Napalm Death choosing to drop Throes of Joy in the Jaws of Defeatism (Century Media) is the definition of perfect timing. For those not keeping score at home, the current leader of the free world is an ass-clown who smears his face daily with greasy self-tanner and fancies white supremacists and McDonald’s food. Oh, and there’s a bit of a global pandemic that has paused the world and crippled economies.
So, this album is called A Somber Preclusion of Being (Independent), huh? Cool, I’ll give this Vacant Eyes band a try. They’re from Massachusetts too? Great, I like supporting artists from my neck of the woods. What’s the worst that can happen? About seventy-five minutes have gone by and I think I may need a nap. The brain can only take so much. Continue reading
What’s the best strategy when it comes time to record a follow-up to a critically acclaimed album like 2017’s Blood Offerings? Well, for Necrot it seems as simple as following the course. Yes, that approach on paper does come across a little reductionist and it may imply that Mortal (Tankcrimes) is merely a rehash. But while Necrot may not be reimagining the genre on Mortal they are serving up some of the most satisfying Death Metal today.
So, Cycle of Suffering (Nuclear Blast) is Sylosis‘ post-hiatus album? Considering how tight the musicianship is and the sense of urgency you could’ve told me that this was released six months after Dormant Heart, and I would’ve bought the lie hook, line, and sinker. For a band that just reformed last year and have worked their way through various personnel changes, this is some remarkable shit. Continue reading
Alright, guys, it’s time for us to talk about the importance of Cult of Luna. Yeah, that underappreciated Swedish unit that has delivered a consistent series of music both brutal and majestic since 2001’s self-titled effort. Okay, so maybe you arrived late to the party and missed the early portion, but you did catch their mindfuck crossover with Julie Christmas, Mariner, right? No? Well, A Dawn to Fear (Metal Blade) is as good as an entry point as you’re going to get. Continue reading
I’m twelve years old and watching MTV at Jennifer Mones’ house. I’m trying my best attempt at humor and charm, but a boy can only do so much while sporting a bootleg Chicago Bulls jersey. I’m crushing hard on her and failing but at the eleventh hour, this fucking music starts blaring in the background. I turn around to notice some outfit called Limp Bizkit has a video playing for a track titled ‘Nookie.’ I haven’t heard anything this remotely heavy ever. Suddenly my raging hormones and Jennifer had taken a back seat to ‘Nookie’ and whatever else was to be found on this Significant Other (Interscope). Continue reading
My issue with Thank You Scientist’s Terraformer (Evil Ink) is the same problem I have with Luca Guadagnino’s recent take on the Suspiria: don’t confuse self-indulgence with genius. I appreciate the balls it takes to drop an 84-minute opus and these New Jersey natives are fucking talented players, but do they really have nearly an hour and a half of captivating sounds? Unless your name is Bob Dylan or The Cure I’m not sure I need such a serving. Continue reading
These days I live a fairly clean lifestyle. I’m working out almost every day, cut way back on carbs and sugar and smoke more weed than I do drink. Hell, in the ultimate piece of sacrilege I’ve even given my once beloved coffee. It’s a nice and healthy life and I’m sure my doctor loves me for it, but from time to time I need to get my adrenaline up to eleven. This is where a release like Redbait‘s Cages (New Age Records) comes in. Continue reading
Holy Shit (Heavy Psych Sounds) is really the album title you want to go with for your fifth LP, Nebula? Okay, I can dig it. Do you know what else I can dig? The sheer variety of riffs and leads being traded around by Eddie Glass and his groovy cohorts. It’s like if the man had been stockpiling sweet licks in a fallout shelter since the band’s inception in far more innocent 1997. Continue reading
Before we proceed with this review of Weeping Choir (Relapse), the latest in a long series of attempts at deafness by Full of Hell, I’d like to make a statement: more saxophones in metal. Buried in the cacophony of notes that is the latter half of ‘Ygramul the Many’ is what I perceive to be sax fighting its way through the mix and I am all in for those wonderful sounds. Between Rivers of Nihil masterfully incorporating it into last year’s Where Owls Know My Name and now this, I need more sax in my life. Continue reading