Your Spirit Dies : "My Gnawing Pains Will Never Rest

 The first three songs of this South Carolina band find them perhaps too eager to indulge their hyper aggression as they all run together. The second song is more of a straightforward in-your-face metal-core explosion that finds the band largely staying closer to the hard-core roots of the genre, as from dizzying guitar work that fins the riffs taking wild twists and turns The vocals take on more of a blackened snarl for a verse here and there which is the most metal moment, the tight breakdown style chugs are effective. "A Rose For Every Stone' has a little more flash in the riffage that sets the stage marginally different. It was the first clue after the first two songs blasted by that it all collided into my ears. 

One thing I can say about this sort of thing, is they do not put the breakdowns in the same predictable places. "In the Depths of Grief" does not introduce anything new and finds the band raging into the same kinds of temper tantrums they have been stomping around with for the first three songs. I could use more sounds and more dynamics, while I know some listeners of this genre are content with less and just want angry music karate dance to. There is a more Meshuggah-like tension to the chug that leads into "Monochrome" but rather than doing something cool with it that charges off in the direction this entire album seems to be heading. I think they are just doing a better job of attacking in this manner here. 

There is a little darker deliberate tone to the syncopated grind of "Born Forsaken".  "Shrouded in Silence" finds one guitar offering more melody that helps add color to a well-worn blueprint for this kind of thing that these guys play pretty close to the original designs that have been in motion now for at least 25 years in the post-Victory records era of Hard-core. 'Ritual Sacrament" finds the drums more frantic, as the guitar try to find a place to insert catchier riffs.  "A Snow in Summer" has more groove to it that works better for me, that is if they can keep things from racing away with them. The songs are typically kept under the four-minute mark with only two breaking that threshold., so they get to the point and cram as many riffs into them as they can.

The Melodic section to "Unjust God" is needed as the relentless chug was beginning to wear thin. Though when they kick in it pretty much follows the same formula that has dominated this album. This can pretty much be said of every song from this point on they are cranking as they fall into the same sonic pigeonhole. A melodic riff to break them out of it for a measure or four. Norma Jean is a fair reference point, but I don't think they are as dark or sonically textured as Norma Jean. I will give this album an 8, as they execute the songs well even if they are not covering any new ground here, but surely will mass some fans who prefer the more familiar sounds. 

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Ingrown : "Idaho"

 Off the bat, what I like about this band is they pack a great deal of riffage into the minute and forty seconds of the opening track. They have in-your-face pummelling sections that are rapid-fire but give you something to sink your teeth into and headbang a bit. Their eponymous song, however, is just over a minute and finds its groove about thirty seconds into that time frame. So, groove is their mission statement and not really in the breakdown sense either. There is some common ground with Nails, though these guys are more punk and less metallic. The vocals do take on more of a growl at times on "Cold Steel". 

They dish out a more burly Entombed-like beating on "Enemy". This less rabid approach also works well. When they slow things down they can stretch the songs out to two minutes  They do accelerate up to a healthy gallop for this one It even has a guitar solo that would not be out of place on a death metal album."Dead' is more of a beating, though it finds its groove. It might have the most grindcore tendencies so far. They come closer to what you might expect from hard-core on 'Unite" which comes complete with gang vocals. They cover a song by guitarist/ vocalist Ross Hansen's dad who was in State of Confusion. It's pretty much 80s hardcore.

There is more commitment to death metal on "Hellbound".  The title track is a banjo piece, that is more of an outro than a free-standing song on its own and much like covering his dad's band it's a tribute to the musical heritage that inspires these guys to not just make music that is heavy as fuck, but to keep you engaged in the songs where most bands are just going to pound you in the head with a dense sound rather than write catchy songs. I'll round this up to a 9.5, as it's only a couple of weeks into the year but hard to imagine a band putting out a heavier album, but when this drops on March 7th Closed Casket Activities, Sanguisuggabogg, is going to be heading into the studio to record their next album, which might see release before the world ends so too soon to say, though I expect those guys to land more on the death metal side of the fence this time around. 

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Scare : "In the End Was It Worth It?"

This Canadian band plays a very metallic version of hardcore. They even throw in guitar solos to seal the deal. The vocals are screamed from a place of gnarled feral anguish. What I am going to be listening for here is not the intensity they hit you with but the keystones of songwriting, dynamics, and enough nuanced atmosphere that might allow the melody to sneak in amid the angry explosion.  There is a slight hint of punk in the guitar melody to "The Black Painting" It's enough to work for me, as I know the emphasis here is on being confrontational as the guitar jab in your face. 

The more chaotic banging of 'Thrash Melrose" finds them doubling down on the more abrasive elements of their sound. "Crowned In Yellow" is a more effective display of their talents, as it slightly winks in the direction of black metal at times. An actual melody that creates a shift in mood occurs at the beginning of "Doomynation". Though it is more of a theme as they shift back around, I appreciate the willingness to expand and experiment with their sound in this regard. "Jeanne Dark" feels like it evolved from the previous song. "Midnight Ride" is a more volatile temper tantrum of sound. "Turbograine" has a more rock n roll riff as its backbone. 

When it comes to dark metallic hardcore these guys are doing a great job of keeping things varied as there is a more deliberate stomp to "Harakiri Ton Industries", though this song does gain unruly momentum.  "Reality of Death in a Maze of Hope' works well. The focal riff hooks you in. Part two of  "Doomynation" feels more like an outro, while I appreciate the atmosphere it provides, it does not feel like a song that stands on its own two legs. I will give this album a 9, and see how it sits, with me, but it's a compelling piece of dark metallic hardcore. 

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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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Terminal Nation : "Echoes of the Devil's Den"

This dark hard-core band opens up their new album with a bleak doomy sound of dystopia burning. The vocals snarl and bark with animalistic anger. When they gain momentum it's difficult to hear where the metal ends and the hard-core begins. The chug driving this album is powerful. "Written By the Victor" gains more speed and finds them attacking with the hyper aggression of death metal. His vocals even focus more on a lower guttural growl. Todd Jones from Nails lends his voice to this song as well.  This might be one of the heaviest albums you have heard in some time. "The Spikes Under the Bridge" starts at a more deliberate pace, then gains steam from the double bass that bubbles up beneath it. 

The ebb and flow of this album seem to find them in a tug of war against the need for speed and this weightier chugging. It is not a perpetual breakdown being fostered, but a more metallic spirit that flows through their musical DNA. They are raging against the system pretty well, and seem pretty angry at the police, In fact, it is the album's angriest moment so far. They push further into death metal, while still balancing things with a hard-core stomp. They are riff-oriented enough to keep things hooky, even when the vocals lock into a barbaric chant. There is a Metallica feel to "Embers of Humanity" where they indulge in impressive guitar solos. 

They pour on the death metal speed for "Merchants of Bloodshed". They are skilled enough to not attempt rushing the song, by but allow for grooves to develop. Lyrically it's about the military-industrial complex which I can appreciate. Jesse from Killswitch Engage lends his voice, to provide a more soaring climax to the song. "Bullet For a Stone" has more of a modern metal groove to it. "Dying Alive" finds them stomping onto the gas, and accelerating to more of a thrashing speed that brings earlier Entombed to mind. While the logic to their songwriting is influenced by hardcore, they do not conform to the breakdown formula. 

The production of this album is very raw and in your face. Despite being incredibly dense, the guitars sound like they are being cranked through blown-out speakers. "Immolation" has more of a death-metal feel to it. They also bring back more of the Entombed influence that lurks in the background. Dwid from Integrity joins them on the last song. He fits well within the scope of what they are doing here. Dwid has an almost Lemmy-like rasp here. I will give this album a 9.5, it's a dark and gritty take on metallic hard-core that crosses it with death metal in a manner that is more deserving of being called metal core or deathcore than the kids who have taken on those labels. 

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Rejoice : "All of Heaven's Luck"

 Rejoice is a band from Ohio who are kicking some venomous brand of metallic hardcore. Their singer's malicious snarl gives it a darker edge along with the Slayer vibes coming from their riffs. They are not afraid of guitar solos but do not overindulge in them. They are possessed by more of a stomp on "Bloodsucker" The songs stay under three minutes, so they are just hear to kick you in the guts and then chug the hell out of here. 

There is more of a rock n roll undercurrent to "Dancing on the Cross". Normally I do not like just using Satanic imagery without legitimate darkness behind it, but it does create a fun vibe to the song. This song is catchy as hell for as heavy as it is. This is a lesson for heavy bands, that you do not have to compromise heaviness to write a good song. They counter this by throwing themselves into a reckless blasting on "Burnt By Dusk". In some ways, this reminds me of a less sludge-driven Fistula.  

"Menace" carries a chug that brings "Bonded By Blood" era Exodus to mind. There are some darker heavier sonic, along with the kind of swampy punk shuffle Goatwhore has been known to bring to the party. Ringworm is also a fair point of reference but these guys feel a little more fun. They pour on the speed as the last song builds, which they have used a fair amount of restraint throughout this album with, and even then let things go into more of an ass-kicking breakdown. I know some comparisons can be drawn to Goatwhore, but I am not sure about these guys being blackened hard-core, I think they are moshing the fine line between hard-core and metal. I will give this album a 9.5, it is fun as shit, and I will see how it grows on me. 

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Will Haven : "Muerte"

This album proves this band was  always more hard core than they were nu-metal, it was that tour with the Deftones that really put them on every ones map. The first song is aggressive as fuck, but the guitar sounds darker and more dissonant on the second song. In the last minute of the song it takes a turn that finds the atmosphere of the song getting sonically heavier. The production on the drums still has a late 90s kind of pop to the snare. "Kinney" finds the ban hammering harder with a dense pulsing. This is continued with an interesting shift in dynamics, despite the vocals staying the course on what in comparison is more of a one dimensional scream. There is a sense of atmosphere that lurks at the edge of the booming distortion. Perhaps it is just in the frequencies of the feedback.  "43" is more punishing. It's obvious these guys were ahead of their time as this stands up against the dark hardcore of today , but is not far removed from what these guys used to do in 1997. Mike Scheidt contributes guest vocals to "No Escape". The song takes a darker turn the last minute.

"Unit K" is yet another turn into something where they find away to hammer at you with building aggression, I guess this song is the closest glance back to the musical tone of 1997. There are moments of groove similar to those of the Deftones heavier moments, like the chug to "Ladwig no. 949". At times it is hard to not bang your head along which is always a good sign. That same balance of oppressive sonic atmosphere and chugged out groove permeates "Bootstraps". The dark hard core bands of today could learn a lot from these guys. Perhaps they already have an Will Haven has yet to get the credit they are due. Not that bands like Bloodlet were not already stomping out this kind of dark angry metal tinged hard core, this just seems more like a testament to their legacy.

There is almost a Starkweather like feel to "Now in Ashes".  They are not as relentless and give the song more room to breathe. Stephen Carpenter plays on the last song which has hints of his signature riffing. The band also has common ground with in the Deftones in the melodic dissonance of the guitars. Overall this is a fine return to form and I'll give this one a 9.





 

Trap Them : " Crown Feral"

I was surprised how much I liked the first song, the second song was more along the lines of what I expected from the guys a grittier Converge like metallic hardcore. There is a touch of Motorhead to the drumming on "Prodigala". This slows into a more mid paced riff with angular edges. "Luster Pendulums" finds are more savage speed and taste for chaos beginning to take over. "Malengines, Here Where Should they Be" is very similar to the previous song. While they have a good dense guitar sound that is very organic, it begins to give the songs a uniformity that starts to wear on me until they go up the octave on the break down. They continue to rely on brutality going into "Speak Nigh". The dry angry rasp of the vocals is a monotone layer of white noise at this point.

I was beginning to feel my intrigue shift into disappointment, so it's good that slowed things down into a darker pound for "Twitching In the Auras". "Revival Spines" got off to more of a punk start and while it maintains the level of venom this album lashes out with it blared past me and did not engage my ears beyond surface level noise. Bass starts off "Stray of the Tongue", but once it blasts off we are along for the same ride all over again. For regular readers of this sit it should come as no surprise that I prefer the darker more death metal like beginning to "Phantom Air" that the more monochrome shades of anger this album throws at you.

I'll round this album up to a 7. I would say this is not my thing, but that is not completely true because I love Converge and much of what these guys do is derivative of that sound. I think they are very capable at what they do. The vocals certainly could use more dynamics, but aside from that the performance is solid. I am guessing if you are  a fan of this band then you are not looking for them to really venture out side of the box they have made for themselves and they will not disappoint in that regard.

Volan : " Начало"

These guys are hip hard-core from Russia, meaning hard core for the cool kids not hard-core hip-hop. The first song sounds like Gojira or slowed down Meshuggah that is not trying to fool you with it's time signatures. The vocals are more traditional metal core yelled growled, they are more than likely in their mother tongue, but shouted in such a way, along with being mixed against the wall of guitars, that you can't out what is being said any any event. There is more darkness that creeps into the second song. The drummer is a tasteful beast and the bass player makes himself know by hitting the string with resounding resonance. What goes wrong is the songs bleed into one another, meaning they do not have distinct enough sounds to separate them as they fade into a back ground rumble. The fourth song is more atmospheric, which at this point in the album is a wise move as it helps give a breather.

The bust out of this breather with a more typical hard core pounding ,  in some ways this reminds me of Bloodlet's first album. When it breaks down into more melodic sections the song is more effective, as you do not hear it as heavy until you hear what it sounds like as not being heavy. I know that might be a lot to consider if you just want heavy, but try to keep up. The guitar adding melodies that creep in atop the drums pounding helps make this song actual much instead of sonic rage.By the time I am at the last song, they have begun to run together again for me. The last song is heavy sure, but doesn't bring anything new to the table we have not heard from the previous songs.

These guys are good musicians and have potential. I checked this band out because Dead Air at the Pulpit claimed they were dark and they are, however no body claimed they were the best song writers so no false advertising. I'll give this one a 6.5. If you want very metallic hard-core that let's face it more metal than hard core,  with lyrics and vocals  that are the least of your concerns then this is worth checking out, not the most original, but well done.

Catching Up With 2014: Ritual Mess' "Vile Art"

If spastic hard core that is still aware they are making songs is what you are looking for , then you have found it. This band features members of the who's who of underground hardcore and by that I mean Orchid, Panthers, Bucket Full of Teeth,Wolves, Ampere, No Faith, Laceration and Failures. You find you self on the fourth song before you know, and really become aware of this fact as they take a dramatic turn to the dark side for "the Last Shout". Even on songs that are so straightforward I normally wouldn't like it, they manage to weave some form of dark melody into the guitar. The vocals are par for the course screaming.

The guitar players are the stars of this show. The make the songs breathe. The drummer and the bass player work well together and get the job done, but these guys' sound lies in their guitar tone. You can here the influence of Converge in this sort of thing. They are the god fathers of this kind of metal hardcore crossover. At times the in your face more often than not bores me on "Emma". Even in these monochrome blurs there is a note worthy riff or two here and there. But in saying most of there songs sound the same, it means if I don't look up from what I'm doing the next thing I know it's on a new song, which I didn't notice because it sounds just like the song before. There are exceptions to this rule.

I like the darkness to "Blood Ritual Pact".  The vocals actually grab me here. They do have a convincing knack at the feral violence that seeps from the jagged edges of their sound. But how are they as song writers when you put them against Converge? You say that's not fair. I'm not saying put it against their current stuff, but their first two albums. After they are both bands comprised of musicians vying for you dollars. When taken in that light these are kids that sound really good at fooling around. The title track has all the traction and intensity you could ask for and still doesn't do much for me. Earlier they give you a taste of what they are capable of the problem lies in being able to do that consistently.

I think after reading people say it was going to be on their album of the year list my expectations were too high. This is better than average metallic hard core for sure. I'll round this up to a six for the moments that did grab me there just weren't enough of them to make me want this in my iPod. You can judge for yourself below.