Armored Saint : "Emotion Factory Reset"

The last album I spent much time with by these guys was "Symbol of Salvation", but this album does not find the band straying too far from what they worked there. The album carries a great deal of momentum with some unconventional sounds opening up "Every Man Any-man," but once this album gets going, that momentum causes some of the tracks to run into one another; the space Bush gets on the verses is key to their success here. The first song where I can hear a trace of the more classic metal band they once were is " Not On Your Life."

 This is where one of their strengths this time around comes in, regarding the sound captured here, which is that they do not sound dated and feel vital in 2026, while still being true to the spirit of the band.In some ways, to a metal kid in 2026, this album might feel more rock n roll. "Hit a Moonshot" is a very high-energy take on rock, but has more in common with AC/DC than Slayer. "Buckeye" makes me think of Bruce Dickinson's solo work from the 90s. If he is being compared to Bruce, it means  Bush's voice has held up well for 62 years young.  "Compromise" has a more in-your-face metal groove while giving his vocals space. 

I like the darker grunge feel lurking in the chord progression to "It's a Buzzkill". This is one of the album's strongest songs. "Throwing Caution to the Wind" finds them back on the more rock n roll side of the fence. There are a few heavier riffs in it, and the solos on all the songs are pretty blazing if you are into the old metal shred. "Ladders and Slides" has some of the best drumming of the album; it's subtle and feels like rock. But there is an almsot Zeppelin feel. There is a really cool grooving breakdown in it. 

You can hear more Maiden influence in "Bottom Feeders." There is also a more traditional metal vibe to the last song. It works well enough even with some of the rock n roll excess, but I am not expecting them to be Radiohead, so that works for me. Overall, they prove to be vital in 2026, the album sounds great and not dated, John's voice shows little wear and tear, so I will give this album a 9.5 as it's all you can ask from them and they delivered. Out May 22nd on Metal Blade. 

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Messa : "the Spin"

 The band's fourth album finds them on Metal Blade. Oddly, this album at times leans more in the direction of post-punk than metal. There is a little more of a gallop on the second song than the darker opener, which only hints at rock guitar heroism. Both songs are fairly brisk in their pace, which is another change considering they were once thought of as a doom band. The vocals are very strong and well-defined from a songwriting perspective, which is the most important element of their sound. They have always carried a smoky blues-based take on doom, so this is not too great of a departure from that, as they do wander off into more atmospheric shadows midway into " At the Races". Their guitarist shines on this one. 

"Fire On the Roof" sounds like it came from a 70s hard-rock band that was trying to transition into the 80s. It just so happens that was when I began paying attention to music as a kid so it works for me. It might be a bit too anthemic for their old doom-metal fan base. It reminds me a little of the Scorpions which makes sense given my previous analogy would also apply. "Immolation" is a funny title for a song that is a jazzy ballad. This might as well be Lana Del Rey. Though less poppy. A ripping guitar solo comes in midway into the song and rips it which is an odd transition to a song that did not have a great deal of focus to begin with.

"The Dress" finds the guitarwork going in a more progressive rock path. Guitar-wise this is a much more adventurous album than the previous one. More progressive as well thanks to things like the trumpet solo on 'The Dress" where they have a more jammy jazz flare. I'm fine with them transitioning into a prog band. Then in the last two minutes, things dive into a heavier chaos before swelling up into another guitar solo. I think they handle guitar solos well rather than it just being a wankery. "Reveal' finds them unveiling their Led Zeppelin influence in a more metallic manner. I like the groove it finds, this might actually be my favorite song on the album. 

"Thicker Blood" works off a more deliberate throb that toys with their underlying blues trappings. Another ear-catching guitar solo is fired up in the middle of this song and serves as a vehicle to bolster the intensity. They lock into a pretty solid groove at the end of the song. I'll give this album a 9.5, and see how it grows on me I liked the post-punk undertones of the first two songs and was hoping to hear more of that but they went in a more adventurous direction that worked really well at the end of the day. They once again succeeded.  

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NEAERA : "All is Dust"

 Metal core continues to spread. Germany is now home to one of the genre's rising talents in Neaera. Though coming from these guys it almost feels more like death metal that enjoys syncopated grooves. There is a small deal of the hardcore side of the equation. Slickly production, and well executed, the massive chugs and growled vocals are not the most original thing you have heard. They do care about songwriting and have mainstream metal aspirations as none of the rough edges are what drives their sound. "Pacifer" feels a little more middle-of-the-road than the opener. It is less memorable than when they dig into more death metal grit for the title track. The riff feels darker as does the subject matter. The drummer hammers the point home with machine-like precision.

 I guess they started off as a death metal band that has since tried to streamline their sound for today's trends. They certainly lean into speed-driven riffage more like a death metal band. Since last month was our death-metal month here I have certainly heard my fill of it to know. "Swords Unsheathed' finds them riding a wave of thrashing riffs and double bass, that lacks much by way of hard-core, and feels a little more generic. Unless I guess you consider Killswitch Engage to be metalcore then these guys are like a less melodic version of that band, since there are none of the anthemic sung choruses. There are taunter riffs for "Per Aspera" which finds the drums pounding things into place with more technical finesse. 'Edifier' is catchier with the deliberate riffs falling in the right spots to groove to. Though much like other death metal bands they need to be mindful about giving in to their need for speed, and serve the song with the hooky riffs, rather than racing ahead of themselves.

"In Vain" finds them leaning into a more melodic and more deliberate side of their sound. In this place, it is easier to connect the dots to hardcore. The vocals are more of an aggressive shout than a growl. Then we are back to a more Killswitch Engage-like thrashing for "Render Fear Powerless". It's pretty generic. If you are into bands like In Flames you might be more impressed. "Dividers" is not much better. It takes this and applies blast beats to it. They last song reminds me of post-" Heartwork" Carcass. I will give this album a 7.5, well done and well produced, but not very original, Yet there is an audience for it that I am not numbered among, so they are appealing to that demographic.Being Released by Metal Blade.  

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Death is June - Looking Back in Anger at Cannibal Corpses' "Bloodthirst"

 By 1999 I had obviously grown apart from Cannibal Corpse as I do not even remember this album coming out. I think I was listening to more hardcore at this point in time. They began to become the AC/DC of death metal at this point, as there was little window dressing and they were pumping out albums that were what they did and nothing more or less. The first song falls in line what that thinking. They begin to toy with the formula once you get to "Unleashing the Bloodthirsty" which sounds more like what the band has been doing recently. Corpsegrinder has a powerful growl that is the face of the band. They are generally not shying from speed-fueled riffs, but have room to play around with. 

"The Spine  Splitter" finds a tightly coiled riff offering up another beating to your ears in a very refined manner. I am not sure if they even know what these lyrics are about, as this is where it sounds like they are becoming a Dethklok-like parody of themselves, and perhaps if it was another band it would matter more, as right when it;'s going to hit you the wrong way they do something more interesting. They also have more shredding guitar solos if you are into that kind of thing. It is only fitting a song called "Ecstasy in Decay " is accented by a darker throbbing throb. The arrangements are beginning to cross over into a more technical side of death metal here. Perhaps they felt like they should be taken more seriously on this album? 

They do not have a lot of "satanic-themed songs" unlike some of their Tampa friends in Deicide or Morbid Angel, which lyrically makes 'Raped by the Beast" more unique. The song works for what they do it's one of the more straightforward approaches on this album. "Coffinfeeder" has enough groove to it despite its rapid attack to work for me. There is more of an atmospheric lead-in to "Hacksaw Decapitation" than what the subject matter seems to call for. I would have used it for "Raped By the Beast", so there are my two cents on it. Some of the riffs are pretty crushing though. " Blowtorch Slaughter' reminds me a little of "Hammer Smashed Face".  "Sickening Metamorphosis " feels a little rushed from the manic manner they pound into it.  The last song uses the dynamics of chaotic to less chaotic as its formula, So your preference to this sort of thing should be weighed against it., there is a killer riff that crops up for what would be the last verse, but cool riffs do not a good song make, applies to everyone. I will give this album a 9, so solid and professionally done, like they had something to prove, I had forgotten this album existed so a nice "new" find.

 

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Death is June - 200 Stab Wounds : "Manual Manic Procedures"

 I liked this band's debut "Slave to the Scalpel" It even made the number 9 slot on last year's Top 10 Death Metal Albums. Less than a year later these guys have worked hard to perfect their craft, as this is more nuanced and dynamic songwriting. My only complaint about the first album was it was so straightforward there was little to separate it from veterans like Cannibal Corpses. Now they are really bringing it hard this time around. They give the oppressive pounding. There are plenty of syncopated punches and little nuances that make it clear this operation is a meticulous procedure. "Release the Stench" is the first song that sounds more like their simpler more barbaric times. I am not sure if these guys sat down and said listen the tide is turning if death metal is ever going to be big it's now so we have to go for it, but that is what it sounds like happened. The world is full of inspiration right now. 

There is some great guitar playing going into "Liquified" though an instrumental is not what I expected. Not a single song goes over five minutes. Some of this is due to the speed they are playing when it comes to a thrasher like "Flesh From Within". But it also means they are doing just enough and using restraint to avoid overindulgence and sprawling things out. I hear more Slayer influence on this album than Cannibal Corpses. Though the vocals are typically in a low guttural growl. The use of clean guitar tones to add a creepy feel is highly effective and gives the needed contrast to capture dynamics. The bass tone is really present, which helps things feel heavy but also adds more of an 80s thrash feel. The vocals are very purposeful and do not feel like the obligatory growl injected where a human sound should be, 

The guitar tone is cutting and the perfect balance of gain that allows you to still hear the notes rather than just an over-processed throbbing. There are still blasting parts here, but they give you just enough to taste without numbing your ear drums out. The last song finds the groove factor reaching epic proportions, as the chug takes on a life of its own. It's about blowing up an old folks home, which works for death metal, and feels like the lyrics have more depth this time around rather than just horror tropes. I will round this one up to a 10. Might turn out to be the death metal album of the year right now it is certainly the album to beat. 

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GOST- "Prophecy"

His new album finds the focus shifting to the apocalypse and Satan. It opens on more of a synth wave groove then by the second song gets more aggressive. Industrial might be the easiest label to slap on this, though dark wave or aggrotech could both apply as well. He is heavy enough to tour with metal bands and earn himself a slot on the Metal Blade roster with this album. This is the 3rd album that has been reviewed here, and it feels more in your face than the last album. The shrieked vocals remind me of Psyclon 9.  The main riff of the song is more 80s-flavored.  The pounding still gets groove and dynamic shifts on "Obituary". There is a cinematic feel to it. The tempo shifts with a more labyrinthine feel than you might expect from something like this that is guided by programmed drums. 

"Temple of Tears' does take a darker turn, but it also is not too far removed from what other projects like Perturbator are already doing. "Decadent Decay"" has more of a goth nite feel to its dark wave mood. Notice I am saying mood here, not that the song is in and of itself dark-wave.  However, things are pushed more in that direction for "Widow Song". A great deal of this is due to the low baritone vocal approach that serves to contrast the more screamed metal vocal. The satanic theme is not pushed too much to the forefront, and is even only used as window dressing for "Galgotha". 'Digital Death' is more abrasive as you are jerked back from the sharp punches of synth noise. "Shelter" hits you with a lot of sounds but is less song-focused, even when it hits the groove. 

'Through the Water" has a more industrial feel, though is experimental even for that genre. The vocals are pitch-shifted and work to create a creepier tone. Then things take a turn into black metal. The last song has a horror movie soundtrack drama to it before getting lost in an ambiance that comes back with an uptempo groove. I will give this album a 9, it works really well at capturing the dark apocalyptic mood, but could stand to be a little more satanic, but couldn't most things? 

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Cattle Decapitation : "Terrasite"

I have covered a lot of death metal albums, and normally I would be reluctant to jump into another one, but these guys are such kings at what they do , when they decide to drop their 10th album , I am more than willing to give a listen as it is not going to be the same old same old. They have in many ways picked up where they left off on "Death Atlas" . However the band believes they have taken a 180 turn. The main difference I can hear is the guitars have a more deliberate thrashing to their grooves. Things are not as blinding fast , but the riffs retain the razor-sharp aggression , but also well constructed and hooky. The more sung vocals also come into play to give the songs more melodic depth than your average band engaging in this brand of heaviness is able to conjure on snarls alone. They do not lean into speed and brutality until "Scourge of the Offspring". Even then it is balanced with varied dynamic elements in play. 

The drummer continues to pound with unbridled insanity on this album, and is one of the best metal drummers in the game. There is more of a traditional death metal sound in play on "the Insignificants". I like the varied vocal colors on this song. It winds up in a more melodic place than expected. 'the Storm Upstairs" starts with a pretty powerful groove, then things go more In Flames with it. It winds around this garden of grinding riffage that finds them in hard core like breakdowns. "...And the World Will Continue to Go On Without You" is an excellent song title that sums up a great deal of the thematic mood to this album. I can appreciate this. The song itself is more ingrained in death metal. The sung refrain of the chorus is a very effective use of cleaner vocals. 

They take their mission of groove more seriously on "A Photic Doom" . Only two minutes into the song and they win me over. They have just gone above and beyond with the execution and arrangements on this album. They do not compromise on aggression yet the songs feel a little accessible to a wider metal audience here. "Solastalgia" is the first song where they really pour on the speed and use it as their weapon of choice. They back off from this in places and use atmosphere to bring more mood, but the emphasis is placed on heavy more often than not. The last song is more sprawling in it's ten minutes. Sonically impressive in terms of where they do, the song writing does not feel like it finds the same level of focus found on the rest of the album until midway in. Despite this I will give this album a 9.5 , as it edges out their previous song, proving these guys can take it to the next level in terms of songwriting. It drops May 12th on Metal Blade.  

Killswitch Engage : " Atonement"

These guys pretty much defined Myspace metal. They did it very well. Now with original singer back for another, they seem to be carrying their own torch.The opener is stronger than the song that follows for sure.  Jesse finds himself in a strange position as he is trying to sound like the singer who replaced him. The sung vocal hook is not as strong as the the opener's . "Us Against the Wall"  dins the vocal hook getting back closer to where it needs to be.  They get into a more aggressive thrash feel with "the Crownless King".  It kinda reminds me of Goatwhore, with no black metal aspirations. Things get more melodic for "I am Broken Too". This is the strongest vocal performance so far. While there is some high school angst to the melodramatic lyrics of the song, it is the best song so far. More mid paced the tempo allows for groove.

The first song I take note of the drumming is "As Sure as the Sun Rise" . Th chorus vocal works, but other elements are not as consistent.  There is more of a Pantera side to "Know Your Enemy". The reason I continue to give these guys a chance is because when Overcast broke up half the band went to Shadows Fall and the other half formed these guys. The more nu-metal moments to "Take Control" as well written and hooks you in, even though they are really going for the Sirrus radio crowd. Sure it doesn't touch where these guys once were at their peak, but it is one of the best moments from where they currently are at. The big break down tinged metal core riffs show up on "Ravenous" which gives way to the sung hook. I think even with some of the more commercial moments this is a heavier effort than we have heard from theses guys in a minute. "I Can't Be the Only One" sets a more pop metal vocal against thrasy guitar though the shoot for the FM dial with it.   

When they get heavier on the last song it feels like they are trying to hard to prove they still are mean. I  hear they can play it, but I am not convinced they are feeling it. I will gie this album an 8. It is not their best moment nor their most inspired. It is however generally well done and the stronger songs balanced they ones they are not feeling as much. If you are a fan then you are going to like this , as it will give you enough of their varied sides.This album comes out August 16th.

Batushka :" HospodI"

There is some Dram with this Polish band and who is the real version. It seems that is best answered by considering this album was released on Metal Blade, so it's whomever the label's lawyers said was the band when they signed the papers to release this album, End of story moving on. perhaps not the most blasting cvlt of black metal metal, though there is a fair amount of it. These guys are creating something with a creepy darkness . The less full speed ahead and more creepiness the better. As the second song which works more off speed snarls like every one else. When the blasting does subside on the second song things get interesting. Granted this is midway into the song and I would prefer just getting to what makes this work rather than blasting for the sake of blasting. There is a ritualistic feel to some of the atmosphere, but not sure I can say this is orthodox black metal . The third song is denser and darker. The guitar sound is crushing ly heavy. They keep things at more deliberate pace and are heavier in so doing.

Four songs in it is evident they are fighting the need to validate themselves as being black metal, by the blast beats thrown in when double bass is clearly the strong suit of the drummer.  Even these section do not ruin the songs as they are adept song writing with winding passages of guitar.I prefer the darker pulse to the fifth song. The vocals are sung , but in a chanted fashion. for these guys it is seeking to find  a balance and using some restraint ot not fly into blast as then they begin to sound like everyone else.Their is a big guitar sound and the drums are thundering so it is recorded with better production value than your average black metal band. Might thought do not change song in regards to what works best, if it's a speed fest then they are not playing to their strengths.

The last song uses more restraint. I begin to notice the nasty snarl of the vocals  is just a layer and doesn't contribute as much as the low sung vocal that give a darker tone to the album. I will give this album a 7.5. It starts strong and creates a great mood that is then blasted out of the water as the album progressed and they give into their more primal urges.

Amon Amarth : " Berserker"

These guys are more of a death metal thrash hybrid with catchy riffs than what I would call "viking metal" , They are more about the double bass than any kind of folk elements worked in. Sound effects leading into a song don't count. Any one dial in a sample. Sure they might have a viking ship onstage, but who the fuck cares when it is playing on your iPod.  These guys are good at what they do, but are they bringing something new to the great hall or just warming up left overs. The guitar harmonies on "Crack the Sky" is almost too happy, it does get a little angrier going into the chorus. The vocals have not changed at all and are pretty one dimensional. The guitars are their main strength. While I would not say their are folk metal or power metal, the problem I have with many of those bands is they have a little too much frolic in their riffs.

The songs are rather compact. When the lead growler uses his lower growl it is more effective. On "Shield Wall"  they prove to me that they can write a fucking song. But can they keep this up? There is more of a thrash feel to "Valkyria", it's nothing special. The opening riff to "Raven's Flight" sounds like an out take from the "Pain Killer"album with out Halford.  We are back to getting left overs warmed up. Even though the guitar tone changes leading into "Ironside" it goes into the double bass driven same old same old that is beginning to bore me. Lyrically it seems like they pulled everything from the vikings show, I guess they skipped history class.

The albums strongest moments is when they slow their gallop and are more deliberate with it. "When Once We Set Our Sails" is a little more melodic , but this guys growl has gotten old. I can see where teenage metal guitar players could really get into this think 13 or 14 is when I would have really dug it. When I was 15 I was getting into hard core and it would have felt silly. These guys are hit or miss as going into "Skoll and Hati" its speed up and gets heavier. I think the vocals work better on this song, but it's pretty straight forward racing gallops . "Wings of Eagles" could have been any of  the other songs before this. "Into the Dark" is marginally more melodic and the big epic scale guitar works well here, there is also cool break down like riff at the end. However they fall prey to the rule here which is "cool riffs alone do not make a good song" This is well done and sometimes really hits the mark. Despite it seeming like these guys are making the same album over and over, I will give this an 8.


 

Gwar : "the Blood of Gods"

You may or may not know that Gwar used to be one of my favorite band's in High school. I think I checked out after "This Toilet Earth" as the song writing took a dive after that. Hard to imagine the band going on without Oderus. Blothar the new singer, is the old Beefcake the Mighty taking on a new mantel. So they promoted from within. I can deal with this better than if it was some new guy they just brought in.The new sound does take some getting used to even though, he did handle the vocals on the song "Nice Place to Park". So his voice is not totally alien. It does have more of a Blackie Lawless like metal quality which does help them out when it comes time to cover "If You Want Blood". This album needed a few listens before I could connect the changes.  It with a much more straight ahead metal feel in the vein of mid 80s thrash.  "Viking Death Machine" might touch on their punk roots , but it is a more rock n roll song.

It's not until we get to "El Presidente"  the band connects with who they really are, not matter who is wearing what costume. There get back into more of West Coast 80s rock thing on "I'll Be Your Monster". It has punk drive to it , but is rock n roll at it's heart. "Auroch" is more metal, but moves at more of a punk speed. Didn't really wow me. This is a case where much like Black Sabbath, Dio is technically the better singer, but Ozzy has a charisma to his voice that wins you over. The same could be said by the void being filled here, though I was a little disappointed by the AC/DC cover at the end because through out the album we are getting some raspy rock yelps that made me think he could do a good Bon Scott, but he doesn't go for it. One such moment is his performance on "Swarm" has a classic metal feel and the song overall is a better balance of these foot on the monitor rock moments with who Gwar is as a band.

Sawborg's is better than some of Techno Destructo's moments on earlier albums.The more theatrical elements of their brand of story telling are in place on "Death to Dickie Duncan" which is a about a mascot of  some fast food chain. They go full on thrash for "Crushed By the Cross" which musically reminds me of that time period post "This Toilet Earth" that I was not as into. The thrash vibe returns going into "Fuck This Place" though it stays more on the metal side of the fence than punk. "Phantom Limb" is a power ballad that is an ode to Oderus Urungus. It's one of the album's better songs. At the end of the day it's a fun listen, it might fall short of "Scumdogs" or  "America Must Be Destroyed" , but it's much better than some of the bands less inspired albums of the 00s. So I'll give it a 9.

Tombs - "the Grand Annihilation"

Any questions regarding Tombs legitimacy as black metal is cleared the fuck up right from the first few notes. The guitar tone peels your face off and leaves a bloody stain on the wall behind you.  Mike Hill's growl has a Neurosis-like rasp to it when the song slows down as the lyrics are articulated. The songs are all respectable lengths rarely venturing over the seven-minute mark. There is more of a deliberate gallop to "Cold". Drummer Charlie Schmid really pulls his weight when it comes to the double bass on this song. The only thing I have noticed and this is two songs in is this feels more like a metallic effort than "All Empires Fall". The chords sometimes dip into the shadows, but darkness is not as pervading. The only reason I think Fade Kainer might still be involved is the way the vocals are layered on "the tear away the Veil" . If there are synths on this they are mixed way the hell down. By the time we get to "Old Wounds" I begin to miss the more goth touches of previous albums, this is solved by a more death rock vocal thrown in for two phrases.  They are certainly good at giving you straight-up metal, but I need the more atmospheric touches to balance it out.

This shadow side of the band begins to make itself known again going into "November Wolves" I am not asking for a lot here, just little touches like how a sung vocal doubles up the harsh declarations. The song has a bulldozing groove to its chug. The vocal refrain in the last two minutes is pretty awesome and well-sung. I also like that this song reminds me a little of Dissection. The darkness becomes the main focus with the sung vocals that take the mic on "Underneath" which seems to be perfectly tailored to my personal music tastes. So thanks guys for that. When you think of goth metal it's normally so frilly and Vampire of the Masquerade that it takes all the balls from it. As much as I love them I will admit that this even took the edge from Type O Negative at times. But they prove you can have the best of both worlds.

They hit you with a more frontal assault on the scathing blast of "Way of the Storm". I think Hill's commentary on the world around him is veiled is post-apocalyptic imagery with stars falling from the sky.  When they slow into a more Celtic Frost-like chug the results are stunning. They stay in a similar grinding tempo on "Shadows At the End of the World". The lyrical theme of the world being broken and burning with killing fields being reaped continues. I like this as I think it sucks that all the metalheads are on my Facebook crying about how Trump is the anti-Christ and wanting peace. What a bunch of posers, if you are going to be into black metal or death metal then this is the end you should have been wanting, destruction and chaos if you like to toy with them vicariously through songs, but are afraid if what it looks like in real life then the diapers are on aisle 9. Then again I am a depressed nihilist so I hope we all get nuked by North Korea, it will have me another suicide attempt.

Sorry for the rant but it is relevant here as it reflects the sort of world painted by the lyrics of this album."Temple of Mars" doesn't paint a happier picture either. The vocals are somewhere between spoken and sung, with bass dragging them down into the cosmic ocean. "Walk Me into Nightmares" is almost more rock in the throb the guitar goes into. The vocals are similar to those in the previous song. This might be my favorite song on the album, even though it's not the heaviest by far, but if you know my tastes by now you will understand this. There is still even greater rock styling to the perhaps more dreary "Saturnalian" . The black metal tremolo picking surfaces and the harsher vocal return. The bass and the drums are locked in like a machine. At the three-minute mark things slow back down and get darker and more chaotic. I think it's obvious that this is the soundtrack the world needs right now it without question gets a 10. The album is almost split into two parts on the front end If you thought the more post-punk elements were diluting the more metallic properties then make most mistake this part of the album is up in you as metal as it gets. Then if your tastes fall more on the dark side as mine do then you have to hang on and you get that too.

The Black Dahlia Murder : "Abysmal"

The Bland Dahlia Murder might be a better description of my first impression of this album . It races along with a rapid melo-death gallop. The second song"Vlad, Son of the Dragon" makes me think I am listening to Cradle of Filth if they left their keyboards at home. They get real blasty on the title track but it doesn't make me feel like this is black metal, yes... I know I just referenced Cradle of Filth, but I don't think they are black metal either.  There are a few catchy riffs strewn about, but theses guys are not as skilled at weaving together as even some one like Dark Tranquility. Can the guitarist solo? Sure, but that is not helping the songs. By the fourth song I am really having to force myself to listen to this album. There is a lead line that is the only thing worthwhile to "Re-faced", but otherwise there is not much to separate this from the other songs aside from a mean chug they hit before the solo.

The vocals pretty much do the same thing with every song...the have the nasty mid range rasp and then they go down into the lower death metal voice. "Threat Level Number 3" thrashes through a bunch of riffs that are in no way compelling. "The Fog" finds a little more melody and wises up to switching pace. "Sytgiophobic" also holds back from racing off at the onset, as the growl about consequences, before going into yet another obligatory solo. "Asylum" pretty much follows the other glue sniffing American worshippers of At the Gates. This is pretty much color by numbers middle of the road death metal, nothing special. I'll give it a 4 rounding it down for sounding like everything else with nothing distinguishable.