Honest question: Who started the whole let’s get an orchestra or symphony type shit behind extreme metal? I know Dimmu Borgir has made some serious bank behind it with the fabulous Death Cult Armageddon and Fleshgod Apocalypse has obscured their lack of riffs with said gimmick, but can we let that trend die? I think I’ve had my fill. But what the hell do I know as Necronomicon has an album worth in Unus (Season of Mist) of synths and faux orchestrations designed to elevate death metal from simply crushing to the upper echelons of the avant-garde. Continue reading
Fifteen years into their career, Alter Bridge doesn’t get tagged with supergroup much, inspire of their clear affiliations to other major bands (Tremonti, Creed, Slash). However, they are a super group of music makers and songwriters. Mark Tremonti and Myles Kennedy do their best work together, and some of the best tracks of their lives on their new album Walk The Sky (Napalm Records). Continue reading
Norweigian plaguebourne Black Metal act 1349 unforgivingly unveil their new album, The Infernal Pathway (Season Of Mist), a long-awaited LP for 2019. Their centralized coherency has stayed true to its path since 1997. Their construct of aggressive black metal has remained consistent as they’ve impressively demonstrated a threshold of effective releases. 1349 is nothing short of innovative, corpse paint driven, and a cause to exist, ultra-aggressive, that is to put in simpler words, well-executed. Continue reading
Twenty-five years ago Korn released their debut self-titled album and changed the face of music. Yeah we know you think anything “Nu’ and metal bites. You can see yourself out right now. Whether you like all things Adidas tracksuits and Hip-Hop beats with downtuned riffs or not, what Korn put down on that first album changed heavy music for the better. All heavy music.
Older, wiser, better, stronger. That could very well be the 2019 tag line for Life of Agony. Since the bands’ return a full-time band from their hiatus, the have continued to evolve and improve, year over year. Anybody can get on stage, take a paycheck for nostalgia’s sake. No, not this band. Their approach to new music has been inspired. Their comeback album, 2017’s A Place Where There’s No More Pain (Napalm Records) was a powerful reminder of what made this band vital in the first place. Now on The Sound of Scars (also Napalm), the band returns to the scene of their original triumph, to continue the tale. Continue reading
You know the old idiom, “you can’t judge a book by its cover”? Yeah, well, it’s nonsense. Just take one quick look at the cover to The Last Rager (Nuclear Blast), the new EP from Virginian beermonsters Municipal Waste and judge to your heart’s content. Continue reading
It seems like the journey to Toothgrinder‘s I Am (Spinefarm Records) has been one full of trepidation and behind the scenes issues. Vocalist Justin Matthews has certainly been open about his demons in the promotional materials stating: “My alcohol and drug use were pretty prominent on the last two albums and on tour.” And nothing but the utmost respect to him for being able to put those demons behind him in the lead up to their third proper full length. Continue reading