Search Results for "Album Review"

Album Review: Dying Whale – “Last Moments Of Misery”

Posted by Morgan Ywain Evans on Wednesday, February 22, 2017 at 5:33 AM (PST)

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In early February Valdosta, Georgia doom punkers Dying Whale released a monster record Last Moments Of Misery through their Bandcamp and with physical options through the always great Nefarious Industries (East Of The Wall, A Fucking Elephant, etc.).
Tracked at Earthsound in Georgia with Lee Dyess (Mayday Parade, From First to Last, I Set My Friends on Fire), and featuring vocal contributions from Rich Weinberger (Gatherers), Jeff Hill (Machinist!), Kelby Clark (Divorce Ring), Nannen Gatchell (Smiler), and Victor Skamiera (Fero Lux), this record packs a super hard punch that everyone from fans of Cancer Bats to Coliseum to early Cave In (especially “The Cloud I Hold” at the glorious :17 seconds pit starting mark) will enjoy.

Opener “Black Sky Absorbs You In” almost reminded me of Botch playing sludge punk, so obviously that is pretty fucking awesome. “Thorn Sized Wounds” has some compelling slower passages and the vocal roar really steps up a notch. I can relate to the title because I slid down a small cliff yesterday into a thorn bush, so this is giving me feels. The twelve tracks on this album are mostly around the two minute mark, with some longer ones here and there. Still, despite the somewhat shorter song duration the material is so energized and ass kicking that you feel like you got your mosh nut.

“Forged By Silver” is my favorite track, a kind of streamlined, clangy punk song that reminds me of some of the Touch & Go bands who took a more diaganol approach to life. Dying Whale have the potential to really develop into a force of nature for the scene here and I hope they really stick at it. I’d love to see them on a KEN Mode type tour or with some of the Tank Crimes bands. “The Tear Between Life And Love” sounds so unhinged but the band are tightly in unison no matter how rollicking and warped the guitar gets or
how often between tom roll crazy and rapid attack the drums alternate. I also really like how the mix is not worried about sounding like the band are hot shots and more about delivering a hot steaming cup of rock and kick drum into your skull.

The band are generally rough and rowdy over quiet, but display a keen sense of dynamics. The ominous and almost horror score/Today Is The Day outro of the awesomely titled “Dreading My Exclusion” is one of the coolest parts of an album full of dope moments. “The Reaper” and the title track almost get Turbid North heavy but Dying Whale also have a clear punk streak which makes the material sharper
and more urgent, less plodding or worried about proving they are evil metal dudes and more interested in just peeling your face off. Fans of Golden Torso, Septa or The Great Goddamn from our Halloween comp a few years ago are also encouraged to give this many a spin.

Album Review: Sepultura – “Machine Messiah”

Posted by Morgan Ywain Evans on Wednesday, January 25, 2017 at 3:06 PM (PST)

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There is something for even the most casual Sepultura fan on new album Machine Messiah, but it is far from a fan pandering checklist. I should say, there is something
for anyone who can deal with no Cavalera brothers. At this point, if you can’t get on board anything the band has done 8 albums post-Roots (and 9 if you count the super dope collab with Les Tambours Du Bronx), you are deaf, a poseur or
grandstanding. This record matches and surpasses several of their former greatest triumphs.

A lot of people think Dante XXI is the best Derrick Green-era Sep record, though I am actually VERY partial to the incredibly underrated Against record (I like it better
than Roots, honestly), his near twenty years old debut with the group. Under immense pressure, Green delivered on all fronts with one of the most intense (ie. “Choke”,
“Boycott”) and consistently confident cases of picking up a torch and saving a group since Dio joined Sabbath. The difference being that Green stuck around for 7
records since and has never gotten enough respect. Frankly, he is one of the best screamers and frontmen in metal by far. I honestly think Roorback and Nation would be looked at more fondly by some too cool for non-early days types if the band had simply used different, more old school logo fonts on the album art.

Now, I am torn between Against and this new absolute monster of an album as to which is my favorite Derrick record (in case you are wondering, Beneath The Remains is my favorite Max one at the moment).

I just watched the excellent Jodie Foster directed Money Monster on cable,starring George Clooney and Julia Roberts. The plight of common people in the face of
manipulatable markets and cloaks of secrecy and corruption from trusted institutions rings especially strong with Trump’s Goldman stacked cabinet facing us. Sepultura
have tackled some big populist issues during the Green-era, from the themes of vital decisions in life putting you at a crossroads that made up Kairos to the Clockwork
Orange/brainwashing themes of the triumph A-Lex to the urban dystopia Metropolis referencing The Mediator Between Head and Hands Must Be the Heart. The band even tackled a cover of Bad Brains “Gene Machine/Don’t Bother Me” once, perhaps the best parallel to the themes of Machine Messiah, where technology has become near predatory.

Read more BELOW.

Album Review: Black Anvil – “As Was”

Posted by Morgan Ywain Evans on Thursday, December 29, 2016 at 10:21 AM (PST)

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Black Anvil up the production and foreboding atmosphere on new album As Was, without losing any of the evil, propulsive power of the more extreme moments of their earlier work. The January 13th Relapse release is one of our most anticipated records for 2017 (though I actually already have the glorious promo, obviously). Much like Tombs, the band have managed to expand on the elements of what works for them while retaining all their strengths. I have heard rumors the new Pallbearer and Suicide Silence records are much different. That is fine if what the bands want to do (though the live Suicide Silence song I heard so far sounds like they really are trying to bite Korn with the falsetto vocal shit), but I don’t think Black Anvil will be at much risk of losing their core fanbase despite this record being a bit more adventurous.

This is our last review of the year but the FIRST metal album to buy in 2017.

More BELOW.

XXX

Album Review: Lamb Of God – “The Duke” EP

Posted by Morgan Ywain Evans on Monday, November 21, 2016 at 8:20 AM (PST)

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Lamb Of God‘s The Duke EP continues the expanded and once unthinkable melodic vocal direction in the band’s sound. It will really be enjoyed solely on if this sits well with you or not, as the band have remained great songwriters and of course still have a hot streak of metal running through everything they create. You can’t blame the band for wanting a bigger hit at rock radio after all these years, and it isn’t like they sound like Maroon 5 now or something. The title track of this EP still has a scorching solo and some decadent metal screams from Randy, though it is also a far cry from the intensity of even a more crowd pleaser like “Redneck” (to say nothing of the classic Burn The Priest stuff).

I will always love As The Palaces Burn best, because it captured a certain vitriol and spirit of protest that was much needed at that time. I am hoping with President Elect Trump that Lamb also continue to speak up as aggressively as possible against fascism and call Trump out on Union busting mega Wall street pandering practices that show what a lie his campaign promises to the little guy were. “Culling” is awesome as Randy screams “I couldn’t make this shit up” and talks about the heartland as a smoking wreck, also sounding like he is taking on religious intolerance. That’s a good sign, and the song has a very Megadeth influenced sense of attack on the bridge and slick solo. It sounds like a Sacrament-era tune, actually. And there is a super cool drum break passage in the middle before a sea sick reintroduction of the all screams “hook”. It is a nice contrast to the melodic title track and should reassure older fans, but hopefully they also will be open to Lamb’s newer sound as well.

These guys are champs and like Candiria or Whitechapel have more than earned a foray into other waters at times to round out their set. Anyone wondering at Lamb’s live effectiveness still should check the over the top and ferocious version of “Still Echoes” from Rock am Ring that is included here, or ’512′ from Bonnaroo about “a shitty fucking place I spent a little time in.”

A live version of “Engage The Fear Machine” takes us out with a rattling drum intro of snare madness before the unified barrage hammers down. Lamb are an institution at this point. “Here we go again, the world is coming to an end,” sure still sounds relevent to me as Native American water protectors are hosed by police in freezing temperatures while we pardon a turkey and Neo Nazi Alt Right Trump supporters “Heil” INSIDE the Ronald Reagan building. Like Fear Factory’s “Fear Campaign”, the LOG song “Engage The Fear Machine” reminds us that fear of one another got us here, but resisting it will set us free.

Album Review: Seeker – “Loss”

Posted by Morgan Ywain Evans on Thursday, September 29, 2016 at 4:04 PM (PST)

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Dallas, TX’s meanest export Seeker return with 10 songs that fly past but will leave a heavy boot print indentation on your face. Now a trio, Seeker have become faster and somehow both tighter and more unhinged at the same time. There is less of a hardcore element in favor of an unforgiving assault on the senses via a blend of crusty thrash and extreme metal elements.

“Void” at 2:53 is one of the longer songs but bears down on you like you’re tied to the tracks and watching certain destruction approach. It will be crazy if they can pull this stuff off live, because the songs are as demanding as some of the more manic Dying Fetus material, for example. There is still a very cool use of dissonance and elements of clanging tones and the vocals almost act like more of an extra instrument this time than coming off like a really pissed excerpt from a metalcore dude’s autobiography.

That’s not to say anything negative about Unloved, which was a great record. It is also pretty evident that Bryce Lucien is still venting a lot, though I found the vocals a lot harder to make out this time around. It doesn’t take away from the intensity and emotional charge of the tracks, however. Seeker have created a really oppressive record, from the harmful sea sickness of “Swallowed” to the 1:10 “Self-Harm” which starts with a false lull reminiscent of some dronier Converge textures before an experimental racket you might expect on a more spastic Minus record sets up the hope crushing slow dirge of the final title track.

This is a really physical record, in that way still very rooted to the hardcore scene. This band could decimate a stage with a variety of acts and hold their own on intensity and imaginative arrangements alone. You will feel simultaneously fired up and eventually drained by the onslaught, but it is a record that certainly gives back and more than allows for outlet of some of life’s worst pressures.

I still think this is far and away one of the stronger Victory signings in years, a band who are often sound like they are fighting to hold their own center. Here’s hoping they keep both hands on the wheel or lasso the tornado for a few more years to say the least.

Loss won’t lose your interest. Pre Order HERE.

Album Review: Gatecreeper – “Sonoran Deprivation”

Posted by Morgan Ywain Evans on Thursday, September 29, 2016 at 9:18 AM (PST)

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Gatecreeper‘s new Relapse-backed skullfucker is as heavy as the buzz has been telling you. Let us contribute more to said buzz by heaping more praise on this ferocious album. You have probably been seeing bloggers goo about it from all corners of the metalsphere at this point, with brief detours of “Holy shit, the new Metallica aint half bad!” but yeah…Gatecreeper.

There is a very old school gnarliness to these tracks sure to appeal to fans of better Morbid Angel tones but they also could appeal as strongly to kids into Xibalba or the more death metal influenced hardcore. Sonoran Deprivation has a few moments, like the snarls and gutter ‘yeahs’ in “Sterilized”, that make you feel like someone unpleasantly liked the inside of your guts. The shit is just so unforgiving. “Stronghold” is probably the best song on the album, a powerful charge that drives up the middle of the record like a stampeding bull and features not only barrage but some killer slower riffage and dual guitar harmonies.

The band’s durable sound and lack of bullshit currently has them able to tour alongside Skeletonwitch, Oathbreaker and Iron Reagan, FYI.

“Patriarchal Grip” and “Rotting As One” shows the band can do more modern and old school sounding song titles, hahaha. The album brings serious mosh but also the aforementioned crossover appeal, yet the vocals are nothing if not pure death all the way. These guys don’t skimp for a second on the brutal but unlike some bands for some reason Gatecreeper don’t fatigue and just make you addicted to their sound and wanting more. The record has really great replay value and a lot of that also is due to the extra attention paid to little rhythmic shit like kick patterns or unified parts that will make you air drum like you are listening to fuckin’ Led Zep or something. Except you will probably get way more self injured rocking to this nefarious nastiness.

Pre Order HERE.

Album Review: Meat Loaf – “Braver Than We Are”

Posted by longhairedpoet on Monday, September 19, 2016 at 8:09 PM (PST)

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Has it really been since 2012 since Meat Loaf last released a studio album? Hell in a Handbasket was released in March 2012 in the United States and I saw Meat Loaf for the first time in fall of 2012.

I spent most of 2012 and 2013 spinning Hang Cool Teddy Bear. At the time it was my favorite Meat Loaf album since the Christmas that I got Bat Out of Hell III and spun the track off of that CD.

When I heard that Meat Loaf was going to be working on what eventually became Braver Than We Are and when I found out that it was going to be mostly Jim Steinman songs I of course couldn’t help but to be excited. I’m excited every time that I hear that Meat Loaf is going to be working on new music. I’ve been a Meat Loaf fan since I was very young, probably in elementary or middle school. I’ve gone through his entire discography, discovering new parts of his music that I didn’t know from my parent’s lacking collection of Bat Out of Hell. Bat Out of Hell III and Hang Cool Teddy Bear are the albums I grew up to, they are the Meat Loaf albums of my generations, even if they weren’t written for me and even if no one else my age listens to them, they mean the world to me.

And so I’ve waited for Braver Than We Are, reading all of the news updates that I could get about it and when it became available for pre-order, I ordered it just as quickly as I could afford to.

Now the album is finally here, released on September 16, almost ten years to the day from when Bat Out of Hell III came out.

On the back cover of the CD case, under the track list is a line; a warning, a selling point, a declaration – take it for what you will. It reads: This Record Is Explicit and Politically Incorrect.

Without any further ado, here is my review of Braver Than We Are.

XXX

Album Review: The Devil Wears Prada – “Transit Blues”

Posted by Morgan Ywain Evans on Monday, September 19, 2016 at 1:36 PM (PST)

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The Devil Wears Prada return with one of their better full lengths, the new and
colorfully titled Transit Blues. The band sound far from travel weary on the record
though, turning in one of their rowdier performances to date and first full length
post-Chris. Kyle Sipress really proves his full worth here and the songwriting is some
of the band’s most concise to date. The thing with Prada is if you aren’t as crazy
about one release you very well might love the next because they love to dabble with
their core sound while retaining signature elements. It is also why they have a great
live show because they aren’t afraid of dynamics but also know when a hype song like
new single “Daughter” or the rapid fire intro riff of the closing title track is the way to go.

“Praise Poison”, the opening track, is particularly strong. It starts with a
percussive rattle and soon erupts into a headwalking whirl of syncopated crush and
fierce guitar tones. “Consider me dead and buried,” sings Mike Hranica, but this song
is as lively as some of the craziest stuff from The Chariot’s glory years and with an
expanded sense of fret teasing while also knowing when to lay back and let simpler
chords build momentum (something so many younger bands drop the ball on these days).

More BELOW.

Album Review: Pain – “Coming Home”

Posted by Morgan Ywain Evans on Saturday, September 17, 2016 at 12:05 PM (PST)

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Pain‘s latest follows Peter Tägtgren’s success with the Lindemann project with
Rammstein’s freakish Frankenstein-like genius of German engineering Mr.Till Lindemann.
The new album Coming Home is less an extension of that and more off-kilter twisting
turns from the Hypocrisy veteran and producer. You never know quite what you will get
from Pain and Coming Home is a cool addition to their career.

“Designed To Piss You Off” sort of comes off like a more industrial leaning RevCo song
with a more melodic chorus but galloping almost cowboy beat and some surprising
textures and twang meets distortion. The 2:38 bridge goes for a big hook you might
expect from Linkin Park but the song doesn’t lose any punch in pursuit of “size”.
Still, it is more of a lyrical theme than anything most folks would be pissed off by,
unless they dislike melody actually. Elsewhere “Natural Born Idiot” could please Threat Signal fans accustomed to diverse textures under one roof with industrial leanings, while “A Wannabe” has a killer kind of ominous intro that could almost be Led Zeppelin with a loop beat.

Full review and album preview BELOW.

Pallbearer – “Fear and Fury” 3 song 12″

Posted by Morgan Ywain Evans on Wednesday, August 10, 2016 at 5:13 PM (PST)

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The new 3 song stop gap between Foundations of Burden and whatever melodic breakout alt-doom greats Pallbearer do next is sure to please fans but isn’t entirely essential. Granted “Fear and Fury” – a lone single released in 2015 – is one of their better songs in a catalogue full of good tunes, but if you only had the full lengths you’d still have plenty to chew on without needing to seek it out unless you were a die hard fan.

Now it leads off a three song EP you can check out HERE.

The most exciting thing about this little EP or single with two B sides as it could also be considered (besides the gorgeous artwork), is that these songs will undoubtedly be served best as random additions to the band’s always killer live show.

The funnest thing here for me is the Dio era Sabbath cover “Over & Over”. It is cool to hear one of metal’s truly best newer bands tackling a classic but while the song translates excellently into Pallbearer’s style, it also proves how neither a hologram or a less emotionally invested 2016 blog metal era performance where the cover is more of a fun novelty are any substitute for the real RJD. The best part here is the scorching solo, which does Iommi some real justice.

Likewise, the Type O Negative cover is fun but not crucial and no match for the original. It is fun and will be a treat live but I think the band would’ve been better served doing a different tune from the great drab four. Again the music is cool and fits Pallbearer’s style but the vocals just don’t nearly reach the original. The much less critical darlings Dommin did such a cool cover of the same song as recently as last Winter also which was vocally more on point and made it almost a speak easy jazz goth hybrid song. I’d rather have heard Pallbearer do a deeper cut like “Everything Dies”, as a Type O fan. That would’ve been so heavy.

These slight criticisms aside, this was an awesome surprise today. A lot of people had no idea this three song was on the way and Pallbearer are by far one of the more consistent and enjoyable bigger metal bands out there of the new guard. The two times I have seen them they have absolutely crushed. The first time I saw them it was like hearing Godflesh with an extra melodic vocalist or something, just huge. Nice to hear them having a little fun and you could certainly do a lot worse than this. If you need one record of the same genre this month though pick up Spirit Adrift first.

Album Review: Skeletonwitch – “The Apothic Gloom EP”

Posted by Morgan Ywain Evans on Thursday, August 4, 2016 at 11:41 AM (PST)

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Don’t throw yourself into a “Well Of Despair”, Skeletonwitch are back with The Apothic Gloom . In fact, you can instead throw yourself into a pit while the ready made for flying elbows “Well Of Despair” undoubtedly blasts from a stage near you soon.

The extra high rating here is due to the band bucking the odds and starting anew in the face of doubters while also delivering the hard task of making an EP that is vital and full enough it will bear many a repeat listening.

Opening with the cold acoustic guitar intro of the title track which wouldn’t sound out of place on a medieval version of some strange Nine Inch Nails/Elliot Smith collaboration, maximum attention capturing moodiness is pursued by big dueling guitars. Finally a truly heroic and vintage sounding Witch pure heavy metal series of riffs open up and the vocal era of Adam Clemans (Wolvhammer, Veil Of Maya) era properly begins.

As a big Wolvhammer fan, the extra pressure here has only made Clemans deliver even more strongly. 2:28 onward of “Well of Despair” (after Clemans’ epic grunt), you can rage to some pit starting shit that’d even give Goatwhore a run for their  money  if you don’t believe me.

Fans of older Skeletonwitch will be pleased that the qualities you often loved remain strong, while the epic closer “Red Death, White Light” and certain moments of the title track here take them to even more blackened shores than their thrashy history. This is a fusion of the past with an ever darkening yet bright future.

“Black Waters” is my favorite here, a marching and fist pumping riff that demands neck movement charges in with melodeath confidence and Clemans roars like a tormented titan that “all light is gone from the sky” (I think). The band before were evil and teeth gnashing while simultaneously feeling a little bit fun at times, but now things just feel even more undead and the technical brilliance paired with actually memorable riffs remains as sharp as ever. If anything the EP writing is kind of epic and I wonder if they will scale back a bit on the next full length and write shorter singles. In the meantime, “Black Waters” certainly will also appeal to shred heads with a gorgeous widdly widdly solo over some charged up chordal grimness.

It’s vindicating to know that the band responsible for such modern classics as Beyond The Permafrost and Serpent’s Unleashed is not going quietly into the night even after a substantial lineup shift.

This IS metal. 

#WorshipTheWitch

 

Album Review: Castle – “Welcome To The Graveyard”

Posted by Morgan Ywain Evans on Wednesday, June 29, 2016 at 9:31 AM (PST)

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Castle have quite a few great songs under their belts at this point, from the early oomph of “Shaman Wars” to my still favorite Castle song, the Sab channeling completely evil, labyrinthine darkness of “Pyramid Lake“. Through constant touring and refining of their bluesy witchy minimalist but raw powered thrash these champs of heavy metal bang for your buck have only gotten better with each release. That said, we knew it was gonna be hard to top Under Siege. New album Welcome To The Graveyard is at least as good, if doubling down on the band’s strengths rather than straying too far from their comfort zone.

Honestly, that’s more than fine. This is a band so good at what they do already that I’d love to know I can go to them for a fix of “that” sound. “Veil of Death” has a cool, kind of medieval folky intro before one of the raddest battle charges in the trios history commences. From Cauldron to Electric Citizen to NYC’s awesome Tower to Night Viper, there are a lot of great bands recently mining classic heavy metal or Sabby territory, but Castle are still near the forefront of the pack and just have more of a road worn, rock n roll presence than most without even seeming to try so hard. “Flash Of The Pentagram” could be a biker’s anthem as much as a horror movie theme song or the coolest song you saw performed live at any skull t-shirt infested festival on this charred planet. The “Evil Ways” octave vocals thing between Elizabeth and Mat has really gelled, though the best parts vocally are still when Blackwell lets her inner bluesy siren really cut loose at any given crescendo. The drums are also near perfect for metal in this band, not too showy but right where you need them whoever is on the kit live or in studio.

“Traitors Rune” is kind of the template song for this record, a melody infused mid tempo charge that is kind of the main tempo of a lot of the action this time. If you were going to hear just one song from this beast, I’d pick that one. Fortunately you can soon enjoy all of them (since that isn’t even a single at this point). Great ghostly vocals, some of the best ever payoff riffing from the group , catchy lyrics and a rock solid solo. Just about does it all in one tune. Another highlight is the sure to be fan favorite “Down In The Cauldron Bog” which has an intro that is almost reminiscent of “Hallowed Be They Name” meets “Dream On” by Aerosmith or something. It’s bad ass. Definitely more on the witchy/classic rock side. The inevitable hammer drop of power that comes in sets up the continued verse flow very nicely. The structures are getting more and more sophisticated without losing their direct impact.

This is certainly a must own heavy metal purchase for 2016 and we’re thrilled Castle show no signs of crumbling anytime soon. Follow them on Twitter HERE or on tour like a Deadhead who happens to be scouring the battlefield for trinkets in the wake of a much cooler, conquering rock band.\m/

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Album Review: Motörhead – “Clean Your Clock”

Posted by Morgan Ywain Evans on Tuesday, June 28, 2016 at 5:23 AM (PST)

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It’s been 35 years since Motörhead released No Sleep Til Hammersmith (arguably one of the top ten live records ever). England may be more divided over Brexit than they have been about anything in a long time, but one thing the whole world loves is Motörhead. So how does Clean Your Clock stack up, a very late career Munich 2015 performance ? While it aint a career changing live opus, it can’t be declared a post-death cash in either. Hearing the love and grit in the songs and Lemmy’s rattling and killer bass tone as the band hold court, you can’t help but get that “rock n roll will never die” feeling, even if we now know that even God is mortal.

The DVD is more kind than the audio, seeing a huge and adoring crowd, but the band soldier on and usually sound musically awesome even though vocally Lemmy is very tired sounding here and there and struggling. But it makes you love the guy even more.

“Bomber” sounds great even if Lemmy is already sounding pretty winded, but the drive and the fact he is still trying says so much. His ability to project his already limited (if awesome) vocal range is certainly limited compared to the band’s biggest glory days, but while it makes you sad here and there to hear Lemmy sounding old and short of breath, the band still can “clean your clock” up there with the best of them. Seeing them for the second time just a few years ago at Mayhem, they stole the show from Slayer and Slipknot! All I’m saying is you could do far worse than this by purchasing some new bands live albums. And you CERTAINLY ought to own Bad Magic, the final studio effort Lemmy and the boys turned in because it is beastly.

In a divided world, it is amazing that a band as uncouth and unapologetic as these guys brought so many types of folks together to rock.

More BELOW.

Album Review: Chron Turbine – II

Posted by Morgan Ywain Evans on Monday, June 27, 2016 at 11:48 AM (PST)

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The nineties influence on NY’s Chron Turbine‘s second record II is palatable but it’s a great thing, almost refreshing to hear quality but dry production and real picture painting instead of just whatever it is “the kids” are doing these days . Slinty math breaks meet grooving Lizardy basslines and noisy Steel Pole guitar skronk but almost Tad-esque melodic but hoarse kind of spoken/sung vocals on “Silent Partner”. “Love and Infection” seems to have a kind of dangers unprotected sex theme over a glorious blend of sort of caveman butthole surfers meets stoner stompage. All songs, instruments and voices were performed by Chris Turco, kind of like when J. Mascis got tired of other people and just kicked out some of the best Dino Jr. albums by his lonesome. Mixed and mastered by D.James Goodwin (Murder By Death, Devo). with additional mixing by Matthew Cullen (Ultraam) the record was tracked and engineered by Turco and Cullen in a low key rehearsal space in Kingston, NY.

It’s an awesome blend of noise rock, howled and kind of unhinged storytelling and juicy chaos. Closer “Way Out” feels lonely and big even if the vocals are kind of like overdubbed drunken, slightly off key sailors. “Midnight Mayor” is probably about this guy Mark Ferraro who plays in psych band Ultraam with Turco and Cullen and who is always roaming the streets at night telling yarns and being funny. That’s just a guess. It kind of sounds like The Birthday Party did meth. I dig it. “Hipster Amnesia” is my total favorite, though. “All Spree” has a forward momentum akin to Shellac, a heavy but minimalist sort of marching feel.

“I just met you at the party with your friend so why the fuck do you act as if we’ve never met?,” snarls Turco over a driving post punk groove. It’s super gratifying to hear other people complain about people being fake ass snobs. I hate “2 cool for school” people. But I love this song.
“Baby’s Got The Fear’ is like Flipper on whippits (guess I’m having a classic punk bands on drugs kind of adjective day), very seasick feeling but with like big, warm chords played on a clunky bass. Turco plays the drums on this like jackhammers, simple but gratifyingly stompy and pounding.

Peterwalkee Records continues to be one of the best boutique indie labels with this release and the recent Jason Martin Power Animal System Methods for all you kids who can not be spoon fed and like a little indie rock in your diet as well. None of these songs break far past three minutes but the whole record is satisfying.

Stream or, even better, pick up a copy HERE via Peterwalkee.

Album Review: The Browning – “Isolation”

Posted by longhairedpoet on Thursday, June 23, 2016 at 3:43 AM (PST)

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Kansas City, Missouri heavy metal innovators The Browning are making a gigantic return with the follow up to 2013′s Hypernova.

The Browning blasted onto the scene in 2005. Originally the project was the solo project of Jonny Mcbee (former-As Blood Runs Black).

The band wouldn’t make a lasting impression until they released Burn This World (Earache) in 2011.

Across Burn This World and Hypernova (2013) the band has pulled from styles such as EDM, Electronicore, Trance, Dubstep, Hardstyle and Techno as well as Deathcore and Metalcore to meld their impressively unique sound that brings together the heaviest each of these styles has to offer in an infectious way that will leave you wanting more.

Now, after signing on to Spinefarm Records The Browning is back and are preparing to release Isolation on Friday, June 24.

Check out my review of this gargantuan album here.

XXX