Category Archives: Album Reviews

Negură Bunget – TĂU

Posted on by

10959583_10153122897739708_8079541037740915312_n

 

Romanian folk-infused black metallers Negură Bunget have more than upped their game with their latest release, TĂU (Code666/Prophecy), an album that marks the inaugural release of the bands ‘Transylvanian Trilogy’, a series of three albums that act as a sonic tribute to the band’s naturally visually striking home country. The first album in the trilogy deals with Romanian nature, and as a result feels earthy, but at the same time otherworldly and elemental.

Having won hearts and minds with 2006’s genre masterwork, Om (Code666), the very pinnacle of atmospheric indigenous black metal, Negură Bunget have remained relatively quiet with just one album in the nine intervening years that have been spent recovering from a damaging line-up change. Erstwhile band members Hupogrammos Disciple and Sol Faur moved on to pastures new and impressed with Dar de duh (Prophecy), the debut opus of new outfit Dordeduh, while Negru retained the band name and released Vîrstele Pămîntului (Code666) in 2010 to a mixed reception, raising as many questions over the longevity and remaining quality of the band as it answered.

The idea behind TĂU is ambitious and out of the band’s comfort zone and for those familiar with the Negură Bunget sound this is apparent from opener ‘Nametenie’. The chanting backing vocals provide ritualistic foundations, while the harsher black metal elements combine to give a very primeval feel. The intent of this album is a visual one, and TĂU’s cinematic ability to transport you visually to the Romanian landscape is unlike anything the band has done before. Each song on the album represents a different landscape, and album closer ‘Schimniceste’ is a black metal ambient master class. Its pensiveness and hypnotic rhythms aurally transport you to another world, one that you cannot see but can certainly feel.

Accompanying this release will be a 72-page art book edition, which in addition to featuring stunning photography will also include the history of the various featured landscapes. It is clear that immeasurable care and attention to detail has taken place throughout this project, and the band’s dedication to attentively bringing to life the natural world makes this a wholly unique record.

 

9.0/10

 

Negura Bunget on Facebook

 

SARAH WORSLEY


Oceans Ate Alaska – Lost Isles

Posted on by

10888557_807960792593775_3860936252431761516_n

 

Making waves (see what I did there…) following two introductory EP on Density Records, talented quintet Oceans Ate Alaska, from Birmingham, England, are a schizophrenic psychotic tick in musical guise. Dubbing themselves as progressive metalcore seems to undersell and mislead, as Lost Isles (Fearless) showcases a high degree of technical proficiency, spurting spasming rhythms of meticulous, systematic precision and understated melodic britcore (yes, I’m using that phrase and with no apologies – British metalcore sounds different to its American counterpart).

As if adamant to prove that under the sea lives all manner of chaotic life form, within 43 seconds of opening track ‘Blood Brothers’ (we’ll ignore the inevitable, ubiquitous, unnecessary “intro” track) we’ve been treated to convulsion of rhythmic battery alongside vocal paroxysms that spit out three different styles, screamo, death metal growl and sung, over three different riffs, before the song lurches off-kilter into yet more spasmodic sections.

The process of bursts of rapid-fire arrhythmic violence continues throughout, seeking to cuff the brain into submission with unyielding sonic ruptures, a tech metal death by a thousand guitar stabs, before Oceans Ate Alaska open up their sound on ‘Vultures and Sharks’ and start to truly display the potential within.

There are inevitable comparisons to Bring Me The Horizon, mainly in that James Harrison’s sung tones and the melody lines used are not a million miles away from Oli Sykes, but Oceans… are a different beast; there’s added Meshuggah and spice to their stylings. Fellow scribe Chris Tippell coined them BMTH meets The Contortionist and his radar is as tight as the intermittent punch that permeates ‘Over The Edge’ on his tech-prog-core.

It can be difficult setting out to try and differentiate yourselves from others, and Oceans Ate Alaska perhaps push things too far in setting their stall in the kitchen-sink side of headfuck music, though they can take credit from the fact that not only are they ploughing their own furrow, but they have the technical chops and ear for melody to make it happen for themselves. Lost Isles is a sensory overload that will make an impression on the ears and minds of those who like their discordance delivered as a staccato premeditated cudgelling, while with tunes like ‘Downsides’ in their arsenal, the band have the breadth to push into more melodic and conventional streams.

So, now they’ve consumed Alaska, it’ll be very interesting to see what they fancy making for dessert…

 

7.5/10

Oceans Ate Alaska on Facebook

 

STEVE TOVEY


The Agonist – Eye of Providence

Posted on by

In case you haven’t been following the story of The Agonist in the last year, they were in the unenviable position of making a change in the voice and face of the band when mainstay Alissa White-Gluz was hand-picked as the new Arch Enemy singer. Even more tricky… the band seemed to not want her to go, as an upstart band on the same label as Arch Enemy, so you might say the band was in a perilous situation. On top of that, the band was facing pivotal album number four in their career, so to say they had a challenge before them on many fronts, would be an understatement.

However, the band triumphantly rose up and actually created a release with Eye of Providence (Century Media) that stands on equal footing with the bands finest work to date. New singer Vicky Psarakis added last summer injected a her own style, while not changing what the bands make-up musically was at all. Her screaming is on par with White-Gluz, with a brassy contralto, mid-range singing voice; not unlike the best female rock singers in history such as Ann Wilson, Pat Benatar or Linda Perry. This gives Psarakis a grit to her delivery that adds to the emotion of the tracks. Many of the hallmarks of the bands’ past are present on Eye… : anthemic metalcore songs, guitar wizardry, killer double-kick beats, and the pristine production of of long-time producer Christian Donaldson (Crypstopsy).

And the songs! This album has strong, well-written tracks, each with their own identity, but firmly in the tradition they have had. From the blistering opener ‘Gates of Horn and Ivory,’ ‘My Witness, Your victim’, ‘I Endevour’, ‘Perpetual Notion’, ‘A Necessary Evil’ and many more, this album runs the gamut from thrash, prog and rock over and over again. Most of the album carries the positive and impassioned messages associated with them. Acknowledging that it is really hard to lose a singer, especially one so popular with fans, The Agonist has surely proved a lot of doubters wrong here.

8.5/10

KEITH CHACHKES


Ruby the Hatchet – Valley of the Snake

Posted on by

ruby the hatchet valley of the snake album cover large

February 24th marks the release of Ruby the Hatchet’s latest work; Valley of the Snake (Tee Pee Records). Where a lot of bands compete for who is the loudest and the fastest, Ruby the Hatchet catches my attention for the opposite reasons. If you enjoy psychedelic and/or stoner-rock, then the Philadelphia, PA based outfit should be right up your alley.

One of the songs to really catch my attention from the very beginning was ‘Tomorrow Never Comes’ with its heavy organ work. I’m not usually a fan of organs, keyboards, synthesizers or things of that nature because I feel that they tend to overpower the rest of the music but the balance just works in this context. It’s a beautiful track with an underlying feeling of hopelessness. This would be great paired with old horror movie footage. Possible video idea?

I will completely admit that I tend to dislike female singers and will usually write a band off completely if I can’t stomach them, but Jillian Taylor is brilliant. I believe the song ‘Demons’ showcases her talents quite nicely while making it difficult to keep still. Her soft, ethereal voice is like a living creature, calling out to the listener from a place just beyond their line of sight. I’m adding Jillian’s name to my lady crush list, right next to Kylesa’s Laura Pleasants.

Ruby the Hatchet remind me of a mix between The Sword and The Atomic Bitchwax with a woman’s touch. I was pleasantly surprised by how much I enjoyed this album overall and I recommend picking it up for a full bodied stoner/psychedelic rock experience. It’s definitely something that I can see myself having on repeat for a few hours and just getting lost to.

8.5/10

ALEIDA LA LLAVE


All That Remains – The Order of Things

Posted on by

all that remains the order of things album cover

 

Massachusetts natives All That Remains have steadily remained in both heavy metal and mainstream music circles for over the past decade. They have had success on the Billboard chart with their past few albums they made with Killswitch Engage’s Adam D as producer. However, they decided to hire Josh Wilbur who has made albums with Lamb of God and Gojira in pursuit of a fresher sound on The Order of Things (Razor and Tie).

Album opener ‘This Probably Won’t End Well’ captures what the band’s staple sound is: a meeting between softer, more accessible metal and Massachusetts bred hardcore. It is in its own way iconic. There is something ballsy about starting off a new record with a song title like that. Unfortunately the depressing prediction comes true. The following song ‘No Knock’ is less iconic. One cannot help but feel that it could be any Massachusetts hardcore band that came up with it.

‘Divide’ shows more promise of the band heading towards the direction they set out in. It is very catchy and perfect for shows. The chorus sounds like it was written to be sung along to and it achieves that goal. Why it has not been released as a radio single, where it would do well, is a mystery.

‘For You’ is the heartfelt relationship song that one has come to expect from the band’s albums. This is not a bad thing, but it is not groundbreaking for them either. Anything new about the album dies off around ‘A Reason For Me to Fight’. All of a sudden it sounds like the band slipped back into their old territory. The closing song title ‘Criticism and Self Realization’ sounds more promising than the actual tune. Changing producers did have a small effect on the album but perhaps not what the band had hoped for.

5.5/10

 

MELISSA CAMPBELL

 


Carach Angren – This Is No Fairytale

Posted on by

Carach-Angren-This-Is-No-Fairytale

 

Fortune favours the brave, and Carach Angren are forging something of a name for themselves by putting effort into the narratives of their albums, and looking to create something that at least pokes a toe outside the rigid walled box labelled “Black Metal”. A concept album that unfurls telling a story of two children caught up in a chilling horror (no spoilers here, if you want to find out the full extent of a tale that makes King Diamond’s tales seem like bedtime stories you will need to find out the hard – and heavy – way), This Is No Fairytale (Season of Mist) is the Dutch orators most compelling release to date.

Eschewing the usual black metal practice of ripping off thirty year old albums (praise be the dark lord!), Carach Angren are trying something different, with reference points of Abrahadabra (Nuclear Blast) and Grand Declaration of War (Necropolis), This Is No Fairytale takes the blood-curdling scream of black metal, and mixes it in the cauldron with a caustic steampunked Nachtmystium, darkened Imaginaerium (Nuclear Blast) symphonics and a liberal dose of Tim Burton.

While the resultant “whole” unfortunately doesn’t quite equal the sum of its parts, there are some very good parts here. The Dutch trio’s fourth album is an ambitious and enjoyable album, though at times it does allow certain tracks to outstay their welcome (‘Two Flies Flew Into A Black Sugar Cobweb’) and perhaps lacks a certain je ne sais quoi in the hook department.

This isn’t to put This Is No Fairytale down, because “when you reach for the stars, you may not quite get one, but you won’t come up with a handful of mud either” (Leo Burnett) and this stomping, frictional theatrical album conjures twisted Burton-esque images, especially during interlude ‘Dreaming of a Nightmare in Eden’. Carach Angren are at least looking to carve their own niche, and they aren’t too far from pulling the twisted nails of faith together to make their own maddened masterpiece.

Patience be thy virtue, Carach Angren.

7.0/10

Carach Angren on Facebook

 

STEVE TOVEY


Ensiferum – One Man Army

Posted on by

113_ensiferum-berserk-greyish-14

Ensiferum’s last album, 2012’s Unsung Heroes (Spinefarm), was met with pretty harsh reviews when it came out, though the Finnish quintet look to be back on track and making things right with their sixth effort, One Man Army (Metal Blade). While the band – Markus Toivonen (Guitars), Sami Hinkka (Bass), Petri Lindroos (Guitars & Vocals), Janne Parviainen (Drums) and Emmi Silvennoinen (keyboards) – haven’t drastically changed their sound, the usual combination of Viking-themed folk, bombast and thrash is present, it is simply that the quality has just been improved.

Intro track ‘March of War’ sets the tone; there’s chanting, pipes, and a real sense of preparation as if for some unnamed medieval battle, before segueing straight into the furious ‘Axe of Judgement’ – it’s a furious combination of shredding guitars, epic synths and Lindroo’s rasping vocals where you can perceptively hear the urgency, all captured in analogue warmth by award winning producer Anssi Kippo (Children of Bodom). ‘Heathen Horde’ is a stomping mid-paced sing-along anthem, while title track is almost pure melo-death bar the huge operatic chorus, before ‘Burden of the Fallen’ provides another medieval interlude for respite. There’s plenty of rousing chant-along moments that will have live audiences eating from the palms of their hands, big moments that are cleverly worked into what are often out-and-out thrash songs complete with some blistering solos, and are a sizeable part of what makes this such an enjoyable listen. It’s hard to remember the last time an album made me want to see a band live the way One Man Army does.

‘Two of Spades’ is a bit of a wildcard and sees a polka/disco sound sneak in – Turisas’ cover of Boney M.’s ‘Rasputin’ is the nearest comparison. The second half of the record then sees the band delve into more progressive territory, containing both the seven minute ‘Cry for the Earth Bounds’ and eleven minute epic ‘Descendants, Defiance, Domination’; the former  a slow epic featuring clean female vocals, while the latter is more upbeat and even hints at 70s prog and boasts spoken word segments. With clean female vocals and country guitar, closer ‘Neito Pohjolan’ barely sounds like the same band.

On top of a great main album, the bonus disc is worth hunting down purely for the Ensiferum’s take on the classic Rawhide theme tune, while their cover of Barathrum’s ‘Warmetal’ is addictive. Overall, One Man Army is a very enjoyable experience, combining heavy with epic bombast and folk touches. Best of all, though, this is damn fun.

A definite return to form.

 

8.5/10

Ensiferum on Facebook 

 

DAN SWINHOE


Falling In Reverse – Just Like You

Posted on by

87363_FallingInReverse.jpg.925x925_q90

“Na na na na, I’m aware I am an asshole” chirps Ronnie Radke seconds into the perky title track of the third Falling In Reverse album, Just Like You (Epitaph); a relevant self-aware line for the people who find the former Escape The Fate frontman a hurdle to get over in and of himself. While some won’t listen to Megadeth because of Dave Mustaine’s crazy-ass bollock spouting (rather than the valid reason they haven’t done anything worthwhile for 25 years), liking Falling in Reverse shouldn’t mean forgiving or condoning his actions, as there has to be a separation between the man and the band.

Because, while Just Like You is not the album where Radke and his compadres grow up, it is the one where they produce a convincing, enjoyable slice of modern pop-rock fun and catchy metalcore.

‘Chemical Prisoner’, an energetic tune that recalls A at their best, kicks things off as the opening quartet of tunes of the album bring the sun and the fun, with staccato rock bouncing shoulder to shoulder with pop sensibilities. There are dashes of My Chemical Romance as spirited verses drop to half-time anthemic choruses, while English lead guitarist Jackie Vincent shines with a series of Yngwie-esque classical tinged solos. Some of the lyrics are dreadful, and the “OMG! You make me cum!” on ‘Sexy Drug’ will make parents the world over cringe, but the sugary swagger, the hook-filled rapid-vocal delivery in the verses and the festival-friendly chorus more than make up for it.

There’s plenty of looking to the big hitters for influence as ‘Just Like You’ could be Blink 182 jamming with Fall Out Boy while choruses throughout point to Def Leppard and Warrant albums in the collection. Elsewhere, ‘Guillotine IV’ and ‘The Bitter End’ showcase the other side of Falling… as they head back to beatdown town and out Asking Alexandria Asking Alexandria as they churn through the metalcore, but never at the expense of the chorus or the song.  ‘My Heart’s To Blame’ is a slower, more considered number, not a million miles away from some of the more thoughtful moments of Sempiternal (RCA/Epitaph), and ‘Wait and See’ flits from Eminem to King 810 to Panic! At The Disco, further showing the diversity on offer.

What is interesting is that, while the grind of a track like ‘Die For You’ spices up proceedings and adds an impetus, where Falling In Reverse truly shine is when they cast off the trappings of trying to hang with the heavy, and let the pop rock bravado shine through. These guys can write hits, and while they could be a great rock band, they’re not much better than average when they do their metalcore thang – it makes you wonder if they’re trying to prove something that doesn’t need proving.

However, when all is said and done, Just Like You is a swag-bag full of new toys for their hordes of teenage fans to sing along and lose their shit to, and I have a feeling Ronnie and the boys are going to do pretty damn well out of it, thank you very much.

OMG.

 

7.5/10

Falling In Reverse on Facebook

 

STEVE TOVEY


Torche – Restarter

Posted on by

Torche Restarter Album cover

 

Sludge/stoner metal vets, Torche, have returned with their Relapse Records debut, Restarter. I felt as if the title Restarter is absolutely perfect for this album as I cannot seem to stop playing it and just have to give it just one more spin. There truly is something for everyone on this album as the sound ranges from your slow, doom-like sludge songs to what seems like full-blown punk. This album clocks in at just over the 30 minute mark which turns out to be the album’s only downfall as I was itching for more after the title track closer. Having said that, I am a firm believer in quality not quantity so I am thinking it is more of a blessing in disguise. Picking out my favorite tracks seemed like an easy task on the first time through, but after five or so times through, such a task grew more and more difficult.

For me, I found the riff centered tracks on Restarter to be the highlights. The third track in, ‘Minions’, really embodied this well. A simple, repeating, yet catchy riff carries the whole song and keeps your head bobbing the whole time. Not to mention some very crafty but not distracting guitar leads towards the end of the track that closes out the journey. Another fun slow and heavy track with a simple yet fun riff is ‘No Servants.’ On top of the great guitar work, I feel the drum work was exceptional and added a whole new element to the sludge feel. One of the more upbeat and, well, party songs on the album is ‘Blasted’. The riff in this track really brings out the inner party monster in us all and, dare I say, reminded me of Andrew W.K. just a bit. This song was one of the shorter ones coming in at just over two and a half minutes but I feel it plays an important role in the album as the final four tracks after this are in your face and heavy to close out. One of those tracks is the closer, ‘Restarter’ which I feel brought the same energy as the upbeat tracks like ‘Blasted’ and ‘Loose Men’ but still stayed true to the sludge/stoner emotions as earlier tunes such as ‘Annihilation Affair’ and ‘Minions’. This title track closer is also the longest track on the album which is surprisingly over the eight and a half minute mark, which surpasses the other tracks by far. Another great riff and following leads from Steve Brooks as well as great crescendo drum parts from Rick Smith. ‘Restarter’ is one of my favorite tracks to listen to on the album for a couple of reasons. First and foremost, the post metal influences really come to fruition on this track better than the rest of the album. Not that the rest of the album needed to sound like post metal, but I just really dug the ride the song puts me on. The other reason, is it is the closing track and it makes you feel like you are going through a wormhole back to where your journey all started so you can (ready for this?) restart it. See what I did there?

Overall, Torche has really out done themselves with only their first release with a strong label such as Relapse Records and I am more than excited what is in the future for these guys. The production was spot on as you can clearly hear all instruments at just the right levels and the vocals come across as another instrument with precise volume and quality. I find it extremely difficult to try and give this album a bad mark but it seems like all I could complain about was the length (31+ minutes, 10 tracks). My only hope is that at the end of 2015, my peers here at Ghost Cult will do right and include “Restarter” in their Top 20 year-end lists so Torche can get a spot in the Top 50. It certainly is well deserved.

Torche, photo by Janette Valentine

Torche, photo by Janette Valentine

9.0/10

TIM LEDIN


Black Star Riders – The Killer Instinct

Posted on by

10917458_712991175466888_7308756279328974495_n (1)

There’s a hoary old rock n roll cliché about “notoriously difficult second albums”. You’re already familiar with it. Band makes decent debut. Becomes popular. Drinks or snorts their advance. Makes lazy follow up. Career blown. On The Killer Instinct (Nuclear Blast) the second album from Black Star Riders, the post Thin Lizzy band of rock ‘n’ roll troubadours, the notion of difficult second album is not so much challenged as it is kicked to the ground with disdain. The Killer Instinct is ten tracks of solid, top drawer, feisty rock ‘n’ roll. It’s craftier than a cask of well brewed beer; it is the aural equivalent of a night on the town with your mates just after pay day. It’s absolute class.

Kicking off in glorious, swaggering style with the title track, it is rock business as usual for Ricky Warwick and co. Black Star Riders have a knack of finding a groove and melody with something approaching effortless ease. ‘Bullet Blues’ is even better: a carousing, hustling number, primed and ready for the storming of the barn. ‘Finest Hour’ is an absurdly catchy singalong that will doubtless become a solid addition to the encore part of their live setlist.

It doesn’t let up for a second. The celtic sounds that underscore ‘Soldierstown’ are welcome and infectious while ‘Charlie I Gotta Go’ feels ridiculously familiar even on first listen, a sure sign of supreme song-writing craftsmanship. And, you know what? It’s ALL like this, all the way through. Riffs and choruses are strewn about like confetti at a wedding; it’s not that they don’t care, rather the contrary; you get the sense that they are hitting a creative stride, a purple haze patch, if you will.

This might sound like an odd thing to say but Black Star Riders are an immensely likeable band. There are no airs and graces, no top lip curling arrogance, no I-will-not-tidy-my-bedroom tantrums. It’s not that they are too old for this sort of stuff (they self-evidently are) but actually they understand that the relationship between band and audience is one that should be fostered and never taken for granted. The Killer Instinct is an effortless slice of rock n roll abandon. At the end of the day, the thing about Black Star Riders is they still believe in the fable of being the Last Gang in Town; it’s a gang you want to join too.

Absolute class.

 

8.0/10

Black Star Riders on Facebook

 

MAT DAVIES