Teenage Time Killer readies debut LP

February 16, 2014 –

teenage_time_killer

Occasionally, even the most cynical members of the DMU venture into the outside world to a realm where supergroups come together and convulse the media in marked excitement. Corrosion of Conformity members Mike Dean and Reed Mullin have put together a project entitled Teenage Time Killer, a 21-track album featuring many prominent names within the music industry.

Confirmed members via blabbermouth:

  • Randy Blythe (LAMB OF GOD)
  • Dave Grohl (FOO FIGHTERS)
  • Corey Taylor (SLIPKNOT, STONE SOUR)
  • Neil Fallon (CLUTCH)
  • Jello Biafra (DEAD KENNEDYS)
  • Lee Ving (FEAR)
  • Tommy Victor (PRONG)
  • Nick Oliveri (MONDO GENERATOR, ex-QUEENS OF THE STONE AGE, KYUSS)
  • Aaron Beam (RED FANG)
  • Pete Stahl (SCREAM, GOATSNAKE)
  • Greg Anderson (SUNN O)))), GOATSNAKE)
  • Karl Agell (ex-CORROSION OF CONFORMITY)
  • Tairrie B. Murphy (MY RUIN)
  • Mick Murphy (MY RUIN)
  • Vic Bondi (ARTICLES OF FAITH)
  • Clifford Dinsmore (BL’AST!)
  • Pat Hoed (BRUJERIA)

Other guest musicians that were previously announced as taking part in the project:

  • Max Cavalera (SOULFLY)
  • Tony Foresta (MUNICIPAL WASTE, IRON REAGAN)
  • Doyle Wolfgang Von Frankenstein (MISFITS)
  • Keith Morris (BLACK FLAG)
  • Phil Rind (SACRED REICH)

In a recent radio interview, Mullin stated that the project originally was conceived of as a short EP endeavor, but quickly grew to a larger album (seemingly) encompassing the earlier styles CoC has been affiliated with over its career, describing it as a mixture of “old hardcore punk, punk and metal stuff.”

Additionally, the band has revealed they have completed recording and are in the process of mixing their new album entitled Corinthians, which will be released via Candlelight. A release date has not yet been set for either record.

Corrosion of Conformity was best known for its foundational role in the 80′s scene, which along with Cryptic Slaughter and D.R.I created the genre of thrash, an organic fusion of punk and metal. Eventually, the band lost its sense of direction and started playing stoner rock for Scion AV festivals. Here’s to hoping the words about a return to the punk and metal days of the band represents an artistic change from their recent albums and is not simply a marketing ploy to intrigue older fans.

Sadistic Metal Reviews 02-09-14

February 9, 2014 –

apocalyptic-flames

What are Sadistic Metal Reviews? When people decide that life is worth living, try to make good music. Unless they hope to make a quick buck, in which case they disguise bad music as “innovation.” We separate the good from the bad — with a machete. Come for the misery, stay for the occasional exception…

divine_circles-oblivion_songsDivine Circles – Oblivion Songs

The mainstream assimilation of metal continues. This is basically coffeehouse femme-folk-rock like Jewel would have spun two decades ago when metal was still doing something relevant. Instead, it sounds like a Taylor Swift/Janis Joplin hybrid on piano while someone strums a lightly distorted guitar in the background and some bell-bottomed burnout bangs a cowbell. I can appreciate the similarity to neofolk bands, especially Hekate, or even the folk-rock tradition of the Americas. But it’s most similar to the goddamn crap they play in Starbucks or our local “alternative” (read: clean every other Tuesday) coffee shack. A girl sings about fanciful things, there’s some guitar and a lot of slightly exotic rhythm. But when you leave and drive home, you’re thankful for the silence. This has nothing to do with metal and should go back to the coffee shops.

slipknot-slipknotSlipknot – Slipknot

For people who thought Korn was too musical, Roadrunner has saved the day. ANGRY MAN babbling over death metal riffs reduced 100 levels of complexity, with random vinyl scratching noises and sampling thrown in for…some reason. These riffs were lifted from a White Zombie album which lifted them from a Metallica album which borrowed them from a NWOBHM 7″ which probably borrowed them from the rantings of cavemen etched into sandstone near the local juvenile detention center. To these basic speed metal riffs, they have added abundant bounce and doubling the internal rhythm on the offbeat, which gives the illusion of complexity for about ten seconds, and they’ve wrapped them around rock melodies. Speaking of wrapped, why aren’t we calling this rap/rock? It’s obviously rap music sanitized for the people too uptight for even backpack hip-hop, thus it gets injected into rock and to disguise the obvious lameness of this combination they cover it in heavy metal stylings like melted chocolate poured over a corpse. Lyrics are moronic, riffs are moronic, album art is moronic…is anything in this band appealing to functional humans? If a vengeful god were to rain napalm on America for producing this album, it would be justified.

eva_polgar-sandor_valy-gilgameshÉva Polgár & Sándor Vály – Gilgamesh

Art music faces one ultimate test: will people listen to it on a regular basis, in regular lives? I’m not talking about the heroin and cigarettes crowd in Williamsburg with their postmodern degrees from Brown, but normal people. Thoughtful, intelligent, realistic, well-adjusted people. Do they listen to it? Or is it something they think is neat, maybe would be good in a movie, and then politely clap and never hear it again? Gilgamesh qualifies as some of the better art music I’ve heard. It is an sonic backdrop to the famous tale, rendering in quickly played piano riffs while other instruments fill in background chording. This has more in common with industrial music and avantgarde jazz than rock, but each track creates a series of emotional sensations corresponding to its chapter of the Gilgamesh saga. It is artfully done and powerful but is too abrasive and repetitive for every day primary listening. Further, it is too arty and conceptual to find a place in the balanced life. It would make a killer soundtrack for a silent film however.

fear_of_domination-distorted_delusionsFear of Domination – Distorted Delusions

Music designed to pander to newer listeners is often excruciating. First, it must have an obvious novelty in style that usually defeats common sense. Next, it must appeal to people whose first instinct is essentially disruption and chaos. As part of this, they favor weapons like repetition and garish aesthetics. This album will not disappoint on those points. Mixing clubby techno (itself suspiciously like disco) with metalcore and crowd-positive industrial like Rammstein, Fear of Domination spit out music that is essential keyboard-led but has background guitar and bass which are entirely obliterated by the harsh, chanty and repetitive vocals. There is not a single metal riff on the album. There is also nothing new to people who have experienced even Ministry, but a form with novelty gives this some of the appeal of more austere industrial bands. Still the repetition level and degree of obvious manipulation makes it excruciating for people who have heard more than a dozen albums.

benighted-carnivore_sublimeBenighted – Carnivore Sublime

In the absence of Nu Metal, everyone is rushing to take over the territory of Limp bizkit or Korn. From bling bling tech-core band Despised Icon to recent Napalm Death to streamlined Unique Leader sounding Morbid Angel palm muting riffs, Benighted blend everything that’s hip and br00tal in the scene together as the perfect sonic weapon for the frustrated school kids. This whole album is full of preachy and overreacting jerking noise. The band’s new music video reflect all of these: attending school is bad and teachers are evil, the world is insane, so buying this album is the right way to the first step of revolution. The hilariously out of place cleared-throat howling choruses sound like any metalcore rather than death metal, they make me want to put on the Korn records instead. Nothing from Benighted’s album is remotely exciting to the ear of a longtime metal listener. The volume is louder than Grammy performer Metallica, but the music is just as bland. Benighted and their far relatives Insane Clown Posse and Fleshgod Apocalypse are definitely worth exiling from the metal world.

LP1037_RECHTS_tem_de.pdfFluisteraars – Dromers

What is problematic about post-metal/indie-metal, and rock music itself, is nto that it’s distinctive. Rather, like a good product, it’s created by audience surveys. What do they respond to? — put that in. What got bad response? — take it out. What was neutral? — reduce it. The problem is that you need all the colors of the rainbow to paint a picture, so just because audiences prefer blue over yellow does not mean yellow should be removed. In fact, it aims to create a monotone picture where all of it is the color audiences want in their living room and none is the less favored colors. But art is a communication of a mental journey between two points. It shows us someone emerging from a state to a higher realization and then acting on that for triumph. It reveals a mixture of emotions that signal an ultimate resolution, or at least a clarification in the mind. But what we call “modern metal” — itself a clone of the late hardcore, post-hardcore, emo and indie movements of the late 1980s through middle 1990s (Jawbreaker, Rites of Spring, Fugazi) — is like rock music designed to just be that perfect wallpaper for your life. The right shade of sweater, the right ironic frames for your glasses, the purse that makes you look like a wandering boho hippie who might just happen to have a degree in art history. It’s the cult of the ego, and the ego demands only what serves it in full and denies the experience required to get there. This is because the ego wants nothing to do with the external world, and prefers that which is “human,” namely itself and those it socializes with. Fluisteraars is 2/5 old school black metal like Enslaved and Darkthrone, and the rest the newer material in a dronining long form that uses multiple riffs derived from a single theme, like Pelican. The result is very pleasant to listen to but when it is done nothing has changed in your life. You are back shopping for wallpaper, ignoring anything outside of yourself, and consequently, missing out on anything that can be called soul.

woods_of_desolation-as_the_starsWoods of Desolation – As the Stars

Most of people can’t tell the difference between shallow light-hearted commercial product and art, therefore the conformists can always make some metallic indie rock to troll the underground. Woods of Desolation is the black metal version of Explosions In The Sky; both of them use the highest notes of the guitar chords to outline the weary lie-down-and-die pentatonic melodies while songs build around the sweeping textures. Just like the prototype of this sub-genre Alcest, Woods of Desolation’s music is nice and sweet and flawless, it make one hard to criticize them. But the reality is, three months after the hype, those who praised it like hell initially would throw this album away for these spun sugars annoying them just as the morning wake up cell phone jingles.

towers-iiTowers – II

Post-rock and post-metal generally mean attempts to recreate emo through expanded minimalist sound. Towers takes an approach more like Swans where they build a drone and then layer it with interesting textures. The result is rhythmically motivational, like a march, but ultimately can’t go anywhere because like the notion of “concept music” it can’t go anywhere but to its furthest extreme. Thus what we have is interesting, but not something you’d want to repeatedly listen to except in the background or as part of a movie soundtrack. It is not terrible in any part, and on the whole it is bland and inoffensive once you get past the “extreme” style. Arguably, Towers is the best example so far of how to make post-rock/emo into something that is not terrible. The problem is that listening to it feels like being driven over by Friday 5 pm NYC traffic, and so it’s unlikely that anyone will turn to this for repeated listens that bring out some positive aspect of being alive.

sunn-ulver-terrestrialsSunn O))) and Ulver – Terrestrials

Background drone of distorted guitar vibratto and feedback. Foreground slow chords, standard post-metal. Melody slowly layered, then repeats. It goes on in a big loop. Any given second of it is inoffensive and seems like something cool might be happening, but then, if you listen to the whole thing, you realize its fatal flaw is that it’s boring. Nevermind that Lull and Fripp did this years ago but better. Nevermind that these bands were both wrecking balls to metal’s integrity. Just listen to the music: it’s repetitive, doesn’t development, and basically does nothing but establish a drone and a half of a mood. What would you do with it? Listen to it? No, this is music for you to explain to your friends. The point is that you know something they don’t and you can thus explain how profound it (and you) are. It’s no different than people going to rap concerts to pose at being gangsters or young girls who cry when Shakira sings about her hips. It’s just more pretentious.

tiskoviny 1.cdrDodsferd – The Parasitic Survival of the Human Race

Despite the ideologically-correct title (for black metal), this band shows us the true death of black metal: it has been assimilated by punk music. This sounds, with the exception of a couple black metal open strum riffs, exactly like the same droning hardcore bands were pumping out in the early 1980s. That music was the source of the stagnation that launched underground metal. I’ve listened to this thing three times and it has no negatives. There is nothing wrong with it. There’s also nothing compelling about it; it’s just more void. Technically, it all fits together. It’s just boring and expresses nothing. It is essentially hardcore punk music from the early 1980s with better drumming and production, maybe a black metal riff every seven riffs. But if you already own Discharge and Darkthrone, there’s utterly no reason to listen to this. Even if you don’t, it makes no sense to try to listen to this instead.

gris-a_l_ame_enflamee_l_ame_constelleeGris – À l’Âme Enflammée, l’Äme Constellée…

Oh wow. Titles in French, looks misanthropic, maybe Vlad Tepes has returned! Second coming of Loudblast, even? No, it’s emo. Riddle me this: if emo isn’t like the fat girl addicted with meth that you woke up next to in the basement and felt great shame for the next, why do people keep trying to hide it? This is the same droning yet bittersweet minor-key background noise that Jawbreaker put on their albums and before that, that emo bands kept trying to insert into punk. What is emo, after all, but the very basic tonalities of rock music translated over an upbeat groove into power chords with dissonant voicings? When you look at what can’t be used, you see what is left. In the same way that the blues scale is the classical diatonic major scale with the key-centric notes removed (and a blue note for color-note rhythm comp fudging), emo is what happens when you take all the life out of music and translate it into rules to keep an audience in suspense. It doesn’t ever go anywhere, just shifts between these same few interval progressions. And yet, there it is. And people who apparently know nothing about thinking keep buying it. This is very frilly, dressed-up, entertaining variety, but underneath all the stupid pet tricks and gaudy clothing is the same old tedium. This is the sound of a genre dying.

frost_legion-death_of_mankindFrost Legion – Death of Mankind

Crossing punk and heavy metal styles with a black metal aesthetic of constant high-intensity drumming and droning riffs, Frost Legion make black metal that often sounds like it is assembled from spare parts but tries to keep a focus on the melody and savagery of black metal. Vocals are a constant rasp that varies inflection as little as possible, over active double-bass drumming reminiscent of later Ancient Rites. Riffs are often drifting melodic constellations formed of a few chords which work through permutations of loss and re-acquisition of a root note. Often the riffs are very similar to each other which causes an unsettling loss of orientation, and frequently they bring out melodies which resemble music from the 1930s, but the effect is to create a sense of longing. One thing this band could do better is dynamics; it uses nearly constant intensity most of the time which is exhausting. While song structure is essentially riff-based, these riffs may need to correlate to something else in order to make the composition memorable. The constant melodic riffing is reminiscent of Carcariass and bands of that ilk who are deeply invested in guitar creativity and sometimes lose sight of memorable songs. This is a good start and it will be interesting to see where these guys end up after they’ve had a chance to contemplate the results of listening to this album several dozen times.

demo_tapeAethereal – Faceless Messiah

We walk among you. We are legion and yet can travel unnoticed in the midst of your cities. We are those who try too hard, and many of us ended up in black emtal. Aethereal brings many strengths but suffers from trying too hard. Coming from the wilds of the USA, the amazing thing about this demo is that it attempts to shape the melodic architectures of a European band. It seems caught between a more vicious Behexen-style assault and a traditional melodic metal attack shaped around Sacramentum, Dissection and perhaps even Sentenced. Most would argue this into the black metal camp on vocals alone, but it has aspects of many genres of metal. Technically precise and musically coherent, these longer songs more resemble the ambitious music before the Great Partition in black metal which set the classics in the past and brought a deluge of imitators to attempt to pollute the genre. The first track, “Scornful Skies,” launches from a battering assault of melodic chords resembling rainfall in sheets to a neo-Celtic style intricate lead riff, fading into a Dissection styled mood piece before evaporating into an interlude of gentle strumming without distortion and a return to a contortion of its origins. The second track, “Qliphothic Reflections,” resembles much more of the black metal of the post-initial era, with low use of dynamics and high intensity blasting with transitional melodic riffs leading us through a semi-circular structure. Both tracks show promise if developed. But again, the problem is trying too hard: looking at what all the great songs have, and trying to make your own version without knowing what connects them. If these guys trust their gut instinct and what they like to listen to rather than what they think they should be creating, they would do better. Take it from a guy who tries too hard in his biggest failures as a writer.

asking_alexandria-stand_up_and_screamAsking Alexandria – Stand Up and Scream

If any of you were to discover that your testosterone levels were too high, and your doctor advises you to take estrogen injections: before doing that, consider listening to this album – in approximately 3 minutes, you will feel immediate results. An album like this could be created only by the results of a CIA project designed to make people believe malls are desirable. (Somewhere, Bill Hicks is turning over in his grave.) For the rest of us, upon hearing this we wish that we were in that grave. This band has the uncanny ability to not only make every song sound identical, but also every riff. Then again, most people listening to this are undergoing “spiral learning” – the repetition is something they’re used to. Please don’t listen to this. If you don’t have enough respect for yourself to avoid this, just go all the way: go to Starbucks, pick up a la- oh alright, that joke is overused. This band sucks. That’s all.

Sadistic Metal Reviews: Crush the Skull

November 10, 2013 –

What does any band deserve? A fair review. If the band is good, it should be said so, to what degree. If it just sucks, it also needs to be said. And that’s why we’re here with the latest edition of Sadistic Metal Reviews.

weekend_nachos-stillWeekend Nachos – Still

If their stupid name didn’t already clue you in, the atrocity that is Weekend Nachos represents a lesser acknowledged evil in the underground music scene: nu-grind, or powerviolence played by MTV2 jockcore fans. Similar to other Relapse bands like Benümb, except all the fast strummed “anger” is a holdover for later day “tough guy” or straight-edge 90s hardcore “everyone mosh on the dancefloor” gimmickry that preys on low IQs who don’t listen to music beyond “breakdowns.”

 

hate_forest-ildjarn-those_once_mighty_fallenHate Forest / Ildjarn – Those Once Mighty Fallen

The title on this may be ironic because it can apply only to Ildjarn, and only if the band ships something bad. This isn’t bad, but it’s an entirely different form of music. Where older Ildjarn was an idiosyncratic expression in equal parts ambient black metal, drone hardcore and forest Oi/Rac-influenced metal like Absurd, this new material is clearly designed to sound like black metal. Its songs use typical black metal intervals, develop according to the pattern, and even use vocals in the same rhythms as early Dimmu Borgir or other first-and-a-half wave bands. If you’re tuning in to Ildjarn, you expect something at least as lawless and feral as his later work on keyboards; this will be a problem for many listeners. As far as quality, it’s not bad at all and in fact is very natural-sounding, sort of like the first Dimmu Borgir or Graveland albums. Some have hypothesized that Ildjarn did not write the material, and the production changes and incorporation of additional instrumentation, in addition to the stylistic changes, suggest either a casual interest in this as a project to “stay in the game” or delegation of many musical tasks to a new team. Production sounds more recent than the early 1990s Ildjarn material. Use of background keyboards, faster bass riffing, textural discontinuities and other distinguishing effects show an interesting set of musical tools emerging, but the band may need to rediscover its voice. Hate Forest never struck me as being all that significant, but they make a very credible effort here, with production that matches the Ildjarn but is very carefully adjusted to sound as distinctive as possible. Their songs are fairly regulation black metal with an attempt to insert complex fills and transitions, and then to balance that, simplify the chorus riffs. The result is not atmospheric per se but achieves a relaxed atmosphere in which the focal point becomes the interruption, like a sunny sky with an intriguing cloud cluster. None of it is particularly distinctive but it’s not bad either. Songs maintain atmosphere well but there’s not a huge amount of development here, so the band sensibly rely on circularity to keep from appearing jagged. A rumored Ildjarn interview claims that this release was an early 1990s project between himself and Ihsahn of Emperor, which could explain the resemblance to post-Reverence Emperor material.

 

melvins-bullheadMelvins – Bullhead

Entropy embodied, this is the band that provided inspiration for Southern Lord’s entire catalogue of musical abortions. Deconstructive, linear riffs that seek to express nothing except ennui, combined with faux-crooning self-pitying lyrics ensure that this will continue to be a favorite band of mentally vacant children for decades to come. This is the mentality of grunge in a different form.

 

code-augur_noxCode – Augur Nox

For a brief while, power metal (speed metal w/death metal drums) looked like it would save True Metal. The problem is, however, anytime you walk back up the metal family tree, you get back toward the stuff metal was formed to run away from. As I listened to the first tracks on this, I thought, they’ve got some interesting riff ideas — let’s see how long it last — however, they sound like they want to be a rock band that’s primarily about vocal performance and personal identification with the vocalist. About half-way through the album, they shifted to tap-dance rhythm riffs and soaring vocals, the combination meaning no ideas but how to rip through some 1960s material. Eventually it got so bad it sounded like Queensryche on a bad day as a disco combo covering old CCR B-sides. If you don’t have an idea, by definition, you are an imitator recycling the old in a new form, and we have a word for that: stagnation.

 

immolation-kingdom_of_conspiracyImmolation – Kingdom of Conspiracy

Continuing their decline, Immolation return to the bouncy simplicity of Harnessing Ruin, only this time they downplay the “nu” sounds and try to make it sound more aesthetically in line with their old sound. This doesn’t change it from being a predictable verse-chorus version of NYDM and shows Immolation in their most neutered form yet, trying to pander to a metalcore audience whilst retaining their trademark sound. After the last album, I reckon the only reason people see these guys tour anymore is to get a Failures for Gods longsleeve. Linear, predictable, and disappointing considering this group’s potential.

 

izegrim-congress_of_the_insaneIzegrim – Congress of the Insane

After a few brave people direction-find their way to a new genre, in come the people who want to partake. They often bring superior skills but they don’t understand what they’re doing. Izegrim is a fine example. It’s chanty metal. When metal gets chanty, which is the nerdy equivalent of rapping, you know that a central narrative has been replaced by adherence to appearance and where that doesn’t work, filling in the gaps with the same old stuff. While this band is instrumentally superior to your average metal band, they don’t know what to do with the odd bits and ends they’ve assembled as songs, so they tie it all together with the simplest elements possible. That meants chants, crowd-pleaser but repetitive riffs, and lots of bombast to cover up for the big void within.

 

nachtmystium-silencing_machineNachtmystium – Silencing Machine

When a band wishes to play black metal without embodying any of its spirit, this is what’s produced. Lethargic, tremolo-strummed droning with ANGRY MAN vocals and uninspired drumming produces an album of tracks that are indistinguishable. Albums like these would be better off as hard rock, because at their heart that is what these musicians are aiming to create…though at least it’s not as bad as the the latest Satyricon abortion.

 

broken_hope-omen_of_diseaseBroken Hope – Omen of Disease

After failing to become “Oppressor meets Deeds of Flesh” with their last couple albums, Broken Hope return after a long hiatus and have churned out what can best be described as a Unique Leader band covering mainstream hip hop tracks in double speed. Considering their “beefs” with death metal bands and Source Awards concert turn outs, it should be no surprise that this has more in common with Tupac than it does Suffocation, approaching death metal from the same “gangster” outlook that Six Feet Under did in the 90s.

 

secrets_of_the_moon-seven_bellsSecrets of the Moon – Seven Bells

“Artistic” black metal, otherwise known as black metal watered down with fruity “post-rock” produces a product that is post-art. Designed for a generation that believes interrupting narration with pointless deviations is artistically viable, in form this shares for more in common with modern metal than with relevant black metal bands. Listen to this only if you enjoy consuming pumpkin spice lo-fat frappuccinos.

 

laibach-sLaibach – S

These three tracks — “Eurovision,” “No History” and “Resistance is Futile” — comprise 2/3 of the EP S (which can be streamed here) released in advance of the new Laibach album to show where the band is at this point. Some might think it odd to review industrial music on a metal blog, but Laibach has been supportive of metal in the past, including the notorious Morbid Angel remixes and positive statements made in public. Further, industrial and metal share a root, which is that we deny the happy vision that came about in the 1960s of love, peace and uniformity that would save us from the horrors of the modern time. Our vision is to point out that the beast is within, and as long as humans refuse to discipline their minds, they will end up re-inventing the horror, futility and self-destruction of the near past and the ancient past, before civilization evolved. Both genres also point to a path outside of what is acknowledged as “higher values” or “the right thing to do,” seeing morality as confining and misinterpreted. That being said, it seems that industrial hasn’t changed much since the EBM days of the 1980s. In fact, much as Nine Inch Nails basically made a more pop form of that genre with added guitars, Laibach have simply made a more stern form, albeit a self-mocking one. What you will find: compelling beats, blasts of static, sampled voices, a surly European-accented voice almost chewing out the lyrics in a conversational growl, and even bits of other musics woven through the material. Ultimately, what makes industrial different than metal is that it knows how to pull off a good pop song and make it sound good, even with machine-ish touches, where metal tries to make something beyond what people consider music. As a result, these songs have heavy dead-beat grooves and build up to a compelling motion. There isn’t as much internal development as metal so there’s some question of whether a metal fan would enjoy hearing these repeatedly, but it’s hard to ignore the sheer pop power and terrifying view of the world brought up by this assault of music and (if you go to the site) imagery.

 

sepultura-the_mediator_between_the_head_and_hands_must_be_the_heartSepultura – The Mediator Between Head and Hands Must Be the Heart

Claiming to be inspired by the old science-fiction movie Metropolis, Sepultura collaborate with tone deaf AIDS guru Ross Robinson to create an album that, much like recent Sepultura, is high in pretension and low in musical payoff. Death metal sounds are utilized here but only serve as what sounds like Pantera or later Sacred Reich occasionally lapsing into a parody of Slowly We Rot at its simplest than anything from their 80s output. A guest appearance by Dave Lombardo doing a “tribal” drumming outro feels more like a marketing gimmick, lacking any of the imagination found in his instrumental track for Grip Inc. (incidentally, their only good song). Most of the songs devolve into effects laden meandering, which is to be expected considering the producer. Even then, nothing is gained or lost on this album. Sepultura is still like a fish out of water, churning out another vapid reiteration of their 1998 album that will piss off old fans and make no new ones.

 

cattle_decapitation-monolith_of_inhumanityCattle Decapitation – Your Disposal

The first riff sounds like screamo, then clean vocals played over what sounds like a “post-black” abomination, then the breakdown with “eerie arpeggios”… this is metalcore. Looking past the “shocking” image stolen from early Carcass made to appeal to self-loathing Starbucks regulars, Cattle Decapitation now seem to be in direct contact with the same focus group Gojira employ when coming up with their gimmick ridden, indie rock friendly vapidity, eschewing the F-grade death/grind of their past for metalcore acceptance. Beyond the aesthetic drape of underground metal, this is nothing more than a random collage of parts “EXTREME” bands play for mainstream appeal under the pretense of having “matured” as “artists.”

 

twilight-monument_to_time_endTwilight – Monument to Time End

The “supergroup” of a bunch of hipsters that convinced Thurston Moore of Sonic Youth to ruin the genre alongside them, Twilight perverts black metal by using the treble guitar tone and anguished vocal styling to dress up what is middle of the road “post-sludge”. Members pool their collective inability to write metal into one product that comes off like a brain washing tool Scion would use to convince Gojira fans to purchase SUVs, all the while looking “edgy.”

 

cromlech-ave_mortisCromlech – Ave Mortis

This imaginative release explores the world of Iron Maiden-tinged power metal with an epic metal mindset, preferring extensive clean vocals, lengthy melodic parts and high-speed pickup riffs of the Maiden style. However, it also works in a fair amount of newer technique, sounding sometimes at the edge of later At the Gates. This is interesting material and an ambitious offering. However, this band has a few things it needs to work on. First, the vocalist is too present both in the composition and the approach to songwriting, and needs to go back to being one of the instruments. Second, this CD weighs in at 1:10 and is a B- album at that length, where if they boiled it down to 35 minutes would be closer to an A. (Note to bands: if you can’t listen to your own CD, while doing nothing else, on repeat for several times in a row, make changes). It has genre confusion problems that need to be resolved by getting more comfortable with its own style. Finally, Cromlech should learn from Iron Maiden and focus on making song structures clear: one intro, a theme, a countertheme, and some kind of developmental area where the melody grows before returning to the more predictable parts of songs. This is about their approach anyway, but it’s muddled by uneven application of technique. In addition, it wouldn’t kill them to look through for repetitive themes and excise or consolidate them. All in all, a great first effort, and I tack on all these suggestions because starting bands often need a push to fully develop.

 

gojira-l_enfant_sauvageGojira – L’enfant sauvage

The biggest sham in metal to this day. Being a propaganda tool used by hippies to turn metal into rock music, Gojira continue what they’ve done since the beginning: making “heavy” parts out of rhythmic chugging with pick scraping sounds before playing “soft” parts that sound lifted from A Perfect Circle. Rock made for angry menstruating Deepak Chopra reading faux-guru hippies. Add the cringe worthy “deep” lyrics and it’s no wonder people thought the world was going to end in 2012 when both this album came out and a new record was set the world over in dolphins beaching themselves.

Azure Emote – The Gravity of Impermanence

September 24, 2013 –

azure_emote-the_gravity_of_impermanenceAlthough there’s a very noodly and “progressive” surface to Azure Emote, what lies beneath the skin is a mixture of speed metal and alternative rock. That gets layered in metal riffs, jazzy guitars, industrial-style vocals and complex percussion.

The Gravity of Impermanence despite having a cool-sounding name delivers almost nothing of what we want from progressive metal, which is puzzles. Games. Brain witchcraft. Interesting twists and turns that make us look forward to another day of being alive, again.

Instead, Azure Emote deliver relatively consistent surges of volume in vocals and drums, and “unpredictability” that’s so predictable it’s like watching a dancer so bad she lunges in exactly the wrong direction at the wrong time. As if sensing this is paltry, the band experiments with extensive vocal weirdness and frequent build-up/break-down types structures.

Perhaps looking for some underground cred, Azure Emote throw in every third riff as something vaguely death metallish in the Nocturnus-Obliveon spectrum of technical riffs. However, without the context to support it, it becomes random instead of interesting.

The Black Moriah launches “Trail of Texas Terror” tour

September 17, 2013 –

the_black_moriah-trail_of_texas_terror_tour

Following the Housecore Horror Film Festival, speed metal/math metal band The Black Moriah will embark on a short tour of Texas to showcase its most recent album, Casket Prospects. Formed by a former Absu member and experienced metal musicians, The Black Moriah attempts to bridge classic and modern metal.

Casket Prospects shows the band integrating the indie-metal styles in black and death metal with classic metal hooks. Droning dissonant riffs compete for space with speed metal riffs, heavy metal choruses, and complex conjurations of song structure underneath the modern metal “surge style” vocals.

While the alternative metal stylings may not appeal to the average Absu fan, the technicality and frenetic intensity of this release may satisfy in its stead. The “Trail of Texas Terror” tour shows the band reaching out to a new fanbase more on the alternative/indie side while attempting to keep its core fanbase in more traditional metal.

The Black Moriah – Trail of Texas Terror tour 2013

     
October 17 Dallas, TX The Wits End
October 18 San Angelo, TX Penny Pub
October 19 Amarillo, TX The Wreck Room
October 20 El Paso, TX Alumni Bar
October 24 Austin, TX The Dirty Dog
Housecore Horror Film Festival

Gyre – Second Circle EP

August 11, 2013 –

gyre-second_circleNew Jersey metalcore band Gyre has a surprise: not only are they not heavy metal, but they’re in fact alternative rock, and a very competent version of that hidden beneath the skin.

I guess sometimes it seems like it’s best to disguise what you’re doing as what everyone else is doing, but this seems puzzling to me, as if Gyre dropped the metalcore stylings and let loose their alternative band, I think they’d be in every record shop across the nation.

True, the surface is off-putting to a death metal fan. These are the emo-punk-style metalcore riffs, complete with fanning of power chords and a few odd voicings thrown in with the off-beat quicky rhythms that jump around like a protester having a tantrum. And the metalcore vocals, which wail-rant.

In fact, much of the surface metalcore could have come straight out of the 1990s and found commonality with bands like Pantera and Dillinger Escape Plan. It bounces, and then it creates a kind of plaintive lag, like someone getting arrested by the cops to make a point. Then it rebounds.

Underneath the surface, in a method reminiscent of Metallica’s …And Justice for All (subtitle: But We Get Paid Anyway), Gyre weaves melodies around the bittersweet narrowing of intervals that gave alternative rock its distinct whiny, resistant sound.

Second Circle will get dismissed by most because metalcore is already yesterday’s news. However, most metal fans haven’t found anything more compelling yet, so you speak to the audience you have, not the one you want, I guess. It’s a shame because these winding melodies, reminiscent of Nirvana or Stone Temple Pilots, grant to the music a depth and power it would not otherwise have had.

As a metal album, Second Circle wouldn’t really make sense. It barely fits as metalcore. But when you burrow under the skin, and stop worrying about whether it looks tough enough to your friends, there’s a lot to think about even in this short format.

Soilwork – The Living Infinite

April 12, 2013 –

soilwork-the_living_infiniteIf you ever find yourself wondering why mainstream music produces so many professional and well-produced acts while metal seems pasted-together in comparison, worry no more: Soilwork has invented a new form of radio-friendly metal that competes with the big bands you can hear on the radio.

Much of metal’s heritage is pop. Iron Maiden, Queensryche and even easy-listening death metal like Cannibal Corpse follow the pop formula. What they are not is systematic in listening to their own material, analyzing it, following published research on effective songwriting and thus, consistent. A professional band approaches music like science. Every part of every song must be deliberate, which requires organization and to put it bluntly, work. This anti-hobbyist view threatens metalheads two ways. First, it points out that we could do better, with self-discipline; second, it points out that the world isn’t as simple as “all pop is crap” and “all underground is good.” Pop is musically competent and in many ways surpasses the underground bands.

The Living Infinite manipulates human emotions like a Hollywood mega-movie. All aspects of this work are thoroughly professional. Nothing is left to chance. Every iota is calculated to produce an effect that works together to make a greater whole. Production is also a masterpiece, creating a glassine space that resonates with guitar sound and avoids crowding of the distorted tracks. Every aspect that wants to be heard can be heard, and through the magic of ProTools or an analogue, identical parts are (literally) identical. In itself, the production makes you want to relish this release because it gives it big-radio pop gloss without truly emulsifying the product into uniformity.

The style of the music is designed based on what has become highly popular for metal over the past two decades. If you can imagine Iron Maiden, The Haunted, Rammstein and Amon Amarth in a blender, you can see where Soilwork get their influences. It mixes the sweet dual lead guitar work of NWOBHM with the bouncing riffs and “carnival music” detours of metalcore. You will hear a Blind Guardian influence in the surging choruses and sparkly bright major key vocal melodies, and you could detect later Queensryche’s hybrid of indie rock, glam metal and power metal in its use of vocal hooks and interwoven rhythm lines. There are no ballads, per se; the ballad effect has been swept up in the metal effect, which is itself subsumed in the rock effect.

Soilwork target the audience for guitar-heavy bands like Dire Straights or Rush with the appeal of melodic metal and the positivity of power metal (which has a lot in common with modern Christian rock in this respect). While The Living Infinite may not satisfy the underground or true metal palate, its goal is not to appeal to that audience, but the people out there listening to mainstream rock who are looking for something that goes a bit further without going to a truly dark place. For that purpose, this heavily guitar-oriented band serves as an introduction and baptism into what could eventually become a dangerous metal habit.

Supuration – Cube 3

March 20, 2013 –

supuration-cube_3No one doubts the importance of style, but at the end of the day, style is not what makes one album great and others mundane. Like a technique used in painting, style is essential to convey particular meaning, but its inclusion alone doesn’t make the painting great. Only the skill of the artist and the composition of the painting can do that.

Supuration emerged years before the current alternative metal and progressive metal trends, mixing 1980s dark pop and indie with a strong progressive undercurrent in the style of Rush or Jethro Tull. Their legendary album, The Cube, divided metal listeners because while it had many aspects of off-mainstream rock, it sported death metal vocals and metal riffs. However, it also made them many fans who liked their adventurous use of music and very personal, evocative songwriting.

Cube 3 hits the target set by this first album by not imitating the style of the past but instead developing changes to that style naturally and focusing instead on songwriting. This allows Supuration to gratify older fans but not force themselves into acting out the past as remembered from a far off-distance. The style is mostly similar to The Cube, being alternative/indie-rock harmonies mixed in with metal riffs and progressive chord progressions, melodic leads and oddball song structures.

What makes this album work is that each song unites two concepts: first, a pop style hook; second, a theatrical staging of the conflict between two or more tendencies. These songs pull themselves apart between bassy heavy metal riffs, bittersweet vocal melodies, and intricately picked melodic guitar that expands the context of the music and shows a broader context.

These songs are full of musical oddities picked to stimulate, amuse and delight, but what fundamentally drives this band is its songwriting which has a strong connection to the idea of metal. The result is a metal hybrid that keeps the intensity of metal while creating a technical achievement that also has the emotional appeal of negative pop.