Live review, Feb 2010 - Overkill - Wolverhampton, UK

Wulfrun Hall, Wolverhampton, Weds 24.2.10 plus supports : Suicidal Angels (GR), Savage Messiah (UK), Cripper (GER)

With great excitement a mate and I hit the road for my fourth Overkill gig since first seeing them back in 1990 on the Years of Decay tour. Known for their high-octane stage shows, they never disappoint. First up though are the supports and it’s due to the usual travel related issues that we unfortunately miss the rather Power Metal sounding Savage Messiah, who I’m not familiar with, and the German band Cripper whom I have seen rock the Metalcamp stage in years gone by. The latter are a very powerful, beautiful-female fronted Thrash/Death Metal style band with grooves a plenty. Gutted! So onto Suicidal Angels who plow a kind of early Sepultura meets Krisiun trough with, we decide, riffs stolen from Dark Angel, Sinister and Destruction amongst others. Basically they dark-thrash like hell and are pretty impressive if rather workmanlike. The ‘Angels guitar slinging frontman comes on like he’s fronting Metallica, constantly exhorting the crowd to punch the air and chant, which was a little overbearing, though to his credit it eventually worked as a few young thrashers started going off. It must be the strong Greek character, as he approached my travel buddy Mic (from Desecration) after the set and said ‘I know you! And you know me!’. Took Mic a few bemused minutes to remember they’d got up to some drunken Metal adventure at their gig in Athens once!

After a while, a few chats with old faces and a couple of ciders, the stage started rumbling. Having been downgraded from the Wulfrun Hall to the smallest of the great Wulfrun venues, due to lack of tickets sold, the hall was disappointingly smaller but full nevertheless, and anticipation very high. Coming on stage to the strains of The Green and Black, from latest album and seriously awesome return to form, Ironbound, there was no doubt Overkill meant business. Immediately the moshpit went off, and though restricted by a third due to space taken by an unfortunate paralyzed fan on a stretcher, the pit did not let up. Overkill charged through all the classics with yours truly’s shit eating grin only matched by those around me, rolled out in quick time we had Hello From The Gutter, Wrecking Crew, Rotten To The Core, In Union We Stand and Feel The Fire. Of the two ‘new guy’ guitarists, both having been in the band for 10 years, Dave Linsk seemed to having the bigger ball, smiling throughout, Derek Tailer finally breaking a satisfied smile later on. DD Verni was his usual serious but solid self, crunching through every bassline like only a Metal pro of his stature can and Bobby Blitz the quintessential frontman nailing every song and compeering hilariously and righteously between tracks. This is how it should be done. Having bludgeoned the increasingly riotous audience and having thrown myself into the melee for main set finisher Elimination, Overkill left the stage to much chanting and footstomping. Returning after a short break Overkill played a more varied set ending with a few, to me, lesser known tracks; Necroshine, Old School, then the now de rigeur Fuck You and the Dead Boys cover Sonic Reducer, before leaving the stage a job well done and a crowd covered in sweat and beer! While I’d argue that the end of the set seemed a little less sturdy due to covers and lesser known, punkier tracks, Overkill still played a nearly 2 hour set, 110% and everyone left satisfied and exhausted. Besides, arguing with Blitz would be ill advised, as he only half jokingly remarked to a dumbass water thrower, though just as well might have aimed at any detractors of other such vintage thrash masters… ‘I may be old, but I’ll still knock you down!’. No doubt!!

CD review, Jan 10. Crowbar - Odd Fellows Rest (Metal Mind Productions)

Going back in time to 1998 and what was Crowbar’s fifth release, Odd Fellows Rest, and with respect to it’s lauded predecessor, Broken Glass, this was when Crowbar really hit the mark for me. This album is simply crushing. It’s just full of killer tone, smooth as hell and dense as, well, planets. The flow does not give up, guitar interplay is perfect and understated and again Windstein adds the icing to the cake with some awesome sludgy but soulful singing. This is Blues in Metal. Honourable mentions for the rhythm section who power and groove through the songs adding accents at the right time and never overstating the case. No point choosing tracks on this as each one rips, but you won’t find much better than examples of NOLA doom than And Suffer As On. Fast forward to the last 30 seconds of To Carry The Load and you just might find yourself throwing out half of your Metal now that you’ve seen the truth. And so you should, because Crowbar is where it’s at. Not just recommended, but essential.

CD review, Jan 10. Crowbar – Sonic Excess In Its Purest Form (Metal Mind Productions)

To the initiated Metalhead, New Orleans, Louisiana’s Crowbar have achieved anointed status usually reserved for the likes of Motorhead and Iron Maiden. Yes, they really are that respected, revered and… that good. Now that stoner, doom and sludge are commonplace themes in underground rock music, Crowbar have become the elder statesmen of the genre. Here Poland’s Metal Mind Productions have seen fit to release two of the best examples of the ‘Bar’s works. Neither can really be chosen amongst or separated as they are both superlative examples of a genre and a band it is finest.

In non-cronological order, Crowbar’s seventh studio release, 2001’s Sonic Excess In Its Purest Form sees the band taking a very slightly more melodic approach to their already measured and assured style. A subtle and almost ambient twin guitar like introduces the now semi-classic The Lasting Dose, a lovely rolling dirge punctuated with percussive drum stabs overlaid with Windstein’s instantly recognisable rasp. Verses melt into chorus and back again. Riffs abound. Track three, Thru The Ashes, is another majestic sweep through the techniques Crowbar have perfected, sludge but soulful and soaring. And so it continues with ebbs and flows, light and shade. A very powerful and enjoyable sonic experience. This album really does wash over you and needs to be enjoyed as a whole.

CD review, Jan 10. The Argent Dawn - A Blank Eternity (Rising Records UK)

Five piece The Argent Dawn having only been together since 2006 and offer a refreshing prospect in these times of dire emo-metalcore, identikit death metal widdlers and post-stoner miserablists. These guys focus on one thing; crushing. This is the kind of Death Metal grinding I like, no let up and straight to the point. Jamie Harrison tends towards the aggressive lower register demonic growl technique while the band grind around him in a tightly controlled yet frenetic fashion. There is plenty of breakdown type riffing but not in the tired metalcore vein, more a real understanding of dynamics and power. There’s also a smattering of 808 style bass drops peppered around which accentuate the slamming nature of some of the time changes, giving it a little flavour of the likes of say, Cephalic Carnage. If pushed I’d say this sounded like Cryptopsy from None So Vile era trying to play sludge! I can’t say that is accurate, but if you like the idea, you’ll like this. It’s great to see that there are British youngsters out there expanding the genre and seemingly having a good time doing it!

CD review, Jan 10. Siegfried – Nibelung (Napalm Records)

These Austrian Battle Metal nutters, all dressed up as extras from Monty Python’s The Holy Grail, specialise in a fairly typical mixture of well played, apparently epic, goth Metal that seems to be so popular these days. They’ve been going since 1998 and sing about apparently sing about the Norse mythology called Nibelung. Themes aside, musically speaking I find that as soon as the Rammstein type Germanic vocals come in, the clichéd female operatic emoting, or the widdly keyboard breaks, any lyrical depth is lost. Being in German doesn’t help my understanding much either, but that’s no criticism. The vague air of sweeping Metal isn’t too bad, but the general feel of Monty Python-esque European mentalism is just a little too theatrical for my liking. These guys do this stuff very well and maybe it’d make more sense to an aficionado of the style, or a German speaker, but it all seems like a mishmash of different sections and styles, moving from one to the next. I can’t find any continuity outside of constant change. I guess it’s cool if people like this stuff, but I can’t find much I like in it, and plenty I don’t.

CD review, Jan 10. Everything Burns – Home (Rising Records UK)

I’ve tried listening to this a few times and can’t much get past half way. It’s just too poppy, not to mention eight years too late. The first track starts off with the absolutely atypical metalcore breakdown chug riff, as if a thousand bands haven’t already used it before, and so the pattern continues. I have to at least respect that there isn’t a lot of growling, pretending to be Metal, rather we’re straight into some pleasant melodic singing, this could be Journey… damn, I might even be getting to like it! I guess I shouldn’t be such a curmudgeon, but then I’m a rock guy, and this is quite simply pop music masquerading as some kind of rock beast… don’t get me started on the lyrics. You get the picture. I guess for what it is, it is good; catchy choruses and bouncy riffing. If it turns on some young teenagers to Iron Maiden further down the road, it can’t be bad. I wish them luck, I really do, but if I want to hear pop music I’ll listen to Duran Duran.

CD review, Jan 10. Aetherius Obscuritas - Fekete Orsvossac - Black Medicine (Paragon Records)

With bands like this I always feel like I should call a friend… it’s not that I’m not very familiar with the genre it’s just that I’m not au fait with the intricacies and so may well not give it a fair shake. That said, there is a Marduk cover in here, so I know I’m on safe territory when I describe this as your fairly typical evil swords in the woods type atmospheric and frenetic Black Metal. This is the real shit, all rasping and snappy snare dryunone of that airy, fairy keyboard stuff. Well, not if it isn’t tr00 or kvlt. This is actually rather good, it’s not really early Mayhem or Marduk style blasting, but does have it’s feet planted in that aesthetic, ripping along as it does, then slowing for more measured sections. The bass is strangely noticeable in the mix, lo-fi as these things used to be, and adds an interesting counterpoint. That aside it’s a fair mix of the main players in the genre, Thorns, Mayhem, Burzum… and while not quite classic nowadays, should certainly please the dressed-in-black hordes I see sulking round Slovenian and German Metal festivals every year.

CD review, Oct 09. Siege To Power - Siege To Power (Self Released) Demo CD

Siege To Power are an Italian four piece, formed in late 2008 and essentially tread a well worn musical path. While perfectly enjoyable, well played and good fun, there’s no escaping that the 10 minutes on offer here are incredibly derivative of Sick Of It All and Agnostic Front, especially in Riccardo’s vocals. It is what it is and I don’t think the band will argue with it. Simplistic old school hardcore influenced heavily by the heavy hitters of that NYC scene will always have it’s place. It is great music, but it’s aside from a cheeky bit of blast beating at the end, this is nothing new.

CD review, Oct 09. Saviours – Accelerated Living (Kemado Records) CD

Oakland Metalheads, Saviours, are one of those bands that really split me down the middle. In essence I love them because they are everything that’s great about heads down, fast riffing, hard driving, pounding rock’n’roll. Yet they miss the mark with me because they just seem to be full tilt 100% of the time. Is that a bad thing? Certainly not in theory, but it just seems there’s little respite and so almost no light to accentuate the dark. I’ll be specific and say that it may well be Austin Barber’s constant atonal shouting or maybe it’s the relentless drum barrage? There is plenty to enjoy here though, from the general biker bar brawl sound to the occasional twin guitar moments. I’ve seen these guys live and they are ‘die for Metal’ rockers, covered in tattoos and they thrash as hard as Accelerated Living does. It would be easy to say ‘yeah these guys rock, buy it now’ and I wouldn’t be wrong, but it’s just that, for me, in my romantic old age, I need that something extra that’s gonna make it more than a fun and dirty one night stand.

CD review, Oct 09. Limozine – El Presidente (Open Plan Records) CD

This is quite a funny little single in that the first track of the two sounds rather familiar to The Sex Pistols tracks Pretty Vacant and Problems. It’s funny that the Pistols aren’t mentioned in the biography with this single though The Ramones and The Stooges are. I guess a lot of young lo-fi indie punk rock bands start off sounding far too much like their elders and betters, youthful exuberance I suppose. Still, neither the first or second track sound to me like anything more than throwaway indie pub-punk. A full album might glean a little more character, but I doubt it. Limozine may entrance the NME and it’s ilk in a few years, but I never cared about Babyshambles and I likely won’t care about Limozine either. Good luck with it though.

CD review, Oct 09. Laudanum – The Coronation (20 Buck Spin) CD

I looked forward to hearing this sophomore album from Oakland’s Laudanum as I knew they specialized in a crusty kind of sludge and that’s fine by me, the heavier the better. The Coronation is more than a simple riff beast though, mixing as it does challenging atmospheric soundscape passages amongst the occasional heavy rythms. We’re five minutes in before we get the first hint of ‘music’ in the form of a simple bassline, shortly followed by a beautifully crushing groove familiar to fans of Graves/Buried at Sea. This is the true sludge shit, one might say. Graves at Sea’s Nathan Mistrek soon nails the black colours to the cross with that black Metalized sludge scream best exemplified by the mighty Burning Witch. The next passage sounds like something out of the Omen or more specifically the eerie Lux Aeterna from the film 2001. That sets the template for this seriously weighty and uncompromising musical experimentation that arguably straddles the line between vision and self indulgence. We have heard this before but rarely so powerful and complete. The Coronation is a fine and worthy addition to the genre.

CD review, Oct 09. Burnt By The Sun – Heart of Darkness (Relapse Records) CD

So yeah, fuck Metalcore, here’s Burnt By The Sun. Possibly in part responsible for a swathe of screaming nutters and breakdown merchants since their blistering entry onto the scene in 2000, their 2002 debut album remains a classic timepiece of grinding thrash that many bands have fallen over themselves trying to reproduce. After a personnel split of sorts and having now reformed for this apparently final effort, it’s interesting to see what this final statement will be. Essentially Heart of Darkness sticks closely to the BBTS style, that being a musical riff-fest, slamming grooves punctuated with brutal yet inventive blasts and Michael Olender’s rasping and authoritive vocal attack. What BBTS excel at is a feeling of completeness to their songs. They are songs, not riffs thrown together, and they flow as such. Initially you might put this album on and go through it without noticing, but therein lies its quality as it offers more with each listen, once familiarity softens the intensity. I can only touch on the sublime lyrical depths which charge this album; themes of the darker aspect of the zeitgeist abound. I highly suggest that if you like grind or just about anything in the extreme Metal genre, you check this out. If this is the end, then it’s a fine swansong for a legendary band.

CD review, Aug 09. Artillery - When Death Comes (Metal Mind Productions)

Artillery were one of the first bands I ever read about in Mega Metal Kerrang back in the late 80’s as I devoured anything I could get my hands on in my new found religion of Thrash Metal. Unfortunately it wasn’t until a couple of years ago and the advent of the internet and MP3’s that I finally got round to hearing those early albums. My lack of familiarity and many moons having passed meant they didn’t convince as much as they might once have and I have yet to go back to them. So it’s refreshing to hear that Artillery 2009 are past masters at the Thrash game. This one is chock full of catchy thrash gallop riffing and smooth time changes reminding me of the best of the old school Bay Area bands. The European Thrash flavor is in full effect with new singer Søren Adamsen sounding like a cross between Destruction’s Schmier, Dee Snider and Flotsam’s Erik AK. A great melodic yet aggressive voice that complements the songs, and songs they are. You’ll find yourself humming these after a few plays and there can be no better recommendation. When Death Comes is a nice addition to the Thrash oeuvre and a clear signal to the nu-Thrashers that a little more schooling wouldn’t go amiss. Recommended.

CD review, Aug 09. Tryangle – Tryangle (Lockjaw Records)

Surprisingly for a band hailing from Portugal, Tryangle have a distinctly American sound, but that doesn’t imply a lack of sincerity here as these guys certainly have something of a style of their own. Heavily post-grunge influenced that, while not particularly heavy, doesn’t suffer from any lack of dynamics or power. Goncalo’s vocals are certainly of the classic rock, Stone Temple Pilots variety, though of a lower register. Tryangle occasionally employ a kind of syncopated rhythmic style that manages to sound uptempo rather than chaotic and overly challenging, but more often tend towards an airy psychedelic-tinged sound. As with much alternative rock, some of the tracks lean a little too far towards a commercial sound which many grunge bands have already conquered. The familiarity is not unpleasant, but can be a little bland. Tryangle do themselves more favours when they stick to their more individual stylized heavy yet melodic approach. Good music and ambitious, but personally I think a little more pressure on the gas would lift this out of the easy listening

CD review, Aug 09. The Killer - Not All Who Are Lost... Want To Be Found (Organized Crime Records)

I’m gonna skip the minefield that is the ‘what is hardcore?’ question here and just thank Thor that the one thing this isn’t, is Metalcore. What it is, musically speaking, is a damn heavy collection of old skool, so says the bio, Merauder and Integrity influenced Chicago Hardcore. And I can’t argue with that. I’m trying to shy away from comparisons to early Crowbar (the vocals) and any number of genres that maintain a healthy dose of chug-riffing, rolling arrangements and heavy breakdowns. This album is uncompromising and yet very musically interesting and varied. Quite a feat I think and not something I have really encountered in this genre before. While I find the vocals a little one dimensional on early listens, the vibe and force of the attack steamrollers over any reservations. The Killer know exactly what they’re doing and don’t need gimmicks or cheapshots to achieve it. This is the real shit and if I saw this band live, I have a feeling my jaw would be on the floor. Check ‘em out online and maybe discover your new favourite Hardcore band.

CD review, Aug 09. Swashbuckle - Back To The Noose (Nuclear Blast Records)

I’d never heard of these guys before but it seems Nuclear Blast’s marketing department is playing a an online blinder with some awesome web presentation and a nice promo video. Not only that but Swashbuckle have a high technical mastery over the metallic styles they cover in this sophomore album which compounds the professional feel. Apparently formed 2005 in New Jersey, this three piece fashion themselves entirely around pirate lore and musically play a Thrash-Crossover and sometimes even Grind style as played by the likes of SSS, Send More Paramedics, et al. Consumate Thrash’N’Roll with plenty of vocal backups on the chorus hooks and tasteful solos to die for. Where did these guys come from?! It’s all great fun and incredibly well played, damn shame more bands don’t appreciate the refined power of tight and effective riffing, but I have to say I find the pirate gimmick just too distracting. I can’t really take it seriously because it’s so jokey all the time. I know that’s the point and I shouldn’t question it but with the skits, acoustic passages and comedy tracks, I can’t help but think the best Crossover Thrash album ever made is hiding in there somewhere. I look forward to the jeans and t-shirt side project!

CD review, Aug 09. Agoraphobic Nosebleed – Agorapocalypse (Relapse)

This one, and no mistake, is a keeper. I’d already heard this on the band’s Myspace page pre-release and it just plain blew me away. I’ve been raving about it ever since. This is gonzo grindcore done with panache and a vile bile that few manage without sounding like either mush, or worse, a joke. Agorapocalypse is possibly the finest 29 minutes of tightly controlled insanity since Reign In Blood. It’s that good. While there are blistering blasts, the tracks aren’t always full-on in pace, it’s the intense riffing and utterly cacophonic vocal howls and growls that give this album its bite. Step forward Salome’s Katherine Katz with the most impressive screaming fury since Satan knows who. Spine tingling. ANb use plenty of grind chugging at a slower pace to increase the groove factor and add that dark and darker texture that makes this album flow so well. I can’t pick a standout track, it’s just an entire experience. As a bonus the artwork on the multi-page CD insert is beautiful and incredible in its design. I utterly recommend this to everyone, to these ears, after numerous plays, it is a modern day classic.

CD review, May 09. Wolves in The Throne Room - Black Cascade (Southern Lord)

I’ve long harboured doubt about WITTR and their adoption by the Pitchfork/indie/stoner rock scene presumably based on their ecological and spiritual leanings; living on their own self sustaining farm outside Olympia, WA and the like. All very admirable though the land apparently bought by parents in 2003 (now conveniently removed from their online history). Easy to be individual when someone else is bankrolling you. So what does this wage slave office drone think of the music? Well for a bunch of Statesiders, their take on the Norwegian Black Metal sound is expertly done and highly reminiscent of the ambient drone of Burzum and BM thrash of Mayhem et al. There’s also deft, or inappropriate, depending on your preference, mixing of post-rock style ambient sonic passages; think Isis. These are broad strokes though and as WITTR tend away from out and out Anaal Nathrakh-style brutality, and are highly derivative, they are very good at what they do. I just can’t help thinking I’d like them better if they were Scandinavian rather than the American Johnny-come-latelys. I’d recommend stocking up on the originators but Black Cascade does stand as a fine introduction to the genre.

CD review, May 09. The Cumshots - Just Quit Trying (Rodestar Records)

With possibly the worst band name ever, The Cumshots specialize in a kind of death’n’roll that so many European bands seem to enjoy thashing out. I can’t quite tell if the distortion-on-everything production enhances or detracts from the songs themselves. Like Life of Agony meets Helmet meets Entombed… I can’t quite explain it. For my money I could do without some of the more reaching attempts at melodic choruses and more focus to the rhythmic attack, though I can see these guys are trying to mix a heavy vibe and with melody, so more power to them. The guitars just sound too processed to fit the melodies and the songs sometimes feel rambling. Personally I prefer my death’n’roll with a little more speed and edge, think Sweden’s Tyrant. I have no doubt the band rock live, where these songs can breath more, plenty of stomp here but I find this too sonically overloaded to fall in love with.

CD review, May 09. Seneca – Reflections (Lifeforce Records)

Well oh dear, this is nothing but expertly delivered and very boring, metalcore. Cut straight from the cloth of the likes of Killswitch Engage and using just about every metalcore trick in the book, I guess it’s youthful exuberance and maybe just not knowing any better that creates an album like this. It’s a damn shame Reflections is so derivative because the band really can play, or at least the production makes it appear that way. When the typical ‘you left me alone’ emo-chorus kicks in during track two, followed by the growling backup, then the breakdown… it’s hard to bother going on. As it is I’ve listened to this many times and so I know there are some inventive and heavy as fuck moments, but it’s just generally so clichéd I can’t help but dislike it. The token ballad Illusions further dates the music and I was amazed to find the outro instrumental wasn’t called ’Lick My Love Pump’. One for the teenagers.

CD review, May 09. Nico's Alchemy - Fundamental Darkness (Dirty Dog Records)

A bunch of thoughts, or more accurately, guitar players, run through my mind as I spin this. We start with Dave Gilmour and run through the usual suspects, Vai, Malmsteen, Satriani, etc. I’m not well versed in the shredding genre but at least I appreciate this is an attempt to add a little melody, though let there be no doubt this is a guitar showboating rock album. If that’s your thing, you’ll likely love this, if not, it may well leave you cold. The songs themselves are melodic rock like the 80’s never happened. Well someone out there must like it. Save Me Jesus actually has a pretty groovy main riff carrying it along which I could happily have more of, but that’s about it for me. The rather mellow Leap In Space sounds like a The Streets backing track before it’s back to some more melodic shredding. Guns N Roses’ Slash couldn’t sell albums like this, though they were much better, but I guess that’s no reason these guys shouldn’t try.

CD review, May 09. Remedy - Strange Fast Now (Remedy)

Remedy are another band that specialize in predictable melodic 80’s pub-stadium rock music that I really don’t know where to place these days. Hailing from England and intending to pay respects to the 60’s and 70’s, this is actually reminds me more of Bonnie Tyler freaking out over any 80’s MTV rock band. Singer Jenn dominates proceedings with her banshee wail in great form but a little too over the top, too often. It might be nice to let the music speak for itself now and then. Still, they’re a young band, all in their early twenties, and so I’m sure with a little restraint and focus will improve. Already out playing gigs all over and having scored a tour with Pearl (Meat Loaf’s daughter and Scott Ian’s wife!) the band have the networking skills. It’s all pleasant soft rock and so it is what it is, not my thing and nothing new, but it’s harmless enough.

CD review, May 09. Eluveitie - Evocation 1 - The Arcane Dominion (Nuclear Blast)

…and so on to another folk Metal outfit, this time hailing from Switzerland. Not being an aficionado of the genre I can still appreciate where Eluveitie stand in relation to some of their peers. This isn’t of the frenetic fretboard and kitchen sink variety, nor of the Metal stomping and beer affectation. Eluveitie specialize in a far truer folk sound, which in part is something I wouldn’t be shocked to hear in an Irish bar or on Radio 2 on a Sunday. I must admit I find it very relaxing and listenable. It fairly flows along with some beautiful female vocals and a steady but lively pace, bubbling with understated enthusiasm, yet still mystical and dark enough to retain the interest. While listening to this I just seem to think constantly of misty yet welcoming deep green forests! I’m not even sure if this would suit some of the more neanderthal instant gratification Metal types, being as it is largely acoustic and uncompromisingly mellow on occasion, the pay off is still constant. It’s not dragged down by demonic howling and Eluveitie very assuredly play to their strengths. Not particularly heavy or Metal, but still a very enjoyable listening experience.

CD review, Feb 09. Plague Mass – Living Among Meat Eaters (Noise Appeal Records/Deafcult Records)

Converge cake with a 00’s D-beat crust punk topping. That’s the recipe for these apparently privileged punks from the very lovely country of Austria. Don’t know if they come clean about the privilege because their parents are all minted and so someone might call them out on it, but nevertheless, their left wing politics are generally admirable to me. To be fair it’s not bad, but I’d rather listen to Tragedy than Cursed so Plague Mass are going to strain for a look in. How many bands do we need of these styles? Hundreds I guess. All that said, they’re pretty damn tight and thrashing, it’s mixed in a heavy manner, with the vocals quite low in the mix so they’re not overpowering as can be the case with caustic singers. Points for having the mildly emo-breakdowns in a gruff voice instead of the usual melodic high pitch, but the well worn template is still there. I guess if you like this stuff, Plague Mass bring plenty of their own flavor, it’s heavy, noisy shit and varied too, but it’s been done many times already.

CD review, May 09. Blackguard - Profugus Mortis (Nuclear Blast)

First thing I thought when I heard Blackguard was ‘Children of Bodom’. From what I can remember, and it’s fairly accurate, this is a flute and beer embellished version of what Bodom were expertly doing years ago. I was even more surprised to find that these guys aren’t from Finland or some other ethereally leaning mystical land, but Montreal! So what is it that we have here? Well it’s basically very well played melodic thrash with lashings of very high pitched keyboards sprinkled through almost every second of music. The guitar noodling, or ‘shredding’ continues throughout and finally the semi-metalcore/black metal vocals layer over the top. To be frank, it’s not my thing. It speeds along yet goes nowhere in particular. While the band often thrashes confidently the keyboards and flutes just ruin it for me, it just reminds me of Abba, wizards and supposedly ironic comedy Metal bands. Don’t get me wrong, I like old Manowar, but this is too much for me. The legions of melodic death and folk-metal fans will lap it up, but personally I find it painful.

CD review, Feb 09. Isis – Not In Rivers, But In Drops (Single) (Ipecac)

While not being Isis aficionado enough to possibly give this its due, and having both feet in the ‘I liked it when they were heavy’ camp, coupled finally, with the pretty much secure knowledge that most people know exactly what they’re getting with Isis these days… making a judgment call on this is only going to reflect my tastes and little of the band’s skill. What we do have is a 2006 album track, a live version and video of same, and twelve minute remix of the seven minute ‘Holy Tears’, four minutes of which is just ambient sound. This remix game is tough. It’s all by the book Isis and to these ears after many repeated listens, entirely unremarkable, ploddy and miserablist rock. The video might be clever if you like Tool videos or attend art school, but it leaves me cold. I’m not into singles anyway, simply a marketing tool and a waste of natural resources.

CD review, Feb 09. Legion of the Damned – Cult of the Dead (Massacre Records)

Ah good, some proper Metal! LotD are one band that really do update the original thrash template with a nice layering of death and black Metal stylings. Evidence of early Kreator, Destruction, Possessed and Slayer runs strong through these eleven tracks of blackened thrash. Satanic themes abound! Where some newer bands fail and LotD succeed is in the simple yet ferocious attack. Riffing is tight and to the point, fast and slow passages accentuate each other equally giving a nice balance and so attention is retained. While some bands lose power during longer straight thrashing sections, LotD mix pace and build tempos confidently such as on House of Possession or closer Final Godsend. If it was a bad thing I might criticize some of the overt Slayer’isms or the Schmier/Petrozza blackened vocals, but let’s face it, these are the things we want and need, and LotD deliver them with dynamism and passion which those forerunners sometimes now struggle to achieve. Recommended!

CD review, Feb 09. The Freezing Fog – The Freezing Fog (EyesofSound)

Manchester’s The Freezing Fog remind me of Scots, Mind Gone Blind, whom I recently reviewed. This is straight ahead rock, something which might be called pub rock by the unkind or boring by the clueless. All I can say is that it’s the Orange Goblin-ish, Clutch-isms that bump it up a notch in credibility and while they’re far more Classic Rock shall we say, than southern fried, there is a feeling of a Clutch-lite and a hint of polished NWOBHM here. Like the aforementioned MGB, the guitar playing is good and accomplished, if maybe a little understated, the vocals clean and well phrased, but in general we’re not hearing much that’s groundbreaking. The rhythm section is certainly walking a pedestrian line, though that could be the clean production. Therein lies my confusion as to where a band like this sit in this day and age; exactly how far they can go and what are they aiming for? It’s all to play for, but I think Freezing Fog might want to get just a little more grit and grind into proceedings and tone down that polish and shine.

CD review, Feb 09. Akimbo – Jersey Shores (Neurot Recordings)

I used to think these guys sounded like our homegrown uber-heroes Taint, but on this album Neurosis approved Akimbo are a decidedly less riff-led but still angular proposition, in a more Harvey Milk meets Shellac kinda way. Natch there’s plenty of riffing still, but also lots of heavy interlude moments, which I guess explains why three minutes of rhythmic warble and a few minutes of chill in and out accounts for half of the eleven minute Lester Stillwell. What’s my point? Well my point is yes you can have long songs when nothing much happens in half of them. But then that’s art, so really what’s my point? Well I like riffs, so those moments can occasionally lose my attention. Besides, when did it become law to laud ecstatically over every single experimental-art-prog-neurosis-garage band that screams into a microphone? All that said, Akimbo flow smoothly through their sonic experimentation and when they jam, they jam hard in that heavy-stoner Roadburn friendly way. So then, not exactly easy listening, thank Thor, and certainly not to the point, but heavy and rocking nonetheless.

CD review, Sep 08. Slap The Culture – Slap The Culture CD (Cock Suck Records)

Well this was recorded nearly a year and a half ago, but that doesn’t matter. Straight out the gate it’s obvious what kind of music this is and exactly what you’re going to get. It’s no frills old school hardcore punk. Their website lists Minor Threat, SOA, Void, etc and that’s what it is. I love DRI and Spermbirds and this fits right in. The Japanese broken-English lends it a slight tension in the vocal department, the phrasing is certainly free form, and that’s no criticism, my Japanese is non-existent so good on them. You can’t criticize this as it is what it is; fast and furious, no messing. The lyrics are great as again the English is obviously a second tongue but the intent is clear and admirable; punk fashion, selfishness, false hardcore, social disparity. They’re stream of consciousness and fuckedup poetic. This is 16 tracks in 12 minutes and a nice call to arms. It won’t change the world, unfortunately, but that doesn’t mean it wasn’t worth a try.

CD review, Sep 08. Destinity – The Inside CD (Lifeforce Records)

Right, here we go, something rooted in Death Metal that I can get my teeth into. First off it’s more than evident that like so many young bands these days, Destinity can play and play very well. This is fast, choppy and all over the fretboard without losing the power. However, for me they fall down when the keyboards come to the fore and the vocals start these melodic, anthemic and sometimes gothic passages. You’ve also got your break/beatdown moments which most bands use these days. Since the music is so straight thrashing otherwise, it has a bit of a feeling of throwing in the kitchen sink. Still, the less discerning (read: fussy bastard) likes of the be-denimed Wacken festival would likely lap this up. They like some keyboards with their death frenetics. Personally I prefer Hail of Bullets or Blood Red Throne style heaviosty. I’m sure they’re all Metal as fuck and horrified that I can’t dig it, but there you go. If you like Melodic Death Metal, you’ll love this, but I just have heavier things to listen to.

CD review, Sep 08. Midnight Reign – Never Look Back (Hollywood RX Records)

Heh, this is a funny one! I don’t if these guys know who they sent this CD to, but they can’t really expect a straight faced complimentary review anywhere other than a glam rock magazine or from someone who’s just come out from under a rock. This is just a mashup of Bon Jovi, 80’s Cock Rock, Marilyn Manson and Korn style emotings. Basically, for me, it’s terrible! It’s all here; dodgy guitar solos, acoustic introductions, Yeah-Yeah choruses, breathy spoken passages, glam rock posturing, goth imagery… and a violinist. It’s all very L.A. and Crimson Glory-esque in parts. I’m sorry but I am laughing listening to this, it’s all just so heartfelt and serious. Guys, come on, you’re twenty years too late and five years short of being able to pull this stuff off with any believable conviction. I can only thank them for not being yet another screamo band.

CD review, Sep 08. Russian Circles – Station CD (Suicide Squeeze Records)

I saw Russian Circles once, supporting Pelican. Having not heard them or of them previously I found them to be rather derivative and typical of the post-rock scene. A scene I know very little about and harbour rather a cynicism as to why they so steadfastly avoid the heavy bits, which we all know are the bits everyone wants to hear. Having listened to this many times, I kinda still feel the same. This is great music, very pleasant, ebbing and flowing in a mostly unchallenging way. I do like it, but I can’t help but feel something is missing. I guess I’m just a heavy riff guy. I could really do with a 5 minute riff behemoth passage! However I know that brethren like Pelican simply don’t want to do that stuff anymore and want to expand sonically rather than be typecast as some meathead riff band. I guess Russian Circles feel the same and I can respect that. What this does do then is deliver 6 tracks of varied, inventive, mostly interesting post-rock instrumentals. It’s good, but I can’t help feeling an awkwardness in avoiding the heavy, or that in another life this might be a Weather Report, Alan Holdsworth or run of the mill 70’s progressive rock album.

CD review, Sep 08. Raunchy - Wasteland Discotheque CD (Lifeforce Records)

I'll cut to the chase on this. I dont like it. Which is strange, because the opening track; My Chemical Romance-like vocal and piano melody aside, is pretty much a tasty piece of intro music, reminding me of albums by Forbidden and Heathen. In fact, much of the music here is inventive, heavy, choppy and thrashing. So why dont I like it? Cos I'm bloody sick of the vocal style! Constant pained shout/screaming and the inevitable clean emo vocal'ed moments. It's so bloody pre-conceived, so typically late 90's. It's all so indentikit. And the music is cut and paste from just about every emo-shout-scream-core band of the last 3 years. There isnt anything here I havent heard before a 100 times. It's expertly done and consumately played, but I just dont get why bands do this, surely this style is dead now? Killswitch Engage mastered this stuff years ago. The nu-rave bleeps arent gonna help it. That said, if you're a teenager getting into Metal, maybe this is the shit, but for a mid-30's thrasher and general music lover that's been around the block a few times, this is all rather tiring.

CD review, Sep 08. Venomous Concept – Poisoned Apple CD (Century Media)

On paper, Venomous Concept is a rather stupendous, death-grind supergroup, consisting as it does of underground deities; Kevin Sharp, Shane Embury, Danny Lilker and Danny Herrera, variously of Brutal Truth and Napalm Death amongst other classic bands. This is a nice 34 minute stab of Terrorizer style grind with a punky edge, kindof a mix of Tragedy with plenty of Truth and Napalm influences as is only natural. It’s all nice and fast led by Kevin and gangs’ punk grind bellows but unfortunately it’s just a tad too derivate. Riffs tend to be of the straight forward punk variety or a little too familiar in relation to BT and ND. There’s nothing I find I can get my teeth into and the likes of the aforementioned Terrorizer, at least on their first album, rip this to shreds. It’s a fun album and if you’re a hardcore fan of the players or the genre, a completist or new to the genre, quite possibly essential, but if you already own the classics, you may find like me that this one just doesn’t have the hooks or standout moments to compete.

CD review, Sep 08. Rinoa – Rinoa CD (Eyesofsound)

Rinoa seem to be yet another of these bands that seem to think they are producing some kind of deep and meaningful art that everybody needs to hear except we’re now in about the tenth wave of such bands and it’s all getting very, very old. Yes, this is yet another band making song after song out of that Neurosis/post-rock/screamo/Converge style. Thos bands along with Isis, Pelican and a very few others have mastered this style but these side-partinged youngsters just keep on coming. Musically it’s all innocent enough, jangly-jangly, wishy-washy… if you love this stuff, buy it. However, if you want to stab your ears at the sound of yet another early 20’s guy screaming his lungs out as if vocal damage means some kid of kudos, then like me you’ll never want to hear this, or anything like it again. Come on guys, challenge yourselves.

CD review, Sep 08. Moonspell - Night Eternal CD (SPV Steamhammer)

I expected to dislike this as I'm really not into gothic Metal and while I couldnt say I'd choose this to listen to over the many other things I spend my time with, it certainly isnt unpleasant. While it basks in waves of ethereal gothic death metal, it makes no apologies for being what it is and it is certainly heavier than the likes of Evaneseance. There are nods in feel, not extremity, to death metal luminaries such as Nile or Morbid Angel, but also a heavy dose of Type O Negative and perhaps Fields of the Nephilim. Night Eternal doesnt suffer from vocal or lead guitar histrionics and so is quite tasteful in its bombast. Sounding like a band at the top of their game it's masterfully done but to be honest still isn't my thing. If you're into this kind of melodic death metal swathed in storytelling heartfelt gothic vocals I would certainly recommend Moonspell.

CD review, Sep 08. Now Or Never – Now Or Never CD (Cock Suck Records)

Well this is all pleasant enough; a Japanese five-piece specializing in a fun, happy sounding take on just about every style of pop-punk the States has brought out in the last 15 years. It’s all early Epitaph style catchy ditties; nice, fast and musically proficient. Unfortunately unless you’re a big fan of the style, I can’t see many reasons to want to spin this more than a few times. It’s got a nice clear production but as I’m not a big fan of the style I might just go and put Spermbirds on instead. For my sins I just never got Bad Religion. It’s a little too jokey for me in parts, the sea shanty tune for instance. Comes with the territory perhaps. I’d go see them live as these 18 minutes suggest they’d be a blast live, but I could only recommend the music to fans of the genre.

CD review, Sep 08. Harvey Milk – Life… The Best Game In Town CD (Hydra Head Records)

I’m really not sure what to make of this. Harvey Milk seems to be another band that passed me by, while being lauded online and plowing the Heavy Stoner/Doom furrow whence I often reap. Musically they specialize in challenging, experimental, riff heavy musical passages. The first track has such an annoying feedback section I have to skip over it, but the rest of the album unearths some flowing heavy moments amongst the leftfield arrangements. Fact is, they do come across a lot like The Melvins, perhaps crossed with a little Weedeater plus a generous smattering of drone and wail. Personally I’ve always found the Melvins a little too inconsistent and almost apologetic for being heavy, while Weedeater keep the groove/riff ratio high, and so my heart lies with the latter. Harvey Milk is certainly interesting listening, but unless you’re into this style of heaviosity, and enjoy some controlled chaos, this album may well be hard work.

CD review, Sep 08. Laurel Collective – Feel Good Hits of a Nuclear Winter CD (Double Six Records)

To be honest, I don’t hate this even though I guess the stereotype says I should. It’s all nice NME style youth of today easy listening indie pop with those oh-so-2008 keyboard bleeps. I think the kidz call it nu-rave, er, lolz? Later the fey songwriter type tracks look in, circa something like Arctic Monkeys. Anyhow, any 6th form females that dress like Madonna did in the 80’s will no doubt cream themselves at the sound and sight of the LC, but it doesn’t work for me. I can’t fault it for what it is though, the production is clear, mixed nicely, the singers harmonize nicely and it’s all beautifully harmless. The tunes are well put together and as I try I can almost sense something of The Coral in the sound, one of the few ‘indie’ bands I’ve like in the last, well, ever. So that’s good. I can see these guys doing well and I wish ‘em the best, but I like my music with a bit more grit.

CD review, Sep 08. Disturbing Foresights – De-Grunged CD (Diety Down Records)

This is a bizarre find and certainly not something I thought many bands would still be trying to do. Basically this is a young band from the Netherlands dabbling with the dubious merits of rap-rock, avant garde, funk/punk except we’re ten years on from 1998 and I can’t help feeling this style is past its sell by date. Strangely these guys have been doing this for ten years so I guess they’re happy with where they’re at. This CD is perfectly listenable but it’s just that you’ve heard it before and it’s dated because of it. Some of the tracks certainly mix a lot of styles moving almost into a progressive or early 90’s technical Metal feel. Sadly there’s also something of a demo-battle of the bands quality which doesn’t do them a lot of favours. That said, DF have a punky, street vibe which bodes a little better, and have the confidence to try different ideas, but it does seem a mishmash of styles. If they enjoy this as much as their enthusiasm and effort suggest, then great, but I don’t see where it fits in the modern musical landscape.

CD review, Sep 08. The Business – Mean Girl CD EP (Coretex Records)

I’ll be honest and tell you I’ve never had a clue what Oi was and only had vague ideas of gobby vocals and questionable politics. Taking The Business at face value I find no political issues but the gobby vocals are well in evidence! Coming from a Metal background I don’t find this particularly threatening musically and so the attitude is carried in the vocals and the general working class brotherhood vibe. Nothing wrong with that! Musically I can’t help but be reminded of early AC/DC without the longhaired aspirations. It’s all simple chords, straight beat singalongs and good unthreatening fun with a skilled helping of melody. People might call this punk but to me it’s good rock’n’roll. The 3 tracks are rounded off with what I understand are live track from the London Marquee in 1982 and are a bit more aggressive. Only criticism I have is that I could do with a solid full album from these guys.

CD review, Dec 08. The Dehumanizers - The First Five Years (of Drug Use) Anthology (PIG)

I can’t say I quite get The Dehumanizers, being a somewhat paranoid yet proud Metalhead who listens to Cro-Mags and Spermbirds on the quiet, lest elitist punks shout ‘get the fuck away from my music hippy’ at me. Now, it’s all good music and those people can fuck off. Still, it’s with wariness I approach what appears to be another fuck you if you don’t get it type alterna-punk band. Why alterna? Cos there’s loads of weird cut-ups, fuck abouts and un-punk moments herein. I knew the name but I admit I needed some reading to confirm Dehumanizers are Seattle-ites and been punking since ’84, with 4 albums out and a big history. What I hear I’m not sure but it appears to be some amalgam of west coast skate/beach punk with elements of early US Hardcore, Zappa, Lard, Butthole Surfers and on the more straight thrashing parts delightful reminisces of early DRI (great!) and occasionally VoiVod! If you like a little experimentation and variety with your punk bite and bile, check these guys out, there’s certainly plenty on this 2 CD anthology set to keep you going and the booklet is top class.

CD review, Dec 08. Tank - Hunter/War/Honour

Tank - The Power of the Hunter (Metal Mind Productions) (1982)
Tank - This Means War (Metal Mind Productions) (1983)
Tank - Honour & Blood (Metal Mind Productions) (1985)

I’m gonna have to tackle these three Tank re-issues as a batch as there really isn’t a massive difference in sound and frankly, you’re either gonna love em or hate em. Fact is that Tank were a semi-legendary early 80’s NWOBHM band that never reached anywhere near the heights of the likes of Duff Leppard, or the mighty Maiden or Priest. Unfortunately there is a good reason for it. Tank specialize in a ploddy, workmanlike, typical early 80’s Metal, which back then may have been de-rigeur, but sounds rather dated nowadays. I don’t like to say it but I can hear where Bad News stole their sound from! While I hate to be negative about Tank, given the time and age and also the seeming good time attitude; there are a few cover versions spread around and a lot of gang-vocal choruses. However it’s still fair to say that the music is mostly fairly unremarkable plodding basslines, straight 4/4 beats and rather un-exciting riffing, topped off with Algy Ward’s gruff Venom-esque vocals just a little lacking in bite. There are a few uptempo numbers around and the guitar solos are quite appealing, being tasteful and effortless, but it’s not enough. Tank just didn’t have enough variety, hook, heaviness or melody to appeal to a wider audience, though they would likely appeal to fans of Saxon, old schoolers from way back when and trad-Metal aficionados. New school Metal fans are unlikely to warm to Tank in the same way that kids in the 80’s looked to the more exciting fare of bands like Metallica. Well respected, worth a look and worth a listen, but don’t expect to have your world turned upside down.

CD review, Dec 08. Stuck Mojo - The Great Revival (Napalm Records)

Well, I don’t know what happened here. Stuck Mojo certainly have changed their sound since the last time I listened to them in the Snapping Necks/Rising era. Back then the band were slamming, mixing heavy pounding riffs with smooth raps and great tunes. Now there’s nothing wrong with a bit of melody but these tracks are by and large far too inflected by the Kid Rock or Everlast school of melodic country rock. The choruses are fine and well written, but they’re just too poppy and the verses too… easy. There seems to be a general theme of cautionary tales against the ’15 minutes of fame’ wannabe rockstar idea. Friends is probably the worst offender in the new style being about as schmaltzy as you can get, including the rather ill fitting melodic female vocals found elsewhere on the album. All rather bizarre for a band of such pedigree. It’s a shame cos there’s still heavy stuff mixed in like The Flood mashing a sweet sludge riff and vibe. The soon to be infamous John Denver country tune appropriation is a step too close to Kid Rock’s pop affectations, and I say that despite liking Denver’s stuff! I hope the heavy focus comes back next time.

CD review, Dec 08. Serpentcult - Weight Of Light (Plastic Head)

Now Belgians Serpentcult I have time for, ploughing as they do a hypnotic, dirgey Metal furrow. They straddle a few fences, being neither Doom, Death, Black or Sludge Metal, yet encompassing aspects of each. When the band aren’t grinding out a riff heavy moshfest, singer Michelle’s vocals rise out of the mire to enunciate the bands intent, with a clear vocalled style, not quite operatic and rather ethereal, bring to mind Anneke ex- of The Gathering. Musically it’s almost a more tempered Electric Wizard or Yob feel. I enjoy the juxtaposition of the heavy flow of the music and the melodic singing that compliments it. If I was to criticize the album it would only be to suggest that the album sometimes loses its way in groove and some of the musical moments tend to sound familiar. That said, many repeated listens would likely help the tracks bed down and who is to argue that this isn’t Serpentcult’s style anyway? Definitely one of the more interesting and enjoyable heavy bands I’ve heard in a few years and I’d recommend to anyone, especially fans of melodic Death Metal looking for some slow’n’heavy or the latter looking for some melodic vocals that doesn’t compromise in style.

CD review, Dec 08. Nochaa - Tortured To Death (Self Released?)

Ooh, a young Welsh band, good stuff! Well, it’s more death metalcore at the end of the day, but it’s more of the faster, blasting variety and a little more grind pig squeal-esque vocals, so at least they have a heavier grindier vibe than your usual kiddie-Metal fodder. I’m a fan of utterly blood curdling biting vocals myself, think Anaal Nathrakh, so if you’re gonna go heavy, go all the way heavy (but not Bezerker!). This is a good start. Nochaa are very choppy and you can more than sense the Cannibal Corpse influence as well as the more established melodic Death Metal bands. I’m not going to diss em so whether or not they move into the heavy bastard with groove territory in future or sink into the metalcore mire, I’ll look forward to the next evolution of Nochaa. For now this is a respectable start and I hope these guys pick up the local following worthy of their obvious ability.

CD review, Dec 08. Misery Signals – Controller (Ferret Music)

Metalcore. More Metalcore. What is there to say? It’s pretty damn heavy, the riffing is sweet, not too busy, haven’t heard any pinched harmonics and there isn’t any of the ‘This is my Last Serenade’ type full melodic vocal chorus/breakdown. Yet. In fact, aside from the general tough guy main vocal it’s not too bad. The production’s great. Ah hang on, didn’t take long for the double tracked backing vocal a few octaves up to appear, those pinch harmonics just started squeaking and while the oh-so-familiar chorus isn’t quite full on melody, it’s the same thing just about. Generally, musically, this is slightly different, but really? No, it isn’t. It’s Killswitch Engage, Hatebreed and a few others and that’s it. Good luck to ‘em, they’re touring a lot though, so somebody gets it. I don’t.

CD review, Dec 08. Mind Gone Blind - Liars and Preachers (Rising Records)

Mind Gone Blind hail from sunny Scotland and play a sensible grown up melodic rock of a kind. I think Free might be a good watchword here. The guitar is up in the mix with a nice tone and understated but rocky delivery. It’s singer Moyz that really lends the classic rock touch though with a really great voice, unafraid to actually sing, and well he does. The rhythm section do a stand up job of supporting the front two, it’s pleasant stuff and easy on the ear. I can’t yet jump all over it though as for me it lacks that extra punch or massive chorus hooks that bring that ‘wow’ factor. I’m thinking Orange Goblin style grooves would help MGB. However I can still see these guys being lauded over in magazines like Classic Rock and playing supports to all the reformed rock players doing the rounds. Respectable and rocking stuff, but for now perhaps a little too laid back for my tastes.

CD review, Dec 08. ICH - You Won’t Like It (Self Released?)

Actually ICH, you’re mostly wrong! I do like this, at least I think I like what it stands for and I applaud the sentiment, playing and effort. I can’t help but think of them being some bastard child, nah, well brought up child of New Model Army, Crass and I don’t want to say it but Green Day? It’s well played, fast, spikey stuff with the usual social diatribes. I’m tempted to tackle these somewhat because what’s really the point in questioning the value of rebelliousness of ‘wannabe goths on the streets of Sudbury’? It’s for the kids man, that’s all. It’s teenage rebellion. Ain’t nothing much more to it if you play in a punk band. That said, I don’t necessarily disagree, I guess I think my view a little wider… and the ‘us and them’ vibe reminds of NMA but without the weight. Anyway, ICH are a cracking, catchy little punk band and if you like a bit of British Punk with an anarcho-tinge, check these out. If they play near me, I surely will too.

CD review, Dec 08. Hybrid - The 8th Plague (Eyes of Sound)

Fucking Grind!!! This is unashamed dirty grinding math-influenced Metal from Spain. These guys know what they’re doing and while the style isn’t completely new, it’s perfectly done with poise and to pretty much perfection. The art of dynamics are not lost as the first track already brings in some brass to compliment a slower open section before the blast returns. And there is more besides. It’s that kind of energetic Metal that inspires you, or me, to think there is still hope! Maybe this just scratches my heavy itch. I’ll happily compare the likes of DEP (sorta), Cephalic Carnage (very), Meshuggah (kinda) and a few UK grind bands like Narcosis. Hybrid bring it and best of all with sonics and arrangements mastered in order to make that musical causticism listenable and enjoyable as well as cathartic. I must state that even the best of the ilk after a while can sometimes start to drag… but if you like grind, this is recommended!

CD review, Dec 08. Destruction – Devolution (AFM Records)

Ah man, Destruction… Gods of Thrash, bringers of Teutonic 80’s fire and brimstone? Well in olden times, on the first coupla albums they helped define a genre that has brought decades of enjoyment. Classics. Upon finally witnessing them live this year during a woefully unattended UK tour, Destruction delivered in spades. So what of this new album? Well it’s thrash, and it’s Schmier no doubt, the blueprint is there for all to see. Unfortunately it’s just a little too water treading for me to love it. Nothing really sticks riff-wise and the lyrical matter runs the gamut of the expected; seven deadly sins, personal ethics, the diabolical, etc. It’s good but lacks weight vocally and lacks definition musically. It’s heresy for me to say this, I know, but I cannot lie. There is an intensity missing, perhaps something only my 16 year old self will ever know, but there it is. I look to the likes of Exodus for reborn fire but I’ll still never give up on Destruction.

CD review, Dec 08. Desecration – Forensix (Metal Age Productions)

Let me come straight out and tell you that I know these guys, seen them tons and even tagged along on tour with ‘em. I like them, they are fucking good and well respected, but none of this means I’d give them a pass unless they deserved it. But they do. This is the 6th album and the guys go from strength to strength. There’s no let up on in the intensity, the intent to thrash even more relentless. Forensix is a blistering 30 minute run of typical mentalist blastbeats, buzzsaw thrash guitars and plenty of trademark catchy riff headbanging. If there’s any gripe I have it’s that the guitar sounds ever so slightly thin, though it seems less apparent once the album kicks in. Ollie’s vicious vocals are complemented by Andi’s occasional Black metal howl and Mic will still commands respect in a live setting. What Desecration bring to the table is a powerful old school Death Metal simplicity that retains heaviness and flow that many bands would do well to learn from. Long may they reign!

CD review, Dec 08. Deicide – Scars of the Crucifix (Earache)

After the eternally mindblowing debut and the only marginally less brilliant followup Legion, I found Deicide to fall into a rather predictable pattern of speed’n’growl water treading. Not that there’s any question of the heaviness, but more likely, what’s the point? While some moments of their back catalogue standout a little, I’ve found little to draw me back that touches the debut. Unfortunately such is the same with this immaculately packaged re-issue from 2004. Diehards might want to get it for the extra documentary and concert footage, but the first two albums would better satisfy the curious. What Deicide do have is Glenn Benton’s demonic but now almost comedic gravelly growl and a lot of hyperblasting and patented smooth riffing that really doesn’t stick in the mind. Appreciating Death Metal is really an individual thing, and for me while this is heavy as fuck, it’s the same old thing.

CD review, Dec 08. The Berzerker – Dissimulate (Earache)

Berzerker eh? Hard to spell and even harder to listen to! What’s it all about? Well they played the recent Damnation Festival in the UK and had plenty of interest so my finger obviously isn’t on the pulse of the heavy listening public. Anyways, if you don’t already know, Berzerker practice a brand of fuzzed up techno-gabba-Death Metal grind which sounds otherworldly and only lets up for the occasional death related soundbite or the like. It’s all utterly mental and since the band dress onstage, though not when I saw them, in demonic, Slipknot style (I think Berzerker were first), I just figured the whole thing was some elaborate joke. Maybe it is, maybe it isn’t, but the sound is that of someone invading a Death Metal recording and turning everything twice as fast and distorted. Diehards will thank Earache for great packaging with some nice concert and studio footage. Frankly, it’s a bloody din, but if it yanks yer crank, go for it!