When it comes to Jonah Matranga, I am still hung up on Far. When he puts out other music, I listen for the parts that sound like Far and gravitate toward them. Is this fair? No, but life is not fair, and he raised the bar for himself so high with that band. I have not given anything else as much of a chance, though this album touches on a great deal of what I loved about Far, but with some of the nu-metal-leaning elements dialed way down. This also brings up a fair argument about why Far was not a bigger band. It is because they were too emo for the nu-metal kids and too nu-metal for the hipster emo kids. But now is the perfect time for a reunion; they need the kind of posthumous TikTok fame Type O Negative and Acid Bath got.
There is a bit of pop-punk and 80- radio rock in the first few songs. The opening track could have been on the new Menzingers album. It is fitting that "80s El Camino" plugged into the vibes of the days he is singing about, with a Joan Jett feel to the riff. The Far moments don't start coming till "Failures Virgin" and "inbetweener," which are not him trying to recapture the past, but it organically comes out since that is a part of him. There is more of a folk rock 90s strum to "Day One EightyThree"; he adds a more vulnerable tone to the vocal and layers them in harmonies as it progresses.
"On Watering Planets" also has a more strummed ballad feel like the Menzingers. His choruses build in the expected way, does not really hold up as solidly as the other songs. The title track is another emotional ballad of sorts that feels like one of the Cure's happier moments. Thevocals are layered with some Beatles influence to them. There are a few riffs that carry a Far-like cadence but are less emotionally intense. The difference would be Everclear to Sunny Day Real Estate.
"Water in the Summer" is too happy for my tastes, but I can appreciate the songwriting. They end the album with another more fragile ballad that is not as sugary as, say, Dashboard Confessional, but heading in that direction. I was waiting for it to kick in, and it jsut kind of ambles over its introspection. I will give it a 9 as he is a great songwriter; sometimes his intentions were jsut too different from what I wanted, but we have already gone over this part.
These kids have played big stages like Welcome to Rockville. They play a fairly straightforward crossover-era style of thrash. Nothing that evolved past "Vulgar Display of Power" seems to influence them. The vocals are a one-dimensional shout, not as intersting as what Power Trip does, which sonically is a fair point of comparison. "Punk" is a pretty run-of-the-mill hardcore song. Well done but nothing new.
The title track finds them more solidly choosing their place as a hardcore band with thrash influences, though over the course of the album this flips-flops. "Snakeskin" finds their chugs dialed in but the songs all running together, perhaps due to the one-trick pony vocals. There are a few punches here and there that stand up, but by this point in the album it is so generic it is faceless. Heavy music should not bore you, but here we are. I guess if you are too young to know better, you might be impressed.
"Uncrowned" finds the band taking on more of a groove. The vocals are mostly barked; he rarely commits to a full growl, and most of the screams are more like accents. He prefers to stay in an aggressive middle range. He comes closest to singing on this song, but by and large it feels like a Temu version of Lamb of God. I will give this album a 7.5; it's not all that original, and if I were going to listen to this sort of thing, I would just put on Power Trip, as they do this kind of post-Pantera thrash better. It drops October 8th on Patriark Records.
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Just catching up with this Spanish band that released this album last month on Season of Mist. Their 2023 album, "A Greater Good," leaned more toward the 90s goth-rock side of the equation.It earned an 8.5, so it was well done, but it was not an album I returned to. "Lucid Nightmares" feels almost more like Opeth, with the more deliberate chug of the guitar anchoring it and keeping it from drifting too far in a Pink Floyd direction. "Point of Coalescence" comes clsoer to doom, but not enough for this one song to make me declare this a doom album, but I do like the direction this album seems to be heading.
They veer into a gloomy, melodramatic ballad with "Misericordiah," which is the first filler moment so far. They carry more movement into "Unholy' that carries tension that works well. "Deliverence" applies a difference between goth-tinged neo-folk and modern rock. There is a similar balance being struck, but the vocals have a great feel to them that sells me on this song.
"For Mercy" finds them ebbing back down more into thestrum though the psychedelic trappings they wandered into t he album early on return but in a manner that still serves the song. They bring a more powerful sonic sound by going bigger on the last song, which makes sense. The vocals hold a similar emotional urgency that has stirred them for the bulk of the album. It is a similar baritone to what Mat McNerney of GravePleasures employs, just directed differently. This album is a vast improvement and puts the band in the upper tier of this year's progressive rock since it offers more melancholy than most.
Lyrically, I think Freeze the Fall is better in their more abstract approach, while this has more of the Avril Lavigne biitching about my boyfriend vibe. This is highlighted on "Why Do You Like It When I Cry' that finds stupid lyrics working against the solid groove. Yeah, I know this is more of a commercial-based band than what I normally review, but I review bands as big as the Rolling Stones and Taylor Swift, so I am not opposed to that sort of thing. The lead singer is 26, so you would think she should have outgrown that sort of thing.
"Bit My Tongue crossed over into nu-metal from a production standpoint at least. The vocals have more pop intentions to them. "Kill or Be Killed" is more straightforward rock. The drummer leans into grooves that play to their favor. Lyrically, this is not one of the best moments. They use their native tongue on 'Ego," which is another song elevated by the grooving drumming. I appreciate the popsmarts injected into this one. It is also the first to have a few measures of screamed vocals. The almsot get dancey from the grooves of "Nloodsport". They bring the energy down to a tense strum with "Break," which is a needed dynamic shift, and gives her vocals more room to breathe. I can even forgive the overly anthemic production on the chorus.
Pop dynamics wrestle with nu-metal guitar tendencies, putting them closer to Muse in some ways.'Waste Your Time on Me" finds an electronic drum beat shifting into a more organic approach. But the mood of the song is too close to pop-punk for me. The lead single "Kerosene" was their calling card for this album. I think they have better songs on the front end of the album. I will give this album a 9 and see how it grows on me. If you are a fan and want them to go in a poppier direction, then this labum is what you hoped for.
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I have gained a reputation for reviewing certain kinds of metal, one of them being black metal. While I am a fan of the genre and never stopped reviewing and listening to it when it was labelled problematic by the American music press, I am pretty picky about the black metal albums I have my time to since the majority of it tends to fall along the same lines. The minority of bands who are willinging to experiment and not just default to blast beats are the ones I am looking for, or have gained my trust, so I am willing to check them out, this band from Italy is one of those bands that have gained my trust.
They are often branded as being an industrial black metal band, which is unfounded, though they are willinging to experiment with electronic sounds. This is shown on the opening track. The title track balances deliberate aggression with the more feral need to lash out with speed. Their songwriting style is fairly compact, which plays to their advantage. It is also fairly dark, which you'd expect, but you might be surprised by how many bands lack in this department. They pour on more speed for "Enshrined in Putrefaction".
"The Afterlife" has a more purposeful chug to it, as the vocals scowl with a similar venom. They cram a great deal into the first minute of the song. I was hoping "Creatures of the Night " would be a Kiss cover but it's not. Instead, it is driven by a flurry of blast beats and double bass. Also lyrically, they are not afraid to delve into things with a sexual nature, as that is something you do not hear in metal much anymore no matter the genre. They gallop into more typical black metal, as this album does not draw as heavily from the electronic atmosphere,it is made more obvious on "Crescendo of Demise".
Samples and creepier sounds help "Altar of the Lacerated " find the needed mood. Though the rapid-fire drums anchor it perhaps too firmly in blackened expectations. They latch onto your throat and do not let go. The last song, "Vaci Natturne," makes up for the lack of experimentation on this album by being just a track of electronic noise. So it's an odd outrorathere thana song. I will give this album an 8.5, not their best but still pretty solid and better than most, it's dark enough for sure. Out September 25th on Avant Garde Music.
The stakes have never been higher for this band. It's the first album without Brent Hinds. He was a key songwriter and helped balance their prog tendencies, so what is going to happen to the band without him? The opening track has a solid enough groove and does not sound too removed from what they have been doing in the last decade. The album is littered with guests to help fill the Brent-sized hole. Ben Koller from Converge provides additional percussion that is largely unnoticed. Troy's howl looms large as the spotlight falls more centered on him. The keyboards are also more prominent to balance things out. "Poisonous Weapons" also works for who they are in 2026. But this is a more proggy album than a metal album; Brent was not that invested in metal.
In the context of the album, "Your Ghost Again" works better than it did when I first heard it. For the sake of transparency, while I have been public about this matter, Brent was a good friend of mine who lived with me for a couple of months while he was in transition between living spaces, so hearing this album without him makes me sad. It feels too upbeat; it should be their darkest and most depressing album, but all this prog prancing around is too lighthearted and feels like a weird way to process the death of a former bandmate. Making me think they were even more disconnected from him than the documentary suggested, and had emotionally moved on. The only glimpse of grief I hear is in the lyrics to "Snakes For Dinner," but I am only four songs into the album. Josh Homme's vocals only surface at the end.
"Out Like a Lamb" finds them somewhat recycling old songs. The bridge breaking up the verses switches it up a bit. It's not hooky enough to be the chorus, and Brann is giving himself too many fills to sing over live. The guitar solo has a jammier feel than what Brent would have done. "In the Ruins" finds Troy delivering a nuanced and heartfelt vocal performance that addresses the prehistoric elephant in the room. They wander out in a prog jam for "They Are Coming For You". It sounds like Troy is doing what Brent might have done vocally on this one. The new guy's style is more like your average prog shredder and has less of a unique thumbprint than Brent's.
There is more of an older hammering thunder to "Golden Spires "; it ebbs down into more of a groove. Brann and Troy have been forced to fine-tune their vocal interplay here. The best guitar solo so far is on this one. 'Moth and Bone" opens with proggy atmospheric noodling. The guitar phrasing feels more reflective, and Troy's vocals work with this vibe. With Randy Blythe and Nate Newton both on "A Vampire's Demeanor," you can only expect it to be heavy. Troy's vocal as a counterpoint to the more aggressive vocal on the verse.
Geezer Butler's bassline leads into "The Vanishing," which also features Joe from Gojira. It is the most organic song so far. They use a "Planet Caravan" like effect on the vocals. The synths are very Pink Floyd. Here is the second guitar solo that fits what they do. Joe brings in a more roared vocal at the end. The last song works for what they do and features Neil Fallon, who does a spoken-word vocal in the middle of the song. There is a lot of jamming on the second half of this song. I will round this up to a 10 as this album was made under very difficult circumstances and this sounds like the onlyoption theyknew to move forward, which I can't fault them for. Here is where I have to seperate my personal feeling in wanting a darker album and accept it was where they were when they made this.
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Thematically, this album looks at the violent human nature, with some dispersion. Death metal bands opposed to death are baffling, but here we are; I will give them a shot. It carries more of a sludge lumber, but with clean modern death metal production. Midway into the first song, things blast to life with a blackened buzz. "Harrowing and purposful might best describe what happens here. Josh from Sylosis joins them on the more punk-driven death metal pace of the second song. Though I doubt his voice is distinct enough for me to pick out from the other growling going on here. They are well-produced growls, and more of a hardcore chug comes in on this one. I can hear where the Full of Hell comparisons might cocme in, though they are not as dark as Full of Hell.
"Blood River " is possessed by a more savage chaos until they lock into the chug. It sounds great, but nothing new is going on here. When I am in the mood to listen to this kind of thing, I probably would be more likely to listen to Full of Hell, as they are more sonically experimental, which is more of my thing. This is not to say I don't like meat-and-potatoes death metal, as Cannibal Corpse is one of my favorite bands. "SSunrise Parabellum" starts off with a racing death metal feel. The drummer has chops, and no one in this bandd is a shabby player. Matt from Trivium is on this song and I cann tell his voice apart from theirs despite never really being impressed by Trivium. Trivium always strikes me as being middle of the road in a genre that should be pushed to extremes.
There are a couple of songs that venture over seven minutes long, but they are more compact more often than not. "A Shattered Visage Lies" feels like blackened death metal with some hardcore smarts. I think, much like Trivium, what is not wowing me about this album is how it needs to be darker than it is. There are introspective and bleak passages, but nothing holding the weight for darkness, which is weird, as they are influenced by black metal, though not a black metal band themselves. Perhaps that is the difference between a band that is warning you about the dangers of violence rather than a band that celebrates it. Music is an extension of whoever is making it, so they are not very dark-souled people to begin with.
There is almost more of a Lamb of God feel to "Accelerationist". So middle-of-the-road hardcore grooves over big guitars. "The Agony of Peace"is the best song so far, even though it's the least heavy, due to the melodic guitar riff that works nicely to balance the vocals.It compensates for the blast beats they resort to. There is also more purpose to the deliberate drumming on "Wish Granter," which grooves more likea hard core song with more technical riffing. "Kurtz" finds them joined by Anthony from Cult Leader, who I had the most hope for but instead it's more of a raging thrash fest. I do like how samples are used on this album. They go headfirst into blackened hardcore on "My Hands Become Weapons' though without the darker atmosphere of black metal. The melodic section in the middle works well.
They clsoe the album with a seven-and-a-half-minute ripper, which, when you combine all the styles that are in collision here, the result is metalcore jsut not the Myspace kind. They do bring the breakdown perhaps the hardest on this song, though it's not the only one where they indulge this sort of thing, just the most prominent. Still, the layered guitars are effective. This song also follows the formula of throwing in an almost post-rock lingering melodic section in the middle. Then it builds into a more hardcore chant. I will give this album a 9 as it is effective at what it does even if it is not dark enough for my personal tastes. Drops September 25th on Church Road Records.
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The first thing I notice about the opening track to their new album is how the vocals have improved. More sung sections, along with harsh counterpoint. I also appreciate the darker tension lurking in the mood. Not as sludge-flavored as 20024's "Cool World" album, which took the number two spot on that year's Top 10 Sludge albums. Creepier than the Jesus Lizard but with a similar vibe. You can hear this on "Deep Blue," which falls somewhere between noise rock and grunge. They have always been great at capturing the color of feeling unhinged, and this album continues that tradition. They hammer at you harder as "Deep Blue" progresses, though I am reluctant to call this a metal album; however, I am only two songs in.
"Same Rules" is more introspective that what you might expect from them. I like the mood here, and just wnat good songs, as I am not invested in these guys being heavy; if this was the new Watain, then we might have a problem. They are growing at what they do here. "Pen is Mall" is more pounding, with the vocals stepping up into a more aggressive snarl. The thump of the bass brings back the ghost of nu-metal that has haunted this band before. The noise rock side can be heard in the angular, ugly nature of how they engage this anger. The theme of this album is how the decay of society is due to collective apathy, so this might be why it is less confrontational, though they roar pretty furiously on "Shrine".
"Oddly," there is almost a funky groove to the jangle of "Intruder", which is contrasted by the more explosive sections of the song. I like the lyrics that someone told him this house needs haunting. "Christabel 26" moves off a bass line that reminds me of Rollins Band. The howl of the vocals also works with this influence. The moredetached spoken vocals hold more in common with King Missile. There is also a depressed Nirvana feel to this one. The ugly angular noise throb continues on "Influence"; there is a similar tension as "Bleach" era Nirvana. This collides against the Jesus Lizard-like tension.
"Family Funeral" slows the pound down. There is a dissonance to it that falls much clsoer to the bounds of noise rock. A spoken vocal mutters under the burly bassline. The vocals build into a tortured question of where the fuck is he supposed to go. The last song has to sound creepy, as it is called "October All of the Time," which is how I feel this time of year.It is more of a grunge ballad. I will give this album a 10 as it deserves. If this is not the album that breaks them into an even larger audience, it might not be happening and they cango back to being indie darlings. Regardless, they are creepier and more melodic, showing a great deal of growth, making this their best effort yet.
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This album came out back in February and deserves not to be left flying under the radar as it has Portland crust punks deliver some darkly grim and apocalyptic punk that gets a bit of a build-up with the intro to this album. Metallic guitars and the snarl of female punk vocals get broken up by a howled male voice. It is heavy as you might wnat this sort of thing, with thrash hooks bringing the pit to life even in the comfort of your own living room. It many ways, you can hear how the Plasmatics have influenced what is going down here. The difference being Wendy O Williams is not making any new music from the grave.
By the time we get to "Disconnected: it is becoming clearer that the full-on high-speed confrontational style of hardcore punk is going to be the heartbeat of this album no matter how they dress it up. Then they bring alittle more groove to "Flowers For Ghosts". The punches in this song are cool and show how nuanced this kind of thing can get if it is not allowed to just blast past your ears. "The Spiral" takes on a hyper-aggressive metal tone. The roared male vocals trade off with the vicious sneer of their lead singer.
"Five of Swords' is pretty much what you expect from punk, which they have already proven they are able to surpass, making this feel like filler. 'Leeches" opens with rock fanfare before racing off. "Emerge" almsot has more ofa Motorhead feel. Pretty straightforward punk , it'snot like you have not heard similar before they just do it well. Well enough for me to give this album an 8.5
pst389
\What I like about this album right from the jump is that this band hits you with more of the thrashing groove than a pummeling of blast beats. There are faster sections, but they are given a dynamic contrast rather than just sbkur of speednumbing you ears out. The vocals also seem to have some purpose in the song, and the lyrics are articulated enough to not just be a growl. The slight tinge of their Italian accent gives the vocals a slight Sepultura feel. This vibe returns on the title track.
They shift into a more Slayer-like aggressive thrashing on "Scale of Gray", though the opening track and the title track are the best sngs o far. The deliberate pacing and purposeful drumming make this song shine. They go back into this more Slayer-tinged mood for "Human Lithification". It fluctuates between faster passages and a more stompy groove. They have a knack for somegreatmoshy riiff, and also keep the songs around the four-minute mark or less, never dragging things out.
"Concrete Petrichor " slows things down into a heavier groove before they pour rapid-fire double bass on. This is done back in the more Sepultura feel of things, which is the mode of playing they switch back and forth from; by Sepultura, it's more like the "Arise" era for the band."Weapons of the Damned" might be the best song written in this more Sepultura-like style. "The Lust of Us" shines in its more purposeful groove rather than when they pour on the spped, and thankfully those moments are outnumbered. I will give this album a 9.5; it might wear its influences on its sleeves, but it's well done and hooky as hell. It drops September 18th on Personal Records.
This duo has gotten a great deal of hype for their jangly take on punk, blending garage boogie with grunge and 90s indie rock. New Orleans is not the place I would expect this to come from, but it makes sense over time. The first song works well, but I am going to need more dynamics as the album progresses, as a full album of this won't work for me. The second song counters this malady but brings in some blues-based clean guitar and more swagger. Yes, it is a step away from punk, but it works. 'Swamp" is the first song that feels more like filler, and the truth is I already have the Viagra Boys who do this better.
The title track has them mumbling along with an acoustic strum that sounds like any band that could be playing any dive bar. They continuethe rockn roll jangle on "Guided Thunder", Part of the problem lies in the vocals, which are the same for every song. Not every one hasto beMike Patton, but I prefer a more dynamic performance in this regard. "Top of the World HwyNo 2" has some atmosphere in the background that marginally help butwe are beginning to hit monotony. "Cncealed Weeping" is not as interesting as "Riding," which has more of a groove and a better vocal performance.
Things continue to be hit of miss as "Business" is an interesting song while "Javelina" feels less inspired even with it's cocuntry influence. "Weather the Season" has more of a 50s feel."Dancer" finds someone coasting over the tension being built. At this point, the vocal totally bored me. It ends with the strum of "Sun Go Down," which is pretty run of the mill. I'll give this a7.5 as it is interesting for what it is for people who are looking for this sort of thing, but it's not my thing.
This band's 2022 album earned a 9, which is impressive considering how their angular math rock takes on black metal had begun to dull on me over time. Yet this album dials back the math and puts songwriting and nuance back in focus, rather than letting a technical labyrinth of buzzing riffs take center stage. This is not to say some of the more adventurous sonic trademarks of the band are not still in place, but the vocals sit differently in the songs, the drumming is more deliberate, and everything has more organic space in the mix. Things had almsot become clinically sterile with them, so the changes made lure me back into what they are doing here. Granted, six minutes into the eight-minute opener makes me wonder how long they can jam on this, but somehow they make it work without boring me.
There is a more racing, thrashy feel to "Grievous Corrector". The vocals return to their older, more death metal howl. The higher tempo makes things feel like a busy blur of ringing notes, rather than riffs you are following. Lots of accents fall out of the corners of this arrangement. The melodic passages work best for me, though thi si clearly hipster metal. The patter of blast beats runs under the chors that are allowed to breathe in the storm of guitar they unleash. There is more aggressive metal crunch to "Kill the Guardian," a more traditonal metal songtitle for sure, and the pounding riffs accent this fact. The vocals are more shouted than growled. At seven and a half minutes, they leave me unsure how they are going to keep this going for another five minutes when I am two and a half into the song. The anser is shifting guitar tension while keeping the tempo brisk.
They slow things down going into "Unceasing Path," though it is clear once again that their intention are more in line with being a technical death metal band than a progressive black metal band. The drums revert to the pitter-patter of blast beats. There is something creepy about this song's angular nature. Palm-muted picking once again creates the tension. We are back to the more familiar buzz of blast beats on "Living Useless Ritual," which should find them doing something more interesting as the song progresses in order to keep my interest. The second half of the album finds them cruising along in a high-speed jam that runs together but is still somewhat effective.
The 13-minute title track closes out the album. The first mintues seem like they are trying to get their bearings and figure out where to go. The direction turns out to be in your more typical blasty mcnasty black metal tremolo picking drone. There are some darker dissonant undertones sburied in this din, but there should be for black metal, and this might be the only actual black metal song on this album, as it is the only one with sinister vibes. At four minutes in, I am uncertain if this warrants nine more minutes of said vibes. There is a hypnotic amabient break down that does not last that long before swelling back up into the more typical black metal. At the eight and a half minute mark, a guitar melody emerges over the slow throb. I will give this one a 9, putting it on par with the last album I heard from them. I respect what is being done here, but overall it is not dark enough for my tastes, and feels more like hipster death metal, but there is still an audience for this, and they deliver it well. It drops September 8th on Profound Lore.
pst385
The 9th studio album by the wonderful Ms. Wolfe opens with the soulful "Cold" that finds less of the ghostly reverbed vocals and her singing out at full voice in a more accesible manner. The also worked with producer Jennifer Decilveo who has also worked with the Gossip., Miley Cyrus, Bat For Lashes, and Hozier. Her voice sounds great nd it fits comofrtably in her hweelhouse. She continues this more raw vocal production on "Seethe" which is also more straight ahead rock. It is not as dark as her previous work. Not too far removed from say Florence and the Machine. The drums groove thanks to having Tori Amos' drummer Matt Chamberlin playing on this album fand Troy from Queens of the Stoneage / Failure also lends his guitar talents, but serving the song so much you would not notice it was him.
"Humours" is more back to the shadows basic for her, which she knows she needs to return to based on her fanbase which includes people like me who expect this sort of thing. If anyone was wondering if she coulkd sing ofr was just hiding behind the stylistic apporach with effect this album clears that up. It ameks sense consdiering artists she influenced like Ethel Cain are playing bigger venues. There is a more rock feel to "Swallower" though it does include many of her sonic staples like tinges of haunting guitar notes that ring out.
"Halo" ambles along with a hooky flow. So far the vibes of this album remind me most of "Birth of Violence'. It is weird tha Angel Olsen collaborator Ben Babbitt lent a hand on the title track as it's stripped down to her just playing guitar. It is not until two minutes in that other layers of sound begin to rise around it. So they just helped her flesh it out. "Turn the Key" finds Robin Fink of Nine Inch Nails dropping some guitar in. "I'm Not There" is a slice of Americana tinged songwriting that is not foreign territory for her.
"Death is Not the End' goes from themore delicate fragile vocal to aheavier sonic dirge of emotion drivintg thesong. The album closes with "Dancer in the Sky" which is another introspective ballad. She slowly builds it up from the minimalist piano line, andit is one of her most compelling vocal performances. I am not sure if her new found soberiety is what is making her more comfortable in her own skin but that is what it sounds like to me ,and it is clearly working as it's another flawless album from her,. I will give this one a 10. Out on LornaVista.
The black marrigage of goth and metal has been attempted with various results bands like Type O and My dying Bride being the most triumphant in this regard, but other bands like Atriarch and In Solitude who did not garner as much of a c ult following were still artistically sucessful and left a void in their wake, that has only come close to being filled by a band like Grave Pleassures, who still lean more on the goth sidde of things with more punk tenencies than metal, Unto Other has mad eand effort and the new Final Graps is perhaps closer to what I want , though this band from New Yporkfinds themselves on the more metalic sie of what In Solitude once tried.
The vocals are the only shakey part of this foundation, they work on the first song, but are more uncertain on the second so hey are goibng to be what makes or breaks them here. I orefer the more atmospheric balance they strike on "Snakeland's Pull". There is more ghoulish aggression on "Knight Rider". The romanticized darkness they linger in holds melody even when the vocal drop into more of a growl. Their more aggressive side is not as death metal as say Tribulation, but carries more of a punch than Unto Otthers.
The moodiness brings a new level of emotional depth to the sonic pulse found in "Dungeon of Love", here there is more of a Feilds of the Nephilim feel. The vocals are working better but they are sitting further into the mx. There is more of a 80 vibe to "Sanctuary' which I appreciate. This is one of the album's best vocal performances andd perhaps the album's hookiest song.. "Trouble With Demons" finds the vocals almost more spoek on the verses which does not work as well to my ears.The last song works well, as the vocal deliever and the mood is gloomy enough for me in it's introspection.The vocals are effective enough to get the job done so I will give this album a 9 and see how it grows on.
pst383
This Czech death metal band is not what I expected going into this album, as there is a more technical feel to their grooves than what I expected from "horror-themed death metal. It is hard to say if this s my thing from the first song alone, as I do like bands with some technical aspects when it comes to death metal; there is not one set rule that I stick to. "Le Horiaa' is more deliberate as things slow down to a more purposeful crunch. I can hear where Cattle Decapitation comparisons could be drawn, though with less of a chaotic vocal delivery and a different atmosphere that creeps up here as synths become more apparent. They have a well-layered guitar presentation I prefer the more creeping aspects than when they go full bore.
"The King in Yellow" works off a more syncopated groove that works against more frantic flurries thanks to the drumming. The horror aspects can be felt as this song progresses. Not sure how it relates to the work this song is named after, but it's the thought that counts. There is marginally more traditional death metal on "The Willows ", though when it gets more progressive it kinda loses focus and throws a bunch at you. Some of the more crazed blasting does not work as well for me. However, there is no doubt these fine fellows are talented. They have plenty of chops and already have proven they can write a song, but can they be consistent is the question. The angular battery that powers "Mimi-Nashi" at least works better than the previous song.
'The Feather Pillow' opens with a bunch of blast beats before it begins to find its footing. The drummer is almost playing against the grain of the song here. When it comes to songwriting, the strongest moment so far feels like it is "the Letter U", though even here they eventually erupt into a merciless speed fest. 'The Painted Skin" opens with more purpose in the pounding. This builds into an almost Cannibal Corpse level of brutality. They bring more suited weirdness to " The Colour Out of Space' perhaps not as Lovecraftian in feel as the lyrics should be. I appreciate the nod to my favorite author.. "Bernice," like most of the songs, is possessed by more blasting than it needs. I will give this a 9 as it is not my preference for death metal but even then there are song sand moments I enjoyed, so they won me over enough to know death metal fans into this sort of thing will love this album.Drops November 11th on Transcending Obscurity.
This is a post-punk all -star band that features former members of Wax Idols. Smashing Pumpkins/ Garbage, and Light FM. There is a mix of influences; some of them lean their sound in a more dream pop direction. This is more pronounced on the synth wave-tinged title track that carries a dreamy glaze, though the guitars and vocals anchor it well. The vocals are performed andd produced in a manner that sounds like they could have come from a 4AD album in the early 90s. The drums add a bit of heft. The guitars are not afraid to add a more rock-like melody.
"No One Can Have You" finds the band cruising on a solid groove, as the drums keep things flowing. The guitar dances around this with a crystalline patter of notes. I am not sure I couldd call this synthwave, as it is more like dream pop with a side of post-rock tension, though they get dancey at the end of this song."Death Mag" has a beat that is not unlike "Running Up That Hill". But the vocals bring things back to a more somber mood. It's not hard to be less dramatic than Kate Bush. The synths darken things coming out of the chorus. Even though this seems like the most synth-dominant song so far, it is still balanced out with guitar. This is the most dance floor-minded song I've heard on this album. \
Was not expecting a Wire cover, but that is what we are getting; it is a more electronic take on the song. The last song kinda drifts by and does not grip me as much as the others, but ya win some, lose some; it doesn't suck; they just raised the bar high for themselves already, I will give this one 9.5, which puts them at the top of the heap for this sort of thing.
Electronic tingehardocore does end up sounding like industiral. The first song sounds like it could have been from the 90s. I do like the harder-edged guitar fighting against the synths. "Spiral of Destruction" sounds like White Zombie jamming with the Butthol Surfers.. You could almost say something similar about "Absolute Insanity," but it also carries stronger ties to Killing Joke. But it also finds them settling into more of a songwriting formula. "Boots On the Ground" is more Ministry-inspired.
They kick up equal amounts of dirty noise and grooves on "Digital Rot".At this point in the album he vocals begin to get a little boring with their one-dimensional nature. I suppose if Motorhead is one of thre your favorite bands, you won't notice. Speaking of Motorhead, the vocals take on a more Lemmy vibe for "Acid Reign." . The vocals also have a little more purpose on this one so that works for me. There is a more punk feel to "You're the Product"
"Never Say Never" is another more punk song with some Devo tendencies. This is offset by a more metallic riff driving it. Then it's back to a more old school industrial sound for "Smooth Operator," tink Revolting Cocks in this regard.. Lulu contributes her voice to "Five Star General," which helps to switch things up into a more indie new wave revival sound. Overall I appreciate what they are going for here, not blown away by it , but they captured the sound of an era I like and wrote some decent songs on their own terms making this album a great deal of fun so I will give it a 9.
Here is a weird darkwave project, which, like most darkwave projects, does not think it is darkwave. The guitars do not make it any less darkwave, as plenty of darkwave bands once had guitars it is something I hope makes a comeback. Though it is unlikely this band is the one that is going to spearhead that comeback. What they do will appeal to a very particular segment of darkwave fans. Most of them will be at Dragon Con or some other fantasy convention that hopefully these guys will find themselves performing at. They bring a heftier beat on the second song, though the vocals are the aspect I am not a hundred percent sold on, and that will be their goal over the course of this album. They seem to be pitchy in places, and I think a different mix would benefit them.
"Clorkwork" does not invoke the sound of what I think steampunk would sound like, which in my mind is closer to Rasputina or Heartworms. I appreciate they are bringing a heavier element to the tapestry of sounds they are trying to weave together here. The vocals are more effective when coming from more of a purr. The higher they are belted, the more margin for error. I think more effects would also play into their favor. "Ada" does have some sounds that are more steampunk to my ears, and a better groove, with an experimental collision of sounds working for them here. Uses more ofa sci-fi theme, that follwos the more techno pulse. It gets weird, but weird works for these gals. They even add an almost industrial thump.
On "High Rise," when they sing in their alto range is working really well. "The Corps" has more groove, and the moaned vocals hold more weight in this context. Though the pitchiness is questionable in this place, which is odd as it worked on the previous song. "Alice" finds things getting darker. This is the path they need to be following, though I am partial to darker music. Both girls sing, but one is a better singer than the other; you can hear this in the dissonance when their voices join. I do like they mention the Jabberwocky in the Alice in Wonderland song. 'Vampyre" is a little upbeat to be about Dracula, and this is not the girl who should be singing it. Not all voices are created equal.
The xylophone sound that is the centerpiece of 'Dollhouse" works well at the steampunk sound they were going for. and they vocals sound fine, so they are just inconsistent. This song is somewhat of a ballad. When it builds, it's one of the album's better beats. The last song also captures the steampunk feel they are going for. The more industiral vibes it goes into work as well as the odd, angular, quirky pulse it carries. I will give this album an 8.5; there is some fine-tuning that it needed in post-production, but it carries its own charm in the present format. Something like this should be a little strange so you can't fault a girl for that.
If you wanted to know what Justin Bieber might sound like if he made Myspace Metal, this is the answer. With that out of the way, we can focus on how hooky these songs are, even if it means compromising what you might expect as heaviness. But not every band needs to be heavy, so if they want to lean into the pop side of things, that is fine if it is who they are. They are not a metal band, so with that expectation taken care we can enjoy this album as "Car Crash "is pretty catchy. These guys would have worked well on one of those "Pop Goes Punk" cover albums. They get moodier andd more melodic on "Needle Eye," which has a pretty anthemic chorus. They follow the path left by bands like Issues. Though they have less attitude.
"Chemical Warfare" is another moody anthem, with less of a hip hop undertone and more of the metal pop punk feel. It begins to sound like they need to break from their formula a bit by the time we get to this one. When he screams, I am not much of a believer, as he looks like he weighs 130 lbs, but when it comes to his almsot androgynous emo whine, I am a believer. Almost everything I said about the previous song could be applied to "Let Down". There is, however, a lower-tuned angular djent riff at one point. Things begin to stall by the time we get to "Misery Loves Company".
They switch it up not in the direction I suspected, as it's a synth wave-like pop-power ballad, on "Incomplete," but it works for me. Vocally, this one is sugary but more impressive than his screaming. Then they are back to the more middle-of-the-road formula. "The Countdown" finds strummed guitar taking over as they go about as hard as Taylor Swift, unless we are talking about "Look What You Made Me Do," then she's going harder. It's pushing the boundaries of how much sappiness I can take. "God Complex" approaches this from a different angle. It's more rock for sure.
It's by "Lost in Translation" that things begin to sound the same, though a solid listen finds this song is not like "Heavy Heart' that follows, though it is more inspired sounding than "Heavy Heart. Then with "Paradox" there is more of an electronic groove taking over. , Though this and the last song find themselves drowning in their own sugar when they would have worked better with a marginally darker atmosphere. Whelp, this album eventually kind of became background music for me, but I appreciate their willingness to fully commit to emo pop hooks. I will give it an 8.
In today's musical climate, it is not hard to damage the second album from these Santa Fe death metallers, breaking them into the larger metal scene. They have some thrash riff smarts and a raw punk attitude coupled with their more feral embrace of death metal. Going into "Deceptor," they are almost crossing over into thrash, with the vocals being the main thing anchoring them to death metal. It does speed up as the song progresses into something that recalls the early days of the genre. There is a much more dynamic take on songwriting than I expected, with some of the more nuanced passages while still being true to the raw punk spirit.
"Septic Values" is pretty solid, not speed-obsessed but keeps the energy up as needed for this era of the genre. The vocals have purpose. Some cool more traditonal metal riffs are going into "Upset the Grave" before it gets some double bass under it and goes cruising off. "Systematic Suffering" runs closer to the more expected side of death metal and has less of their own peronsaluty embedded in it., still a decent song, just not as vital as the first few. By the time we get to "Mental Mulilation," things are beginning to run together and sound the same as the dynamics begin to find similar footing. This song is a little more deliberate, but when it speeds up, it all runs together..
The death thrashing races on with "Braindead". The vocal accents shift a little, but it racing long a similar highway as the other songs. A dive bomb Slayer solo or two join in. The last song sounds almost just like the previous song as things find a more monochrome sonic formula to fall into I will give this almost an 8.5 as the first half is strong enough to balance things out when it finds the songs sounding too similar. Being released on Carbonized Records
