Category Archives: Album Reviews

My Sleeping Karma – Moksha

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With an album cover gracing a very detailed picture of Ganesh from Hinduism lore, whilst sporting the devil horns, you’d be forgiven for thinking that My Sleeping Karma would have produced an album with a cartoonish nature. That this will take newcomers to the band by huge surprise is just a part of the fantastic aura of mystique that these German’s have shrouded themselves in. With a returning album structure that breaks up songs with interludes throughout and their immersive sonic palette and Moksha (Napalm) is further evidence that MSK occupy a territory of their own.

Where previous album Soma (also Napalm) offered a continued, dreamlike state throughout, Moksha evolves this further; still serene for the most part but with more a more overt metallic edge. The shoegaze elements sitting comfortably with the album’s more doom metal like moments, with psychedelic shades giving deeper detail. The title track is the perfect example of this, as it begins with delicate majesty before building tension and heaviness, without detracting from its tranquility. Further listens highlight the Hinduism influences creeping in, from Eastern instrumentation to mysterious chanting and unusual time signatures.

Previous album Soma received rave reviews from the underground and was a master class effort, yet Moksha is a stunning evolutionary step for the band, adding an extra dimension to their sound, which is very stand out yet flows into their formula exceptionally. With such a rich detail in their sound, combined with the atmosphere they create, not only is Moksha a tremendous effort but one that showcases My Sleeping Karma as one of the undergrounds best kept secrets, with a sound and method unique to themselves.

 

8.0/10

My Sleeping Karma on Facebook

 

CHRIS TIPPELL


Cloud Rat – Qliphoth

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Grindcore is not a genre renowned for embracing diversity. Sure, there are degrees of complexity, sub-sub genres (the much reviled Goregrind and unbelievably-somehow-even-worse Pornogrind being tragic examples) and bands who’ve found their own sound, but the basic template laid down by Siege, Deep Wound and the original Napalm Death The Peel Sessions (Strange Fruit)  is as relevant to the genre now as it ever was.

Which makes Cloud Rat both extremely important and extremely difficult to describe, because their thoughtful, reflective Grind manages to capture musical territory that is both recognisably Grindcore and recognisably different. It’s hard to pinpoint exactly how they accomplish this – they slow down quite a lot, but that’s hardly a new thing; sure, they use spoken word sections and Dark Ambient elements, but again Grind’s involvement with Noise is hardly new. It’s more the way these elements are used, not to crush or destroy but to create a sense of distance and space, which is then contrasted with the more genre-conventional violence and blasting to heighten the impact of both.  “Contemplative” is not a word you might ever have expected to read in a Grindcore review, but for Cloud Rat it honestly fits.

Their third full-length album (fifth if you count odds-and-sods collection Fever Dreams  and Blind River) since 2010, Qliphoth (all Halo of Flies/IFB) is a snapshot of a ferociously dedicated and hardworking band continuing to carve out their own unique sense of what Grindcore can be. It’s a varied collection, its songs as meandering and reflective as my raiding-the-thesaurus-for-words-that-mean-thoughtful would have you expect, while still as savage and devastating as a Grind album should be. Anyone just seeking wall-to-wall blast beats and mosh breakdowns will be disappointed, but it’s not like those are exactly hard to find. Cloud Rat have offered something both more rare and more interesting, and have made themselves genuinely the best new Grindcore band in years in the process.

8.0/10

Cloud Rat on Bandcamp

 

RICHIE HR


Blurring – Blurring

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Hailing from the New York grind scene can be a challenge for any band. With such a prestigious history of bands the bar is set high for any new acts pushing out of the local scene. Blurring are a band with a difference however as, behind the awkward, uncomfortable mass of noise are the brains behind one of the most influential grind bands of the last 25 years.

Brutal Truth may no longer be sullying stages around the world, but that certainly hasn’t stopped bassist Dan Lilker. Joined by ex-Kalibas guitarists Scott D’Agostino and Matt Colbert and drummer Eric Burke who not only boasts appearances in both of those bands, but also appears as a guitarist in Nuclear Assault and Lethargy, Blurring are already name dropping their way as a serious player.

The only member of this super group that cannot boast a lengthy resume is vocalist Mark Weldin, however what he lacks on the CV, he more than makes up for in performance. Harsh and unrelenting, Weldin’s vocals sound like a man stabbed repeatedly in the throat. No relief can be found in the music either, as ‘Like Wolves’ backs it ups with a dizzying, churning sound only broken by aggressive blasting. ‘Terminus and the Flame’ has menacing undertones at awkward backing chords clash against lead while sole instrumental track ‘Rape Van’, sees a slow uncomfortable drag through 2 minutes of unsettling sounds that, unlike the real van provides a deliciously slow and addictive contradiction to the rest of the album.

Blurring perform the difficult task of taking every element they could think of to repel the listener on this self-titled (Handshake Inc.) début, but rather than adding it in small bite sized chunks, the whole album is a mass of chaotic sound that seems to barely hold itself together. The result is a depraved, uncomfortable half hour of black grind that somehow keeps you clawing back for another listen time and time again.

 

8.0/10

Blurring on Facebook

 

CAITLIN SMITH


The Early November – Imbue

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The alternative rock scene seems to be at a loss recently, with many bands releasing ‘new’ albums that sound exactly the same as everything that they have ever released. As the genre was originally meant to contrast against mainstream rock music, it is easy to see exactly why so many people are complaining about it at the moment. However, an exciting new alternative rock album has just been released in time for summer… Cue Imbue (Rise) by The Early November. The dictionary definition of imbue is ‘to inspire or permeate with a feeling or quality’, and that is exactly what the New Jersey quintet have managed to achieve with their fourth studio album.

Opening track ‘Narrow Mouth’ is a toe-tapping and spine-tingling rock anthem; the unique melody of the song makes it extremely catchy and impossible to get out of your head. Lead singer Ace Enders’ vocals sound strangely nostalgic yet beautiful, which enables the interesting lyrical content to shine through perfectly. To put it simply, ‘Narrow Mouth’ is a breath of fresh air in a so-called ‘dying’ genre.

‘Boxing Timelines’ is the first single that the band have released from Imbue and it is easy to see why. The romantic lyrics appeal to the masses and the guitar riff is simplistic yet effective. The chorus is infectiously catchy, which seems to be a reoccurring feature on the album. The happy-go-lucky anthem has the perfect summer vibe which provokes happy and nostalgic emotions from the listener.

It is easy to see exactly why The Early November have described Imbue as ‘the most natural and fitting album’ that they have ever created: every song flows perfectly into the next, despite each one sounding completely different. Don’t let the laid-back nature of the album fool you though, as it is easy to hear the passion oozing out of every track.

It definitely would not be an over exaggeration to call Imbue one of the best, if not the best album that The Early November have released. It is clear that their hiatus, along with their other ups and downs, have made them a much more dedicated and sophisticated band. Many bands would shy away from talking about their past, however, The Early November have learnt a lot from their experiences and they have become much stronger.

 

9.0/10

The Early November on Facebook

 

JULIA CONOPO


Puttin’ On The Foil – Fired Up, Ready To Roll

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New musical genres seem to be appearing on the internet daily, many without much use or purpose. However, once in a while a band describes themselves as a genre so unique that it makes you take notice, and this is exactly what Puttin’ On The Foil have achieved with Fired Up, Ready To Roll (Indie). Describing themselves as “hillbilly punk ‘n’ roll” with “tunes to save the world”, it is safe to say that the Okotoks-based three-piece do not take themselves too seriously.

Opening track ‘Shitshow’ begins with a toe-tapping riff, which leads into what can only be described as absolute chaos. The fast-paced and intense song instantly gives you an insight into what Puttin’ On The Foil are about; happy-go-lucky music with simplistic lyrics. Despite the somewhat immature lyrical content, there is something instantly likeable about the humorous band.

The acoustic riff on ‘Fishin’ Song’ lulls you into a fake sense of safety, before leading into a ferocious guitar solo. The general tune of the song sounds vaguely familiar and simplistic, making it stick in your head all day. The lyrics are rather comical; however, their upfront nature and plain to see values could easily appeal to the masses.

Final song ‘Ode To Drunk’ is a comical drinking anthem which could definitely draw in a crowd at a live show. The lyrical focus is obviously on drinking alcohol, making it a possible party anthem. Although Puttin’ On The Foil may not win any awards for creative lyrics, many rock music fans often get fed up of ‘serious’ music and this could easily appeal to them. Sometimes you just want a harmless song to listen to after a long day, and any song from ‘Fire Up, Ready To Roll’ could fit this category.

Despite being a comical band, Puttin’ On The Foil have been able to create an album which demonstrates their potential. All three members are actually rather talented musicians, like Steel Panther, who just enjoy creating hillbilly rock. If you do not take yourself too seriously then you could easily enjoy this harmless rock album.

 

7.0/10

Puttin’ On The Foil on Facebook

 

JULIA CONOPO


Anti Flag – American Spring

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There are far too many Punk bands who ‘talk the talk’ as far as being political and proactive about the issues that rile them. This is not the case with Anti-Flag who are arguably one of the only true Punk bands in the fact that they look to use their art and their talents to make a real difference – this album has been streaming on the Amnesty International website which in itself says it all. So what of American Spring (Spinefarm) itself then? Well if you’ve ever listened to Anti-Flag in the past then you know what to expect really – it is 40 minutes worth of politically fuelled melodic Punk at its best.

The album is jam packed with tracks which will both cause scenes of chaos in a live setting and trigger massive sing alongs. Opening track ‘Fabled World’ is a perfect encapsulation of both of these – as immediately the band hit you with a track which will make you want to dance around whilst sticking your fingers up at the Government. Because much like the rest of their discography, American Spring draws you in so easily to evoke the kind of emotion you perhaps didn’t even know you had. Of course with it being so politically heavy, this could very well turn people off – but to be honest at this stage in their careers they’re only really going to be adding to their fan base. A couple of other key highlights on the album are ‘Song For Your Enemy’ and ‘Set Yourself On Fire’ which again displays the band at their best. Justin Sane hasn’t really lost any of his fire as he crafts melodies around the lyrics to again evoke a brilliant sense of attachment and emotion to the message he is delivering.

Overall then, if you’re familiar with what Anti-Flag are all about, this is another good dose of their political modern Punk. Don’t expect to throw this album on and be sat in awe at the band changing the rulebook, because they haven’t. Instead what we’ve got is one of the bands who can truly call themselves “Punk” – and there are just not enough of those anymore.

 

7.5/10

Anti-Flag on Facebook

 

TOM DONNO


Galvano – Trail of the Serpent

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The deep, dirty bass riff to ‘The Gathering’, the opening track from Gothenburg swamp monsters Galvano’s sophomore full-length Trail of the Serpent (Candlelight), intimates a Stoner pace but lends a slightly mournful edge. The ensuing explosion is a brutal, elephantine amalgam of Mastodon’s blistering Prog with Mattias Nӧӧjd’s roar, possessing the diseased phlegm of both Chris ‘C.T.’ Terry and Matt Pike. Rhythms fizz and pulsate, whilst riffs that should have the turning circle of the QE2 judder and flip on a sixpence. The crash is incendiary, the slower elements losing no urgency yet retaining that hint of melancholy.

The ensuing conflagration of ‘Following the Trail’ is savage and intense, burning as hard and bright as the harsher face of Yob, and unaffected by the lack of the Oregon trio’s mysticism due to the fulminating power and passion on display here. None of the four tracks clock in under nine minutes so to ensure this largely unflinching sound remains compelling is no mean feat. It’s one that the band achieve with relative ease; the fuzzed, coruscating riff and rolling drums segueing into ‘Stench of Prey’ with little distortion yet the leaden groove, pummelling yet metronomic, distinguishes the change alongside the tolling undercurrent.

Drummer Fredrik Kӓll’s pacy work is reminiscent of Travis Foster’s rhythmic battery whilst the intricate riff, bouncing off walls and sending sonic pulses into the stratosphere, takes the track into a wholly unexpected breakdown of ominous acoustic strings before recommencing the violence. The droning feedback and portentous beat of closer ‘Driven Snow’ briefly sends further change to the ears just at the point of a burgeoning fear that the rasping template is beginning to wear. This steels the listener for the final barrage of a quite electrifying album; the buzzing, building, claustrophobic coda of which is an utter joy.

Though short on chords there’s a Sludgy force here that will take your head clean off, the Stoner element thrashing it around as if in the jaws of a great white; whilst that small current of lamentation suggests it feels bad about hurting you.

Pensive, crushing, and bloody enjoyable.

 

8.0/10

Galvano on Facebook

 

PAUL QUINN


Lucifer – Lucifer I

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Gaz Jennings fancies his Occult Doom at present. Last year’s largely well-received Death Penalty project is followed by another female-fronted band of sinistras, this time headed by former vocalist of The Oath, Johanna Sadonis. Initially Lucifer I (Rise Above) sounds as if Black Sabbath have gone more up-tempo, and recruited Agnetha Faltskog to the mic, though with eerie harmonies flying through the dancing, patchouli-scented riffs of opener ‘Abracadabra’, the feel of ‘Goat Doom’ is still here if not quite the density.

There’s a curious tone to Sadonis’ voice, often laconically delivered yet soaring then swooping with a powerful, aching beauty. The brief harmonising in ‘Purple Pyramid’ is delicious, the odd sparse area lit up by The Wizards’ (Jennings’ pseudonym here) growling riffs and those siren-like pipes. Lighter moments may divide opinion, tripping close to a Folk-rock feel not unlike some of Cathedral’s stuff, yet they display welcome variation; the oft-faster than expected pace lifting the mood despite the plaintive voice and subject matter.

‘Sabbath’ finally, and rather aptly, shows us some serious weight, the thus-far barrelling journey slowed, that voice piercing the leaden, eastern-tinged riffs with a pleading agony. Whilst it’s easy to point out Sadonis as the star of the show, Jennings’ mastery of his instrument is supreme yet so subtle it’s almost unnoticed, taking each track to different characters of a story. This is reined in and directed superbly by Andrew Prestridge’s stunning drums: the bare minimum of flourish, just perfect inclusion and timing. All the ingredients fit together perfectly with the effortless switches and dual leads of the drugged-out pain in ‘Morning Star’: whilst the wonderful ‘Total Eclipse’ and ‘A Grave for Each One of Us’ flick from dreamy seduction to a rampant, roaring pummel and back in an instant, Dino Gollnick’s squirming bass underpinning Sadonis’ honeyed notes and coating some feverish riffs.

Full of more beauty, urgency and omen than Death Penalty could muster in one track, with a perfect blend of depth and air, this is a great first listen and improves with each successive experience. Wicked, in the original meaning of the term.

 

8.0/10

Lucifer on Facebook

 

PAUL QUINN

 

 


King Parrot – Dead Set

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King Parrot do not fuck around. A quick drum fill, a few stabbed guitar chords of an intro and we are into the full-on no fucks given, no quarter asked nor given, modern crossover thrash violence of minute and a half like opening track ‘Anthem of the Advanced Sinner’, a song with a mid-section chug that recalls the classic head-snap of ‘Raining Blood’.

Mention thrash and people think of a creatively limited genre, mention crossover and people think of retro, mention a combination of the two and we tend to think we’ve heard it before. King Parrot couldn’t give a shit what you think you’ve heard before; born with more than enough middle fingers and ‘tood in fucking truckloads, they parade and stamp jagged anthems like broken glass into your ugly face. This is no quickstep of obvious moves, ‘Need No Saviour’ could be Exodus covering Morbid Angel, before lurching into The Great Southern Trendkill (EastWest) silt and swamp stomp, while ‘Reject’ swills punk around their mouth, before spraying out venom.

Thrash and hardcore are, to this King, to coin a phrase, just the beginning.

Matthew Young spits and tantrums all over the album, like a wound-up “Blitz” Ellsworth having been given a cheeky slap while three sheets to the wind and denied the chance to exact revenge, stomping around destroying the bar while mosh anthem after fight song barrel from the speakers.

Don’t think, though, this is an uneducated rageathon. Dead Set (Housecore) is focused and scripted, Ari White and Andrew Livingstone-Squires ripping choice cuts of classic Death Metal Massacre and Schuldiner riffs and thrashing them up, with Young switching up his yelp with a kidney-punch growl in the grinding menace of ‘Home Is Where The Gutter Is’, while ‘Sick In The Head’ is Bay Area at its most feral meets Sick Of It All.

Ultimately success in this type of arena still relies on songwriting, riffs people want to hear again and an X-Factor of energy and conviction, all of which the Parrot deliver in spades. There is defined Hannemann/King influence in the spiky riffing, but King Parrot bring their own grime to leave their own indelible mark over one of the most refreshing, visceral, unhinged-yet-concentrated and memorable hits from the underground and below this year.

 

8.5/10

King Parrot on Facebook

 

STEVE TOVEY


We Butter The Bread With Butter – Wieder Geil

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Despite sharing honours with Chunk! No, Captain Chunk! for worst band name in metal history, fortunately We Butter The Bread With Butter fare better in their musical creations than in their nomenclature skills.  Despite starting out as a joke band, come their fourth album Wieder Geil (AFM), WBTBWB are a pretty serious proposition in terms of popularity in the world of hooky, groove-focused metalcore, even if their tongues stray fairly regularly into cheeks.

While not being the most original of bands, the Lübben quartet, led by guitarist/programmer Marcel “Marcie” Neumann, know how to tick boxes, as playful, catchy electronica and synths dance in and amongst stabs of metric heaviness, and the band power through track after slick track based around rhythmic poundings laced with poppy synth based motifs, such as the hooky ‘Berlin Berlin’. ‘Exorcizt’ showcases Paul Bartzsch’s ability to hit menacing deep growls and juxtapose with a contagious chorus without wussing out into the autotune territory inhabited by the worst of this ilk (take a bow Breathe Carolina), the repetitive chorus causing involuntary skull banging. Meanwhile ‘Rockstar’ is a Euro rock club dance-floor anthem in the waiting, with its driving, pacy driven guitar and annoying rave “Ooo ooo” interspersing popcore Rammstein.

WBTBWB are a difficult proposition to nail down as, at times, they aren’t all that far removed from lowest common-denominator metal, as exemplified by sprightly down-tuned jack-in-the-box stomper ‘Zombiebitch’, or ‘Ich mach was mit Medien’, the side-effects of a bizarre Rob Zombie and Asking Alexandria splicing experiment; yet all through they entertain with effective, hooky, heavy simplicity. Living on the poppier, cheesier (dairy reference not intended) side of the fence than contemporaries such as Crossfaith, nevertheless, they groove, they engage, they don’t outstay their welcome, and are distinctive, all while delivering ten platters of fodder ripe for mass mainstream metal consumption.

 

6.5/10

We Butter The Bread With Butter on Facebook

 

STEVE TOVEY