Terror - Live By The Code

LA's Terror may not have been around as long as scene legends Sick of it All, but through consistency, hard work and quality album after quality album, they deserve all the attention and success they receive. I can safely say I have not heard a bad Terror song. Admittedly there are highlights on each album, but no songs are worth skipping altogether.

The only thing I can't click with is the use of American high school football style font for the band logo, and the use of imagery and fonts that would be more suited to a gangsta rap group. Maybe it is inevitable considering their upbringing and locale, but I think it sends mixed messages and clashes with the virtues of the genre. The ideas of giving the middle finger to authorities, corrupt business people and governments are shared, but you don't hear Terror boasting about drug use, bitches and drive-by shootings.

The band's albums have always been personal, honest and open, and this is no different. The opener 'The Most High' is a great nostalgic and inspiring look at the scene that Scott Vogel fell in love with back in the late 80's. The booklet accompanying the record is full of intelligent debate about the scene what it was and how it has changed and continues this theme of transparent hardcore music and ethos.

The production is perfect for hardcore, a little bit muddy and raw. This is how hardcore should sound, not polished and perfect. When the songs are as strong as 'Live By The Code', 'The Good Die Young' and 'Shot of Reality', any minor quibbles go straight out the window.

Heavy Metal Kitten Covers!

Apart from the retarded argument about what bands are 'Heavy Metal' in the comments section, this is genius!

Carcass - Surgical Steel and 3 Reasons Not to Get Over Excited About It

This CD has been in my car stereo since the day that my pre-ordered shiny digipack copy of Surgical Steel arrived. Every errand, every commute to work, every drive to the shops it has been on. Shuffled tracks too, so from the openings of the mainly pointless intro '1985' to the official ending of the track with the more progressive 'Mount of Extinction' these songs have haunted me near enough constantly.

I may only be in my car a fraction of the time but I find my self humming a particular riff or remembering a particular hook and the feeling is like a relentless Carcass experience. Not a bad thing most metalheads would argue. The time from release to review here is substantial, and has made clear that there might be three reasons why I or any other reviewer worth their salt could be biased and totally lodge tongues in arses.

Number one: Fan-boy syndrome. I am a Carcass fan-boy yes, I heard 'Corporal Jigsore Quandary' back when I was a long-haired responsibility-shunning youngster and that was it for me. Completely sold, the combination of nasty sounding Death Metal, Jeff Walker's poisonous vocals and the sheer weight of the groovy main riff on that one song alone were enough. However the length of time (about 3 months) has had me question the album over and over again. The media had reacted very strongly in a positive way and this made me nervous, hoping the fatal fan-boy (or girl) syndrome hadn't become an epidemic.

Number two: The fact that this is the first album in 16 YEARS. Ever since the reunion shows from about 2008, two of which I was lucky to see, there has been a buzz about the band. A faint hope that on the strength of these performances and the crowd's overwhelming reactions that there might be new material on the horizon. Then earlier this year the news dropped like a bomb, new Carcass album coming this Summer on Nuclear Bast! Then the track 'Captive Bolt Pistol' acted like a 'single' and became available for streaming as a taster for Surgical Steel. It was extremely exciting, and you can easily imagine many foolhardy reviewers experiencing the journalistic equivalent of premature ejaculation, and giving 'Instant classic', 5 out of 5, album of the month and so on. (You can't have an instant classic – it needs to stand the test of time first surely?)

Third and Final Reason: The new material doesn't suck. That is relief enough to those who have vested time, money, blood, sweat and tears over the years into being a die hard Carcass fan. It would easily be enough to trigger a rushed review and slapped on gold star, but I have resisted temptation. Terrorizer magazine here in the UK released the track 'Unfit for Human Consumption' on a recent Fear Candy CD, and I was so close to letting it all slide. Dignity, integrity and my pure unbiased nature nearly went out the window. It was such a fast, blood-pumping song with amazing clear powerful and melodic leads, the lure was mighty powerful.

After all that, these reasons dissipate. After 3 months a new singular reason emerges to get over-excited about this album. Because its freaking amazing!! It sounds like a Carcass greatest hits but remixed to current standards of production. Occasionally a riff will sound like it would belong on either Heartwork or Necroticism, but there are so many new ideas on here, its more like an amalgamation of the two dragged though a portal to the present day. There is a melding of the two best (I know still up for debate) albums here. Raw, intricate, obtuse but groovy death metal fused with super-slick pulse-pounding melodic metal and it works extremely well.

Many will notice the absence of Michael Amott on this latest album, but as it stands he is not an integral part of this band, the duo of Steer and Walker remain strong and focused enough to write some incredibly infectious material. The appointment of drummer Dan Wilding seems to be a perfect fit. The tightness is most profound on songs like 'The Master Butcher's Apron' with its mighty meaty breakdown after a whirlwind of riffs and blasts from the outset.

A resurrected British metal institution is back firing on all cylinders and with deadly surgical precision, and it just feels great. So many have said how bands like Impaled and Exhumed are what Carcass would sound like today, had they not split. Now they wish they sounded like Carcass, back from the dead! Here's to another great album in an already spectacular line up.

Stripping Down The FIFA 14 Demo - What's In Store?

There are the FIFA fiends, like myself, that will buy this game each year no matter what. This is because the balance between good game-play and the official license with all the up to date players and kits is usually acceptable enough to warrant this annual upgrade. One main problem I have found over the years is that the career mode has never been tweaked to perfection, it all just seems a bit unrealistic (I know its just a game dammit!) when it comes to the financial side of things, and the growth and development of young players.

Notice they have brushed out Gareth Bale from the original artwork...

Another annoying part of career mode – with the fictional youth players that you and other teams scout in the game are all randomly generated which is fair enough. They are given a random body and face, so why the fuck can't their face appear on the player ratings screen like the IRL players do huh? Very irritating. So what about the latest instalment? Slick. Slick is the first thing that comes to mind, a new menu layout with large pictures as the buttons making up each main menu screen, nice stats and visuals when navigating the pause screen. The font they have used for this game is perfect for a sporty interface.

The players are affected by bodyweight, balance and momentum more in this game. The physics involved with ball control and trying to protect the ball or dispossess another player are a lot more realistic. Headers in this game also seem to be more responsive to the direction you push on this stick, rather than FIFA 13 making it incredibly frustrating to score a headed goal when you are certain you have nailed it. I remember when the cross or corner was a beauty and you pointed to the part of the net you wanted to annihilate and it just goes begging, usually over the bar. It is more realistic this time, I mean you cant just head in any old pass or cross your player has to time it right and be balanced and facing the right direction. When its all in place though it feels smooth and natural to whack it in with your bonce.

The commentary is a bit more inspired this time around. Talking about famous events and football history, players back stories is all well and good but is it going to make you want to punch a hole in the screen if you hear the Mancini and Man City fans letters story for the millionth time? The fun and rewarding training mini-games from FIFA 13 are back too, but all slightly different this time. The same categories are all back (shooting, dribbling, free kicks, penalties, crosses etc.) but each one is a new challenge which gives the game another addictive element. Whoever thought of putting these games randomly generating while your game is loading is a freaking genius! The opportunity to fine tune your skills while you wait is such a good idea.

Its a shame the release of this game will be overshadowed by the gargantuan almighty release of Grand Theft Auto V, because they have put in a real effort this year. Only time will tell how the career mode and other game play modes will turn out. It would be a bastard kick in the nuts if they made it look so shiny and play so smoothly to go and spaff it all up the wall when it comes to replay value. So an addict getting their fix, an occasional football game participator, or a complete newbie may all get something out of FIFA 14 if the demo is anything to go by.

Vreid - Welcome Farewell Review

A thoughtful and engaging romp brought to you by the visions of former Windir members, Hváll, Steingrim, Sture Dingsøyr and Strom. A band who definitely deserve more attention than they currently enjoy, Norwegian black metal veterans Vreid are slowly but surely adding to their catalogue of great albums, and the latest Welcome Farewell is no different.

As well as sharing the Indie Recordings label connection, Vreid have a lot in common with Enslaved. They use black metal as the basis of the tone and sound of the music, but as a whole it is so much more. One of the first thoughts that popped into my head as I gave the CD its first spin was “This is how you would want a modern Satyricon to sound”, strangely enough their Norwegian brethren are currently releasing (as of September 2013) a new album via Indie Recordings.

Second track 'The Way Of The Serpent' has an attention grabbing “chorus” in the loosest sense of the word as it contains the title of the track but is not reprised at any time throughout the duration. The serpentine 'Sights of Old' uncoils with a menacing riff and fast paced attack, and then gradually and majestically evens out to a haunting drone of chords at the end.

Let's just hope the guy who posted “Heh, WHERE'D THE METAL GO?? This sucks.” on the YouTube page for 'The Reap' has his comeuppance. He is probably one of the twitching retards that cannot accept metal unless its at 100mph or contains 10-megaton breakdowns. Shame he can't realise the art of metal can flow with this intense speed and sometimes it's most shining moments as a genre are the ones of restraint.

One problem throughout is that the rhythm section, it does rattle and grate and some times sounds a bit like a demented Didgeridoo. It may not be as spellbinding as the majority of Windir's previous works, a but Welcome Farewell is a cracking album. It covers more ground in terms of different ideas and progressions that an average Windir album would, take the title track for instance, still maintaining its punch it manages to go from saccharine licks, quiet and quirky acoustic parts back to rumbling mid-paced groove again with an ease and confidence that must flow through these guys veins. It strikes a balance between big bold production and a raw, gravelly sound to make a very ambitious yet honest and realised record.

Pelican's First Album Available For Name Your Price On Bandcamp

The amazing, epic and beautiful debut full-length Australasia is available for free. Pelican are celebrating a milestone by offering this baby for Name Your Price, but we don't know for how long so quit loitering my blog and go geddit!!! 

Impaled - The Last Gasp Review

Originally posted on Blistering.com circa 2008.

Imagine putting Symphonies of Sickness, Necroticism and Heartwork by Carcass into a car crusher together and that sound is Impaled. Having a lot to live up to since the excellent Death After Life (2005), the Californians have managed to use these influences with a sprinkle of Slaughter of the Soul to create something dangerous and alive. This recipe has spawned a groove-ridden goretastic riff-fest that uses its Carcass influences well to create something altogether original.

Okay, step one. Banned artwork featuring blindfolded victim with entire collection internal organs piled up having being removed via the mouth. Check. Stage two? Military/medical aesthetics. Check. Stage three. Song titles including gory puns on everyday phrases? See “Sickness is Health” “Torture of Duty” and “All Gut, No Glory” (the latter of which has an unbelievably awesome down tempo gore-groove). Stage four? Sickness, epidemic, gory results and military medical experiments. Check!

The duration of this album has lots of gruesome leads, heavy chugging and appropriate blasting make a salacious concoction. Some of the grind has been replaced with thrashier riffs and some bluesy licks a la Amott’s work on Heartwork. It is a true show of stamina resolve and ingenuity that Impaled have made four heavily Carcass influenced albums and keeping each one independent and robust.

The Last Gasp strikes gold with every track, equalling the achievements of last album, 2005’s Death After Life. Each and every song bores its way into your head and they will refuse to leave. Impaled have just reiterated why their discography is so highly revered, and if you want my advice, try to catch them on tour with Origin in the U.K. for an unmissable show. (Tom – only applies now if you have a time machine!)

Cult of Luna - Eternal Kingdom Review From 2008

I am lucky to have such a back catalogue to post on here when I'm busy writing new reviews. Here's a review from 2008, originally posted on Blistering.com.

Cult of Luna’s The Beyond along with Isis’s Oceanic and Pelican’s Australasia, all broke ground in the sludge ridden world of drone influenced post-metal and remain beacons of creativity in the field. The success of each entity has varied over the past half-decade; some have prospered and all have released albums that have been hit hard under the all-seeing eye of the critic.

The omnipresent label gurus maintain that Cult of Luna have evolved into a different being, somewhat more art rock than post hardcore, but the lumbering beast that was Cult of Luna is still here and heavy as ever. Also the band are reputed to have linked all the songs on this album in an underlying concept to create a more coherent output than before. If they weren't doing this previously then it must have been blind luck - the band must have stumbled on high calibre collections of songs which flow and merge together perfectly completely by accident.

Argument aside, the concept for this album makes for most interesting reading. Supposedly based on the diary of a mental patient named Holger Nilsson who murdered his wife and in his head had created a completely surreal world in which the murder was carried out by a horrible monster. Musically this translates to surrounding melancholy and emotional release but also has some truly beautiful moments where the clouds are parted and through the gloom the warm light is allowed to reveal its glory, like during the masterpiece “Ghost Trail”.

The introduction to the tale, “Owlwood” holds a celestial element, giving the music almost zero self-awareness; like a newborn exploring its environment, cautiously testing and probing and asking questions of the sky. Each other song as it unfolds has something special, but at times the attempted accumulation of atmosphere is a little hard to swallow.

Reading like their own diary of reaction to the story of Nilsson and his trauma, Eternal Kingdom is a well thought out and rewarding album. Suitably bleak and equally monstrous this collection sways back and forth like the temperament of a mentally tortured soul with flair.

Pelican - Deny The Absolute Review

This new EP is available on 7” vinyl and via iTunes which has the video for 'Lathe Biosas' from the Ataraxia/Taraxis EP as well as 'The Creeper', 'Strung Up From The Sky' and 'Ephemeral' from What we all Come To Need. The announcement of the retirement of Laurent Schroeder-Lebec from the band although amicable was shocking news indeed, but it has not halted the progress in terms of both output and integrity of this mind-blowing band.

Lets get to the new stuff first. If the new album Forever Becoming due on October 15^th on Southern Lord is anywhere as solid as the teaser track 'Deny The Absolute' then we are all in for another flooring as the riff merchants that are Pelican are going to do the business again. Sounding nothing like any of their albums before there is a steady trajectory towards the stars and promise of discovering newly inspired songs but still brandishing that same Pelican punch.

It is decidedly bombastic, and yet delicate too in its melodic wanderings. The song is mid paced throughout and has different melancholic parts leading up to plenty of uplifting groove. Everything about this song is seamless right down to the sultry production and they really do make it look easy.

The video for 'Lathe Bioas' which originally appeared on last year's Ataraxia/Taraxis (which was a little more subdued and further from the traditional Pelican path) is mostly nonsensical arty images, but the band footage gives you an idea of the raw energy on tap here.

If you are a fan of the band, quit reading this and go listen! 

'Free' Album Download From Rosetta

The latest album The Anaesthete from American band Rosetta is available for a free download at their bandcamp page.

Of course this is a Name Your Price scenario so in theory this album could bankrupt you! Well expect a review here soon...

Revocation New Album Review - I Revoke My Opinion On This 'Awesome' Band

This is a band it is hard to avoid the buzz about. On a major alternative metal label, appearing at huge intentional festivals, and having a few highly recommended albums under their belts. You do get the sense that they don't feel penned in by expectation or genre boundaries and just get the fuck on with making music that makes them happy.

The new self-titled album from American hybrid metal outfit Revocation.

This may be so, but there is one blatant overreaction to this record already. Let me stipulate: the review is spot on and fairly convincing, but 5/5 is too much. With a perfect album you can't wait until your next listen, it makes you want to break the speed limit when you are driving – and sadly Revocation does neither. This is one of my favourite genres too, so I should be the one over-exaggerating. Its easy to get excited about a band or a niche genre too easily when there's not much else to get excited about.

The opening riff on 'Scattering the Flock' is an absolute beauty, a monstrous, twisting destructive force, but then the mid paced-tedium sets in for a bit, and the song doesn't really go anywhere until the uplifting chorus comes in during the second half of this song, 100% worth the wait though! Dave's smooth and sultry solo at the third track 'Archfiend' almost makes up for any irritations and inadequacies this far in and even has a hint of Akerfeldt or Amott magic about it even if it is too short. The earlier part of the song seems more satisfying when knowing it is building up to that moment. The insane twiddles and sporadic blasting are merely appetisers for the climax.

There are so many influences and inspirations but everything here seems fresh. There is song apart from opener 'The Hive' that is purely verse chorus verse chorus solo chorus, and this works very well for Revocation as it has in the past. I only mention this because you feel the foot could stay on the pedal easily with this particular style of modern progressive Death and Thrash metal, and just rely on speed and heaviness rather than creativity and innovation.

The banjo intro to 'Invidious' is hilarious, but does stick out a little. The song it makes way for is an interesting mix of ideas, much as we've come to expect. It starts as a fairly kicking thrash number and then has a bit of hardcore style gang vocals followed by a very fresh progressive section and ending with a tacked-on metalcore style break down. A fun listen but very muddled indeed. Talking of fun the instrumental 'Spastic' is reminiscent of the sound of one of the jollier tunes from Rust In Peace. Like the previous song it has occasional dirty down-tuned riffs and a break down, which gives more mixed signals.

Revocation might seem a bit linear at first, but delve just a little bit deeper and there are plenty of little cute and addictive riffs. There is also a massive sense of urgency on this album. No loitering that's for sure. To deny this band their praise would be wrong, the solos and progressive elements are stratospheric in terms of scale and creativity. The big 'but' is maybe trying to juggle too much at once and dropping some balls here and there. Anyway have a listen, tell people, and for metal's sake – form your own opinions!

How good is this new Carcass song?!

Morning folks, unless it's another time of day in your part of the globe. The new Carcass album Surgical Steel (Nuclear Blast, September release)  is shaping up to be a beauty. The artwork is clinical and alluring. Reminiscent of the Tools of the Trade EP. It is a tempting calm before the storm image, just look at all that surgical equipment waiting to get gory. 

The song that has been posted as a teaser 'Captive Bolt Pistol' is pure Heartwork era melodies and progressions and will instantly put aside any fears of a dud album after such a long hiatus. Unless you are a pure die hard crusty gore fan and think Symphonies of Sickness was their sellout album!!

Legion of The Damned Sons of the Jackal Review from 2007

Legion! Of the Damned! Legion! Of the Damned! This was the anthemic call on the opener of the Dutch brutes debut Malevolent Rapture, an album glorious in its simplicity and dedication to creating modern aggressive thrash with no frills. So now a year on we have Sons Of The Jackal, which in its ideology, structure and work ethic is pretty much the same album over again. Praise be to the gods of metal that the powerful march-thrash-march-blast that was so alluring last time around remains. Words may be had between many metalheads as to where LotD stand on the bridge between thrash metal and death metal, but this is a trifling issue. Whether or not the songs are better on the new offering is also debatable; however the vitality is still there and even a bit of extra vim present on certain tracks.

Contrary to how stirring LotD’s sound may be, all of the songs are pretty much the same, and eager listeners may feel a little cheated. Zoom in from the holistic view and you will discover that these songs are gems, pure unpolluted thrash aggression which is a precious commodity in today’s befuddled and over-crowded metal scene (see “Sepulchral Ghoul” or “Atomicide”). Zoom back out again and the only problem with this album becomes apparent - you can’t help but think you have already heard the track before. LotD fans will love this record; but don’t expect there to be any new ground broken, just a tighter more bombastic production. The band have successfully used the same formula to create some ripping metal, but an itching for some more diversity settles in after a while.

When you have got over the repetition and interchangeable nature of the two albums, there is lots of fun to be had here. Stick this in the stereo and everyone, bar maybe your Grandma, will be headbanging. Sons Of The Jackal is an uncompromising heavy groovy thrash death metal attack, and when you’re looking for a quick fix of neck exercise this fits the bill perfectly.

Alphabetical 26 Genre Metal Song...

Admittedly some of the 'genres' are a bit dubious, but this still made me smile...

Amon Amarth - Deceiver of the Gods Review

Let's get the ball rolling. I fucking love Amon Amarth. Their particular brand of Viking inspired death metal is catchy, yet flowing with both sides of the emotional spectrum, foreboding, loss and sorrow are conveyed with ease and anger, victory and glory seems to run in their veins.

This is another heavily produced and polished Amon Amarth album, continuing the second era of the band which began in 2006 with the release of the mega successful and mega-awesome With Oden On Our Side. Every beat, strum and growl is clinical and visceral. However what lies underneath in terms of longevity? Will this be an album we come back to again and again? Sadly in my humble opinion the answer is no.

When I read about the song 'Hel' (featuring Messiah Marcolin) dividing opinions online, I was excited to hear the controversial song. However a sense of dread was hanging over my investigation. What if it was the worst thing Amon Amarth had done? I mean its pretty obvious which albums and songs are the better amongst the Swedes back catalogue, but none of them are devastating. None of them make you want to skewer out your inner ear and put it in a blender. To my disappointment, there's nothing embarrassing here, nothing controversial, just a deviation from the norm for the Vikings. The song if anything is a bit boring.

Let's have a look at the highlights shall we? Not all doom and gloom, I am glad to report. The sprightly second track 'As Loke Falls' is a cheeky number. Satisfying melodic chord changes in the verse and a suitably epic twiddly lead motif that recurs a couple of times give a sense of purpose to this track. The chorus of 'Coming of the Tide' has that sexy Swedish sheen to the lead, much like a vintage In Flames outing. The whole song is a bit more cohesive and finished structurally than most of the album. 'Shape Shifter' is fun in parts and suitably beefy but seems to be a bit confused both thematically and musically.

There is nothing inherently wrong with this album, and even after several listens there's no urge to hit the emergency eject button and no urge to facepalm. Its quality metal, but nothing new, nothing too exciting. There are a few darn catchy songs amongst some really dull ones, if you want the headline and not the analysis. Whatever you do don't let this album deter you from falling in love with a great band, who have, lets face it have been around forever, and dominate their particular corner of the metal world. As long as they keep their live performances as solid as ever this will be a minor blip, long forgotten on the path to Valhalla.

Gig Review - The Wildhearts, Bristol, 23rd June 2013

The Wildhearts have made so much music over the years is so difficult to keep track of all the albums, EP, b-sides, re-releases and alternative versions, but at their peak you have got to admit they are magic. Whatever mood the day may bring, there's a Wildhearts song to cheer you up, psyche you up, chill you out, and generally make you feel better about all the bullshit that goes on in our lives and around the world. When physical violence is not a viable option, try 'Shut Your Fucking Mouth, and Use Your Fucking Brain' or 'Rooting For the Bad Guy' – take as needed for the seething rage. Having spouse related problems? 'Bi-Polar Baby', 'My Baby is a Headfuck' and 'Just in Lust' will clear that itch right up.

So to the Bristol O2 on a typically cloudy Summer evening in our country. The venue floor was looking a bit bare for water-testers Baby Godzilla, who's crazy heavy rock fused with screamed vocals sounded like a demented Refused got a few feet shuffling and heads nodding by the time they had beaten out their last song. The more radio friendly Eureka Machines were much more widely received and there was a buzz about the band after the gig, with many punters in agreement about this reception.

The opening riff of 'Greetings from Shitsville' rolled out just as if you were listening to the record and was greeted by huge wave of approval. All the way through the rest of the songs the crowed were continually psyched and the band kept standards high. The second half of the gig was no less entertaining, each song being picked by the audience. Two tattooed dudes one stage right one stage left held up signs with a song choice on them, and the premise was simple – scream for the song you wanted to hear when the sign went up. A great idea and a perfect way to top off an already special gig.

The one thing I miss during a good old fashioned rock and roll gig is people holding aloft lighters during a ballad or a slower song. This tired cliche has adapted to the modern age in the form of everyone setting off flashes on their phones and digital cameras at the same time. Before it happened that night, I was skeptical about this phenomenon (Me skeptical?  Nah!) but until you witness it first hand you don't understand how breath-taking it can be so thanks to Ginger and the guys for that one.

Strange times we live in, when I first started going to gigs there was one proper photographer/camera person, and getting hold of a copy of the DVD would be nigh-on impossible. Now everyone but your mum was filming the gig from the crowd and its got 10,000 You Tube views before you've had time to get over your bang-over! So if you didn't make it and you're a Wildhearts nut, just check the net, there will be a video of some of this tour somewhere no doubt. Crazy yes, but if this makes amazing music more accessible to the waiting world, here's to the future.

Psycroptic - Ob(Servant) Review from 2008

An old (but good!) review here from 2008, originally posted on the now defunct Blistering.com. Australian Death Metal brutes Psycroptic's album Ob(Servant). Enjoy.

Much like death metal gods Nile, a change of label onto German based merchandise machine Nuclear Blast signals a change of the winds that lift the sails of Psycroptic. A path has been cleared to a wider audience and the pressure of morphing into a more accessible sound could play a part in the evolution process.

Psycroptic fans across the world will be holding The Isle of Disenchantment (2001) and The Scepter of the Ancients (2003) as benchmarks for comparison, and must be hoping the Australian’s fourth full length album Ob(Servant) will uphold the quality of these two killer releases.

Like a greyhound out of the gates, the title track will mug you and be gone again in a flash, but on the whole the balance between break down and break neck is apt. The groove seems to be from Pantera/Southern style riffs in certain places instead of the laid down beats from before.

'Slaves of Nil' starts off pure Dying Fetus, again using the swagger of the heavier groove and occasional pinched guitar squeals to kick things into gear rather than the blinding speed and trickery of old. Not bad, I admit, but after the slowing down of bands like Decapitated and Morbid Angel, it all just seems a shame that another titan hasn't achieved full technical potential.

The glory of Psycroptic and their incandescent technicality is that it all operated on one level and is a whole output, unlike some bands who may have blistering speed and finger work but over-complicate things and miss the ‘impact’ button on their way. Ob(Servant) avoids this throughout. On the flip side some have condemned Psycroptic’s music as direction-less and hence ultimately not rewarding, and this does stand true to some extent on this latest release.

Replacing what would normally be a intuitive, eye-popping twist with a bit of basic hardcore and having bland vocals that sound like Peter Dolving instead of the pick and mix grows and gurgles may be steps towards musical maturity, but fails to excite and are largely disappointing. Ob(Servant) will not alienate too many fans and will definitely make some new ones. If the next release is a firecracker the name of Psycroptic can safely take its place in the hall of death metal fame.

The Black Dahlia Murder - Everblack

I remember well discovering The Black Dahlia Murder way back in 2003 when I was a lad, hearing 'Funeral Thirst' and having my face ripped off. Good times. Unhallowed may not be the strongest in the lineage of this band, but as a starting point it was a solid one and a very catchy, diverse and had that distinct sound that they are still blasting out today, and long may it continue. Fast forward a decade, with two core members being replaced (drummer Shannon Lucas & bass player Bart Williams), can Everblack live up to the expectations of the huge fanbase the band has accrued as well as the critics and reporters of the metal community? Read on...

Proceedings open with a take it or leave it intro, a little too long for a record aiming at impact rather than atmosphere. The first tune 'In Hell Is Where She Waits For Me' is dynamic, jumping out of the gates with pounding forward motion and catchy riffs. I was sold on the song 'Phantom Limb Masturbation' by the title alone. Turns out the song is a meaty churning organic vessel of heaviness, echoing the filthy 'Eaten' by Swedish all-star band Bloodbath both thematically and musically. 'Every Rope A Noose' is the heaviest, most malicious track on the album in terms of pure atmosphere rather than the crushing element of the rest of the record. It could easily be on a black metal release, and probably trump it – it's that good.

'Raped In Hatred By Vines Of Thorn' sounds like Be'lakor at the beginning, but soon feels like a vintage 'Dahlia Murder track. This is a similar vibe to the title track which is good indeed and in the vein of previous work, but lies a little flat compared to the explosions that some songs deliver. Another track which is a little bit of a dud is 'Goat of Departure'. Definitely a departure from the high standards of the rest of the album, c'mon guys – gang vocals on a melodic death metal track? Fail.

This is no game-changer so don't lose your shit, this is simply a solid album by a solid band, unperturbed by line-up change, the inevitable haters and other pitfalls. The mighty metal blade have got themselves a institution on their hands here. The Black Dahlia Murder are a mainstay of the metal scene - like it or not!

Off Balance - On Thin Ice Review

UK hardcore band Off Balance have a self-released EP out, and it has been my pleasure to give y'all the scoop. For an instant reference point how about a cross between Sick of it All and the vocals of Scott Vogel from Terror but a bit harsher. The opening track in fact instantly has that sound that could place it on Live By The Code. A little tinny yes, but perfectly acceptable for a band at their stage.

A very engaging little EP. 'Bricks' has huge amounts of anger, but portrayed through some interesting ideas. Probably the standout track, but shouting out 2013 at the beginning of 'Despite All Your Deepest Fears' doesn't have the same ring to it as the mention of 1994 in Machine Head's 'Old', but as soon as you hear "Kick It!" all is forgiven, and laying waste continues!

Got to love the lyrics, a bit more clever than the usual boneheaded honour, valour, family cliches that 'ardcore bands usually go with. "Tell me how you're big in the scene, nothing more than a pair of tight jeans". Another notable thing about this EP, the kick ass artwork. Cartoon renders of the band playing on stage just seems to click with the spirit of this recording, a serious message and some spiteful music, but with tongue firmly in cheek.

This may not break any new ground or revolutionise anything, but for an unsigned effort this reeks of quality. It has longevity in its simply memorable songs. Any fan of the genre would be a fool not to take a few minutes out of their lives to check this bad boy out. If you aren't sold with hardcore it still could be worth a listen. It could open the floodgates to a passionate and welcoming scene.

Listen and get in touch here: http://www.facebook.com/OBEHC

Darkest Hour Sign To Sumerian: Their Darkest Hour?

American hardcore/metal act Darkest Hour have been pumping out quality albums since the early noughties, with the 2003 pummeling beast Hidden Hands of A Sadist Nation bringing them to a larger audience. And as of June this year they have signed a deal with Sumerian Records. This

So what does this hold in store for the band? Sumerian Records have pushed bands like Born of Osiris (worth checking out) and Veil of Maya to the public attention. Will they start throwing djent jams all over the place and wimp out with triple-brutal-slam-metalcore-breakdowns?? Let's fucking hope not.

Consider Converge moving to Epitaph (admittedly a respectable and worthy label), not exactly surrounded by bands similar to their ferocious and emotionally punishing music, but they persevered and released an ass kicking album.

YES.

NO. FUCKING NO.

State of Decay Review - Community Shelter Manager?

State of Decay is fun. Let's just admit it. It has plenty of flaws yes, but fundamentally it gets things right. Finally! A Walking Dead style game that actually resembles the experience of a zombie infested world. Definitely not the first decent zombie game to come along, but it isn't about the flesh creeping horror of the early Resident Evil games, it isn't about the gore-obsessed Dead Rising games. As strange as it sounds it is the most realistic zombie survival game. It almost feels like it was developed by a hardcore think tank of the sort of dudes that write these semi-amusing, semi-serious Zombie Survival Guides.

Okay so what are the key points. Exploring - a large open world sandbox environment with many abandoned (or so you think!) buildings and settlements. Fighting - using your fists and feet, melee weapons or guns and explosives are all equally satisfying. Survival – increase your chances of making it by sticking together, finding resources, building bases and developing character skills.

My experience of playing this game was very enjoyable if not punishing. I began rather blasé, hacking away at zombies with a variety of melee weapons much to my approval. As the game pans out and your posse head to a larger settlement, my Rambo approach was not rewarded. The character realisation in this game must be good because when I first lost Maya, who was sadly torn apart, I genuinely cared.

For you Maya!

It also dawned on me how difficult the next few hours would be gathering supplies and exploring random abandoned buildings, cause they are EVERYWHERE! Sneaking is tough and its hard to keep your cover all the time. Any activity apart from breathing seems to attract these mindless undead.

One issue with the game is possibility of repetition. Another is the fact that all the male characters that you can switch between seem to sometimes have the voice of Marcus the guy you start off controlling. The graphics are a little crude as well, with some lag to be expected. This is nowhere near as ambitious graphics-wise and in terms of map size as say Skyrim.

An unfortunate time to be releasing this game as Fans of the zombie concept in general will enjoy this game as the way it plays is well paced and rewarding, so get stuck in and see if you can last in the remorseless world in State of Decay, or you might be waiting until the apocalypse for a better game in the genre. If the guys and girls down at Undead Labs jump on it right away and focus on the weak points but keep the essence of this game pure, then a potential sequel would be mind-blowing!

ASG - Blood Drive Review

Well, all the cool kids are talking about ASG eh? Especially now they have been picked up by the metal label of the 21^st century so far Relapse Records. The band's discography prior to Blood Drive has been stellar. The raw sounds from their first few releases were tuned up for 2007's Win Us Over, but they managed to keep all the songwriting inspiration flowing. The charm of this band is contagious indeed, so does the new album live up to all this media hype?

Baroness could take a leaf out of ASG's book, this is how you write a mature album, not the misfire that was Yellow & Green. Well maybe its the other way around here, when you hear 'Stargazin'' the first thing you think is how well it would slot in to the Blue Record. They have a haunting air of Alice In Chains at some points, but Blood Drive is much more metallic overall in terms of the riffage. Just listen to 'Hawkeye'. Kylesa anyone? This is one of the more punchy tracks on the album, but it still holds on to a fragile nostalgic sorrow.

So, to the highlights. Starting with my reaction of “Fucking Hell” when 'Castlestorm' comes blasting in - what a track! This excites my erogenous zones. Brooding, heavy but collected and rewarding, similar to 'Children's Music' - a great song with a soaring chorus. When 'Earthwalk' finally awakens it is like a moment of clarity. You hear the band saying, “Come with us and see what we can see”. Beautiful.

There is a bit of a tailing off at the end of the album, 'The Ladder' slows things down but doesn't reduce the listening quality. 'Good Enough To Eat', the final farewell is an even more sombre offering. Don't let this discourage you, this is still a top quality album. If the power of the riff compels you, grab this record, a couple of beers, take it outside and crank it. Just in time for summer, enjoy folks!

Metal Blade Streaming Entire New Black Dahlia Murder Album Everblack for 24 Hours Only

Until now the song 'Into The Everblack' was all we were allowed to hear and this snippet sounded very tempting. Not a full-blown guns blazing track, but still a stocky and powerful tune. I am not one to turn down a freebie so this will be  blowing my speakers for the next couple of hours. Full review will be posted right here in a matter of mere days people, get excited.

Listen here.

New Chimaira album on the way on July 30th, Crown of Phantoms. Check out a six minute track-by-track preview here.

Also check out the video for 'Year of the Snake' here.

It sounds tasty if not a little djent-ified if you ask me, maybe influence of new band members?

Insect Warfare - World Extermination Review

Another old one today folks, Insect Warfare's insane album World Extermination, originally posted @Blistering.com 2009.

Board your windows up people, if you haven't heard Insect Warfare's World Extermination yet: 1) why the hell not!? And 2) its a fucking barnstormer. Originally released back in 2007, I first heard the 'Warfare on a Burnt Alive compilation supplied by Razorback Records in 2008 sometime, and of all the awesome gore and grind at my fingertips, all I could focus on was the relentless brutality of the band.

The one minute and 20 seconds of a demo version of “Human Trafficking” was too much for me. I wasn't going to sit there and twiddle my thumbs while Insect Warfare were ripping faces clean off skulls, and I'm damn glad I did something about it. The aforementioned tune and stunners like “Necessary Death” and “Self Termination” were what awaited me when I plunged head first into the album. What I was hearing was essentially by the book, but somehow so refreshing and vital.

As the textbook has been written, so shall the disciples of the mighty grind follow: the album comprises of 20 top notch stop and go extreme metal diatribes. Build it up tear it down, all in a matter of seconds, you know the drill by now.

Any chump with a head for speed can make a grind album, but one that seems to make perfect sense, with everything in the right place is a totally different matter. Each outburst is fast, groovy and fuckin’ evil and gives you just enough time to wrap your mind around it before the next blast begins.

Lyrics hang towards the political and shine a flash light on the evils and squalor of human nature a la Napalm Death, Terrorizer, Nasum and Brutal Truth rather than the guts, blood and faeces of some comrades. Even the cover owns the majority of the CGI or art pretentious wankery that adorns many a sleeve out there. Old school, hand drawn, an army of cockroaches infest a decaying cityscape with the ominous figure of death lurking behind. Fantastic.

Emulating your idols old and new but with a kick of originality, Insect Warfare have already forged a underground fave with World Extermination, which through proper media channels is set to be a grindcore classic.

Related links:

www.myspace.com/insectwarfare

Cryostorm - Version Review

Here comes the hard part – trying to contain excitement when trying to describe this album to you guys. I could always go for the lame approach that some damp squibs still use and break the album down track by track (yawn). I'll keep it simple, I know how rushed everyone is these days...

1. Cryostorm - awesome

2. Vitality - awesome

3. Solacing - awesome

4. I Am Anomaly - awesome

5. Vivify - awesome

6. This Vivid Night - awesome 

7. Septentrion - awesome

8. Fate & Evolution - awesome

9. Taciturn - awesome

10. Vorticity Spiral - awesome

11. Apocrypha - awesome

Are these these same songs we heard back along on Destroyer of Ardor? This band have upped their game considerably. The production is amazing, everything has been tightened to the level of a witch's cleft! At their heaviest, the songs blaze with the intensity of a thousand suns. The vocals are relentless in their ferocity and their schizophrenic mutation from growl to scream is seamless and impressive.

Do you remember Trigger The Bloodshed? Meh. Ignominious Incarceration? Barely. They were future of UK Death Metal apparently - gracing the cover of Terrorizer magazine, pandering reviews, plenty of interviews (one by yours truly) but nothing became of them. They didn't have the song writing chops to back up all the hype. Version is different. Cryostorm have not been surrounded by lots of media buzz – until now no doubt. Everything here takes its influences admittedly, but it is fresh and invigorating to listen to, these songs are instantly memorable. They have carved out something satisfying from their collective knowledge of metal.

There is a well balanced blend of Bloodshot Dawn, Darkest Hour (circa The Eternal Return), Dark Tranquility, In Flames and Scar Symmetry on show here. While all the aforementioned have their faults there doesn't seem to be a weak point on Version. It's all adrenaline all the time, despite all the songs not being full tempo all the time. The little twists and turns, the tasty little transitions are all brilliant, like the Pantera stomping groove on 'Solacing' and the sweet moment at the end of the solo on 'I Am Anomaly'.

But what is more impressive is the real hooks in these songs. Its all to easy today to make heavy music that is flaccid and uninteresting, but this album has a creative spark that can be seen from space, and will propel this band to a big label and big things no doubt. The only advice I would offer is maybe deepen the atmosphere a tad, maybe add some more longer or more progressive songs (like 'Apocrypha'). Get of your apathetic arses people, this one is well worth your time!

Hear it here: http://www.metalunderground.com/news/details.cfm?newsid=92145

Band Page: www.facebook.com/cryostormband

Altar of Plagues - Sol Review

Another blast from the past! It's interesting to find out what I wrote 5 years ago has come true...

Originally posted 2008 @ Blistering.com

Irish newcomers Altar of Plagues bring a very compelling and thought provoking platter to the table. A mix of post hardcore dreamscapes, bile infected sludge and cold black metal. Like Wolves In The Throne Room; a trance like experience hazed out whilst finding new directions whilst clinging loosely to the bones of by-the-numbers black metal.

Despite the appetising appeal of Altar Of Plagues on paper, Sol is trying to achieve great scope, but sometimes doesn't reach the apex over the distance covered (geometry finally has a use…in metal!?). The problem is too much variety.

Inevitably, the peripheral passages surrounding the black melee are mixed in style and quality, for example the final track ‘With Fire In Our Veins We Drown In The Light’ captures the loneliness and trauma of Thorr’s Hammer or Burning Witch, but also starts off sounding like the Deftones on auto-pilot.

The variety of vocal delivery is good and each style of larynx release slots in well with the music at each given point. We mustn't delude ourselves that this variety in musical styles is a bad thing, on the contrary. Altar of Plagues have demonstrated an ability to keep a strong vibe consistent throughout their EP, a lurking evil and imminent malevolence.

Certainly an individual amongst an ever increasing crowd of mediocrity, Altar of Plagues will definitely be filed under high potential. The material on Sol would effortlessly translate to a live setting and would make for a transfixing viewing. An EP to prove strong capability and unsullied ideas, now what we want from this band is a mind-boggling full length, please.

www.altarofplagues.com

www.pofoundlorerecords.com