Search Results for "Album Review"

SO I’M GONNA PREFACE THIS BY SAYING THAT REDBAIT ARE MY FRIENDS.

I THINK IT IMPORTANT TO SAY THAT BECAUSE I REALLY LIKE THIS TAPE, BUT I ALSO DON’T WANT THIS TO COME OFF LIKE UNFAIRLY BALANCED PROPAGANDA FOR MY FRIENDS BANDS MIXED IN WITH REVIEWS OF OTHER STUFF AS SOME SORT OF SLEIGHT OF HAND KINDA THING.

I’LL START WITH THE THINGS I DIDN’T LIKE ABOUT THIS JUST TO DO IT AND AS USUAL THEY’RE KINDA NIT-PICKY. THERE WERE A FEW VOCAL SECTIONS IN “OUR TOWN” THAT FELT LIKE THEY AWKWARDLY STITCHED TOGETHER PARTS OF THE TRACK. I WISH IT JUST STARTED HARDER. AND THE CLEAN VOCAL SECTION AT THE BEGINNING OF “FOREVER ENDS NOW” JUST REALLY WASN’T MY SPEED. IN GENERAL THE TRACKS ALL SEEM LIKE KIND OF SLANT RHYMES WITH EACH OTHER IN THAT THEY’RE MOSTLY COHESIVE. BUT LIKE ONE TRACK WILL SEEM LIKE IT’S REALLY INFORMED BY BANDS LIKE THE CHARIOT, AND THE NEXT WILL HAVE A HANDFUL OF TERROR RIFFS I DIDN’T EXPECT. I WOULDN’T ACTUALLY HAVE BELIEVED “BRED FOR THE KNIFE” WAS FROM THE SAME RELEASE UNTIL THEY BRING IT BACK AT THE END.

BUT ALL THAT SHIT PALES IN COMPARISON TO THE GOOD SHIT ABOUT THIS.
THE TEN MINUTE TAPE IS THE APEX OF PHYSICAL FORMAT RELEASE.
THIS DOESN’T HAVE ENOUGH TIME TO GET BORING AND I THINK THAT’S HUGE.
THE “FULL LENGTH” AS A MONOLITH GIVES BIRTH TO A LOT OF SAWDUST TRACKS AND THIS SKIPS OVER THAT STEP ENTIRELY IN THE PROCESS. AND THIS JUST FEELS SO LIKE, AT THE UPPER END OF DIY RAW RELEASES.

THIS THING HAS TONS OF RIFFS. THE PRODUCTION IS DELIGHTFULLY GRIMY. THERE’S PLENTY OF TIME FOR KARATE. THE POLITICS BEHIND THESE GUYS ARE FUCKING 10/10. AND I’M REALLY INTO THE ONE DUDE IN THE BAND THAT WEARS A SKI MASK. MORE OF THE BAND SHOULD JUMP ON THAT.

ADDITIONALLY THE ONE VOCALIST’S PHRASING REMINDS ME A LOT OF GRACE PERRY FROM LANDMINE MARATHON AND I MEAN THAT AS REALLY HIGH PRAISE.

ALSO ADDITIONALLY THAT ONE LIKE, PROVOLONE CHEESE DUM DUM CAVEMAN FIGHT RIFF BREAKDOWN IN “CAGES” WAS WONDERFUL. IF YOU’RE NEAR ME WHEN THEY PLAY THIS AT OUR SHOW TOGETHER IN STL YOU’RE GOING OUT ON A STRETCHER.

GOOD TAPE. IT’S NOT THE MONA LISA OR LA PIETA BUT I’M NOT ONE OF THOSE PEOPLE THAT DEMANDS EVERY FUCKING PIECE OF ART BE THE CISTINE CHAPEL CEILING TO BRAND IT PASSABLE. tHIS IS LIKE A DELIGHTFUL SLICE OF PIE YOU CAN TELL YOUR FRIEND WORKED REALLY HARD ON WITHOUT DOING A BUNCH OF GOOFY FOOD NETWORK OVER THE TOP SHIT TO IT. REDBAIT IS FUCKING COOL. WE’RE LUCKY TO HAVE THEM. THIS CONTAINS RIFFS. THEY’RE GOOD PEOPLE. THEY DO THE RIGHT THING AND THAT’S WHAT FUCKING COUNTS. 3.5 OUTTA 5. 4 IF THEY’D DO MORE SKI MASKS.

(Pre Order ‘Cages’ HERE).

 

THERE’S THIS WHOLE CATEGORY OF PERSON OUT THERE, WHO SPENDS A LOT OF TIME PISSING AND MOANING ON THE INTERNET ABOUT THAT FUCKING BAND GRETA VAN FLEET FOR SOUNDING JUST LIKE LED ZEPPELIN (Editor’s Note: Neckbeard Van Fleet coming soon!). AND FOR THE FUCKING LIFE OF ME I CAN’T FIGURE OUT WHY. BECAUSE IF LED ZEPPELIN WAS A THING YOU LIKED, I FIGURE YOU’D BE STOKED THAT THERE WAS MORE OF IT. LIKE IF I ORDERED A PIECE OF CHEESECAKE AT A RESTAURANT, AND IT WAS GOOD AND I WENT TO ANOTHER RESTAURANT AND THEY HAD THE SAME PIECE OF CHEESECAKE, I’D BE FUCKING STOKED. AND INSTEAD YOU HAVE THESE PISS PANT WEINERS SHITTING OUT TEN PARAGRAPH ESSAYS ABOUT HOW THEY ARE MANDATED TO EXIST IN THE SAME REALITY AS A THING THAT IS INTENTIONALLY SIMILAR TO A THING THAT THEY ALREADY LIKED. THEY CAN’T JUST HAVE TWO THINGS THAT THEY LIKE. AND THAT’S HONESTLY ONE OF THE DUMBEST FUCKING THINGS I’VE HAD TO SPEND TIME MENTALLY ENTERTAINING.

I HOPE THESE CLOWNS NEVER GET INTO ART, BECAUSE IF I HAVE TO READ A PETULANT ESSAY BY SOME FART SNIFFING DICKWEED ABOUT HOW PEOPLE SHOULDN’T MAKE ART THAT IMITATES THE MASTERS I’M GONNA SCREW THE RESPONSIBLE HANDS DOWN TO A BIT OF WOOD CRUCIFIXION STYLE AND BREAK EVERY FINGER INVOLVED IN AUTHORING IT.

BUT ANYWAY. TO MAKE A POINT ABOUT THAT VERY VERY LARGE STRAW MAN, I’VE SAT DOWN TODAY WITH THE NEW DEVIL MASTER ALBUM. WHO AFTER SIGNING TO RELAPSE HAS SPENT A LOT OF TIME MAKING THEIR STUFF SOUND EXACTLY LIKE THE SPOOKY OLD HEAVY METAL TAPES MY FRIENDS DEDICATE ENTIRE INSTAGRAM ACCOUNTS TO DOCUMENTING.

AND THAT’S NOT A DIG. I KNOW THERE WAS A LOT GOING ON IN THAT FIRST PARAGRAPH. BUT I THINK THIS BAND DOES A LOT OF GOOD STUFF. THIS ALBUM IS COOL AND WEIRD, BUT ALSO TASTY AND CHAOTIC. IT HAS LIKE A WARM TAPEY VIBE TO THE PRODUCTION QUALITY THAT I THINK ACCIDENTALLY CAME OUT A LITTLE HI-FI FOR WHAT THEY WERE AFTER. THE GUITAR TONE AND DRUMS SOUND LIKE SOMEBODY IN THE BAND HAS A VERY LARGE MERCYFUL FATE TATTOO. AND THIS GUITAR PLAYER SEEMS LIKE THEY PROBABLY HAVE A GIGANTIC TATTOO THAT SAYS “RIFFS” BECAUSE THIS ALBUM IS JUST NOTHING BUT FUCKING RIFFS. RIFF SALAD SANDWICH, WITH A SIDE OF RIFFS. SERVED WITH A NICE TALL GLASS OF SLOPPY NASTY GROWLY VOCALS. I REALLY CAN’T STATE LOUD ENOUGH HOW EXCITED I WAS TO GET THROUGH THIS WHOLE THING WITHOUT ANYONE TRYING TO GET ME TO WASH ANY OF THESE RIFFS DOWN WITH AN IMITATION KING DIAMOND FALSETTO. A GENUINE IMPROVEMENT TO THE ORIGINAL DESIGNS.

BEYOND THE SOUND, THE BRANDING OF THE WHOLE THING IS EQUALLY REFLECTIVE OF THE SOURCE MATERIAL. THE NAME DEVIL MASTER SOUNDS INTENTIONALLY PRIMITIVE, THE LOGO IS PURPOSEFULLY BADLY XEROXED AND THEN SUPERIMPOSED ON THE VIDEOS. THE ACTUAL FOOTAGE ITSELF I THINK ACCIDENTALLY COMES OFF A LITTLE TOO HI-FI, IN A WAY THAT MAKES THE EROSION THE VIDEO EDITOR USED AFTERWARDS SEEM A LITTLE SILLY. (BUT THAT’S A VERY SMALL NIT TO PICK.) AND I REALLY LIKE THAT THE SONG TITLES TITLES FLIRT WITH SPOOKY DEVIL STUFF BUT IN A WAY THAT HARKENS BACK TO A TIME WHEN YOU COULDN’T JUST NAME YOUR ALBUM “BESTIAL NEKROGOATS SATANIC 666 WARCOCK FORCEFULLY RENDS THE BODY OF CHRIST ASUNDER” AND IMMEDIATELY GET A DEAL WITH HELLS HEADBANGERS. IT’S TASTEFUL.

THAT BEING SAID THIS KINDA THING JUST ISN’T FOR ME. I CAN TELL THAT IT’S WELL MADE, I CAN TELL THAT A LOT OF TIME AND CARE WENT INTO IT. I THINK THERE’S A COUPLE OF SMALL MIS-STEPS IN PRODUCTION AND A FEW HEAVY FOOT FALLS IN THE VIDEOS THAT COULD BE HAMMERED OUT, BUT THEY IN NO WAY OVERSHADOW EVERYTHING THIS ACCOMPLISHES. IT’S JUST NOT MY SLICE OF CHEESECAKE. AND AGAIN I NEVER TAKE OFF POINTS FOR TASTE.

THAT BEING SAID IF YOU’RE INTO THROWBACK PROTO BLACK METAL STUFF THAT DOESN’T INVOLVE ANYONE WITH A SHITTY MUSTACHE, OR HATE GROUP AFFILIATIONS. THIS IS PROBABLY FOR YOU AND YOU SHOULD ENJOY IT.

3.5 OUTTA 5. 4 OUTTA 5 IF THEY’D SHOOT THOSE VIDEOS WITH AN ACTUAL SHITTY OLD VIDEO CAMERA. GOOD STUFF.

 

Album Review: Candlemass – ‘The Door To Doom’

Posted by Morgan Ywain Evans on Friday, February 8, 2019 at 4:04 PM (PST)

It was a cool week for underground music as far as I am concerned. Industrial act Front Line Assembly dropped a killer new record Wake Up The Coma with a hysterical but bold “Rock Me Amadeus” cover featuring Jimmy Urine that I cannot get out of my head (plus a cool title track feat. Nick Holmes from Paradise Lost/Bloodbath).  Obliteration’s Cenotaph Obscure was nominated for a Norwegian Grammy. AND most importantly on a personal level and relevant to being able to write this review, I also finally got to sit, drink tea and then become completely engrossed in the new Candlemass opus The Door To Doom until I grabbed the sides of my head and howled. Holy crow! Everyone just give up now. Don’t release anything else this year. It is over. You aren’t topping this. This is the essence of pure doom brilliance. Johan Langquist (who left the band after singing on the legendary 1986 debut Epicus Doomicus Metallicus) has returned! Much like Sabbath or Vitus or even Alabama Thunderpussy, people love different singer’s eras – but the buck really stops with Johan in this band’s case. Leif Edling and unmerrymen have outdone themselves and made a fucking modern masterpiece of the genre.

The much hyped collaboration track with mighty Tony Iommi of course lives up to the hype. “Astorolus – The Great Octopus” is like the Poseidon arranged wedding between the “Children of The Sea” and something from even darker and heavier depths. It’s way stompier and doomier than “Children…” with absolutely no uplifting parts, haha…but maybe I just needed an oceanic comparison to house the giant tentacles mass of this tune.  Iommi plus Candlemass is obviously a match made in Heaven and Hell (see what I did there?) and fans are going to be shook. For real, this album surpasses Sabbath’s 13 with ease (and I liked plenty of moments on that record even with the flaws and shamefully no Bill Ward). I am SO glad this collab happened.

“Bridge of The Blind” is a reprieve song of sorts, a dreamy sad song with incredible guitar tones. Johan takes the relatively straight-forward closing lines ,”What would I find, if I open my eyes? Will you be waiting on the other side?” and injects so much emotion into them that you feel a huge gulf of loss or like you have just listened to a traditional ballad people have held close to their heart’s for hundreds of years. “Death’s Wheel” is an anthemic war charge from the opening riff, pulverizing everything in sight and getting heavier and more dizzying as it goes. The solo on that song shoots vertically into the sky, defying the heavens boldly. “House Of Doom” like Cathedral’s Swan Song The Last Spire recalls medieval despair via cool sound effects (a tolling bell here) before thundering home. The organ drenched bridge of the song is one of the most epic moments of many on the album.

I honestly would be startled as hell if anything tops this in 2019. It just hits so many checkmarks from hot anticipation to a triumphant reunion of classic members to, most importantly, completely bad ass NEW songs that only add to the band’s legacy forevermore whilst perfectly nailing what is best in a genre. Ghost, who have a history of taking out top notch talent from the much missed Purson to Marissa Nadler, have Candlemass with them in Europe at present on the road. No offense to Ghost but I am really glad some of their more genre-tourist fans are gonna get their fucking asses schooled by some OG doomage of the purest molten kind.

 

Album Review: Surachai – Come , Deathless

Posted by Kriegmaster Hatesturm on Wednesday, January 30, 2019 at 12:46 PM (PST)

Y’KNOW WHAT. FUCK IT MASK OFF. I LOVE THIS. HOLY SHIT.

THE PROJECTS BANDCAMP READS “SURACHAI PIVOTS FROM FULL ENSEMBLE BLACK METAL OUTFITS TO SOLO KEYBOARD EXPLORATIONS”. AND USES THE WORDS AVANT GARDE. I THINK USING THE PHRASE AVANT GARDE IN AN ERA OF NOISE WHERE SELF MUTILATION IS A POPULAR ELEMENT IS OVERSTATING IT. BUT THIS GOES.

IT WAS HANDED TO ME AS “SOMETHING DIFFICULT TO PINPOINT STYLISTICALLY”. BUT THIS IS A POST VENETIAN SNARES SOCIETY AND I HAVE HOURS OF HAM-FISTED “DARK DUB 1HR MIX” PLAYLISTS ON MY LAPTOP. SO WE HAVE THE WORDS FOR THIS KINDA THING NOW, LET’S FUUUUUUCKIN USE THEM. IT’S DECONSTRUCTED DARK LIQUID DNB WITH BREAKCORE ELEMENTS AND THE SOUND DESIGN REMINDS ME A LOT OF THE PANACEA. IT’S LIKE IF A LIMEWAX ALBUM WAS WRITTEN BY XANAX. WHICH IS A COMPLIMENT I PROMISE. THOUGH DECIDEDLY NOT HEAVY OR STRUCTURED ENOUGH FOR “OUTSIDER” CROSSOVER HARDCORE LABELS LIKE NEKROLOG1K OR PRSPCT. THE MARKET FOR WEIRD WITCH HOUSE AMBIENT SHIT NOW IS HUGE, AND THIS IS THE COOL KID LEATHER JACKET CIGARETTE SMOKING END OF THAT.

THE SHEDDING OF USEFUL SKIN, OTHER THAN BEING A TOTALLY FIRE TRACK NAME OPENS LIKE BACKGROUND MUSIC TO A CLUB SCENE IN A DYSTOPIA FILM WITH A REAL BUMMER OF AN ENDING. LEANING INTO PAIN (ANOTHER HOT TRACK NAME) HELPS BRIDGE THE GAP TO THE HALFWAY PARTS OF THE ALBUM WHERE STRUCTURE REALLY BEGINS TO COME APART. DECIPHERING WHISPERS FROM A WIND (A LESS HOT TRACK NAME) SOUNDS LIKE SOMETHING THAT WOULD LOCK ME TO THE FLOOR OF MY APARTMENT AFTER LISTENING TO WITCH HOUSE PISS DRUNK AT 3AM. I’M REALLY INTO THE GRATING BITCRUSHING SOUNDS THAT BITE AT THE UPPER END OF THE REGISTRY ALONG THE WAY. THOSE ARE HARD TO USE WITHOUT GETTING ANNOYING BUT MAKE FOR A MORE PAINFUL RAW SOUND AND I AM FUCKING HERE FOR IT. THERE’S REALLY A LOT TO BE SAID FOR SOME OF THE SOUNDS

IF I WAS TO ENTERTAIN THE IDEA OF CRITICIZING PARTS OF THIS ALBUM I WOULD SAY SOME OF THE TRACK NAMES FEEL UNCONSIDERED AND LIKE “GENERIC SPOOKY” WHERE OTHERS REALLY HAVE THAT HEAT. AND ALSO THAT I THINK EVERY GOOD ASTRUCTURED AMBIENT-ISH ELECTRONIC MUSIC ALBUM NEEDS A REALLY FOCUSED CLIMAX THAT PICKS UP A LITTLE MORE SPEED, AND THIS ONE TOOK MORE OF A PLATEU APPROACH. I THINK ALSO WITH THAT PLATEAU APPROACH, THE ALBUM FEELS A LITTLE LONG. SOME HUGE SQUARE WAVE KICKS RIGHT AROUND TRACK NINE WOULD HAVE MADE THE LAST FEW TRACKS FEEL LIKE A WIND DOWN AND LESS OF A DRAG.

I CAN’T DECIDE IF PUSHING THE ALBUM COMPLETELY DEVOID OF AUDIO SAMPLES OR VOCALS IS A REALLY CLEVER AND MAKES IT FEEL MORE ALIEN OR IF THAT’S PLAYING IT SAFE AS SOMETHING THIS FOCUSED WOULD REQUIRE EXTREMELY CAREFUL CURATION. BUT THIS IS THE PROJECT’S SEVENTH STUDIO ALBUM, SO I’M CERTAIN THEY’RE MAKING EXACTLY THE KIND OF STUFF THEY WANT TO AT THIS POINT.

4.5/5 STARS. I ACTUALLY BOUGHT THE VINYL FOR THIS.

Downfall Of Gaia.

I WAS UNFAMILIAR WITH DOWNFALL OF GAIA BEFORE OPENING THIS ALBUM, SO MY FIRST LOOKS ON THIS ALBUM WERE TOTALLY BLIND. I HAD NO EXPECTATIONS OTHER THAN A READTHROUGH OF THEIR ARTIST PAGE ON METAL BLADE. AND THOUGH THE WIKIPEDIA PAGE SAYS THIS STARTED OFF AS A CRUST PUNK BAND, THIS ALBUM IS DECIDEDLY NOT THAT. PUT DOWN THE MODELO.

ETHIC OF RADICAL FINITUDE WASTES LITTLE TIME IDENTIFYING ITSELF STYLISTICALLY AND WITH TEXTBOOK EXECUTION. IT OPENS WITH A  BRIEF YET SLIGHTLY TOO QUIET INTRO TRACK, BEFORE DROPPING INTO LIKE A DICTIONARY DEFINITION OF DS POSTBLACK BLACKGAZE FOR “THE GROTESQUE ILLUSION OF BEING”. THIS BAND SITS FIRMLY NEXT TO OTHER ACTS LIKE MGLA AND GHOST BATH AND WOULD BE WELL HOMED ON THAT ATMOSPHERIC BLACK METAL ALBUMS YOUTUBE CHANNEL THEY KEEP TAKING DOWN FOR WHATEVER REASON.

ETHIC FEATURES HEAVY SERVINGS OF THE LONG ANGUISHED TREM SECTIONS BENEATH HOWLED THROUGH TEN REVERBS VOCALS WE EXPECT AND MAKES FREQUENT USE OF THE INCREASINGLY POPULAR MELANCHOLY BLAST FREE INSTRUMENTAL SECTIONS WITH FOLK INSTRUMENTS TO BREAK THINGS UP. THEY DO HOWEVER DECIDE TO BENCH THE FEMME CLEAN VOCALS UNTIL TRACK FOUR.

THIS ALBUM IS NICE AND SHORT. WHICH IS A THING I LIKE. IT’S SAD, IT’S SPOOKY, AND IT SOUNDS LIKE IT WAS RECORDED FROM FAR AWAY IN A CAVE WITH A FULL STUDIO BY A REALLY GOOD SOUND ENGINEER. IT’S THE SOUNDRTRACK TO DYING ALONE UNDER THE SWELTERING DESERT HEAT WHILE LOOKING AGONIZINGLY INTO THE DISTANCE IN A WIDE ANGLE. IT  WAS A COMPLETELY ACCEPTABLE ALBUM TO LISTEN TO, THOUGH I DON’T THINK THEY TOOK A LOT OF RISKS.

IF I WAS TO ASK FOR THIS AT A RESTAURANT I WOULD ORDER A SIDE OF BULLET BELTS. BUT I DIDN’T TAKE OFF ANY POINTS FOR TASTE.

3.5 OUTTA 5 STARS.

 

Acrania – “Tyrannical Hierarchy, Vol. 1”

Posted by longhairedpoet on Monday, December 17, 2018 at 11:43 PM (PST)

British death metallers Acrania returned last month with Tyrannical Hierarchy, Vol. 1, the band’s first release since 2014’s Totalitarian Dystopia. The band had this to say about the release of their EP and what they’ve been up to the past few years:

“Back in 2015 we were burnt out from touring, set backs & constant member changes so we decided to call it quits. We had no intention of releasing new music at the time and despite remaining close friends, we each quickly moved on to new projects. After a couple of years, whilst hanging out we naturally started to finish off these unfinished tracks… Working to prefect them whilst drawing on the experience each of us had gained through working on our new projects. Through doing this, we inevitably re-ignited the passion we had when we first started the band, ultimately leading to the completion and release of this EP.”

I may be almost a month late, but once I realized this album was out, I knew I had to write about it. It goes hard as fuck.

Check out my full review of Tyrannical Hierarchy, Vol. 1 here.

Dust Bolt – “Trapped In Chaos”

Posted by longhairedpoet on Sunday, December 16, 2018 at 5:25 PM (PST)

German thrashers Dust Bolt are preparing to return with their fourth full-length album Trapped In Chaos on January 18 via Napalm RecordsTrapped In Chaos is the follow-up to 2016’s Mass Confusion.

The band bring together an enjoyable mixture of a wide range of thrash variances. While you won’t find any Venom-esque darker, heavier types of thrash on this offering, for example, you also won’t find Dust Bolt playing the same blistering guitar for speeds sake for eleven tracks straight.

Check out my full review of Trapped In Chaos here.

Jinjer – “Micro (EP)”

Posted by longhairedpoet on Saturday, December 15, 2018 at 5:24 PM (PST)

Ukranian metallers Jinjer return with their follow up to 2016’s full-length King of Everything next month. The five-song EP Micro is due out January 11 via Napalm Records.

Check out my review of the Micro EP here.

Legion of the Damned – “Slaves of the Shadow Realm”

Posted by longhairedpoet on Friday, December 14, 2018 at 1:08 PM (PST)

Thrashy death metallers Legion of the Damned return next month with the follow up to 2014’s Ravenous PlagueSlaves of the Shadow Realm, due out January 4 via Napalm Records, not only should serve as the soundtrack for your next session of Yu-Gi-Oh, but is a testament to band determined to make blistering extreme metal music. Slaves of the Shadow Realm will be the band’s eighth album since changing their name from Occult to Legion of the Damned thirteen years ago. It will be the band’s thirteenth album overall.

Check out my full review of Slaves of the Shadow Realm here.

Hate Eternal – “Upon Desolate Sands”

Posted by longhairedpoet on Wednesday, December 12, 2018 at 11:50 AM (PST)

It’s been two decades since Hate Eternal came barreling out of Florida’s gulf coast. Through six previous studio albums and a number of line-up changes throughout the years, Hate Eternal has kept its vision in tact via frontman Erik Rutan. Through it all, Hate Eternal is as brutal as ever. Upon Desolate Sands is a testament to the commitment of a hate, eternal.

Check out my full review of Upon Desolate Sands here.

Venom – “Storm the Gates”

Posted by longhairedpoet on Monday, December 10, 2018 at 1:37 PM (PST)

I’m one of those anomalous fans who likes Venom’s music, and Black Metal in particular, but doesn’t like the genre it allegedly spawned. Even only finding tenuous entry points into thrash and speed metal as a whole (give me Evile and Iron Reagan, please), Black Metal was a revolution in depravity when I listened to it in high school.

Now the band is out with their fifteenth studio Storm the Gates, and Cronos, joined by Rage and Dante, bring ’round the classic Venom sound – I suppose what might be called in today’s language – blackened thrash metal.

Storm the Gates will be available on December 14.

Check out my full review of Storm the Gates here.

Beyond Creation – “Algorythm”

Posted by longhairedpoet on Sunday, December 9, 2018 at 3:24 PM (PST)

I wrote a few days ago about Crippled Black Phoenix’s Great Escape, as an album I’d previously missed this year. Another album I missed this year was Beyond Creation‘s Algorythm. This slab of technical death metal is just what the doctor ordered, as I’ve spent the last few days in cloudy, rainy hell. Beyond Creation, who have been on the Decibel Magazine Tour and the Summer Slaughter Tour and are signed to Season of Mist Records, are further grounding themselves into the scene with this, their third studio album.

Check out my full review here.

Crippled Black Phoenix – “Great Escape”

Posted by longhairedpoet on Thursday, December 6, 2018 at 11:02 AM (PST)

No matter how dedicated to the noise one is, they are bound to miss some great releases. One of those releases that I missed this year was Crippled Black Phoenix‘s Great Escape. The band’s sound defies genre categorization (and this is coming from me, the queen of genres). CBP’s dragging sound and melodic vocals are preceded by the first track on Great Escape, “You Brought It Upon Yourselves,” which is an aggravating collection of samples which eventually overlap and bump into each other, stacked over beautiful instrumentation. While the shortest song on Great Escape clocks in at 2:50 (“Uncivil War (pt 1)”), this album is not for folks who don’t like long, meandering tracks (the album has two songs over ten minutes long).

Check out my full review of Great Escape here.

Album Review: Clutch – “Book Of Bad Decisions”

Posted by Morgan Ywain Evans on Tuesday, October 30, 2018 at 1:20 PM (PST)

Not liking Clutch is kind of like not liking chocolate or beer. I mean, the second is fine if you are straight edge or in recovery or whatever but otherwise you pretty much just played yourself. To be fair, I firmly have never met a Clutch song whether angry or goofy that I did not love. They are incredibly consistent even when settling into the veteran stage of their hard won (in the truest, road dog sense) career. They have made an investment in their fans and given us gold time and time again. While you can critique any artist, when it comes to Clutch their is always very little to nothing to complain about. I mean, I don’t know them on a personal level but as a fan they are they most rewarding band I have ever followed for decades. What I am trying to say is, they may have had a lot of jager here and there but they certainly haven’t made that many bad decisions career wise.

Book Of Bad Decisions continues the band’s long winning streak. Some people thought it was a little more tame or a bit too long but to me that is kind of like having extra helpings of a good meal. You binge at first and then settle in for a slow extra course and a big grin digestion stupor. Whether slow or fast, aggro or jam focused, Clutch are only adding to their still super potent live range. “H.B. Is In Control” is probably their most knowing wink thrill ride Neil Fallon as madcap ringmaster tune since the underrated From Beale Street To Oblivion record. Hollered vocals, amazing blues and stoner influenced riffs and the impeccable distinctive drumming we know and love are all present.

“Gimme The Keys” is already a newfangled anthem with the band hitting hard. It is also rad to hear some Hammond on this record as well as brass. Some people think the Vance Powell production was a bit too big and clean but I didn’t hear that. It sounded great on big speakers and the band are too tasteful to ever have shitty tones or sub par material. It might not be worn into your fibers like the S/T classic songs but, like Black Sabbath, that doesn’t mean later day songs on 13 or Bad Decisions were somehow super terrible inherently. Any band that can hit the 12 album stretch and still write stuff as freedom loving and witty as “Weird Times” and awesome or sly as “How To Shake Hands” is probably made up of a group of miracle workers. It is incredible these guys have been at it so long and still are in such control of their sound and not pushed around by labels, still cranking out killer albums like Psychic Warfare or this new baby and still reminding us that rock n roll can rebirth us on a Quantum level.

 

Greta Van Fleet‘s anticipated debut opens with a number that reminds me of Jethro Tull meets Muse, a dramatic blend of classixc rock and proggy influences before the more patented blues rock side of the band’s sound carries “Age of Man” forward. While the record could have charged forth with reckless abandon it makes sense in a way that the group, often compared to Led Zep, wanted to drop you notice that you are in for the long haul and this is an album lovers album. The mid paced majestic march of the song is very well done and shows the band’s hype is now bearing more tangible long term fruit. Still, for all the albums merits I can’t help but wonder how a new band doing more of an original sound would fare if they had the same financial support and marketing push as these guys.

Anthem Of The Peaceful Army indeed has a GREAT mix and the group manage to capture their soulful and youthful energy to a terrific degree. It sounds amazing even on my shitty cheap computer speakers, like you are hearing something IMPORTANT. Everyone did a great job and fans of the band are going to be thrilled. It sucks that a friend of mine wasn’t able to see them recently because bots purchased all the tickets in seconds and marked them up for Stub Hub, but the potential of having a live experience is different than what we are talking about today…the album itself. The Plant and Page mimicry finally comes on thick in second track “The Cold Wind” and if you are gonna hang with this band you are just gonna have to decide if you can deal with it or not. Cuz yeah, they don’t only capture youthful energy but tend to try to “clone the dinosaurs”, so to speak. And I love Zep and dinosaurs, so that is not meant as an insult. Even the Zep guys would admit they are aging rock royalty (and we love them, of course). That said, they made a video for my least favorite song “When The Curtain Falls”. Just felt too distracting even for my open mind on that one, though I still am torn because God knows how many bands copied, say, Green Day or The RAMONES.

Like new Alice In Chains, for some people it seems a little too much like trying to recreate something classic, but for many others (in GVF and new AIC cases) it is thrilling. The difference is that some of the real Alice are still IN Alice and I am afraid that makes a big fucking difference. I am not so crazy about direct “Ooh yeah” Plant style vocal lifts, but the rest of the time it doesn’t bother me sooo much that the GVF band are obviously doing an homage to their influences rather than pretending they personally invented the wheel themselves, but other times I change my mind and get distracted and cringe here and there. I still know an even split between “wow, rad” reactions and “fuck this sacrilege shit” responses (much like the DIO hologram) when people discover GVF amongst my peer group. Well, there are more harmful things in life, like the big rap releases of this week Wayne and Con-Perrier-Ye both having XXXTentacion post death cameos like it is no big deal he gay bashed a guy and brutalized a woman with nary any real convincing show of tangible remorse (despite what “he was gonna change” apologists keep saying and despite death still being tragic). At least these guys seem to be real chill dudes and I loved interviewing them awhile ago and wish them the best. I am certain they will get better and better.

Anyway, back to GVF…”Watching Over” is a cool, crawling song that mentions “water rising” (heard that somewhere before, haha), but again it is somehow intriguing rather than so derivative you feel like they are pouring it on too thick. I mean, the songs are just so damn good that it feels like either a young Zep somehow started with ZOSO or that somewhere in rock history we overlooked some classic rock gems and then the vocals were remixed with a little modern polish. “Mountain of the Sun” is a little more Houses Of The Holy, twangy guitar and summery vocals aiming to kiss the sun. All in all the band remain very much a topic of conversation and semi-controversy. You can’t deny their talent and songwriting, but it would be nice on the next one to see them move a bit more into their own territory rather than reshaping the clay of the past.

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