The Repos : "Poser"

O.k after than Hatebreed review I promised to review some real hard core, these guys are about as legit as it gets as they have been around for 14 years. They are too punk for my personal tastes, but clearly good at what they do. The first song that catches my ear is the title track. It has a little more rock n roll to it and guitar solos coming out of its ears. Most importantly it stands on it's own two Converse as a song. Many of the songs just play it too safe and could use a hint of metal to them. The drummer earns his seat on "You Should Act Good To Me". While these guys are good at what they do, what they do is one thing. This causes all the songs to sound the same.Most of the song around the minute mark so it's not like there is much of a chance to really establish much. I like when punk bands start off with the rumble of bass like these guys do on "Gift Wrapped Pistol".

I'm sure every city has a band that sounds like this. The songs like "Hotel Caledonia" which are under 30 seconds should be thought of as interludes rather than songs. the first riff that crops up not sounding like the six previous songs is more metallic punch added to "No Plans". These moments are the exception to the rule. The gallop of "Wild Bore" finds this band showing that they could write a real song  if they felt like it. If you combined three of these minute songs, you might have an idea of what this band would sound like if they tried.

I'll give this album a 5.5, which makes the fake hardcore Hatebreed was playing almost seem like a better idea. If you are a regular reader of this blog then you know we have actually covered hardcore that finds a better than what the Repos just did. If we were to look at the Hatebreed album and this album I think we would see a cautionary tale of what happens at each polarity. Be it trying to hang too tightly to your scene cred so you have been around for 14 years and not allowed yourself to progress beyond what your were doing in high  school versus being a total Head Bangers Ball styled sell out.

Hatebreed: "the Concrete Confessional"

 Don't worry I'll review an actual hard core album after this, so you know what hard core is. These guys spent the bulk of their career as the opening act for Slayer and that could not be any more evident. I used to get them confused with Sick of it All, but Sick of it All is much more of a hard-core band than these guys. Jamey Jasta claims that the world is his trigger and he is here to fucking pull it. They have not shortage of gang vocals and breakdowns, though the verse riffs are what typically sounds the most Slayer. Today he wishes a mother fucker would try to see the world through his eyes. He sounds like a drill sergeant who trying to be a motivational speaker more than a metal singer.There is a nu-metal slant to "Seven Enemies". It reminds me that the first time I heard their first album I thought it was Sepultura. It's too bad the law around here is "cool riffs alone do not make a good song" because there is a good one that opens "In the Walls". It takes off into more of a punk thing with terrible lyrics.There is actual singing on the chorus of "From Grace We've Fallen". This is actually one of the album's better songs even with the very Slayer riffage.

"Us Against Us" feels like filler, but they redeem themselves with the more metal groove of "Something's Off". At this point Jasta's vocal are getting redundant. The over dubbed chant of...off, off, is a little silly. They fluctuate from nu-metal to punk and back on "Remember When". Many of these riffs sound like they are pulled from a heavy metal grab bag. The lyrics to "Slaughtered In Their Dreams" are like playing Slayer Mad Libs. Riff wise it's pretty mean, if not making them almost a Slayer tribute band. There are some punk...woahs that lead into "the Apex Within" which proves why we have the "cool riffs" rule here as it serves as a case in point here. There are some moments that remind me of M.O.D, in fact Jasta's performance reminds me of Billy Milano at a few points on this album. The lyrically depth hits the level of a paper plate on the thrashing "Walking the Knife".

They keep the thrash alive on " Dissonance". The trend of stupid lyrics also follows. They must hope their tough guys grooves will brush some of these past you and I imagine if you are a big fan of these guys you are not really into anything that thought provoking in the first place. They slow down into a thicker chug for the final song "Serve Your Masters". This is actually one of the album's better songs.They come close to singing at some junctures and do what they do best here. I'll give this album a 7. It's well done, the lyrics are more often than not stupid, which is easy for me to get hung up on, but this might be big dumb metal it just happens to be crafted by the pro's so if you are going to listen to something like this then you might as well listen to it by a band that has perfected it and clearly knows what they are doing, like it or not.

Combichrist : "This is Where Death Begins"

This is not the first time we have reviewed Combichrist here. They are back  with "This is Where Death Begins". It seems like the line-up has been shuffled around  this time with some new face backing Andy. The guitars that open this one are way more traditional metal leaving the synths on the edges of the song to really stand as the only industrial element. LaPlegua's vocals working much better when yelled than when he attempts more melodic moments that are more spoken than sung. There are some catchy riffs on the opener, but the rule around here is cool riffs alone don't make a good song. "My Life My Rules" finds the vocals improving, but it could be one of the 69 Eyes more cock punk moments without the faux goth vocals. The guitar solo further punches this point home. "Glitchteeth" is the first EDM like song. The vocals work better when layered in gang style over dubs, on the verses Andy's raspy rap is far from Trent Reznor. There is a little more soul in this one, but something about it doesn't click track for me.

We begin to dig into actual industrial on "Exit Eternity". The really biggest chorus works well and this is the first song that works for me on every level. The more questionable vocal approach returns on "Skullcrusher". If you are a fan of the band's more experimental glitch filled work then this will come across like a Marilyn Manson tribute to you. It does carry the same big glam arena strut that  post- Anti Christ Superstar Manson often offered. The first glimpse into that side of the band is not seen until midway into the album on "Tired of Hating You". Even here is almost of Stabbing Westward thing going on. They songs takes it's time going anywhere. Then when it does it's almost more of a punk explosion. They get a little darker with the bass leading into "Time Again".  I think if the band was honest with themselves it's a song like this that plays more to who they are than the more rock n roll moments. The vocals aren't screamed but emoted with conviction and everything creep along with room to breathe. The groove has a throbbing pulse that makes this one of the album's strongest songs. It's hard to tell if the drums here are programmed or Joe Letz, which speaks to Letz's ability to blend in with the electronic side of the band. Letz has played with every one from Mortiis to the Genitorturers so he knows his shit.

A sample of Ted Cruz kicks off "Destroy Everything". Here their heavier side is more fittingly embraced. The song's title is chanted like a nu-metal song, but it works here. The narrative is more challenged on "Don't Care How You Feel About", but the more traditional industrial groove helps. "Blackened Heart" has more of a Rammstein thing going on, but with out some of their militant stiffness and more of a metal groove. It's another one of the album's darker moments so that works for me. It's fairly simplistic in it's arrangement, but keep it simple stupid can be the most effective motto for this genre. "Slakt" is more bombastic. The drum sound is really big. It locks into more of a thrash attack. It feels more German than Norse, but the band is mostly comprised of Americans so that is not surprising here. There is a nice melodic synth break in the middle. The first part of "Black Tar Dove" is more of a noisy intro paves the brimstone path for the more apocalyptic march. The more spoken narrative lays atop the machine stomping. It is one of the album's harsher moments.If you miss the glitchy noise then here is the moment you have been waiting for. The album ends with "Homeward".It is the first moment on this album that I would call gothic-industrial. So it is one of the album's darkest songs.I'll give this album a 7.5. It has strong moments that I think other songs could have been built around. The more rock n roll moments detract what could otherwise be a strong dark album of industrial music. So in other words they can't really touch Youth Code, but aren't faking the funk.

10.1

Marisa Nadler : " Strangers"

 We have been joined by many new readers since Nadler released "July" a couple of years ago. So chances are you might have missed out on the interview I did with her, so it's linked right down there.

 http://abysmalhymns.blogspot.com/2014/07/interview-marissa-nadler.html

 She sang on the final Xasthur album and has continued to pave a dark and sometimes country path for her self with her second release on Sacred Bones. It is evident from the opening strains of "Divers of the Dust" that her sense of identity is firmly intact the country croon is equal parts haunting torch singer. "Katie,I Know" is equally ethereal though more firmly rooted in the more Western side of Country. All the the twang has been replaced by dream like floating. There is a more fragile atmosphere to "Skyscraper" that finds her utilizing her lower register in some of the layered harmonies. Production wise the vocals are masterfully layered and arranged. There are swathes of ambience that drip out of various corners of songs that sound very simplistic on a surface listen, making this one of those albums you have to hear through headphones. She finds her self at a very interesting cross roads that defies genres on "Hungry is the Ghost". It does lead me to conclude that this album is much more atmospheric and surreal than her previous. It almost borders on post-rock at time with sprawling expanses of sound that would not sound out of place on a Radiohead album.


 On her last album comparisons could be drawn to Chelsea Wolfe and with this album Nadler has stepped away from that. "All the Colors in the Dark" has the ghosts of classic country haunting the vocal melodies, but lyrically it is much more abstract. It took another listen for this one to grab me. The title track is more guitar oriented. The country elements on this song help paint the background. This is another song that took a second listen to really connect with. This need to take another listen continues on "Janie In Love" even though the melodies make more of an effort to reach out and connect. It's the lyrics that give this song more of an edge than the lazy sway of the song might suggest. While the Lana Del Ray comparisons could be drawn at a few different points in the album it's most apparent here. It took several listens for the glass like fragility of "Waking" to touch me. The 3rd song with a woman's name in the title "Shadow Show Diane". It is the kind of show Nadler said she could never tell her man, so their must a be a voyeuristic thing going on here. She strums an acoustic on this one, which is a much more streamlined arrangement than the bulk of the album.

Lyrically this album might be darker than "July" while the music is not as melancholy. It is more dream like. The synths that frequent this album give it the feel of something you might hear in a David Lynch, though it's feet are planted more firmly on the ground than say Julie Cruise. The album closes with "Dissolve". This song is stripped down to Nadler and her guitar, giving it a more folk feel. I'll around this one up to a 9.5 for now and see how it grows on me as it's evident many of these songs take a few listens before they stick to you, but it's a solid album of intangible songs and feelings.

     

Long Night : "Sorrow Returns"

This band features former members of Tristina and Theater of Tragedy, but rather than making melodramatic opera metal they are hitting some straight up goth. Sisters of Mercy and the Cult are the first two bands that come to mind in this hybrid. The baritone croon sits comfortably over the middle of the road style rock playing. It's not overly geared towards the dance floor. Hookier than I suspected the first song is good , but then makes me wonder what range of dynamics are these guys capable of branching out into ?  The guitar riffs sound more Steve Stevens is their inspiration rather than Billy Duffy. They get a little darker going into the second song. The chorus repeats a little too often for me. "Ruins" is like a slowed version of "She Sell Sanctuary". The guitar wanders off into some interesting place, but the song is not very focused.

They pick up the pace on "Tale No Tale".  While there is a lot going right from them sonically and they hitting many of the marks I want from music, the songs are not compelling and the band is relying too much on the 80s sound. I think this is what keeps the choruses from punching as much as they could. There is more of a western tinge to "Winter". This helps them give the album a couple of more color. The vocals work really well with this shift. His croon reminds me a little of My Dying Bride.They end  the album with two alternate version of the first song which is also the single. I only counted the remix as the edit is too much like the first version. I'm not sure why they didn't write two more songs. For what this is it's cool enough. I'll round it up to a 7, but as far as the new wave of post-punk this owes more to Billy Idol and the Cult. Great artists to be influenced by, I am a little surprised that considering where these Norse men came from that there is not more of a bite to their sound, but they achieved what they were going for.

Psychic Teens : " Nerve"

The Philly post-punks are back with a throbbing boom on their new album. The trade off between the male and female vocals is very effective in their sing song chant that glides along the drone. There is not the same level of conviction coursing through"Hang". The groove to the opener is just too taunt for this one to live up to. The guitar tones on this album are brighter despite the mood being a little more ominous on this album. "Tarnish" has a great guitar sound with the vocals sitting atop them in a manner not unlike some of Iggy Pops more melodic work from the late seventies.The more punchy vision of punk doesn't come into play until midway into the song. The dual vocals wrap around each other.The bass snarls out of the mix bringing the grit of the gutter with it. The guitar carries a hollow surf rock sound.

They take a more upbeat turn in their moodiness that recalls Jesus and the Mary Chain on "Winter Grey". The song's main croon drags across the basement of the baritone register as he states he doesn't need anyone. There is conviction in his indifference. "Fear" uses the kind of melodic attack that the Pixies made famous, but with out the same fetish for mania Frank and the gang had. This is replaced with a more Nick Cave like brooding. The bass keeps the song rumbling along.The bass punches "Scene" along a more morose path that combines elements of Sugar with Fugazi if the two were married through a filter of depression. Lyrically things are pretty detached with an outlook that has little sliver linings to it. While it is not the first time shoe-gaze has been saddled up next to post -punk it is doe very effectively leading into the closing song. There is both the hypnotic atmosphere and the driving bleakness accompanying one of the album's best vocal performances . While this guy doesn't have the greatest set of pipes he certainly known how to work with what he has got. This album is an improvement from what they put together on "Come" and has some really fine moments on it that make me want to round this one up to a 9. I'm unsure how much actual play time this one will get from me, but fans of modern post-punk will want to check this one out for sure, as it threatens to knock A Place to Bury Strangers from their ruling perch.

 

Weekend Nachos : "Apology"

I have always thought this band's name was silly so never listened to them. I know they have a fan base that  has been looking forward to this release so I'll give it a shot for you guys. Most grind-core and power-violence clocks in at under three minutes so this five and a half minute opener is a bit of an oddity.It doesn't take long for the dense rumbling which is very heavy to turn into into a blur of riffs. With music that is so heavy, the first song runs you over with sheer intensity then i generally ask myself ...o.k, now what else can they do? I realize not every one asks this much of the music they consume. When I was younger I didn't either. When I got into metal thrash was the heaviest thing going. It was not until "Scream Bloody Gore" came out and the rise of death metal that this changed. i have described in this blog my interest in this and band's like Morbid Angel, Deicide, Nocturnus, Obituary and Cancer. I liked the darker more Satanic flavors more than punk, though I was into Black Flag, Bad Brains and Suicidal Tendencies, but my interest in punk stopped with D.R.I and the Cro-mags. Though Storm Troopers of Death, who helped spawn this sort of thing, got tons of play time on my walk-man. When you get into "Judged" it's evident these guys ow more to Storm Troopers of Death, but there is no where near the song writing to get me invested into this like I was when "Speak English or Die" came out.

"Writhe" digs into gritty heaviness, but the momentum is punk like in the chaotic outburst sometimes coiling into more groove laden riffs that impress for a minute. The golden rule around here is "cool riffs alone do not make good songs" this comes down hard on band's like this who have no interest in melody or dynamics that do not involve shades of fast. They are plenty angry 'NARC" should convince you of this, this is a monochrome range of emotion. It mutes the aggression, like a crying baby you've tried to comfort eventually you tune it out. They grab my attention for "World Genocide", but the vocals on every song are the same angry bark. The guitar tone never changes. Every thing feels very flat to me. Some of their best attempts at song writing take place on the more mid-paced 'Night Plains". The first appearance of melody is found in the layered guitar of the title track that closes the album.  But this drones on the same sluggish bashing for ten minutes.

 This is their final album, if you have stuck around with them up to this point, then this is your thing and you can go back to breathing in the sweet fumes of your Elmers. I'll give this one a 4. These guys might continue to push grind-core into the metal mainstream, but it doesn't do much for me.