In what seems to be the year of the sophomore releases for new bands in the scene, Knoll has come stomping back with their second full-length, Metempiric (Self-Released). Somewhere between grindcore and horror movies is where this record will be classified years from now. The use of shrieking vocals, traditional grindcore instrumentals, and uncomfortable brass sections (oh yeah, there are trumpets!) peppered in really make this album a formidable contender for end-of-year discussions, but is just uncomfortable overall, which is a commendation that is not handed out often.
Doom metal reigned supreme at Greenwich Village’s Le Poisson Rouge on a Wednesday night. Headlining Swedish doom legends Candlemass sold out the show with support from Primitive Man, Mortiferum, and others.
This night featured an eclectic group of Metal bands. Sure, they’re similar in an overall way. But each band’s brand of metal keeps your ears from getting tired. These are the best kind of tours, where sonic diversity conquers all.
Carcass is closing the books on their Spring tour with Immolation and Creeping Death this week. Starting out in Austin, Texas and culminating at what might be the final Maryland Deathfest, I caught up to them at The Vogue in Indianapolis.
Grindcore by its very nature, is polarizing. It’s either unapproachably abrasive or energizingly frenetic; disorganized noise pollution or homicidally refreshing.
No/Mas stakes their claim by presenting a grindcore record peppered with intricacies that are as subtle as they are appreciated. One or two cycles isn’t enough to fully absorb the wonders that lie within Consume/Deny/Repeat (Closed Casket Activities)
Chris Reifert (Autopsy, Death) and Greg Wilkinson (also Autopsy, Deathgrave) combined bring sixty-one years of experience to the death-metal scene, the former since 1985 and the latter 1998. It’s only fitting that the two would not only come together to form a new band, but to also unleash an album that immediately sounds simultaneously old-school and deep-rooted.
This is the most New York show I’ve been to in a long while. It felt like one big local show. That’s what happens when all five bands come from here. That being said, this show started earlier, doors at the renovated Irving Plaza were at 6 pm. or 1800 for non-Americans. Every few steps you ran into someone you knew. I saw a lot of faces that this was their first show since you know what. It’s rare to see in metal shows nowadays but this show had a host! Bassist extraordinaire, Dan Lilker from Nuclear Assault and Brutal Truth fame. MCed the whole night.
From the recordings done back in 2020 for Throes of Joy in the Jaws of Defeatism (Century Media) storms in Napalm Death’s very own “mini-album”, Resentment is Always Seismic – a final throw of Throes. These English grindcore legends certainly need no introduction as they continue to push the boundaries of grindcore and punk to create this extension of their previous full-length release. Complete with two covers, a remix, and a few other gems, these next thirty minutes are sure to fly by and deal out some serious punishment.
They say no band is really an “overnight success” in the music industry. Like most cliches, that one has been ridden into the ground by lazy people. Rolo Tomassi has been a band for over fifteen years at this point, and if their ascent to the top of the underground metal genre has taken you by surprise, you just weren’t paying attention. The band has been DIY (with some proper distro mixed in) the entire way, making music on their own terms, gathering forces of fans and waves of respect. Wearing many musical masks and expertly jumping from Grindcore, to Thrash, Hardcore, Pop Rock and even Blackened extremism, the band has always sported loads of talent and great songs. For their debut album for MNRK Music, Where Myth Becomes Memory, the band is determined to change your perception of the band, even if you are a longtime fan.
It’s been over thirty years since Liverpudlian grindcore bastards Carcass left people gagging to the gloriously gory cover of debut album Reek of Putrefaction (Earache) and reeling to the twenty-two charmingly immature blasts of vomitous noise dripping inside. Symphonies of Sickness delivered improved musicianship and longer songs, Necroticism – Descanting the Insalubrious and its divisive follow up, Heartwork, continued that trend but the run ended in 1996 with the rather lacklustre Swansong. Rebooted and reinvigorated (but sadly minus drummer Ken Owen due to health issues), Carcass returned with a bang in 2013 with Surgical Steel (Nuclear Blast Records) and now, after a gap of eight years, they’re back. Again.