Category Archives: Album Reviews

Psychotic Gardening – Hymnosis

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Sometimes you get an album and wonder why you’ve never heard of the protagonists before… This fourth long-player from Canadian quintet Psychotic Gardening (they’ve obviously seen my wife when a frog appears from the undergrowth, mid-weeding) certainly belies the satanic lyrical bent, with some diverse influences steering the set gleefully in every extreme direction.

From the outset of Hymnosis (Self-released) the scything staccato riffs of Canadian underground legend Chuck Labossiere veer between doom and thrash, while Gillishammer’s penetrating scour conducts the simmering ensemble. There’s early variation and a show of future intent in the death-doom of the Paradise Lost-like ‘Re-Hybridized Strain’, Andrew Wiens‘ howling leadwork accompanying a mournful organ and crushing riffs on the album’s first real show of strength. Rather than a mish-mash of styles, each track is different but not in a disjointed fashion, seeming to flow in expressing the chapters of the story. The rampant death groove of ‘Mindfold’, for example, displays brutal tendencies, whilst a dirty bounce and lead operates ‘Genome Degradation:’ a slow, brooding yet crushing monster with unusual chord structures heightening the addictive sound. ‘Searing Cital’ is almost funereal, the throat like an angry Treebeard and maybe Peter Jackson would’ve loved its tolling heaviness and menace as the soundtrack for the trees heading to destroy Saruman. Doom is taking hold at this point; it’s easy to dismiss the title of ‘Garden Raiding’ as violent whimsy but the track is almost moving, its doleful threat possessing stunning leads at the close. There’s an almost prog structure to the cover of Death‘s ‘Open Casket’, the longest and most inventive track, rarely breaking a canter as the superlative guitars are accompanied by powerful, dictatorial drums and some impressive screams. Closer ‘Journey to the Sun’ obviously reflects the coda of life, and that album title; occasional choral effects and the eventual marching beat sandwiched by an emotive piano

It’s an amazingly tight, affecting close to a set which constantly surprises, filling the listener with joy, sadness and angry euphoria in equal measure. Don’t let the name put you off, there’s little humour but plenty of integrity here.

8.5 / 10

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PAUL QUINN


Black Label Society – Catacombs of the Black Vatican

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Whether you love him, hate him, want his babies or feel the need to kick him in the nether regions, there’s no denying that Zakk Wylde is a talented and formidable artist. From stints with Ozzy to his own solo work, Wylde has been in the industry longer than many, 15 of those years spent fronting his baby, Black Label Society. With more people coming and going than the London Underground, the band has seen a wealth of musicians, including Mr Trujillo, leave its ranks and yet Wylde has continued to pioneer the band throughout.

 

Back with their 9th studio album, Catacombs of the Black Vatican (eOne/Roadrunner), this latest addition to the BLS discography is the first to feature now departed drummer Chad Szeliga, and it is one that sees the band toying once again with a more mellow sound. Setting the standards bar to soaring, ‘Fields of Unforgiveness’ begins proceedings, bringing with it some ear-gasmic southern metal groove. Taking on an Ozzy like property to the high notes, Wylde’s vocals are in impeccable form here, making this the first and best track of the album. After this things stay mostly on this path of awesomeness, songs such as ‘Believe’ and ‘Heart of Darkness’ piling on the guitar pounds and rhythmic licks.

 

‘Damn The Flood,’ another album highlight treats us to an impressive Zakk Wylde solo lesson, while ‘I’ve Gone Away’ provides some of the more slowly worked but fantastically aggressive tones of the LP. However, for all that is undeniably great about ‘Catacombs of the Black Vatican’, there are three songs here that may divide opinion. ‘Angel of Mercy,’ ‘Scars’ and ‘Shades of Gray’ are all sombre, muted affairs that showcase our lead singers lyrical and vocal talents brilliantly but still they will not be to everyone’s taste, including this reviewers. Longer than the rest, these tracks bring down the energy levels, stemming the heavy groove–laden goodness that the rest of the album consistently provides.

 

For fans of the earlier BLS days, ‘Catacombs of the Black Vatican’ will probably not quench your aggressively energetic thirst, but it is a brilliant album that fits well in the more mature timeline of the band. Wylde is on top form here, as are Szeliga and DeSevio but there will be some moments on BLS’s 9th outing that don’t call to everyone. Regardless of whether you’re a fan of these more sullen Wylde flashes, ‘Catacombs of the Black Vatican’ is still an excellent listen and it is one that welcomes the band back into the world of musical releases, after four long and anticipated years.

 

7.5 / 10

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EMMA QUINLAN

 

 

 


Floor – Oblation

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Around the turn of the Millennium, Floor occupied a genre of one. A dozen or so years on and the only band capable of emulating Steve Brooks’ old band is his new one, Torche. But after reuniting for a few shows, Floor decided to head back into the studio and the results are enough to make you think you’ve gone back in time a decade.

 

Consisting of Brooks (vocals/guitar), Anthony Vialon (guitar), and Henry Wilson (drums), Oblation (Season of Mist) is the band’s first proper album since 2002’s self-titled debut LP. The template of the songs is much the same as in previous years; leaden-paced doom riffs with Brooks’ grungy, melodic vocals. It’s a winning combination, but the band’s best trick is managing to create an album in line with their history but doesn’t play like a tired rehash.

 

From the lumbering opening of the title track to more upbeat ‘War Party,’ the band manage to mix the heavy with the accessible seamlessly. Huge, droning riffs mix with vocal hooks that wouldn’t be out of place on mainstream chart albums. The fuzz-laden weight of ‘Trick Scene’ could rattle your teeth out, while Brook’s haunting vocals ensure there’s energy hidden within the thick fog of reverb. It’s not as polished or sickly sweet as some of Torche’s recordings – and to many will sound like a more primitive version of that band – but Oblation is all the better for it.

 

Whether it’s the hypnotising ‘New Man,’ the eeriness of ‘Homegoings and Transitions’ or the pure catchiness of ‘Sister Sophia,’ Floor fans will find plenty like about the band in 2014. The songs are tighter, generally more cohesive and the overall impact of the record is genuinely satisfying. It’s bursting with massive, crushing riffs, yet feels remarkably upbeat. The seven-minute ‘Sign Of Aeth’ is probably the album reaching its zenith; epic, snail paced guitars compliment the melancholic vocals before ending on a euphoric high.

 

The only real criticism you can throw at Floor is the lack of variety of songs means the 45 minute run time can seem excessive, especially when previous releases have barely scraped the half hour mark. But it’s a small niggle. Oblation (Season of Mist) is a remarkable album; it will shake you to your bones but leave with a smile on your face. Fans of Torche should get it, fans of anyone who likes their metal heavy should get it.

 

9/10

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DAN SWINHOE


Invertia – Another Scheme of the Wicked

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A band like Invertia doesn’t come along every day. Very few bands today make music that is both challenging and challenging to the listener. Uncommon in style and mentality, the band is more like a force to be felt all over the senses, rather than just music to be heard. When we last heard from the band a year ago the creators of “Oppressive Industrial Black Metal” as they term themselves had just released their excellent debut. They have returned with their new album, Another Scheme For The Wicked (Ohm Resistance) with a leaner, meaner collection that shows the growth of this discordant, unhinged pair from New England.

 

Split between five originals and five remixes, Another Scheme for the Wicked has quality where it may lack a bit in quantity. The opening track ‘The Sidewinding’ is by far the best track in their existence; full of menacing riffs that would make Ihsahn blush, a phenomenal use of stop-start dynamics. There is also a great batch of samples in this track, and I won’t soon hear the line “Jesus is about to come…” the same way again. Second track “Cross Eyed Christ” blends machine gun beats with the best of avant-garde angular riffs. Dave Coppola has created some of the most inventive licks we have heard this year and his scowling maw unleashes some sick gutturals. Drummer Tim Winson keeps things uptempo for the most part and intense bringing in the electronics and beats. ‘Void of Community’ and ‘Hourglass Without Sand’ are a crazy amalgam of brutally and sublime writing. ‘They’re Everywhere’ sounds a lot more raw and lo-fi, like the work on their earlier efforts, despite the 300 bpm tempo and more howling vocals.

 

The real surprise comes with the remixes. The opening track is recast by none other than Justin K. Broadrick of Godflesh and Jesu. He is an inspired choice. The band clearly takes some of its cues from Broadrick and for his lot, he totally re-imagines the track into a new experience. Laconic and dreamy- it sounds like an out take from a David Lynch film, replete with slowed down to a crawl vocals. It also says a lot about this band that Broadrick would work with them, as he doesn’t give this treat ment to just anyone. Other re-mixers, big names from the Ohm Resistance label and the electronic underground such as End.user and R3TRD, have solid results too. Special note also goes to the post-apocalyptic sounds of Submerged’s remix of ‘Hourglass Without Sand’.

Invertia band photo

 

8.5

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KEITH (KEEFY) CHACHKES     


Pyrrhon – The Mother Of Virtues

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For many a year a bands’ “extremity” was defined by how offensive their lyrics were, how unintelligible their vocals were, how fast they could play, and for how long. But, as Tiago Moreira sagely commented in his review of the excellent Artificial Brain album Labyrinth Constellation these are finally different and special days for Death Metal. Death Metal lives in Interesting Times.

With The Mother Of Virtues (Relapse), New York’s Pyrrhon have found a way to meld and then go beyond the warped, technical dissonance of Gorguts, Ulcerate, Portal and Deathspell Omega to create quite possibly the most extreme and impenetrable album to date. By anyone.

Five minutes into the album, and we’ve had a minute and a half Grind/Jazz obliteration at the hands of ‘The Oracle Of Nassau’, which is the last time Pyrrhon pay any attention to “traditional” structure or definable output, and the first three minutes of ‘White Flag’, which starts with an inoffensive bass dally before sweeping off in a riot of aggression and notes from all points of the guitar necks that slows down again to tail into sub-noise via discordant jangles. And that’s just the beginning of an extraordinary album that forces re-evaluation of what can be achieved in the name of extreme music. Boundaries aren’t just pushed, they are non-existent. I don’t like, know, or get jazz, but this is surely what the most fucked-up jazz can only dream of sounding like.

The Mother Of Virtues doesn’t just challenge what is “extreme”, but calls into question whether some of what is produced is actually even music. It certainly shouldn’t be called songs. And is all the better for it.

Completely and utterly impenetrable, and not in the way Krallice or AEvangelist are, and exceptional with it. I don’t “get it”, but I don’t think I’m supposed to. I don’t think the point is to understand what I now imagine the soundtrack of a complete and devastating neural implosion to sound like. I think the point is to be challenged by it.

The technique of all involved is incredible as Pyrrhon deconstruct frictional technical death metal and brokenly put it back together in a consciously unnatural way as only the bass and drums retain any semblance of what we are used to, underpinning and holding everything just about together throughout tracks like the Ved Buens Ende tinged ‘Eternity In A Breath’ as if the rhythm section of a different, more “normal” band, but by the midpoint of ‘Invisible Injury’ both have detached themselves from each other, as the Underworld spills out from all parts of the band into pure extreme free-form.

The Mother Of Virtues will never be an easy listen, will never be comfortable, will always be disorientating and doesn’t so much teeter on the razors edge of insanity and genius as hurl itself from one end of the spectrum to the other and back again. But it will always be an extraordinary album.

 

9.5/10

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STEVE TOVEY

 

 


Impetuous Ritual – Unholy Congregation Of Hypocritical Ambivalence

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Even in underground terms, Ignis Fatuus is hardly a recognisable name, but as drummer for Portal, Grave Upheaval and Impetuous Ritual, the black-hooded Australian is at the cutting edge of Death Metal’s abstract progression into something closer to Noise and Dark Ambient. 2013 was the year when that style – finally picking up the baton of discordance laid down by Gorguts in the late 90’s – exploded, with Portal’s Vexovoid among its most exciting releases.

On first listen, Impetuous Ritual are by far the most “normal” of the Fatuus hat-trick, with recognisable riffs and a surging, chaotic Black/Death Metal approach that owes more than a little to bands like Blasphemy and Diocletian. After Portal’s deceptively eloquent Noise-as-Art abstractions and Grave Upheaval’s transformation of death metal into utterly monolithic, lightless ambient soundscapes, IR’s second album almost seems a let-down – generic noisy Death Metal that we’ve heard before. Perseverance, however, is rewarded, and Impetuous Ritual are revealed not merely as a half-way point between their more obvious siblings, but as a band equally worthy in their own right.

What raises Unholy Congregation… (Profound Lore) beyond the generic clatter-clatter-bang is the structure of the album, which leads the listener from relatively conventional chaotic Death Metal into tracks that combine the abstract, distorted qualities of Fatuus’ other bands with the destructive fury of Antediluvian. The first three tracks rips through a powerful but familiar swamp of riffs and blasts before Despair splits itself into a more atmospheric – even ambient – piece reminiscent of the last Grave Upheaval album, and from there the album opens into something much stranger and more diverse, yet always feels like a consistent, complete album.

People who find this style of cavernous, eldritch Death Metal too chaotic and lacking in melody are still not going to be happy with Unholy Congregation…, but this is a master-class in how to make Death Metal which embraces the more abstract side of the genre without losing sight of its riff-based roots, and prove that Transdimensional Ancient Squid Death Metal isn’t a dead trend yet.

9/10

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RICHARD HR


Gamma Ray – Empire Of The Undead

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Kai Hansen almost single-handedly (OK, double-handedly – it’s quite hard to play the guitar with one hand) invented Power Metal as we know and love it today, being the guiding force behind Helloween’s legendary Walls of Jericho (for the thrashier power metal) and Keeper Of The Seven Keys I and II (for all other non-US power metals) tour de forces. In terms of style, since Land Of The Free Gamma Ray have sat firmly between the two, imparting both classics (Somewhere Out In Space, No World Order) and less-than-vital releases (Land Of The Free II, To The Metal).

Like death, taxes, and Max Cavalera dropping names as frequently as you or I drop off the kids, there’s an inevitability about Gamma Ray albums. You know they’re coming , you know exactly what they’re going to sound like and you know you’re going to get to play the #Neknomination rivalling potent drinking game of “Spot The Stolen Riff” (have a shot for each stolen riff on the last 6 Gamma Ray albums and see if you survive), and Empire Of The Undead (earMUSIC) is no different.

Opener ‘Avalon’ is a 9 minute microcosm of all things Gamma Ray. Strong, distinctive riffing, rousing vocals, a powerful chorus, excellent melodic lead-work, grand story-telling… and then some bits stolen from Iron Maiden (though plundering the Brave New World era is a new approach for Hansen). Elsewhere, it’s hard to ignore that ‘Master Of Confusion’ is a mash-up of two Helloween tracks – the Hansen-penned classic ‘I Want Out’ and the post-Hansen ‘Who Is Mr Madman?’ – or that ‘Time For Deliverance’, the obligatory piano ballad, is different words to Queen’s ‘We Are The Champions’. While Hansen may keep on fighting to the end (it’s impossible not to substitute the line), there are further lifts from Judas Priest’s ‘All Guns Blazing’ and his own ‘Future World’.

You may find this forgivable; their albums are always enjoyable, always reliable, and tracks like ‘Born To Fly’ with its massive chorus are certainly good Power Metal songs, but for every fiesty ‘Hellbent’ there’s a ploddy ‘Demonseed’, and, ultimately Empire Of The Undead is just A.N.Other Gamma Ray album, with all their usual high-points and failings.

Inevitable, really.

6/10

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STEVE TOVEY


Ektomorf- Retribution

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Ektomorf are one of those bands who stick to what they know. Back in Hungary in the mid-nineties, front man Zoltan Farkas stumbled upon a simple formula; groovy down-tuned riffs, tribal drumming, lashings of guttural aggression and the odd Nu-metal influence. Unfortunately Max Cavalera’s Soulfly got there first.

 

Queue 20-odd years and 9 albums worth of music many deride as some form of Cavalera worship, flattery, or plagiarism. Their latest effort, Retribution (AFM Records), does little to silence the critics, but gives the fans a well-crafted and energetic slab of what they like. Opener ‘ You Can’t Control Me’ is a pummelling slab of aggression, primal but satisfying. ‘Ten Plagues’ and ‘Who The Fuck Are You’ keep up the primal feel, tinges of 90s Machine Head and early Slipknot can be felt in amongst the mix.

 

Yes there’s little here that hasn’t been done already on various Sepultura, Soulfly or even previous Ektomorf albums, but the band keep the music up to a decent quality it’s rare to say that a whole album is basically free of duds. With a 45 minute run time, it doesn’t overstay its welcome. Few songs breaking the four-minute mark with every song short and straight to the point. There’s plenty of hooks and shout along moments throughout, whether it’s ‘Mass Ignorance,’ ‘Numb And Sick’ (featuring Ill Niño vocalist Cristian Machado) or the self-explanatory cover of Verbal Abuse’s ‘I Hate You,’ and even a mis-judged acoustic love song in ‘Collapsed Bridge.’

 

With Max taking his Tribe further into Death metal realms, Ektomorf sound more like classic Soulfly than Soulfly themselves do these days. Which is no bad thing. They’re a decent band who know what they do well and do it unapologetically time and time again. Retribution is no exception to that rule, and that’s ok.

 

6.5/10

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DAN SWINHOE

 

 

 


Carnifex – Die without Hope

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It doesn’t seem all that long since American deathcore artists Carnifex announced they would be taking an indefinite hiatus and dissolving back into the obscurity they came from. Just two years later the band are back ripping their way onto the scene again with their fifth studio album Die Without Hope. The time away has obviously had some impact on the band, announcing a fresh sound that sees a distinctly heavier touch of death metal and a shiny new deal with metal label giants Nuclear Blast.

 

Although this album does see a move away from the more generic deathcore traits that were prevalent across their earlier work, it is still littered with a distinct core sound that it never quite shakes off. Traces of melodic death creep through, but dissolve back into generic breakdowns and unimaginative vocal lines. This is matched by the production; some parts dazzle with rich guitar tones and symphonic promises, but the drums click their way through the album, often sounding more like a machine than a kit. There are hints and promises of experimentation and fresh ideas but the ceaseless focus on heaviness leaves the album lacking any real emotional depth, and the squeaky clean sound sucks any grimy pleasure out of the violently unrelenting brutality.

Despite this, Die without Hope shouldn’t be totally dismissed. Smaller surprises lie between the stuttering riffs and uninspired screams, with ‘Dark Days’ containing an almost Dimmu Borgir-esque intro and ‘Condemned to Decay’ throwing in some death metal grooves. This album will still appeal to those with a softer spot for the likes of Whitechapel or Chelsea Grin, but for the more seasoned death metal fan it still falls a long way off the mark.

 

3/10

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CAITLIN SMITH

 

Review by CAITLIN SMITH


John Wesley- Disconnect

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Although not the most household of names, John Wesley is a very important contributor to modern day progressive rock. Most notably John was band and touring guitarist for Porcupine Tree during their acclaimed period of In Absentia through to final album The Incident, as well as an understated solo career, with Disconnect (Inside Out Music) the latest.

Still under the prog rock banner, Disconnect is linked to the genre rather loosely, sharing considerably ground with some of the more inconspicuous components of prog and even at times with moody, post-grunge American rock. Reference points seem to include the likes of A Perfect Circle and Porcupine Tree whilst the likes of ‘Mary Will’ even have some ties with Goo Goo Dolls and the like.

As strong as John’s vocals are here, the real star is his guitar work which interchanges to strong melodic leads to a lower rumbling powerhouse, culminating on the clean acoustics of ‘Satellite’. At times the guitar tone even invokes Adam Jones of Tool’s unique tuning and use of short, but powerful notes. Alex Lifeson contributes to the track ‘Once A Warrior’ too. 

Overall a brooding and melancholic album, Disconnect puts John Wesley’s formidable guitar chops right at the forefront, leading some very strong, straightforward and memorable song writing. Not hugely mind-bending and off-kilter as some under the progressive umbrella, but still with plenty of versatility, Disconnect is a highly recommended gem in a very low key solo career.

8/10

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CHRIS TIPPELL