are rather compact, so they are packing ample riffage into them. The gang vocals in "Equilizer' keep the hard core roots of the band present despite the more metallic bombast they are hitting you with this time around. It seems like the "Apocalypse Intro' which is an instrumental, should have been the first song.

"Impulse" has more of a punk drive to its energy.  They split the difference for "Snake Oil God" and have the hardcore muscle balancing the thrashing guitars. The vocals are more of an aggressive though, find the croon that feels more like AFI  here. They belted bellow of the vocals is perhaps running with the river in it's deepest shade of red on "Symbol of Mourning". The last song "Over Mine" is melodic to the point of being a power ballad, thought the vocals sound great on it and it works really well. I will round this one up to a 10 as it just needs a few listens to grow on me. Close enough to the first album, but shows an expansion of their sound in a direction that is both heavier and more melodic vocally. May 23rd Closed Casket Activities.  

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Pridian : "Venetian Dark"

 

This Estonian metal band plays an industrial take on metal-core and nu-metal. The sung vocals on the opening track sit in the background with the more aggressive vocals being dominant, as the syncopated chugs drive the song. If Fear Factory had been a progressive band, they might have sounded more like this. The riffs bounce around odd time signatures, like djent bands one juggled. The raspy snarl of the vocals retains its command going into the second song, as the drumming takes on a more Slipknotted attack. The song grooves more as a whole. One thing is obvious: their drummer is really good. The songwriting is a tad busy, when grooving more might serve the song more effectively. I can hear the vague traces of Faith No More in their sound as well, though not as diverse sonically.

If you are keeping track at home, the bands I have cited as being the possible influences of this band are all from the 90s. There is a 90s metal thing being done, but it's produced and dressed up in a more modern context. "Out For Blood" has a more jarring motion. It attempts to be a nu-metal groove, but is a little too weird, as it's more angular than even System of a Down, with odd little techno melodies creeping up. There is a much more Meshuggah-like feel to "Darker Tides".  The sung vocals are effective, but sit weirdly in the mix. I do appreciate that this feels dark. The more Meshuggahfied touches to the guitar are not impressive to me since I already own Meshuggah's albums and do not need anyone impersonating them. 

"DINY" finds more synth-infused sounds becoming dominant, which is a direction I think these guys should pursue further, as it lends to a more melodic backbone in the songwriting. I already mentioned System of a Down in passing, but they are a pretty decent comparison for when this song explodes. "Near Dark" is all explosion, and the vocals are just kind of crooning around it, trying to find where they belong. Melody gets prioritized for "Ruin' and it pays off as it gives the harder, punchy parts something to be dynamically contrasted by. The thump of the bass finally catches my ear on this one. The winding chaos of some of these songs also feels a little Mudvayne. 

"Idoldust" is more about the hammering jabs of guitar that bob back and forth. The sung vocals are more of a texture on this one, and they are not as compelling. It is also the first song where I begin to pay attention to the lyrics. "Void Resonance" stomps on the gas when it comes to industrial strength metal, the verses are the most interesting element, as it sounds the most original. The bass line also plays a larger role in this song. They dig into death metal a bit along the way. Yet their more melodic moments are the ones that win me over most. The album closes by taking a more rock n roll approach to this sort of thing, which does include jamming out a groove. I will give this album a 9, it's a great deal of fun and these guys pull it off skillfully. 

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Full of Hell : "Broken Sword, Rotten Shield"

This EP is a memorial of sorts that explores loss through the lens of a fantasy metaphor to obscure the processing of their feeling regarding a dog's death. The title track that opens the album is one of their most refined, and perhaps accessible songs yet, with a more metal approach that delves into little of their more grindcore spasms, though those are not far behind with the 49-second "From Dog's Mouth a Blessing" that carries more of a hard core stomp to the riff. Still, the whole song is run through a filter that gives it a more lo-fi distant sound as if it's being played from a radio that is still crackling with radiation from nuclear exposure. 

"Corpselight" is more of an interlude despite being longer than many of the band's songs at two and a half minutes, though it just lingers on dark ambient noise, and shrieking that is mixed into the reverb to haunt it from an even greater distance. Things come together on the more angular rocking of "Lament of All Things," there is a punk edge to this that is more apparent than I can recall hearing from them in the past. "Mirrorhelm" is another ambient interlude that drones a bit. 

"A Knight's Oath" is another surprisingly straightforward metal that is more death metal in its intentions. The sonic guitar playing keeps it from crossing over into death metal despite the drumming and vocals. The last song is a more deliberate sludge hammering. The vocals shift from lower death growls to his normal higher, almost black metal screams. The drums continue to press through the dense noise that the song builds into.  I will give this album a 9. I appreciate the continued refinement of what they do, not sure if an EP needed interludes, but overall, I enjoy what these guys do, and it is consistent with that and not unlike where they went on their last album, perhaps a little darker mood given the subject. Out on Closed Casket Activities May 16th. 

 

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Swans : "Birthing"

 

Listening to this album through headphones is recommended. This album is an event. It opens with a 21-minute song. You guys know how I feel about songs like this, and even Michael Gira could stand to trim the fat at times. "The Healers" sounds like what the band at a Pentecostal church might do when waiting on a word of the lord during the prophecy and prayer part of their tent revival. Given the title, I would not put it past Gira that this is the point. When the groove kicks in, they create a powerful dynamic that harkens back to the '90s golden years of the band.

 Gira's vocals drop lower, but despite the resonance in them, it's more speaking in tongues combined with throat singing than the croon that was the powerful narrative of their best work. The thing you can count on these guys for is a hypnotic drone, and that is the mood it creates. It gets jammy about 11 minutes in, but the narcotic groove is pretty enthralling. 16 minutes in and everything is thrown into chaos and noise for a spastic burst. I rarely need a paragraph to talk about a single song, much less two of them, but here we are. 

 The shimmering ambient buzz that ends the first song bleeds over into "I am the Tower", which finds Gira back in his spoken word mania that marked the band's 2010 reformation material. Melody slowly unfolds from this that recalls the later part of their 90 output. The beautiful sonic material they lock into makes it worthwhile. This makes them who they are is the ability to make the drone pay off. They are one of the few bands that can deliver it like this. At 71, I am not really asking Gira to do more than he did after Bowie died at 67, so there is not a great reference point for how singing into your 70s should sound, taking Mick Jagger out of the equation. This is not the same rock n roll; in fact, it's supposed to be everything the Stones are not. 

The title track is even longer than the first song, only by a minute, but a 22-minute song is still an ample investment of time. The first two minutes are intro ambiance that boils into darker rock dissonance. At the four-minute mark, they ring into the lush sonic purpose of their 90s sound, just without Jarboe, whose absence might be an understandable sticking point for some. But it's hard to argue against the expansive ache of the guitar melodies that unfold here, with Gira's spiritual vocal intonation acting like a Buddhist chant. Midway into the song, it breaks into a fragile lullaby. Further proof that post-rock would not exist without these guys. This flows into the band's more strummed folk side, but doused in the kind of ambiance they are known for. 

The whispered cadence of Gira's vocals creates a creepy cultic chant that sounds like a surreal 60s horror movie soundtrack opens "Red Yellow" at under seven minutes long it's hypnotic groove that is more sustainable, and it crosses the line from sonic splendor into actual songwriting. The drums have almost a Led Zeppelin-like throb to them. This feels like the best song these guys have done in a few albums to me. "Guardian Spirits' mixes the experimental layers of sound from "the Seer" with their darker 90s feel. The vocals owe a little more to his "Seer" days as well. There is also a little bit of the industrial clanging from the earlier days, though not nearly as angry. The drumming gets intense as the song builds. 

"The Merge" throws harsh noise at you that leads into a pretty cool noir bass line. Is it going to be another 12 minutes of cool? Well, we shall see. Brass and guitar creep in to join it. Jazz is incorporated more into this song than anything I can recall hearing from these guys. This I bookended by noise before things grow darker. They ride off this swelling wave of ambiance. In the last three minutes, it drops down to the lo-fi folk that is a staple of Gira's writing process. The last song builds from the post-rock like minimalism, riding the ringing tension of the guitars. At 19 minutes, it's the album's fourth-longest song. Approaching the three-minute mark guitars begins to make more ambient sounds. This continues to build for six minutes until it begins to sound like a song coming to life. They ride this for five minutes before ebbing down.  They they building it back up again. It follows these peaks and valleys for the song's duration, with vocals more as a textural accent. In the last 3 minutes, he returned to the folk feel again. I will give this album a 9.5, as it is not their best work, but it remembers to employ similar moods that bring them closer to the more classic sounds of the Jarboe era.  

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Korean Cars : "#1"

 

This album is unique in many ways. Most of them sonically. Even though I am so used to metal being Norway's primary export that this kind of post-rock band seems like an odd fit, it works with the egregore of the region. The first song is instrumental. Kinda math rocky, but the guitarist proves they have chops. The playing is very melodic. The production is rough around the edges, as it carries a boom. The drummer works for what they are doing, and it all falls into place, no complaints, even though instrumental music is normally not my thing. There are vocals on the second song though they sit back in the mix. They are a plaintive croon that sits where it should in the song, with the nuanced picking of the guitars carrying most of the slack. 

"Cheese Me Macoroni' crosses over into being outright progressive. The creeping riff weaves itself around itself and opens the door for the guitar solo to blaze out of. To their credit 'Treeline Siren" is the longest song at just over six minutes. There is more of a Pink Floyd-like feel to it. "Midway into the song, when the vocals surface, their cadence gives weight to my Pink Floyd theory. "1979" kinda of tick like a clock, but not in the moments that make up a dull day manner. There is some groove to it, but once again, more progressive than post-rock. The chill vocals to this song glide in for a short visit. 

The last song cements them as a prog band. They are much closer to a mix of Joe Satriani and Pink Floyd than Explosions in the Sky or Russian Circles. The guitar playing is great. It's pretty intricate. Overall, this album is a fun listen that took a few spins to let sink in. I will give it a 9, as there is some great playing, most of the vocals are incidental, but creatively employed. If you like prog that flows and unfolds as it jams along, then these guys are worth a listen. 

https://open.spotify.com/artist/0FUhz4nMONUfqlnejTtc4S

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Meatwound : "Macho"

 

This Tampa band carries a more '90s feel into their industrial-tinged take on sludge. They allow for a dynamic ebb and flow. The coarse vocals bark out from the sonic swathe of guitars that carries a buzzing tension.  The mood is more noise-rock, but a pumped-up, beefier take on the genre when it comes to the throbbing drone of "Mt Vermin". It's not as dynamic as the opening track. It is more chaotic and noisy as it progresses. There is a more aggressive palm-muted syncopation to "Obsese Variants". The verses hit almost more like Meshuggah. The vocals are roared in a more anthemic fashion on the chorus. But once again, it works more of the tension than the release. 

'Labor" starts off with a stirring storm of tribalistic drums building like a storm. This is the first hint of their Neurosis influence, though it's given a hyper-drive tempo. When it comes to the weight of its sonic density, it might be the heaviest song thus far. To their bassist's credit, he is the engine of this machine as he grinds the point home. "Frank Stallone' brood a bit but does not really build up. There is more of a frantic chaos to "Pigs, Tu". When the bass anchors the song midway in things feel like they are finding their footing.  The experimental spirit of this album should be admired, as it is something I like hearing in heavier music.

"Europa" is more intense and chaotic as it only goes for the throat in its rabid attack. I can understand why some might be into this sort of thing. "Barking Dog as a Plot Device' is almost more of an interlude at just under two minutes. It pounds at your ears with an overdriven fuzz to relish the noise ridden havoc it propagates. The longest song is last, which makes sense given the more Melvins-like thump of the chug they lock into. The vocals remain constant in the bellow that has belched all over the album. The second verse is wise to let the bass groove carry it. There is some dynamic ebb and flow to this one to balance this out. It converges into the kind of stomp most want from sludge. I will give this album an 8.5, I like the 90s vibes I am getting from this as the rough around the edges noise touches add an unhinged ambiance. 

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April's Top Ten Albums

 

It's time for April's top 10 albums. Staying abreast of the month's highlights might help casual readers see what they missed and check these artists out. I am not writing little blurbs on them; I am just linking the reviews. Inclusion here does not mean that these albums have been released this month, but it is a list of new or upcoming albums I have enjoyed the most. I have albums in my inbox that are not coming out til July, so I am normally way ahead of the curve in this regard. They are ranked in order of what I have listened to the most. This month, there is a wide variety from Pop to Death Metal, so you may find your new favorite among them. Here are the Top 10 albums of  April.  

10-Black Country New Road - "Forever Howlong" 

Progressive Rock

 

  https://abysmalhymns.blogspot.com/2025/04/black-country-new-road-forever-howlong.html

9-Scowl -"Are We All Angels"

 

Grunge/alt-rock

https://abysmalhymns.blogspot.com/2025/04/scowl-are-we-all-angels.html

8-SKUNK ANANSIE - "The Painful Truth" 

Pop

https://abysmalhymns.blogspot.com/2025/04/skunk-anansie-painful-truth.html

7-Floating - "Hesitating Lights"

Death Metal 

https://abysmalhymns.blogspot.com/2025/04/floating-hesitating-lights.html

6-Viagra Boys -"viagr aboys" 

indie rock 

https://abysmalhymns.blogspot.com/2025/04/viagra-boys-viagr-aboys.html

5-Bon Iver - "SABLE fABLE" 

Pop

https://abysmalhymns.blogspot.com/2025/04/bon-iver-sable-fable.html

4-Blackwater Holylight - "If You Only Knew" 

post-doom

https://abysmalhymns.blogspot.com/2025/04/blackwater-holylight-if-you-only-knew.html

3-Superheaven- "s/t" 

Post-Hardcore-/shoegaze 

https://abysmalhymns.blogspot.com/2025/04/superheaven-st.html

2-Youth Code - "Yours With Malice" 

Industrial 

https://abysmalhymns.blogspot.com/2025/04/youth-code-yours-with-malice.html

1-Propagandhi-"At Peace" 

Thrash / Punk

 

https://abysmalhymns.blogspot.com/2025/04/propaghandi-at-peace.html

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HASSWUT : "Sauerstoff"

 

Sure, this Spanish band sings in German, but since this is industrial, it works. Sure, it's framed by heavy-duty guitars, but most of the hooks come from the more electronic side of the genre, with the synth lines coloring it. A great deal of industrial bands these days do not use guitar, so I will eagerly indulge in their brand of industrial that goes back to the genre's glory days in the 90s. The second song has the frantic techno edges that bring the old Mortal Kombat soundtrack to mind. Sure, the low gravelly German vocals are easy to tag as being a tribute to Rammstein, but my ears key in on the synths that make me think of Lords of Acid.

These guys are way danceier than the bulk of industrial coming out of Germany. In fact, the hi-hats key in on an almost disco feel.Four songs in, I am listening more to how they are going to switch things up, as their blend of techno and industrial is familiar enough to at least keep my attention. "Les Morts" is marginally darker; there is a little more of the celebratory feel to it that lingers in the chorus. I do like the shift into robotic vocals, even if it was just for a second; it was another color that added to the overall dynamics.

 "EMB"  finds them digging in with the guitars and offering your ears the kind of spanking expected from the more metallic end of the genre's sonic spectrum, think more KMFDM in this regard. Though fans of that band should rejoice, as KMFDM has not gotten aggressive with guitars in a decade. The last song has touches of female vocals to create a sexier effect, and it is more dynamically varied, making it one of the album's strongest tracks. I will give this album an 8.5, as they have fused the electronic elements with the more traditional industrial ones in a manner that makes this a highly entertaining listen that carries a great deal of groove. 

 

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MSPAINT : "No Seperation"

The first song on this band's new album seems more focused than what I previously heard from them, even if the rapped vocals are still slightly awkward over the noise that unfolds as the song swells to a crescendo. The vocals still steer them in a more nu-metal direction. The pace picks up on the second song, which works better with what the vocals are doing. The last time I reviewed these guys, I said they were doing their down thing, and this is still true, but polished as the production is on this album, this shifts into a more experimental version of nu-metal. I think the production on this album is the missing piece that was not present on the last one.

 Does this make it something that I am into, not really, but with better production, I can get a clearer picture of who they are and what they are trying to accomplish. The sense of groove in the songwriting is also being perfected on this album. Some of the sounds still contrast greatly, but they fit together much better here. The lyrics are too far on one side of the political spectrum, which makes them too naive to take seriously. "No Separation" is the first song where they throw too much at the wall and it fails to stick as the direction was not clear, and it came across like Temu Linkin Park. 

The vocal approach could also stand to be more varied, as the last song "Angel' works musically, but the vocal approach is rather one-dimensional and bores me a bit. I will give this album an 8.5, as it's an improvement over the previous album and I think this captures a more fully formed vision of what they what to do, it's just not enough of my thing to pull me into it, but this will open up a broader audience for them. It drops on Convulse Records May 23rd. 

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Behölder : "In the Temple of the Tyrant"

You rarely see power metal or more traditional metal bands getting much love from your regular internet news sources. It would almost make you think the genre does not exist. I am guilty of this as anyone, but for me it's more of the fact that most modern power metal bands are dark enough for me and tend to frolic a bit in their triumphant galloping. It might seem odd since Iron Maiden is one of my favorite bands, but that is how it is. Anyways, this American band is getting a bit of a buzz, so I thought I would check them out as what I have heard going ito this is that there is a doomy mood to what they do, which is true of the opening track that is closer to what Solitude Aternus does than say Hammerfall. But they do turn more into a power metal direction on the second song, which does not vibe with me as much. 

They are also a Dungeons & Dragons-themed band, which should be something else going in their favor. But the campaigns I run are a bit darker than what is going on here.  "Into the Underdark" is more aggressive, and given the subject matter, a trip into the lands of the Drow should feel more ominous. To their credit, they do mention the Drow, now waiting to hear if Mindflayers are also mentioned. No, Mindflayers, we can't have everything.  Tomi of Amorphis snarls to  "Eyes of the Deep". There does not seem to be any triumphant galloping, so we are off to a good start.  The operatic bellowing of their singer is not the hookiest, and power-metal vocal lines tend to be stiff, almost an excess of vocal control. 

"For Those Who Fell" is a more melodic power ballad, with the emphasis on power. It is pretty effective. "Draconian" might have the soaring chorus, but the beefier verses balance things out, reminding me of old Iced Earth. "Summoned ...Bound" finds them drifting back toward the doomier side of what they do. This gives their singer more room to open up and really sing. "I Magnus" is a little gloomier than your average power metal; it is more deliberate than just carefree galloping.  Pretty impressive, I will give this album a 9, one of the highest scores and an album like this has gotten in a minute. Fans of traditional metal take heed. 

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For Your Health : "This Bitter Garden"

 

This band plays an angular, dissonant style of noisy screamo. The guitar tones are organic without the processed distortion of the dense metal sound, and the screamed vocals add to the chaos of the songs. The vocals are sometimes more layered than others, with a more sung punk in the background. The first two songs run together, meaning that even in the swirling class of guitars that is their sound, there is a certain uniformity to their sound. "With Empty Promises and Loaded Guns" they are still attacking from a similar sonic place, though backing off of it to allow the song more room to breathe and atmosphere to develop to create the dynamics to explode out of.  You can hear them coming from the more emo side of the screamo equation here. 

This is the band's second album, so they know what they are doing here. Then they pick up the pace for "Gaia Wept," which does not favor their songwriting. Sure, there is a cool riff that comes in here, but the rule here is "cool riffs does not a good song make".  'Clementine' crosses over into the more pop punk side of emo, but it's tense, melodic, and brooding, which works for me. They throw themselves in a grindcore-like frenzy with "The Radiant Apostasy." They rein themselves in for the song's more melodic ending. "Heaven Here" is not the first use of a piano on this album, but the instrument is most dominant in this moment. It feels more like an interlude than a song, but at over three minutes, it is longer than many of the album's songs. 

"Longinus' finds them back in the jarring mode of screamo that feels like their true persona. I do like that they are willing to take you on a sonic adventure and color things with different sounds. More often than not, their experimentation works. They do find a few melodies for 'The Rotting Pair," though the mood is emotionally confrontational more often than not. "In the Valley of Weeping" opens with a wrathful racing pulse then ebbs into more melodic speculation. I think these more melodic part are the area they should grow into, though not sacrificing a great deal of their spastic edge. 

"Lamb Without Fold' leans more in the direction of more rabid screaming. "Your New Curse" also follows a similar direction. "Hostel Elysia" finds them at the crossroads where emo met with what would be now known as post-rock, so a more ambient form of introspective indie rock. Shimmering guitar containing the screaming is their best choice for dynamic contrasts. I'll give this album an 8.5 .  I am sure it will get some hype and coverage by members of the press prone to celebrate a band that uses pronouns, but when it comes to music with identity politics aside, they are good at what they are doing here, it's a fun album that proves screamo still has life left in it. This drops on 3DOT Recordings June 6th.

 

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Bleed : "s/t"

This Texas band takes you back to the 90s in a weird, unexpected manner.  By unexpected, this does not mean I have not already seen the writing on the wall when it comes to nu-metal making a comeback. These guys just go about it differently. The flourishes of DJs spun, scratched ambiance at the edges of their throb point this band's sound in the direction of nu-metal. There is some darker tension to the grooves that the vocals coo over. The drummer is really slapping his kit as needed, and the electronic elements ebb and flow into their sound pretty seamlessly. 

They cost into more of an intense shoe-gazing for "Through the Cylinder". There is the bouncing stomp of the nu-metal that makes a slight return on the heavier riffs of "Killing Time," though the verses are more dedicated to melody. The screamed vocals are in the background, and just jump out like a man in a mask trying to scare you at a haunted attraction. This album is more atmospheric and moody than it is dark. By the time we get to "Marathon," the more Deftones-like formula leaves less mystery. "Cynical" finds the drummer locking into a more nu-metal vibe, with the vocals as the only element to break from that, though the guitars are not super low tuned and more of an ambient element than crunching. Though they do come together in the second half of the song to dig in before the bass line takes over. 

Things get heavier for the explosive moments of "Enjoy Your Stay". The drummer is pushing the song to where it feels like a car careening out of control. "Slip" finds the vocals getting into more of a pocket with the groove, though they are generally another layer of ambiance. There is an interesting breakdown, but the song is one of the album's more straightforward moments. Based on what I have heard of the new Turnstile, I can hear these guys being the less poppy alternative. Then the switch things up the most yet with "Shallow," which is a wise move as things were becoming a bit uniform. "Take it Out" is the most riff-oriented song of the album. I think the way this album is produced plays to the song's favor.  While they are doing a certain sound, they care about writing songs, and are different enough to stand out, this all boils down to a really fun listen that embraces nostalgia without being weighed down by it, I will give this album a 9, and see how it grows on me. 

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Dead Rabbits : "Redefined"

This is a side project of Escape the Fate vocalist Craig Mabbitt. It leans into the twisted side of metal-core influenced pop that bands like Pierce the Veil and Bad Omens dominate. You can throw Falling in Reverse in the pile of artists who share a similar style as the big-sounding glitch-driven pop rock, that is more aggressive in attitude than what the guitars are doing. "T/R/A/P/P/E/D" is the lead single with enough pop hook to make me want to check out the entire album. Craig's vocals lean in the direction of what sounds like he is trying to sound like a teenage boy. Granted, youth is the current this sort of thing connects with and certainly the target market. I hope they cover a wider range of sonic textures as the album progresses. The arena rocking the album starts off with is fun enough, but bound to run out of gas. 

By "Oxygen," up until the screaming comes in, they were beginning to sound like Linkin Park. Nu-metal is what this sort of thing is rooted in; some vocals are almost rapped, which is where they share more common ground with Falling in Reverse. Even the growled vocals do not make this heavy. Though for my ears, that is the point of what is going on here. "Crowned Clown" thumps with a grooving guitar that is dialed back to leave room for a more brooding vocal, which has a great deal of melodic appeal. The vocals were obviously the focus of their session and given the most love in the studio. There is a guitar solo that works better than expected in the last minute of the song. 

"Hellscape" seems more invested in being a metal song until the vocals come in on the verse. Despite the teenage vocals, the song is a little Stitched Up Heart's singerAlecia Demner and Wednesday 13 appear on the track.  They continue further down into nu-metal for "Mistake". It ebbs out of a soft to loud dynamic with the more melodic pop verse, building into an anthemic chorus. The emphasis on vocal hooks makes a strong case in their favor towards this approach. " Misleading" follows this formula as well. It works better than their attempt at a more thrashing attack that leaves them sounding more like My Chemical Romance on "Understand". 

"Redefined" works well enough."Meat HOOK" has more of nu-metal's hip-hop undercurrent. It has a catchy groove, so that works in its favor. "ConsPIRACY" closes the album. There is nothing new introduced; it basically sums up what this album is about. I will give this album a 9, as they excel at what they do and make it catchy enough for someone like me who is not really into this sort of thing derive some entertainment from it. 

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Viagra Boys : "viagr aboys"

The Swedish punk band wastes no time making this work them up into more of a frenzy once they get to "the Bog Body."There are some melodic elements in the chaos that touch on a similar avant-garde pop style as Xiu Xiu.  They keep their hooky sarcasm cracking off lyrical observations in sharp humor that fuels the disco beat of "UNO II".  The topics that are subject to their lyrical scorn veer from the news to health care on "Pyramid of Health," which carries a bit of a country twang.  It recalls some of the alt-rock classics of the '90s. 

"Dirty Boyz" has a more Rolling Stones-like swagger. Midway into the song, it takes on a more manic electro groove that buzzes with orgiastic delight. "Medicine For Horses" finds them letting up on the rock intensity for more of an indie rock ballad. This is a noted shift in Sebastian Murphy's vocal style that finds him continuing to mature as a singer. While it works off a simple, sedate beat, it proves to be effective. "Water Boy' has a 90s Brit-pop like it could be a Blur song. 'Store Policy' brings more of a confrontational energy. The production begins to experiment and bring more sounds into the mix as the album progresses, taking them out of the realm of punk.  Once flutes arrive at the party, it's not punk is a good rule to follow. 

"You N33d Me" is lyrically crazy, though not the most dynamic moment of the album, as it settles into its noisy groove. "Best in Show Part IV" When a saxophone enters the chat, you know your song is turning into a jam. "River King" closes the album in a rather unexpected manner, as I would not have predicted a ballad. More brass colors the background, to give this a more hopeful feel than if they had taken a darker Tom Waits approach to things. Overall, this album continues to show growth and is a great deal of fun. I will give this album a 9.5. I have a feeling it will continue to grow on me with each listen.

 

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Haxprocess : "Beyond What Eyes Can See"

 This Jacksonville band is trying to prove there is more to Florida death metal than Tampa. They, however, lean pretty heavily into the influence of Tampa Death Metal, making this a moot point. The riffs wind around and tighten into well-coiled grooves. Where they seem to differ from the Tampa bands lies in their tendency to jam the songs out. The first track is eleven minutes long. They hit you with a more aggressive blast going into "The Confines of Flesh". They do find their groove on this one though it is not as catchy as the first song. Still, they manage to jam less when angry, and this one is only nine and a half minutes.

The vocals are the obligatory low growl. It is puncy in delivery, so it works well enough. They throw in a ton of guitar solos, so if that is your thing, this will be up your alley as at times it becomes a shred-o-thon. While there is some finesse to what they do, there is not a great deal of dynamics or variance, until it is time for a guitar solo, then they sometimes change up some of the sounds to set the stage for it. Thus, by the time we get to "Thy Inner Demon Seed " the moments they do switch, it is just enough to keep it from being too one-dimensional. If you are into guitar histronics, then it might be even more impressive as they are skilled at their instruments. A higher, more black metal vocal does chime in on this song to break things up a little before the band pays the most tribute to Morbid Angel yet at the song's close. 

They close the album with a 13-minute epic. The vocals switch into a higher sneer. They did need to switch things up vocally, so this plays to their favor. When they pour on the speed, things do not go better for them. The darker, more melodic section in the middle of the song is the most interesting, though even this deviation follows a bit of a formula. This album is full of great guitar playing, and the drummer gets the job done but sticks to the guidelines for the genre. As songwriters, things wander a bit, and their influences are generally worn on their sleeves at all times, so I will give this album an 8. It was really well done and masterfully presented from a performance and production standpoint. This drops July 25th on Transcending Obscurity Records. 

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