Last Chance To Reason - Level 2

Band: Last Chance To Reason

Album: Level 2

Genre: Progressive Metal

When one thinks of Progressive Metal, chances are, bands like Dream Theater, Cynic, and maybe even Opeth come to mind.  With their newest album Level 2, Last Chance To Reason aims to change the playing-field of the genre.  Having known these guys, and watching the band grow over the years, one may say this review is a bit biased.  But, all bullshit aside, this album kicks fucking ass.

Level 2 is a concept album focusing on the main character being trapped in a mysterious digital world.  He must battle his way through said world by any means necessary to survive.  The real kicker is that this album acts as the soundtrack for a video-game with the same title, also created by the band.  Though the game is yet to be released, there is a demo, which you can download here.  But while we wait for the game to be finished, here are the goods on the album:

Let me just start off by saying that there is a good chance that this may be one of the most cohesive albums to hit the shelves in a decade or two.  When listened to all the way through, the album seems like one 45 minute song.  It's incredible.  The flow/pacing of the album is one of its strongest aspects.  Each song packs it's own unique build to a climax.  But, when put together, each track creates the build to the epic climax of the whole album.  It's a true testament to the musicians skills at writing.

Lyrically, the album is a huge tease.  This statement isn't to be taken negatively.  Quite the contrary.  Given that the album is to act as the soundtrack to the game, a lot of the lyrics hint to the action and/or plot-points in the story of the game.  And, well, from what I'm getting out of the album and lyrics, the game will be nothing less than epic.

As far as how the music sounds when combined into songs - Prepare to shit your pants.  The technicality and precision to which each song is executed is breath-taking.  Constant changes in time-signatures, as well as the different layering to all the instruments and the fusion of both heavy metal riffing and progressive rock elements  give Level 2 a heightened sense of musical sophistication, while also bringing the album to life in a way few musical groups have ever achieved.   Any group of assholes with instruments, and an attitude to "fuck shit up," as the scene kids like to say, can make a CD, but it takes talented musicians to do what LCTR has done here.  After listening to this album in it's entirety for what is, I believe the ninth or tenth time, I feel as though this album stands as a physical, and musical catharsis for these guys.  The emotion behind the music screams far louder than any amp can go.

Produced by the master Jamie King alongside the band, the overall sound of the album, along with the music itself, is flawless.  All of the instruments have an audible and prominent sound, yet blend together so well to create something more than just a nicely mastered song/album.  Upon numerous replays of the album, you will be able to pick up on even more additional musical contributions.  Like I said, this album is insanely layered, and demands multiple replays.

As far as Progressive Metal goes, consider Last Chance To Reason one of the new titans of the genre.  This album is for anyone who has an interest in the genre or true musical talent.  To see if LCTR is coming near you, check their MySpace or Facebook.  Level 2 was put out by Prosthetic Records and can be found on iTunes as well as Amazon and a record store near you.  I highly suggest you go and pick this up.  

As far as the score for this album goes - The readers can give me shit for it, but all biases aside, this is one of the most phenomenal albums I've ever heard.  This is why I'm awarding Level 2 my first, and possibly only 10 out of 10.  Congrats guys!

Score: 10/10

Thomas Giles - Pulse

Band: Thomas Giles

Album: Pulse

Genre: Progressive/Experimental Rock/Electronica

Alright all you die-hard BTBAM fanatics.  The time has come.  Tommy Rogers has just released his debut album for his solo-project entitled Pulse.  The album is different to say the least, with familiar traces of the ambiance that is brought to Between the Buried and Me, through Tommy Rogers' presence.  That's all well and good, but how does the album stand, on it's own?

This album, is very different, in the sense that it's very "out there."  It has elements of rock, infused, at points, with odd electronica beats and keyboard-play.  Overall, Rogers, delivers a solid work as a whole, that really shows the creative ability to push the limits of his musicianship.

If you've been a fan of BTBAM since the early years, I think you can all agree that through the years, you can see a vast progression in the vocal abilities of Rogers.  The chronology of Tommy's vocal advancements was not put to a halt with the release of  Pulse.  Honestly, Rogers give his most solid vocal performance to date on this album.  Perhaps it's because he doesn't utilize his screams very much, or perhaps it's because he's just learned over time.  Regardless, it sounds very precise and wonderful.  A prefect example lies in the chorus to the opening track on the album, "Sleep Shake."

As far as the music goes on this album, I think it's safe to say that it is very layered.  Not in a bad way of course.  You just pick something new out of the background of sound every time you give the album a listen.  I really enjoyed the fact that the keys and synth are, in a sense, the "main character" of the instruments on the album.  I always enjoyed the ambient synth passages, or the elegant ringing of the piano filling the void of silence in said songs.  Rogers also incorporates elements of guitar, implementing very soulful, relaxed, and tranquil solos, as heard in the third track on the album, "Mr. Bird."

Other tracks on the album, such as "Scared" (track six), take on the tone of an indie folk artist.  It's simply Tommy and an acoustic guitar.  It sounds terrific, for he knows how to play, as well as keep a tune.  He doesn't try too hard to show off with his play, nor his vocal abilities.  He keeps it simple, and it pays off.  While Rogers doesn't noticeably try too hard to impress his audience, he still transcends all his prior work with this album.  That's a sign of a true musician.

I found Pulse to be a rather well balanced album.  All of the tracks seemed to meld together to form a solid cohesive whole, while still possessing the individuality of each individual track.  This can be said for every track on the album, minus track four, entitled "Catch & Release."  I found this track to be the metaphorical crack in the foundation, that left this album a little short from perfection.  Essentially, "Catch & Release" is a three minute and twenty-five second song with club beats that sounded too close to dubstep for my taste, harsh vocals that didn't match the vibe of the song, and the deep, talking vocals that just sounded awful.  I hate to say it, but the song sucks.  And, it really disappoints me, because had the song been different, Pulse would have, without a doubt, gotten the first 10 out of 10 on this blog.  Unfortunately, that's not the case.  Luckily, the rest of the album is so good, this one track didn't ruin the rest of the album.   Track four is the only complaint I have with this album.

So, if you're a fan of Between the Buried and Me, or dig any sort of progressive or experimental tunes, I highly recommend this album.  It's most likely already in my running for the top albums of 2011, and I'm sure will remain there until the decision is made.  This album is filled to the brim with musical talent, layered ambiance, and overall terrific tunes that are likely to please the ears of many.  Give this album a listen.

Score: 9/10

Anal Cunt - Fuckin' A

Band: Anal Cunt

Album: Fuckin' A

Genre: Noise-Grind/"Cock Rock"

Love 'em, or hate 'em, Anal Cunt has made their mark on the extreme metal scene over the years.  Whether you remember them from I Like It When You Die, or Picnic of Love, you remember the band for their ridiculous atmosphere and "fuck you attitude."  Their latest effort, a take/parody on the 80's clam rock metal scene simply entitled Fuckin' A, held a lot of mystery and skepticism towards me when I first heard about the album.  My hesitant feelings were relieved from the first track, when I heard that the album actually kicked a lot of ass.  Here are all the juicy, sweaty, heroine induced details:

After hearing their first parody album, "Picnic of Love," I was almost certain that this album would be purely for entertainment value, stemming from how genuinely bad the album was as a whole.  I pressed play and the first track, entitled "Fuck Yeah."  To my dismay, the band actually put together a good collection of riffs and beats to give you the feel of the 80's, yet sloppy enough playing and production to still have the feel of an Anal Cunt album.

The album as a whole, is very cohesive and entertaining.  All of the songs feel right at home with the others, and while you may be disappointed that your favorite song on the track has just passed, the feelings will subside within 15 seconds of the following track.  One of the main contributers to the entertainment value of the album is it's intensity.  While the whole album sounds more like an 80's metal album, you'll be able to pick up hints of Motley Crew attitude mixed with Judas Priest style riffs, as displayed in the track "Hot Chicks on the Road," and "Whiskey, Coke, and Sluts."  

I have to say though; More than half of the intensity that resonated from this album is spawned from the vocals of the legendary Seth Putnam.  He provides two rather lengthy screams with pin-point precision in "Whiskey, Coke, and Sluts," and one jaw-dropping scream on the last track of the album.  All of his screams are precise, raw, and almost have a tinge of black metal mixed into them. It's an interesting combination of effort and sound on his behalf, considering I saw Putnam limping around with a cane this summer at an EYEHATEGOD show in Cambridge, MA.  It's good to hear him getting back into the groove of things, and coming harder than he ever has, on an album, before.

The other instruments on the album are surprisingly tight, coming from Anal Cunt.  Clearly, if you have heard any of their other albums, you'll recognize just how truly sloppy they play.  Whatever - It works for them.  But I digress.  The album has a nice flow generated by the instruments.  The guitars provide delicious little bits of feedback, and the drums hold solid, fast beats that really manifest the spirit of true 80's metal into the album. 

I only have a few complaints as far as the album is concerned.  There are a few sections of the track "Yay! It's Pink!" where Putnam's low growls kind of muck up the rest of the bands flow, simply because it's the raw vocals of old Anal Cunt, but it's far too loud and overpowering for the song.  Also.  While Anal Cunt does a great job melding their style with the 80's metal scene, it still just doesn't feel like a real Anal Cunt album.  I appreciate it for what it's worth, but I can't help missing their original noise-grind style.  Clearly, they can't do that given the genre that they are paying homage to/mocking, but I just feel like the album was restrained in the sense that the band couldn't fully be themselves.  But regardless, this album rocks.

So, if you enjoy any of Anal Cunt's past efforts, or you just dig 80's metal a lot, I highly recommend checking this album out.  It won't be the same Anal Cunt you used to listen to, but it's Anal Cunt none-the-less.  It's a light, fun, and catchy album that has a great replay value.  So go out and pick this shit up!

Score: 8/10

Nails - Unsilent Death

Band: Nails

Album: Unsilent Death

Genre: Grindcore with Crust and Hardcore Influence

Southern California grind trio Nails if following up their 2009 release, "Obscene Humanity."  Attacking the senses with hate, aggression and an attitude that screams "Fuck you all," "Unsilent Death" is a noteworthy release in the genre of grindcore and crust hardcore.  Lets see what makes this album worth your time:

Grindcore is a pretty difficult genre to expand on, granted that the majority of the music is pure chaos.  One of the things I appreciated most about this album is that it didn't try to go above and beyond with the expansion of the genre.  Nails is simply a group of dude who just want to play loud, pissed off music.  That being said, there weren't any failed efforts in transcending the genre they were making music for. The simply did what they new best, and it shows in all fourteen minutes (that's right - fourteen minutes) of the album.  

So, you're probably asking yourself, "what does the album actually sound like?"  Put simply, it sounds like unharnessed mayhem.  The crunchy guitars and low tuned bass give the album a pleasantly dirty grungy sound that any grind fan will instantly appreciate.  Passages of feedback and slow breakdowns give the album a subtle taste of sludge and crust punk.  The drums sprint at times with tasteful grind-blasts, and then slow down for the slower, crusty passages.  The vocals on the album are a clean 50/50 split of unrestrained hardcore yelling, mixed with a harsh taste of metal screams.  Put together, you get a take on grindcore that is original, yet still plays back to the ways of the greats like Terrorizer.  So, while it's been done before with other crusty grind bands, Nails has created their own, take on the genre, and it sounds prime.  

Now let's take on the other end of what the album sounds like - The production.  Granted, these guys are still a somewhat smaller, unheard of band in the genre, but the production on this album is damn near spotless.  It has a raw, almost D.I.Y. feel to it, as well as a polished, coherent sound.  When these two aspects collide, it becomes every grindcore fans wet dream.  The production adds a certain level of heaviness to the overall product, and it does nothing but compliment the work the band has done.  

My one complaint on the album, beside the fact that the album is only fourteen minutes long (which is a pro and a con for the album), is that due to the low tuning of the bass, and the raw aspect of the production, sometimes the instrument gets a little drowned out.  Obviously, it is more audible during the slow riffs on the album, but, during the speedy grind riffs, the bass is left M.I.A. at times.  But, this is only a minor gripe, and it certainly didn't ruin me enjoying the album and the replay value that it possesses.

So, if you're in the mood for some fresh, more underground grind or crust, I would highly suggest checking "Unsilent Death" out.  It's definitely one of the more noteworthy albums I have heard this year, and it will definitely be in my iPod rotation for months to come.  So, what the hell are you waiting for?  Go out and get yourself a copy.  Now.

Score: 8/10

Vulvectomy - Post-Abortion Slut Fuck

Band: Vulvectomy

Album: Post-Abortion Slut Fuck

Genre: Brutal Death Metal (Slam)

What can be expected from a band that takes it's name from a medical procedure in which a surgeon removes a woman's vagina?  Pretty much what you expect from every other slam band out there today: Guttural vocals, crunchy guitars, blast beats, audio samples and lots of slams.  For those who are unaware, a "slam" is essentially brutal death metal's version of a breakdown, except that a slam offers a lot more groove, and a lot less shame to the listener.  Bands like Vulvectomy are defined by how good their slams are.  So, what is the band bringing to their 2010 release "Post-Abortion Slut Fuck"?  

Lets be honest.  Brutal death/slam is by no means the thinking-man's metal.  It has a reputation for being rather retarded.  So, lets not delve too deeply into the smarts of this album, and get to what the true fans are wondering about (if you still haven't heard the album by the time this review came out): The slams!  As far as originality goes, Vulvectomy did the best they could to generate some good grooves that kept the audience listening.  Tracks like "Eugenic Sterilization" and "Gangrenous Testicular Deformity" display fresh slams that not only allow the listener to enjoy the music, but distinguish it from other tracks as well.  Though it's not the best slam release that I've heard, it definitely separates itself from the heard of mindless bands that are churning this stuff out.  For a frame of reference as to what shitty slam sounds like, I suggest The Slamburglars.  But I digress.  What else, if anything, makes this album worth your time?

Not that this is one of the things slam fans generally care too much about while listening, but the grind-ish death metal riffs in between slams are only up to par on this album.  While some credit can be given, especially to the drummer, for musical talent during these passages, all of the riffs just kind of meld together, and can really throw you off as to what track your on.  All I'm saying is that this aspect of the album doesn't compliment it as well as it could have.  It's not exactly a bad thing, since they don't suck, but it isn't exactly a good thing since they aren't extraordinary by any means.

One thing that I was glad to hear was the firm tone of the guttural vocals on the album.  True there isn't much variety when it comes to guttural growls (unless you're talking about Heinous Killings), but front-man Diego Fanelli does a great job of delivering a good tone and consistency to his vocal contributions on the album.  It takes the album up a few notches, personally speaking.

As far as the production goes on this album, I was a tad disappointed.  The album sounded a little too polished for my taste.  While the audio clarity gives the listener an opportunity to better distinguish the musical aspect of the album, it also somewhat robs the type of raw, gritty experience you could get while listening to Devourment's "Molesting The Decapitated."  I'm not sure if I consider this a downside to the album, so the issue shall remain neutral.  In the end, it all comes down to preference.

My final gripe about this album is the choice of audio samples.  They just aren't as deprived as they seemed to be on Vulvectomy's first full-length "Putrescent Clitoral Fermentation."  The samples provided on this album just feel too dry, and lacking in either a punch-line or disturbing essence.  It was definitely a let-down.  But, luckily, samples don't make an album, so it isn't that detrimental to the album as a whole.

The final verdict on this album: Go get it.  It's definitely a noteworthy contribution to the genre of brutal death/slam, and can definitely be listened to multiple times.  I'm not sure that it surpasses "Putrescent Clitoral Fermentation," but it is a solid album for any fans of Vulvectomy or slam in general.  So, get in touch with your primal urges to kill, defile and degrade the purity of human life.  Go out and get this album!

Score: 7.5/10

The Ocean - Anthropocentric

Band: The Ocean (US)

Album: Anthropocentric

Genre: Progressive/Atmospheric Sludge/Post-Hardcore


German heavy-hitters, The Ocean, return from the drawing-board with possibly the most intricate music in their sixth full-length album "Anthropocentric."  This release is a cumulation of  all the music these guys have made in the past, and I have to say - It sounds amazing.  You may be wondering, "what sets this album apart from their last full-length "Heliocentric?"  Here are all the juicy details:

The Ocean has always been a band that you could see progression in musical style and skill throughout their releases.  Some aspects took longer to improve on than others.  I'll be honest.  By the time "Heliocentric" came out, I was still not completely impressed by the clean singing that was being recorded on the albums.  While I felt that the vocals always fit the music, I always found myself frustrated in the fact that the clean vocals were always inches away from the line that distinguishes the good clean vocals from the great clean vocals.  I'm not sure if the vocalist got better with his voice, or the band got better at making the vocals blend with the music more, but, regardless, the cleans have crossed the metaphorical line, and truly sound great.  This new found vocal beauty gives "Anthropocentric" the most mature and distinguished release in The Ocean's repertoire thus far.  For the most part, the screams have transitioned over from the last album, which is a good thing.  Once you've got a solid growl mastered, there is little to no reason to change it.  The growls on "Anthropocentric" as deep, full growls that match the other instruments well.

Instruments wise, this album is a gem as well.  Though The Ocean has had a pretty consistent sound throughout most of their albums, the riffs and beats of this album are fresh, catchy, rolling and sluggish at the same time.  Though this formula is more than familiar, the band did a great job at not letting that restrain them from writing tracks that are reminiscent of older tracks, yet completely new at the same time.  My favorite track off the album, "The Grand Inquisitor II: Roots & Locusts," is the epitome of my last statement.  With style similar to the track "Metaphysics of the Hangman" off their last album, the track blends heavy, whipping riff-action with a fast-paced chorus that sticks out as the high-point of the album.  The only difference is "The Grand Inquisitor II" is a far better track.

If you haven't noticed yet, The Ocean isn't in the bizz for making a few decent tracks to stand out from an otherwise bland album.  Quite the contrary, they are in the bizz for just making whole albums into experiences.  This is done through using the tracks of the album as vessels for carrying the overall mood of the album through it's duration.  This is precisely what The Ocean does on this release.  Through stellar pacing, and an atmosphere that could, well, fill an ocean, the band creates more than just an album on "Anthropocentric" - They craft a fine-tuned atmosphere that works in complete unison.

Though this album has many areas in which it demands high praise there was one place that kind of dropped the ball for me.  It spans from the sixth track on the album, "The Grand Inquisitor III: A Tiny Grain of Faith."  While the track sounds cool in it's own respect, it features a female guest singer (To whom I don't know a name), and doesn't hold much musical content other than a fancy violin section, and a spacey tonal passage.  In short - The track seems like filler to me.  It was a huge let-down, and frankly, the more I listen to the album, the less I like the track.  It wouldn't have been such a let-down if the rest of the album weren't so damn good.  But to have such a rolling album come to a halt for this one outcast song was a major disappointment on my end.

Luckily, this one song wasn't nearly bad enough to ruin the album.  If you're a fan of any of The Ocean's previous works, I highly recommend you check out this one.  Combining all aspects of past releases, it delivers a punch so hard that it comes up just inches behind the bands magnum opus "Precambrian."  This is not an album you want to miss out on.

Score: 8/10

Pathology - Legacy of the Ancients

Band: Pathology

Album: Legacy of the Ancients

Genre: Brutal Death Metal

Releasing now their fourth full-length album, brutal death metal band Pathology brings some heavy and technical riffs to the table with "Legacy of the Ancients."  But are those riffs good enough to stick out in a sea of brutal death metal bands already going strong?  Here's your answer:

Going into this album, I didn't have very high expectations.  These guys being on Victory Records just kind of rubbed me the wrong way.  Generally, Victory tends to churn out the "metal" bands that have more hardcore influence than legit metal influence.  Don't get me wrong.  I love me some Between The Buried and Me, but that's neither here nor there.  Regardless, my hunch was correct.  Though brutal death metal tends to sound a lot like deathcore at times, this album has some indisputably stupid breakdowns on it accompanied by some misplaced two-steps off of a Killwhitneydead release, which is a disappointment, because it also has some pretty decent slams and technical riffs to it.  Unfortunately, none of these riffs or slams are overly memorable.  A lot of the time you wonder if you are still listening to the same track you were listening to three minutes ago.  Though slam and brutal death metal have a tendency to sound similar from song to song, bands like Vulvectomy do a good job at setting the bar with memorable, responsible slams that let you know you aren't just listening to filler tracks.

Though the tracks themselves are definitely lacking in some fundamental musical structure and writing, I have to say, all the instruments on this album are pretty tight sounding.  The drums have a nice distinguished sound that blend well with the guitars.  All the tones on this album sound heavy, and crisp. But, in honesty, they do lack personality in some respects.  The bass was surprisingly audible, and I really appreciated that factor of the album.  It added an element of heaviness to the album, which in turn added some overall fun to the album.  The number one praise I have for this album is the skills of the front man for the band.  he has some great guttural growls on this album, and it was definitely the most brutal aspect of the album, hands down.

My final gripe about this album is that...the production is too well done.  Brutal death metal should be a gritty, disgusting sounding genre.  There is a reason it gets so much flack, and the true fans of it revel in the fact that it sounds revolting.  The album is simply too polished for a weathered brutal death listener to get into.  So, as this may be looked at as a perk to some who are newer to the genre, the remainder of the listeners will feel somewhat displeased if you enjoy your brutal death in the vain of Devourment.

The only way I would really recommend this album would be to someone who is either new to metal in general (Which I may even hesitate to do), or someone who is new to brutal death metal as a genre.  The contributions that this album makes are very minimal and are so close to being deathcore that is a disappointment.  But, in all fairness, what this album lacks in a lot of spots, makes up for to some degree in energy and a general sense of stupid fun.  So I can't completely dislike it, but I can come damn close.

Score: 6/10

Darkthrone - Circle The Wagons

Band: Darkthrone

Album: Circle The Wagons

Genre: Punk/Black Metal


With a career spanning back to the late 1980's, black metal heavyweights Darkthrone are still making music.  In their later years they have developed their own precise sound, blending the lyrics and vocal aspects of black metal with the speedy fast intensity of early punk and hardcore (along with a few aspects of speed and thrash metal).  With their new release "Circle the Wagons," I found myself rather confused at the end of the album.

On the instrumental aspects of this album, it's pretty solid.  I'd even go as far to say as it's pretty damn good in terms of staying true to the intensity and musical structure of the early thrash and punk bands of the '70s and '80s.  This album provides straightforward speed riffs that don't aim to impress, or expand on the genre.  All they aim to do is rock face and provide the listener something to bang their head and thrash out to.  I viewed this album as an homage, of sorts, simply because it's so reminiscent of the early days of heavy thrash metal.  In tracks such as "Stylized Corpse," both the fast groovy riffs, and intense melodic guitar solo that closes the track almost gives you the feeling that an old Judas Priest album.

The aspect that really bummed me out, and singlehandedly ruined the album for me were the vocals.  I've never really been a fan of Darkthrone's vocals, but I've always been able to see past them and appreciate the "bigger picture," so to speak, of the album.  With "Circle the Wagons," the vocals are so overpowering and have this tendency to hang in the foreground of every song, that it is damn-near impossible to ignore them.  The random touches of reverb that were applied, along with the bloody-ear educing clean singing featured on this album come completely out of left field. I'm not exactly sure what the band was going for when they recorded the vocals, but they landed far off the mark.

The production on this album enhances both the pros and cons of the album in which I just listed.  Darkthrone has never been known for top-notch production on their albums.  But, again, it establishes them as who they are.  The grimy tinge that the mix on this album gives the guitars tones makes the listening experience feel more D.I.Y.  But, the production is definitely a double-sided sword.  The low-end production, in turn, ends up making the vocals sound more atrocious on the final product.  It really creates a giant conflict in giving this album a grade.

Though this album features so intense riffs, and a fun atmosphere for fans of early metal, the vocals overshadow all, leaving the wheels to fall of this dingy old wagon.  The vocals tie it down, and leave it destined to sink, dead in the water.

Score: 5/10

Annotations of An Autopsy - II: The Reign of Darkness

Band: Annotations of An Autopsy

Album: II: The Reign of Darkness

Genre: Death Metal/Deathcore

Newly transformed death metal band Annotations of An Autopsy delivers their first full-length album since switching genres from the stale realm of deathcore.  This album is definitely a move in the right direction for the band in terms of musical growth, but there are still areas in which the band relies heavily on the chug-a-lug breakdowns that somehow made them famous.

Lets be honest.  The genre of deatchore catches a lot of flack for being a lazy genre.  But, after hearing a lot of the music that is popular in the genre, it is easy to see why.  Most bands rely too heavily on mindless breakdowns and poor lyrical essence.  Clearly, Annotations of An Autopsy wanted to prove themselves as musicians on this album.  I don't know if I can say their efforts fully payed off.  True, this album has some good ol' death metal influence to it.  But, just because there is influence, doesn't mean it's good.  Most of the tracks on this album feel rushed, and as if they are only there for filler.  The riffs have a tendency to build to a stupidly slow breakdown that sounds far too familiar for my liking.  There are guitar solos in the most random spots in songs, and the drums seem to be doing the same exact thing every track, while the bass is completely inaudible.  With this release, it seems like the band had a bunch of riffs that they had written, and decided to throw together in random order without any time or thought.

The poor structure leads to a lack of emotion in the music.  For most death metal bands these days, it seems pretty clear about what they are pissed off about.  I get the feeling through the music that the band produced, that they don't really know why they are pissed, other then because they are supposed to to fit in.  While this album was aimed to establish them as a death metal act to be taken seriously, it has really only reduced them to that awkward kid that stands in the corner at a party talking to himself.

The final thing that truly bugged me about this album were the lyrics.  I'm going to be frank.  They sound like they were written by a five year old, and they are on the same level as the lyrics displayed on Howl's "Full of Hell" album.  The only difference between the two is that "Full of Hell" has some good music to drown out the awful lyrics.  The same can't be said for "II: The Reign of Darkness."  The piss-pour lyrical content is clearly displayed in tracks such as "In Snakes I Bathe," where the lyrics "You make me fucking sick" are present at least six different times in the song.  Again, the songs feel like filler.  If all you're coming up with is "You make me fucking sick" over and over again, it sounds like you need a new writing implement.

Though there are a lot of negative aspects to this album, it isn't all awful.  Songs like "Catastrophic Hybridization" and "Impale the Sun" show that there is some driving force of death metal on the album.  The band actually formed some decent riffs that were head-bang worthy.  Unfortunately, said riffs didn't last long enough, and transpired into nothing more then another heartless breakdown.  All the same, it's a serious step in a good direction.  Hopefully on their next release, there will be more music like it.

All in all, this album was a failed attempt at being a legitimate death metal release.  The band reverted back to their lazy roots far too much, and didn't spend nearly enough time making fresh, quality music.  The riffs, solos, and drum beats are all too bland and stale to give the album any more presence then a stale bag of marshmallows.  Do yourself a favor and skip this album if you are into real death metal.  If you're more of a deathcore listener, then chances are you'll be enjoying this album a lot more than I will.

Score: 4/10

The Saddest Landscape - You Will Not Survive

Band: The Saddest Landscape

Album: You Will Not Survive

Genre: Screamo

The Saddest Landscape has come a long way since their formation years ago.  Early on, they established themselves as one of the forerunners in the screamo/emo scene, combining hauntingly atmospheric passages with riffs and beats of complete chaos to follow.  Their latest release, "You Will Not Survive" is more than just another screamo album.  This album is a milestone in the career of a band that continually grows upon itself.

This album is a true gem, in that there is nothing like it.  This is still The Saddest Landscape, yet its them in a completely different light.  Their growing musical talents, along with the bond that these band members share is reflected clearly in the music that they produce on this record.  Being a fan of the band for a year or two now, I've grown accustom to how these guys sound, and to hear something that is completely different, yet almost exactly the same really says a lot about the where the heart of this music lies. It shows a great sophistication in the musical abilities of the band.

Most of the songs off "You Will Not Survive," are in the same vein of pretty much all the other songs TSL have made.  The exception that makes these songs even better than usual, is the fact that these are all sad or angry songs, and they are clinging to the past in the same way we cling to our painful memories.  This quality of the album gives the listener a very personal experience while listening.

Tracks such as "Declaring A War On Nostalgia," and "Imperfect, But Ours" are prime examples of the rage and pain that is engrained deep down into every note of this album.  Every scream is a haunting reminder of the skeletons in your closet that surround you every day.   It's this aspect of the album that listeners will be able to relate to most.  Each one of the songs touches a fear, insecurity, dread, or pain and lets you know that you're not alone in your feelings.  

On the technical end of the album.  All is the same in the musics form.  I don't want to say that the music is rehashed, because, honestly, some of the band's best work to date is on this album.  The music is simply familiar.  It's the emotions driving the music that are different this time around.  It's almost as if The Saddest Landscape are allowing the listener to live vicariously through their music on this album.

The sound of the release is phenomenal, as well.  This is another characteristic of the album that contributes to a more mature sound.  This album doesn't sound like it was recorded in a basement (not that that's a bad thing).  It has a very polished sound, which I feel gives this album not only more accessibility, as well as makes a bolder statement when conveying the emotions of the music to the listener.

I'd like to think that this whole album is a musical representation of the journey that this band has gone on.  "You Will Not Survive" pulls traces of all their previous releases, mends them all into one sound, and then presents the emotions of the artists at this point in their life.  It's almost like a musical documentary on the lives of these guys.

So, if you are already a fan of The Saddest Landscape, I highly encourage you to track this album down.  It's their best to date, and the band shows no sign of letting up on the intensity as the years go on.  Also, if you are new to screamo, pick this album up.  It is very accessible for first time screamo listeners.  I'm giving this a green-light for pretty much anyone who has an interest in the emotional side of screamo.  

Score: 9/10

DeathCult - The Living, The Dying, and The Damned

Band: DeathCult (U.S.)
Album:  The Living, The Dying, and The Damned
Genre: Death Metal


Isn't it funny how some of the more talented bands never seem to strike it big, forever doomed to be lost in time?  It's a real shame because tons of bands that should be recognized simply aren't.  Hailing from Los Angeles, California, DeathCult is one of these bands I am talking about.  On their first (and only) full-length album, they establish themselves as musicians who both know what they are doing, as well as possess a yearning to break the confines of the generic meat and potatoes style of old-school death metal.

There are various elements of "The Living, The Dying, and The Damned" that make it a noteworthy release.  This album seems very reminiscent of Autopsy's album "Mental Funeral," in that it incorporates both the traditional death metal sound with a demented sort of doom metal aspect as well.  These guys clearly know what they are doing, because the riffs sound heavy as hell, and are very easy to slam your head to.  The band also makes great use of the dual guitar on this album.  The two instruments are very well mixed in the sense that you can hear both doing their own thing at the same time.  Both players are audible throughout the whole album, instead of just getting muddled into one cluster of sound.

The flow of the album is another one of its noteworthy qualities.  DeathCult knew exactly what they were aiming for when writing and recording this album.  I find that with a lot of bands (especially the more unheard of ones) some of the tracks on an album feel forced, almost as though they were just made to fill up space on the album.  Each track off "The Living, The Dying, and The Damned" has it's own atmosphere and place on the album.  When you listen to the album, it doesn't feel like a collection of songs.  It simply sounds like an album, and its a quality that is appreciate that greatly.

All this being said, there were some aspects of the album that were off-putting to me.  Before I get too far into this, I must say, that for an unsigned death metal band, the production on this album is far above par.  The guitars, drums and vocals blend very well, but my one complaint is that very seldom is the bass audible.  This is generally on the slower doomy passages, when there isn't as much chaos going on.  But, when I listen to heavy music, I want to hear that bass slamming along.  It's something that takes away from the finished product.

The other aspect of the album that I couldn't quite get into was the hint of avant-garde that is sprinkled throughout this album.  It was interesting in a way, because it reminded me somewhat of the early releases by Gorguts.  I'm not saying that these passages of the album weren't well done, because they were.  It's just simply not my kind of thing.

So, if you are sick of all this chugging new-aged death metal, and you want a blast from the past in a very refreshing way, I highly recommend you check out DeathCult.  They are a rather unheard of band that brings a lot of intensity to their music.  If you aren't into avant-garde death, I'd still give it a shot.  There is far more death and doom to this album then anything.  You can check these guys out by visiting them on their MySpace page.  Show them your support, because these guys have churned out a pretty solid first full-length here.


Score: 7/10

Bongripper - Satan Worshipping Doom

Band: Bongripper

Album: Satan Worshipping Doom

Genre:Sludge/Doom Metal

In the realm of instrumental sludge and doom metal, there is one band that rules all with an iron fist.  That band, of course, is Bongripper.  Formed in 2005, the band has worked hard, creating five previous albums.  Their sixth, Satan Worshipping Doom has arguably become their best pieces of work to date, surpassing their 2008 fan-favorite, Hate Ashbury.  So you may be asking yourself, what separates their newest album from all the rest?  Here's the answer:

Having been a fan of Bongripper for about a year now, I've come to recognized and become accustom to their unique sound (Which is saying quite a bit, since originality is one of the hardest things for a sludge or doom band to possess).  Each of their albums contains a certain quality that sets the atmosphere for all the songs, as well as playing into the title of the release.  Bongripper keeps this formatting for Satan Worshipping Doom, but the concept of this album (That being satanic worship) gives the band a fresh fulfilling sound, while still staying true to the music they have produced in the past.  This aspect of the album shows signs of not only great musicianship, but of growth within the band.

While Bongripper's earlier albums such as The Great Barrier Reefer and Heroin seemed to be focused around a central theme of drugs, this four-track album stands apart from their previous work by giving you a front row seat to a roughly 54 minute satanic ritual that possesses you to do nothing more than give your soul to Satan and bang your head in sheer delight.  

Since originality doesn't come easy in any form of music, sludge and doom metal being a perfect example, bands need to know the music they are writing inside and out to ensure that the album will not only fit the genre they are aiming for, but offer the listeners something new as well.  Instead of selling out and giving listeners something more generic while calling it a fresh change of sound, Bongripper sticks to a format that has done them well for six albums now.  Playing at slow and plodding paces (With the exception to the second track, “Satan,” which opens with a very interesting black metal riff), the band focuses on their builds into climactic, heavy riffs that sound inspired and original.  The timing and pacing of this album is one of, if not, the best quality Satan Worshipping Doom has to offer. The riffs themselves sound unique and fresh, as well reminiscent of earlier doom metal acts such as Pentegram or Candlemass.  Another fresh aspect to the music on this album is the memorable, perfectly placed,  psychedelic guitar solos that are presented in the tracks “Satan” and “Worship.”  These solos play into the dark, evil tone of the album as well as flaunting the skills of axe-men Dennis Pleckham and Nick Dellacroce in their playing and writing abilities.

The last thing that makes this album particularly great, is of course, the production.  While some sludge bands, such as EYEHATEGOD or Sourvein, choose to revel in their sloppy production, Bongripper takes the clean cut approach to how this album sounded.  The mix on the album makes it so all all the instruments are audible at all times, and that the concept of the album can fully blossom.  What I'm trying to say is, the albums sound kicks ass.

My only miniscule complaint with this album is that there are a lack of vocals on this release.  I have a preference for high screams in the type of music that Bongripper plays, but in all honesty, I wouldn't have this album any other way.  It's damn near flawless as is.  So, if you are someone like me, who enjoys screaming with your sludge, don't let the absence of vocals scare you away from this album.  The subtexts buried deep within the riffs and drum beats give this album the missing personality that is usually gained from a vocalist.

If you are at all a fan of groovy, slow paced music, I would highly recommend this album.  It's not only one of Bongripper's best, but it is also very accessible for first time listeners to get into the band.  Regardless of how deep into sludge or doom metal you get, this release will not disappoint.  Bongripper displays the necessary talent to be one of the driving forces in todays sludge scene.  They will not be silenced.

Score: 9.5/10

Terrible Old Man - Self Titled Demo

Band: Terrible Old Man

Album: Terrible Old Man (Three song demo)

Genre: Progressive Death/Thrash Metal 

In a stagnant and cold wasteland of recycled music that is known as the Maine Metal scene, one band sticks out from almost all the rest.  Terrible Old Man, hailing from Waterville, ME choose to destroy your senses with screeching vocals, fast, sweeping guitar solos and intense blast beats in exchange for the slow, chugging breakdowns everyone has come to expect from a local metal band.  Their first release (a three song, self titled demo) is a display of true musicianship and understanding of the music they aim to make.

Most new-aged thrash bands fall victim to the, now boring, standard format of thrash metal writing.  Said bands just try to play fast and have an aggressive attitude that comes out in their live shows.  Though Terrible Old Man does both of these things, their music is not stale.  Their heightened understanding of music allows them to take the death/thrash format and expand it in a way that makes their music completely their own.  While Between The Buried and Me are said to sound like Dream Theater, and The County Medical Examiners are a straight Carcass rip-off, Terrible Old Man's sound is completely their own.  

In this demo, you are getting an array of different musical dynamics that make this release great.  Frontman, Ryan Fairfield's, vocals give this little demo an evil tone as he screams the dark incantations of each track on the release.  The lyrics are written in the reminiscent style of the old H.P. Lovecraft short stories (Which is quite fitting since their name comes from the title of one of his stories).

Both James Violette and Brad Bolduc display their shredding abilities to ultimate extremes.  For a band recording their first release, the guitar work is top-notch.  Each song on the demo includes at least two solos that not only sound great while complimenting the music, but also flaunt a certain sophistication of their skills as guitarists.

Eddie Tardiff also makes a name for himself as one of the few metal bassists to still use his fingers instead of a pick.  Tardiff has the necessary chops to keep up with the shredding guitar, as well as compliment the riffs by giving them an audible heaviness that really flows with the music.  That's right folks!  You can actually hear the bass on this release, and it's quite fantastic!

To wrap it all up, Coby Violette's precision drumming on the demo seals the deal.  From straight blast beats to gravity blast, he does it all, and it works in a refreshing way.  All of his beats are completely his own.  His writing ability mixed with his speed and endurance work to create the cohesive flow that this album possesses.  

The last aspect of this release that was incredibly impressive is the production on this demo.  When the words "metal" and "demo" are said in the same sentence, the average listener would expect a lacking sound production, and quite frankly, a shitty mix.  Everything on this album sounds crisp and audible without just melding into some unintelligible wall of sound.  Every instrument does its own thing while still working in unison to create one of the best listening experience I've had in years.

Unfortunately, as of right now, the only way to get ahold of this release is to go to one of their live shows.  If you are capable of doing so, make the trip.  Not only is this demo completely worth it, but their live show is a brute force assault of straight, pissed off metal that will leave your jaws hanging down below your knees.  But, lucky for those unfortunate souls who aren't close enough to check out a Terrible Old Man set, they have all three songs from the demo up on their MySpace and Facebook pages.  Keep an eye out for these guys by adding/becoming a fan of them.  Terrible Old Man is one band that is destined for big things.  They will not be ignored.

Score: 9/10