Lamb Of God : "Into Oblivion"

 Lamb of God is one of the biggest bands in metal today. Yet they have never scored higher than an 8.5 here. What does that even mean, you ask? They get the job done without being original enough to make me give their albums more than a few spins while I am reviewing them. If I am in the mood for this type of thing, I either listen to Pantera or Slayer. I did like their "Sacrament" album, which I listened to quite a bit, but after that, everything started sounding the same. Production-wise, they follow the trends. Previous albums have taken notes from Slipknot; this one finds their producer taking cues from how Gojira and Behemoth dial in their sound. 

Randy Blythe has a bigger personality off stage than on. He is rail thin so it's hard to take a scrawy dude barking at you like bad ass. "Parasoial Crisis" is better than the title that opens the album, as it sounds overproduced and generic. "Sepsis" is even better, in fact, the most memorable of the first three songs. The first has a more spoken thing going on that complements the groove. "The Killing Floor" is more of a thrashing groove, which is what works best for them. There are some pretty mean riffs on it. 

"El Vacio" is more melodic and shows that despite his miserable performance at the Ozzy farewell show, Randy's singing voice has improved, though it does prove my point regarding how they have taken notes from Slipknot. "St Catherine's Wheel" is pretty much on point for them as it is well done for what it is, but what it is does not resonate with me as it sounds like everything else.  I prefer the groove of "Blunt Force Blues" which goes to show I might as well jsut listen to Pantera. 

"Bully" is a generic modern metal battery to your ear drums where "A Thousand Years" has more of a hook to it, making it more memorable. "Devise/ Destroy" might as well be a Slipknot cover. Much like their other albums, this one gets an 8.5, it sounds great and is well done, made for the dull masses who do not care if music is original or not. I blame alcohol intake for this numbing of musical sensibilities. 

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Novelists : "CODA"

 

The addition of vocalist Camille Contreras has elevated the band's profile, placing them in a higher tier of metalcore alongside artists like Spiritbox and Jinjer. The first song has an effective enough hook, and Camille's pop sensibility balances things out; there is more from her harsher vocal on the title track. There are some progressive-leaning melodic elements added, such as more nuanced guitars and vocal dynamics. They do not delve into time signatures that are that far removed from the djent side of the genre. 

"'All For Nothing" is like the metalcore version of a power ballad. There is nothing on this one that I have not heard Spiritbox do better on their new album. Really, the big difference between the two bands so far on this album is more guitar solos here. Things get quirkier and help distance themselves from Spiritbox on the song after this, with a more frantic electronic chaos unfolding. It borders nu-metal and djent. Using the metal-core formula to build into screaming.  Predictable, but with shiny new pieces making the sounds for the puzzle. 

Find myself having to go back and give these songs another listen as they are not grabbing me the first time around. "In Heaven" is another one that works off the metalcore-powerballad formula.It does finds its groove better than some songs here."Adam and Eve' feels like they just jammed off the previous song and took it in a more straightforward groove. "Sleepless Nights' is a little more nuanced in the songwriting department, but feels like it is chasing the heels of Spiritbox. Making me wonder if it's the label or the producer's fault. 

"78 rue' is almost a more straightforward pop ballad. "CRC" Is on the more metal side of metal-core with an anthemic chorus , which is not the most original thing I have heard this year, but is effective for what they are doing. The last song is another power ballad that tries to make the most of their new singer's voice.   I will round this down to a 9 as they are trying to fill a voice that has been filled; they need to find their own place, and they show promise in doing so here and care about the songs., with that said, they are at the top of the heap when it comes to bands gunning for Spiritbox's place in the spotlight. 

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Acres : "the Host"

UK-based Acres is another band that blurs the lines of pop, nu-metal, and metalcore. The vocals steer things in the direction of a more mainstream 30 Seconds to Mars. This album is produced in such a way that blends industrial sound into the smack of the drums, making them more of a stomp at times. They are not as poppy as say Bring Me the Horizon, as the hardcore tinged angrier vocals that counterbalance the softer pop vocals, anchor them in a more confrontational sound. Not as soulful as, say, Issues, they tend to lean slightly in the djenty manner in which their sound was once rooted. However, the first two songs just kind of run together, so there is a uniformity to their sound despite the dynamics. 

If Linkin Park were devoid of the hip-hop influence and more into angsty pop-punk, the result would not be unlike "Staring at the Sun". The verses follow the formula of giving the vocals room to breathe. It sounds good, but also sounds like a hundred now faceless bands from the late 90s. The harder breakdown at the end only confirms their Myspace Metal lineage. "Take My Last Breath" is driven by a more electronic beat. The vocals are slickly produced, but not quite to the Sleep Token level. If it seems like there are lots of bands being named for comparison, well, that is what their sound invokes.

"Built to Bleed" leans more into their hard-core, but it's produced in a very electronic fashion, rather than the organic roots of the genres. Lyrically, it sounds like they get their feeling hurt a great deal, and half the time they are the culprit, being their own worst enemy. This guy has a pretty decent singing voice, but the emotional tension he adds steers them in a Linkin Park direction. "Your Goodbye" finds the more pop punk tendencies wrestling with their emo execution as they fight for the hooks. This song is perhaps the most derivative. "Steal the Light" has some interesting production choices and highlights the wasted potential of the vocals; it might be one of the album's best songs.

"Welcome to the Family" finds them once again trying to convince me of their dedication to the core part of the genre, but since I normally listen to bands like Harms Way and Full of Hell, I am not easily fooled in this regard. The last song is their self-proclaimed poppiest song., which I think is something they need to expand upon as it is more believable. Perhaps it's their ability to sell this that makes it the album's best song despite being more of a ballad. Overall, I will give this album an 8.5, not something I am going to be listening to on a regular basis, but they are good at what they do and there is an audience for this that will go for it, so they made the album they wanted. 

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PSYCHO-FRAME : "SALVATION LAUGHS IN THE FACE OF A GRIEVING MOTHER "

 

The debut from this death-core band finds them leaning into the more slamming side of the genre and taking a few more chances. The vocals do have plenty of the low gurgling, which switches to a higher scream. There is a grinding, spastic nature, along with some nu-metal in their DNA.  The opening track is heavy enough that it can stun you into awe, before you have the chance to ask if these guys can actually write a song. The bouncing stomp of "Inverted Spear of Heaven"  makes it harder to answer this question, as most of the time they are into playing at a more manic. 

"The Portal" opens up with a guitar solo that indicates they can play their instruments, but the songwriting questions still linger, as all the half-time riffs colliding with one another do not indicate a great deal of dynamics. The vocals do bear some of the blame when it comes to the one-dimensional nature the album's sonic scope begins to be limited to. There is a little more groove to "Black Wave 2". But once again, the vocals follow a similar pattern as previous songs, until they go into a hyper blast. There are more hard-core moments to their stompy sections. 

They lash out in a more feral, hard-core manner for " Endless Agonal Devotion". But there is nothing there that really hooks me into the song. "Apocalypse Through Lysergic Possession" is a cool song title, but the reality of the song is a more chaotic version of what they have been doing thus far. There are a few more deliberate riffs that give it a grounding stomp at times. The breakdowns are pretty slapping in this one, though the vocals have grown tedious. "I Won't Be There to Watch You Go" falls along the same lines as most metalcore that touches the bounds of death grind. 

"Filleted and Fucked" is another great song title wasted on an incomprehensible chug fest. There are chances for them to lock onto a groove that they let slip past them. They do find some breakdowns. "God is Busy" is another song that has potential, but they go into the more formulaic breakdown crunching. Yes, it is heavy, but it also becomes redundant. For the last two songs, I do not have a great deal of faith that there is going to be much that varies this album, from the one-dimensional mood cast of the brutality so far. The last song starts off with the kind of frenzy that has consumed the bulk of this album. There are a few more traces of atmosphere, but not enough to really create the kind of dynamics this album needs. While I do think Snaguissuggabogg is going to break more mainstream, it's because they understand the groove behind breakdowns; this band still has a lot to learn. I will give this album a 7.5, if you jsut want heavy, they have you covered. 

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Victim of Fire : "The Old Lie"

These guys have a very in-your-face thrashing take on crust. The guitar sound on this album is not as raw as some, and the energy keeps things moving, as the layered guitars seek harmony rather than dissonance. Metal-core at the time,s might be a fair enough reference point. The lyrics to the opening track deal with the realities of war. There is more hyper-aggression here than the kind of bleak apocalyptic feel I normally get from crust.  Funny enough, the second song is titled "Apocalyptic Inclination,n" but it runs off more of a thrashing rage than deliberate darkness. The vocals are snarled in time with the rapid-fire riffage, so you are lucky to discern a few words here and there. Once into the songs, things take a more melodic turn to provide dynamics. 

"Wayward Light" works off a similar energy as the previous, so much so that I begin to listen for the dynamic nuance. There is a bit of black metal influence lurking in the storm of riffs unleashed here. "Nightmares of Ceasefire " opens with a clean guitar intro before meeting at the crossroads of thrash and punk. This does result in somewhat hookier riffing. The theme of the album seems to be war. I suppose they are raging against it. If they were Slayer or a death metal band, they would need to be celebrating it. The rabid speed they are playing has more in common with Slayer. Though I think the raw "Show No Mercy" era. They lock into a few powerful chugs. The guitar wanders off into a more melodic place to end the song. 

"Discordence" is more like old school hard-core in its chugged attack. The more melodic guitar parts that open "Barren Path" give way to straight-up metal guitars that might as well be on a Darkest Hour album. The scowling snarl of the vocals on "Front Towards Enemy". "Disharmonist" finds guitar melodies working their way into the chaos. This might be the most black metal moment on the album yet. They throw them into a more metal core, with a pretty powerful gallop. Speaking of Gallop, the last song is a cover of "Aces High". Iron Maiden is one of my favorite bands, so to cover them is to be heard under a more microscopic ear. This song is going to be hardest for their bassist. The guitar harmonies and played perhaps a little too fast as they thrash out the verses to compensate for the snarl of the vocals. Of course, the big hook at the chorus becomes a moot point. I'll give thi album an 8.5, I think it's best to think of it as a thrashing metal core album and less of a crusty album.  

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ten56. : "IO"

 

The sophomore full-length from ten56 finds them picking up where they left off.  They are still at the intersection where metal-core sprang from nu-metal in the days of Myspace. What I like about these guys is the dark undertones to their sound that hit no matter if they are opening the album with more of a hammering stomp or going into the more Ghostemane-like rap dirges. There are interesting sounds wrapped around both modes of sonic attack. "Snapped Neck' follows more of a formula than the first two songs, with sung vocals popping in, though it's bookended by experimental touches. 

"I Know Where You Sleep" is the first single from this album that I remember hearing. It feels more like a death metal song at first. It's oppressive in its hardcore heaviness. I had to listen to it a couple of times to wrap my head around it. To their credit, they do temper the blunt force with atmosphere. "Good Morning" feels like an extension of the previous song until it builds up in a feral chaos. The staccato vocals are well placed in their primal chant. Some similarities to Slipknot can be detected here. 

"Earwig" has a more headbobbing groove to its brand of beatdown, though it's decorated with all kinds of noisy sounds. I like the vocal production on this album more than what I have heard from them in the past. There is so much going on with the sounds swirling around the guitar's crunch, I think using effects on his voice makes him work more like another instrument. "ICU" finds more hip-hop elements working in. This is preferred over the just straight upetal core moments. "PTY FCK" works with his angry lyrics as it circles more of a nu-metal mosh pit. The wall of sound they hit you with here is just so over the top, it works. 

"Friends' sounds like if Limp Bizkit has a psychotic episode on a meth binge. 'Banshee" is the first song where it feels like the heavy intention overpowers the songwriting, and even then, it's still more effective than not. The title track is more of a drill track. I will give this album a 9.5, as it finds a great balance of being heavy as fuck while still caring about the songs and avoiding falling into a trap of just numbing you out with their pound. 

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Deadlands : "SEVEN"

 

This New York duo, manages to come together like a whole ass band in the studio. With this comes some of the spillover that metal core has breathed in as it reaches its final form as the new birth of "nu-metal". The opening track is both in your face and hooky, so it works for me. "Die in Paradise" is more aggressive on the verses. It switches back and forth in a more predictable formula than the opening track. The chorus to this one is a little too happy for me. "More ! " works better off the pop energy, which has a harder punch for the chorus.  The hook sounds like every generic band doing this sort of thing. 

They start losing me on "Limbo" as they are doing this as well as Spirit Box, so it slowly grows harder to take it seriously, when they are busting out wanna be arena rocker. They obviously have to bring some Middle Eastern influence in for a song called "Kundalini," where the more Katy Perry-like elements do not bug me, and work better than when they try to beef up the metal in their metal core. I do like the rapped verse, they need more of that. 

Be it hair metal, grunge or nu-metal one things that I have watch from the front row kill all these genres of music is the diluting of the essence which each trip the next batch of bands that's on the band wagon, until it is so watered down it loses all the taste it once had, Going hard is not who they are as people which is why a song like "Wither" does not feel heavy no matter how many break down riffs they pile on. A minute into the song, and I am bored. "House of Cards" works better with its djenting blend of metal-cored out nu-metal. This is fun enough, and they have potential. I think it's going to take playing various stages with different kinds of acts for them to see where they stand in the big picture and learn how to write accordingly. I will give this album an 8 for what it is. 

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EYES : "SPINNER"

Quite a few impressive hardcore bands are coming out of Scandinavia. In fact, we were so impressed by the Danish hardcore band's 2020 album that we gave this one a shot. It feels a little more metallic in the spastic way it emotes like a rabid version of the Deftones that flirts with metal core.  "Deflating Rooms' reminds me a little too much of the song before it until they stomp into a breakdown. The band's more unhinged qualities remind me of Dillinger Escape Plan, but without any of the progressive flirtations.  The bass leads the way into "Beelzebub" to create a more punk feel. Then, when they kick into the syncopated riff, things hit their stride here. It is kinetic in the same way the Refused once were. There are breakdowns, but handled in a more original manner than most. 

There is a hookier touch to their songwriting, which works really well and makes this album more memorable than if they just hit you with a bunch of unhinged screaming. They get the point across without beating it to death. There is still something nu-metal about the groove for "Moving Day For the Overton Window." It is not the first time metal-core has intersected with nu-metal; in fact, the current incarnation of the genre is pretty much an incarnation of it. 

Songs like "Clown" are a more burly outburst of punk the direction of grindcore. They go for the throat with a feral lust here."Money Mouth" picks up with where the intensity of the previous song left off, though things are deliberate here.  The title track closes the album. It is the kind of frenzied attack you would expect from these guys. The chaos the vocals allow themselves to descend into holds touches of Mike Patton, though with none of his melodic sensibilities. They stepped up the songwriting, and that gives this album the grooves needed for me to rate it a 9. Out on Prothestic Records .

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Future Palace : "Distortion"

This German band is in a similar vein of blending poppy vocal hooks with metal-core as bands like Jinger and Spiritbox. The chorus works of the formula where their singers create an anthemic hook to serve as a counterpoint to the crunching guitar groove that hammers at you on the verses. Vocalist Maria Lessing has a convincing scream that at times feels angrier than her male counterparts. The grooves sometimes across over closer to what In This Moment does sonically. "Panic Paralysis" is marginally darker even with the more pop-oriented vocal approach.  From a songwriting perspective, it's pretty effective, but if you are weighing them against a band like Code Orange, then these kids aren't as heavy. 

Charlie Rolfe from As Everything Unfolds joins them for "The Echoes of Disparity". There is a more nu-metal cadence to the percussive elements in play here. Rolfe's voice the higher chant in the background. The lead single "Dreamstate" is basically a metal-core power ballad. Some of the synth sounds in"Decarabia" feel like an anime soundtrack, so younger audiences should find plenty to like here. The vocal melodies take this in a more pop direction that is complimented by the electronic sounds. They lay it on thick when it comes to the chorus and surround it with various break-down riffs. 

"In Too Deep"  is darker, angrier, and more in your face. Though they are quick to turn it around into a pop atmosphere. The electronic pulse to this works well. "Rays of Light" switches from a brooding syncopation to more soaring passages with the vocals front and center. This album is well produced, but the vocal layering at times can feel excessive. They reach their best balance of all the elements in play with " A Fool on a Devil's Reins". Her vocals create a more erotic mood before she flips into a rap. There is a similar hip-hop influence lurking under "They Take What They Want".  This song is one of the album's angriest. "Amethyst" closes the album, and while they are not dazzling you with progressive chops like other bands doing this sort of thing, they are better songwriters which goes a long way. I will give this album a 9, as it certainly puts them shoulder to shoulder with bands like Jinger, but on their own terms. 

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SARS : "Nothings Hurts Quite Like Life"

Metal Core has become one of the hottest bandwagons to jump on, though there are still some legit newer hardcore bands, pumping out real shit that is not just over-produced nu-metal.  This album is a case in point as it offers one of the heavier beatings to come from something like this in 2024. A few bands have taken on the moniker of SARS, this Finnish band might be the most deserving of it as their songs are both crushing and infectious. The title track kicks in with more overt anger before they find their staccato groove. The vocals are in an articulate yet suitably angry scream. At times are even allowed to tremble with emotion. They do not overdo the breakdown feel of the riffs but do not shy from them either. 

"Away From My Mind" finds the more uptempo thrashing layered with a stormy atmosphere, before locking into a riotous chant as the song ebbs down. The vocals are very effectively layered on the chorus. 'Solstice" is the rare song on this album that breaks the five-minute mark. It moves at more of a sludge-hinted shuffle. This creates a darker heavier sonic pulse. They continue down a darker musical path on "Blightbearer" It hammers at your ears with a sound more typical of metalcore bands. The emphasis is placed on the metal side of that equation thanks to the double bass dropping in at key points. Despite being more memorable "Bitter Soil" sounds like it is a breakdown down brings the previous song to its climax. 

The riff that opens " Not For the Violence" is a strong case for songwriting, though they keep enough teeth bared during their attack to hold up against the previous songs. "It Still Hurts" emotes from a similar place as the first half of the record. The accents of the backing vocals create an interesting dynamic. The dissonance keeps them from drifting too close to nu-metal. The more apocalyptic brooding merges again on "Gray' to close the album. They do throw themselves into a more blast-beaten section, but it gives more of a Slayer slant to their aggressive sound. I will give this album a 9.5 if you are looking for old-school hardcore with a metal pulse pumping its veins, these guys have you covered. This album drops July 12th on Time to Kill RECORDS.  

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Alpha Wolf : "Half Living Things"

 

This Australian band's name came up when doing research on the phenomena of metalcore bands that are really nu-metal bands. On the first song of their new album, it is easy to hear where this line is crossed. It is also understandable why their name is popping up on this year's rock festival lineups. They remind me of Attila. They are big dumb fun. If these guys are your favorite band you are probably the coolest kid in the trailer park. But you might also have one friend who is a Juggalo. When they pour on the speed things feel a little rushed and like they are not playing to their strength. "Haunter" has more groove, but blends the creep hop elements that make up nu-metal, until they momentum. He screams about how fucked up of a person he is, which contrasts with the more ego-driven lyrics.

They bring Ice-T on, and while I love the "Orginal Gangster" album, and his older work like "Power". It sounds dated and the last time anyone thought he was hard was before he ever played a cop on TV. It is hard to take "Cop Killer" seriously after that. His verse is really just an accent, but still hard to take seriously. There is a more melodic element to "Whenever You're Ready" which has a sung chorus, which is kinda pop punk. "Pretty Boy" has more growled and screamed vocals, that lean them in more of a metal core direction. The groove is what wins me over with it. 

They use a more mathy djent-like syncopation on "Mangekyo". I like the lyrics as I can relate to the line "What god ever gave a fuck". I feel that one.  But musically it sounds like a metal-core breakdown on wheels. There is a machine-like feel to the riffing of "A Terrible Day For Rain".  This song feels like they are playing it a little safe, and it sounds like every other band doing this sort of thing, "Feign" is a little darker, and flows better than the previous song. "Garden of Eyes" continues to work on the djent machine's grinding groove. To the point that it almost feels like dub-step in places. The vocals sound like a more feral version of early Deftones. The title track is more rapped than screamed, until the chorus. There is almost a Mudvayne element to their sound here. 

At over five minutes the last song is the album's longest. The first forty-five seconds, being the build-up into that could have been scaled back. There is a more cinematic feel to it, but it's not as hooky as most of the other songs. The sung vocals play a larger role. But they are not all that hooky. I would have been more into this when I was younger if this had come out at the same time Korn had.  I will give this one a 9, as it is a great deal of fun. Sharptone might have a hit on their hands when it drops April 15th, as I can hear where the appeal of this lies, and they are one of the more polished bands doing this. 

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Mouth For War : "Bleed Yourself"

 With their name, I was expecting more Pantera influence. Instead, it is the kind of metalcore I like that places the emphasis on the hardcore side of the equation and has little to do with Myspace. The first song hits very solidly, making the challenge ...can they keep this kind of hammering momentum? The second song has an even more powerful chug. The production is great on this album when it comes to the vocals as they sit right where they need to be, and just the right amount of effects are used to provide more vocal colors. Most of the time they sit in a layered midrange. With this doubling up you get a few frequencies.

"Captivated" is a dense assault that stays in your face. The breakdown feel is used wisely. They hit you with varied tempos to prove they care about songs. "No Grace" feels a little darker. The dissonant guitar helps with this. Not that they get into their feelings much in this regard as it stays in your face. There is a thrashing feel to "Taste of Steel" which is fitting enough. I like how this band does not hit you with the same blunt-force trauma twice. The vocals feel more rapped in their cadence in a few places here. The first song that feels like it is kinda dialed into what everyone else is doing in this regard is "The Devil". 

By "Saturate Me" the chugs begin to take on a marginally more uniform sound. On closer listen I can pick out the nuances, but if you left this on and let it play, I can hear where it might begin to sound the same. "Under the Gun" picks up momentum, but chugs with a razor-sharp head-banging groove. "Talking to God" is two minutes of nail-stomping chaos. Normally sheer heaviness does not impress me but they continue to outdo themselves. Wirthing from one crushing riff to the next. This feral enthusiasm they throw themselves into this with does not always account for great songwriting as "The Rush of Seeing Red " can attest to since it recycles most breakdown cliches. The title track closes the album as it rides in on a flurry of double bass. The eerie guitar melody that rings out amid the beating they give your ears is the most impressive part.  I will give this album a 9, it might be the heaviest hardcore album of the year giving Harms Way a run for their money in the heaviness department. 

 

Signs of the Swarm : "Amongst the Low and Empty"

This Pittsburgh band has been gaining a bit of a buzz for it's fifth full length. Some of this is due to riding in on the rising wave of popularity metal core seems to be having. Their new album has a grinding machine like groove that is accented by death metal syncopation. The first song alone has numerous winding shifts of riffage rather than adhering to a verse chorus formula. The hooky grooves might deviate from death metal normal in their search for what at times feels like the never ending breakdown. This band is also being mentioned in conversation regarding the nu-metal revival that is being re-branded as nu-core. The guitars are low but slither more than bounce which makes me confident they have little to do with bands like Knocked Loose or Loathe. There are flirtations with electronic ambiance, and djent hints but over all the first two songs feel like futuristic death metal. 

The rabid under current of  bass leading into "Pray for Death" lends more credence to labelling these guys death metal, despite the math of the twisting turning guitars. This albums stellar production helps the glitched out moments of sound make sense. The vocals sometimes go into low pig squeal gurgles , but aside from the relentless stomping does not owe a great deal to the strain of death metal that descended from the Myspace days. "Borrowed Time" finds them once again leaning into a machine like chugging. The more spastic moments are fleeting. Their strength as a band is directly tied to the ambiance and experimentation they employ to set themselves apart from the pack. "Shackles Like Talons" is one of best examples of this. 

  Most of their songs are around four minutes so they make the most of their time. While they are very technically sound musicians they do not bloat the songs with a bunch of guitar solos.  The vocals begin to feel like a tedious afterthought, but the time the album winds around to "DREAMKILLER".  They are purposefully delivered but are a bit of a one trick pony. Matt Heafy makes an appearance on "the Witch Beckons". His voice breaks up what is otherwise a stagnant growl fest. "Echelon" invokes some chaos before digging into the breakdown. The drummer is skilled , but could anchor things more rather than just blasting off into double bass. They chug their way into a marginally more conventional vision of metal with "Faces Without Names".  The last song upholds the status quo that the band established a few songs into the album, with few surprises. I will give this album a 9, not totally my thing, as it winds around most of the time without hooking me in, but to give credit where credit is due these guys are taking an old formula and making it their own, the end result being an album that sounds both polished and fresh.