Category Archives: Album Reviews

Griever – Our Love is Different

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Sweet mother of God: it’s pub-Post hardcore!! Seriously, this is a vibrant effort from Californian agonists Griever (not to be confused with the British metalcore band of the same name), but it’s marred somewhat by a miscast vocalist in Alex Jacobelli and a horrible production which deadens areas of brutality and heightens elements it shouldn’t resulting in tinny cymbals occasionally ruling the sound even through the most bass-heavy cans.

Our Love is Different (Vitriol) carries the sound of a harsh, more weighty Touché Amoré. The jagged leads and closing violence of ‘Malice’ show real emotion while the leadplay coursing through ‘The Tie That Grinds’ evokes the edgy post-punk of Joy Division. Jacobelli’s voice, however, is a consumptive and limited roar more suited to Sludge, and in these surroundings it’s hindered further with each cab doubling as an airing cupboard; though this bizarrely aids the heavy, rapid pummel of ‘King of Ash’. Unfortunately that muffled state dulls the edges of some enterprising and energised riffs and whilst anguished savagery is evident throughout, it’s obvious that a certain sharpness and vitality is missing. The emotive, skipping riffs of the title track descend to a moody subtlety which is broken by a hoarse rasp seemingly threatening to give out at any minute, yet miraculously managing to maintain its wounded bark – it detracts from the emotion but this is thankfully held up by yet more heartfelt leadwork and those switching, often frenetic rhythms.

Post-hardcore is no longer in its infancy so, whilst maintaining an exciting pace and possessing moments of jerking, acerbic battery, such prominent faults are too easily noticeable and threaten bags of promise with mediocrity. Griever possess all of that promise and no little variation too; the sinister and impassioned ‘The Endless Wall’, with its resigned clean vocal, is a much valued departure from the template and shows a sensitive edge to the ferocity.

There’s no doubting that this would be an immense live proposition with the chaotic, sometimes imbalanced sound somewhat more suited to that arena. Through the stereo, however, these guys could brush up on a few aspects before they can be considered all-round contenders.

 

Maybe a tube of Lockets for starters?

 

6.5/10

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PAUL QUINN

 


Sammath – Godless Arrogance

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Let’s get it on the table – Godless Arrogance (Hammerheart) is well played and excellently produced with a good energy. Frontman J. Kruitwagen unleashes powerful, feral howls, and Koos Bos shines with a 36 minute holocaust from behind the kit. This is a decent black metal release with very obvious Gorgoroth and Immortal reference points.

However, for all its competency, like so many faceless corpse-painted albums before it, Godless Arrogance is pointless. It has no personality, no individuality and serves no real purpose. Not every album should, or can be boundary pushing, but sticking rigidly to a style and formula that has been stuck rigidly to for nigh on twenty years by countless others leaves them in the middle of an unspectacular and very large pack.

Black Metal is intrinsically a scene of contradiction – claiming rebellion and anarchy while entrenched in blatant retrospection and reverence to a select few hallowed reference points. But these days it’s a blunted rebellion, stunted by a refusal to move beyond a formula that was first laid down 25 years ago by Bathory and then refined and defined by Darkthrone, Burzum, Mayhem, Emperor et al.

Staring out the window wistfully, a half-grin plays on the lips as fond memories tickle the brain of a time when black metal was exciting and boasted creativity and diversity, when acts mutated and pushed boundaries. Sadly Godless Arrogance, for all its’ sonic strength and no matter how well played it is, lacks any desire to be anything other than just another black metal album. If they were alone in their Gorgoroth/Immortal worship, then I might think more kindly, but it’s over 20 years since Pure Holocaust (Osmose) and 19 since Antichrist (Malicious). The repetition of sound and style by Sammath and others is well beyond boring now.

 

5.0/10

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STEVE TOVEY


Furor Gallico – Songs from the Earth

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One of the oddest things about metal is how it can strive so hard for originality and identity yet remain so indebted to established concepts and trends that the entire thing becomes an exercise in futility. Folk metal and its offshoots Celtic and Viking metal are three of the biggest offenders, recycling the same old tales of romanticised warriors spurning the advance of Christianity with their noble warriors and earth-worshipping traditions, and refusing to admit that Bathory stopped being good when Quorthorn swapped darkness and evil for pomp and circumstance. Throwing in as many ‘traditional’ instruments as the recording budget allows is apparently a measure of how authentic a band is and in an effort to prove this, Italians Furor Gallico have dug very deep indeed.

While the numerous band members can undoubtedly play their instruments very well, with the jovial Celtic melodies of the tin whistle ever flowing and the soothing violin giving proceedings a minor touch of class, the music itself is so heavily indebted to Swiss neighbours Eluveitie that one wonders why they just don’t declare themselves a tribute act and be done with it. From the budget melo-death riffs that fail to capture the imagination when the aforementioned whistle has ceased to the generic grunts and snarls of vocalist Pagan (yes, really), almost everything on the band’s sophomore effort Songs from the Earth (Scarlet) is derivative, cliché-ridden and has been already been done before and better. Some hope is offered by the Thin Lizzy meets Finntroll mashup of ‘Squass’ and the stirring melodies of ‘Wild Jig of Beltaine’ but this is scant reward for the eye-watering sixty-four minute slog the band have served up here.

If Furor Gallico put as much effort into forging their own identity and sound instead of expertly replicating their elders and betters then they could be something special. Until then, a lowly slot on the Paganfest tour will likely be the pinnacle of their achievements.

 

5.0/10

Furor Gallico on Facebook

 

JAMES CONWAY


Sumac – The Deal

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There’s prolific, there’s ubiquitous, then there’s Aaron Turner. With Isis no more than a beloved memory and the latest effort from Old Man Gloom done with its mischief-making, the man’s thirst for invention and colossal soundscapes appears unslakeable and latest project Sumac bounds into being with debut album The Deal (Profound Lore).

From the outset, earth-shaking bass notes and riffs allude to the swelling hostility of former glories. There’s a marvellous tone to the switching, slamming riff and bass of ‘Thorn In The Lion’s Paw’, as deep as the Marianas trench yet resonant, crashing through fearful, hissing amps that groan under the sheer weight. Wonderfully dictated by rolling, pulverising stickwork, Turner’s diseased bark careers the bulldozing track toward a lush, atmospheric ambience; the piercing piano keys and howling lead chord chilling the soul. It’s a typically diverse, adventurous, yet sonically booming exercise deserving of beefy cans rather than those tinny, treble-heavy ‘in-ear’ aberrations. The scything, hammer riff of ‘Hollow King’, when colliding with the frenetic rhythm episodes, is positively euphoric and claustrophobic; even an albeit accompanied drum solo and brutal jam session can’t bore, instead numbing the senses with their size and stunning display of instrumentation, the closing imitation of a pulse the beating heart of the grandest titan.

Despite the undulating power, however, there’s a self-indulgence which leads to meandering moments: the pounding, scorching Stoner twist of ‘Blight’s End Angel’ for example containing extraneous and tedious passages. Despite a rolling pummel and that ripping scour, the thirteen-minute title track houses aimless lulls broken by a crushing intensity, yet even this is occasionally stodgy and flinches only with switches of pace and enlivening lead breaks at both the halfway point and the coda. Only the drifting yet reverberating power and beauty of the YOB-like, aptly-named closer ‘The Radiance of Being’ reflects that early variance you’d expect more of.

This is still a fine album, full of Turner’s trademark phenomenal power. He is doubtless capable of more spectacular results than this, however, he would feel that someone of my limited cognitive powers couldn’t fully understand…

 

7.0/10

Sumac on Facebook

 

PAUL QUINN


Brothers of the Sonic Cloth – Brothers of the Sonic Cloth

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Come on, admit it: how many of us believed that man-mountain and Grunge legend Tad Doyle was no longer with us?! The most unhealthy-looking of the colossi who bestrode Seattle in the early 90s was nevertheless a commanding figure of the scene, and one of the most quietly admired. Though away for some considerable while, it seems his present outfit Brothers of the Sonic Cloth has been gently simmering for eight years, and this eponymously titled debut album (Neurot) is the first substantial harvest.

The sheer depth and fulminating power of the huge riffs and rhythm section through opener ‘Lava’ is nerve-shredding and, despite a middling pace exposing some old Grunge tendencies, the harsh growls paint a murkier picture. This is reinforced by the funereal rate of the sinister ‘Empires of Dust’; a delightfully morose crawl through the swamps of Sludge, shot-through with a mournful lead which enhances Doyle’s evil croak wonderfully. The opening few minutes of ‘Unnamed’ take us on a varied journey, evocative keys giving way to a monstrous pounding and a nasty, Deathly Doom, Doyle’s growl occasionally evoking Tom G. Warrior. Indeed the overall feel of the track is Triptykon-esque: a swelling, reverberating Stoner groove sandwiched between pulsating, slashing verses and a brutal, industrial coda.

With such a broad range of sub-genres hit already, the only issue here is that the album can’t seem to make its mind up where to go. ‘La Mano Poderosa’ is an at times ponderous bundle through Crowbar country, powerful and crunching yet uneventful; while the emotive, ominous, gently throbbing ‘I Am’ is a crushing depiction of Pearl Jam‘s more subtle moments, Doyle retching and screaming in anguish. The bonus track ‘The Immutable Path’ is an Om-style incantation, quietly rumbling drums and atmospheres combatting the threatening vocal, intoned like a spectral Orson Welles – it’s a spooky sound as Doyle has grown to bear more than a passing resemblance to the acting titan.

Overall this is an intense experience, an album full of resonating weight and passion, and more direction would have turned it into an utter rip-snorter. Welcome back Tad.

 

7.5/10

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PAUL QUINN

 

 


36 Crazyfists – Time and Trauma

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They say absence makes the heart grow fonder. The thing is, “they” also say eating bread crusts makes your chest hair grow curly and that going to sleep with wet hair gives you a cold. “They” can talk a load of bollocks at times. Sometimes absence makes you think “Oh, I’d forgotten about them”, “I thought they’d split up” or even “well, I hadn’t actually missed them at all”. So, while 36 Crazyfists aren’t quite starting from scratch with Time and Trauma (Spinefarm), their first album since 2010’s Collisions and Castaways (Ferret/Roadrunner), they do have a little bit of re-establishing to do as it is now thirteen years since their defining moment, debut Bitterness The Star (Roadrunner).

The first thing to notice is, that while it would be churlish to say there’s a reduction in aggression as the Alaskan quartet were never about being heavy bruisers, Time and Trauma moves their trademarks more into the alternative metal ballpark,  focused on building dynamic atmospheres rather than the quick win thrash-holler-beatdown formulas of many of their contemporaries, giving room for mainstay vocalist Brock Lindow to seek powerful melodies and create a more expansive universe for the Crazyfists. Lindow has always been a divisive figure in my mind, distinctive – which is always a bonus – and capable of creating the choruses that others may not think of, but at the same time over-reliant on an idiosyncrasy that doesn’t always enhance, with his warble grating as often as it augments.

There is an interesting dynamic to Time and Trauma in that this is an album that aurally grows and develops as it progresses, with the depth and quality of tune, in the main, saved for the second half. Most bands frontload with singles in the hope to build up enough brownie points in the opening exchanges to win the plaudits and the affections of their faithful, however 36 Crazyfists are confident in their material and happy to display a maturity that suits them, a darker churn to their sound that stands them in good stead.

There may be touches of Drowning Pool (‘Also Am I’) and the odd ‘Grind’ of Alice In Chains (the title track) but the over-riding feature seems to be that this, the sixth Crazyfist release, is the album that sees them explore their inner Deftones, expanding and lurching this added influence into their sound, culminating in the interesting penultimate track, ‘Gathering Bones’. That said, it is only on the closing, harrowing ‘Marrow’ that the band unveil a truly great song with a chilling, spiraling bleak melancholia that sees a great female vocal guest performance (and shame on the band for making it so hard to find out who it is).

As far as comebacks go, they may be aiming for “swinging for the fences again”, as Lindow declares again in the press statement, but Time and Trauma only sees them round second, falling short of a home run. A decent effort that will be a welcome addition to the collections of those who are already on-board and that, despite the added exploration of the dark and the Deftones, is unlikely to convince those who don’t already walk the world of the 36 Crazyfists.

 

7.0/10

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STEVE TOVEY


Arbitrator – Indoctrination Of Sacrilege

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Let’s get this out of the way now – the days when mixing samples and electronic music with your Metal was enough to make you different or “experimental” are long over.  There’s still ground to be broken in this area, but it’s to do with how well those elements are integrated and made part of the song-writing, rather than just being there.

Arbitrator really want us to call them “Industrial Death Metal”, but on Indoctrination Of Sacrilege (Independent/self-released), that much-abused “I” word seems to mean nothing beyond some programmed drums, heavy use of samples and “atmospheric” synth passages. The use of electronic music and Dance elements in heavy, low-end Death Metal makes a comparison with The Monolith Death Cult hard for any lazy journalist to resist, and unfortunately for Arbitrator that comparison is not a flattering one. While their Dutch peers create a constant, ceaseless assault that jumps from torturous to comical as often as it moves between genres, Arbitrator go for a more sedentary, considered approach that initially seems boring or flat in comparison.

If this has been something of a roasting so far, then it’s not an entirely deserved one, and it’s time to flip the perspective a little.  Once the lack of fireworks have been accounted for and expectations adjusted, there’s some effectively gloomy Death Metal, bordering on Doom in places, going on here.  The band are tight and heavy, and have a good sense of dynamics that keeps their music thundering forward even when they bring the pace right down.  The samples and electronic elements are largely well used – though they add little to the music, and have a tendency to fade into the background – and the album sustains an effective mood throughout.

Indoctrination Of Sacrilege is a competent, well-produced, entirely enjoyable album of atmospheric “Death Metal With Bits” from an unsigned band who may well achieve something genuinely worthwhile in their future, but as it stands is hard to get too excited about.

 

6.0/10

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RICHIE HR


Whyzdom – Symphony For A Hopeless God

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On their third album Symphony For A Hopeless God (Scarlet) Whyzdom (and for the record, that really is a terrible name) offer to the masses their unique brand of “Philharmonic Metal”. OK, points for that; that’s a new one on me and certainly piqued the interest in terms of how Philharmonic metal differs from symphonic metal. It would appear, not by much… and not for the better.

A clusterfuck of kitchen sink Symphonic Power Metal, it would appear the raison d’etre for Whyzdom is to layer as much orchestration, often seemingly random in what the orchestration is actually attempting to do, as possible to hide the generic and stock metal that exists underneath. For a band with seemingly such a grandiose vision and sound, the actual music is surprisingly meagre in the ideas department, reduced to nary a variant and many a stock staccato chug under the crazy swells chugs and stabs the like of which are often prevalent in Power Metal, hidden under lashings of keyboards.

For all their promises of a massive orchestra, in reality this is covered by the admittedly impressive keyboard skills of Marc Ruhlmann, though between him and mainman Vince Leff (guitars and orchestration) they’ve still to figure out how to write a dynamic line, instead stacking up noise upon noise to near-headache inducing levels. On top of this, we have the tuneless warbling of Marie Rouyer, who while clearly capable of hitting all the notes isn’t encouraged or allowed to shape them into any semblance of melody.

Unlike Epica’s The Quantum Enigma (Nuclear Blast), perhaps Whyzdom’s closest musical cousins, which separates out into a series of powerful, strong songs, repeated listens to Symphony For A Hopeless God reinforces that technical proficiency and a penchant for overkill in orchestration does not an enjoyable or enticing prospect, or good album make. Things are particularly tough going as this is a release that clocks in at over an hour of overbearing heavy-handedness and an insistence of trying to bombard the senses seeming purely for the sake of utilizing the Motorhead remit of “Everything Louder Than Everything Else” all at the expense of actual songwriting.

 

5.0/10

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STEVE TOVEY

 


Zoax – Is Everybody Listening?

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The London-based five piece’s second EP and first to be distributed through Century Media certainly shows promise and shows that there may be more to come from the band in the future, but in fact the EP only helps demonstrate that the band are not completely ready for the big time just yet.  If being thrust into the mainstream is to be compared to going out for a night on the town, lets say, a fellow rising British band such as Marmozets would be in the taxi on the way to club, whereas Zoax would still be at home trying to get their shoes on by comparison.

Is Everybody Listening? (Century Media) does have its positive moments though, the album is a frenetic and frantic beast throwing the listener all over the place in that diet Dillinger way that a band like Architects has pretty much perfected.  Make no mistake though this is certainly a lot less heavier than Architects, there’s more a frenetic almost indie tone to it, which shares a lot in common with Marmozets.

When listening to this, the album that kept coming to mind was the recent début album from Beartooth. It’s not as heavy or as in your face as that, though it certainly has one toe in the great sea of indie rock, though with a great connection between bottled insanity and sweet yet weighty choruses.

Overall, Is Everybody Listening? is certainly not going to set the world on fire and  is far from the finished product, but has enough about it that I would be shocked if this ends up the best release put out by this band by the end of their career.

More of a brief wind than the hurricane some had forecast it to be.

 

6.0/10

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DAN O’BRIEN


Haapoja / Dephosphorus – Collaboration LP

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Split albums are an excellent tool for bands to come together and unleash an onslaught of material which you may not necessarily have been familiar with beforehand – and with Collaboration LP (Handshake Inc., 7 Degrees Records, and Nerve Altarboth) Haapoja and Dephosphorus have not missed the trick at all. Whether intentional or not, these collaborative records encourage a certain level of competition as well – who goes harder than the other? The competitive edge has allowed both bands to absolutely raise their game – in this case it is Finland vs. Greece.

A really interesting element to this split LP is the fact that on both of the respective opening tracks the bands traded front men – and oddly enough both the opening tracks of each section are the better tracks.

The first portion of the album then comes from the Finnish maniacs in Haapoja, who shoot out of the blocks with a phenomenal level of aggression and calculated speed. Opening track ‘We See With Teeth’ builds and builds with this brilliantly executed Thrash style. In fact the pace never really lets up in their half of the album as they race through four tracks in just over ten minutes. The band mesh different influences together, sounding a bit like early Kvelertak – and as you reach the conclusion of their half you’ll find yourself thinking that Dephosphorus will seriously need to deliver something special after a breathless ten minutes, and to be fair to them they absolutely do.

Dephosphorus explode in to the track ‘Aika’ boasting the same level of aggression but with an added element of groove. Away from the first track, the vocals on their side of the LP sound like desperate cries, similar to the power and aggression delivered by the likes of Frank Carter in the early days of Gallows. The two bands on this record do sound similar, but where Haapoja deliver solely a smash mouth flurry of aggression, Dephosphorus smash that same style together with some slower, heavier moments which accentuates the groove.

One thing is for sure, with both bands you’re left salivating for more. This will almost certainly be an album which will sit under the radar, but give it a go – you will not be disappointed. Both bands deliver their music with such passion you cannot help but be taken in by its infectious nature as the quality of the output encourages repeat listens. Yeah the production is a bit shaky at times, but it gives the whole Collaboration LP that added bit of character, it is a raw and snarling beast.

 

7.5/10

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TOM DONNO