It can only be attributed to an act of divine blessing that the world has been treated to the match made in heaven that is Mastiff and Church Road Records.
Tag Archives: Albums
ALBUM REVIEW: Tombs – Feral Darkness
The new Tombs album, Feral Darkness (Redefining Darkness), is another chapter in the sonic tome chronicling Mike Hill‘s travels to throb of the abyss. To say this sounds like a Tombs album is a broad statement that neglects the stylistic shifting due in some part to the band’s revolving lineup. The first thing you might notice upon first listen is that there are fewer Black Metal moments. Instead, the album is driven by the kind of aggression that characterizes Death Metal. The vocal approach is not all guttural. Forceful declarations, not unlike what you might have heard on a Celtic Frost album. Continue reading
ALBUM REVIEW: Coroner – Dissonance Theory – Century Media Records
Despite Dissonance Theory (Century Media Records) being Coroner’s first album in 32 years, there is little effort to ride the coattails of former glories and revisit what they did on masterpieces like “Punishment For Decadence”; instead, they have updated their sound to smooth out any of the wrinkles from the eighties to present something very vital for 2025. This means some things have changed. Tommy Baron and Ron Royce return without Marquis Marky behind the kit, a change that is more pronounced when you are a trio.Continue reading
ALBUM REVIEW: An Abstract Illusion – The Sleeping City
ALBUM REVIEW: Sanguisugabogg – Hideous Aftermath
Was the year’s best Death Metal album coming from the Goregrind/Slam side of the fence on your bingo card?
Sanguisugabogg are here to fucking bring it on Hideous Aftermath (Century Media).
ALBUM REVIEW: Intraether – Vestiges
It seems with every listen, Vestiges (Fiadh Productions) has something more somber to offer.
Intraether, the Atmospheric Black Metal outfit responsible for the new album, succeeds in creating distinguishable songs that all still contain a common thread of melancholy and bombast that brings everything together.Continue reading
ALBUM REVIEW: Insomniac – Om Moksha Ritam
Atlanta’s Insomniac brings the surreal sounds of the early nineties back to life on Om Moksha Ritam (Blues Funeral Recordings). These guys drape brooding baritone vocal lines over layers of atmospheric guitar that swell into big sludge-tinged riffs of epic proportions. On a song like “Mountain,” the twin guitar attack is a dizzying affair that accelerates in an almost Mastodon-like manner. Deceased drummer Amos Rikin keeps the cymbals crashing with enough gusto to move their hypnotic riffage with locomotive momentum. This reaches peak heaviness for these guys when harsher growls roar up from the back of the mix to accent the punchy chugs.Continue reading
ALBUM REVIEW: Still In Love – Recovery Language
Out via the British extreme music-centered label Church Road Records, UK Hardcore five-piece unit Still In Love launches a debut full-length entitled Recovery Language – with thematic focuses circulating around the discourses of generation trauma, catharsis, emotional release, and personal boundaries. Highly introspective and deeply rooted in raw, intense emotions that speak of resilience, the aggression-laden UK Hardcore undertones of this album fit the recurring themes so well, with a hint of Post-Hardcore influences as well. Continue reading
ALBUM REVIEW: The Beaches – No Hard Feelings
Canadian four-piece The Beaches always know how to a) have a damn good time and b) write songs that while they may be tongue-in-cheek, are also stupidly catchy and/or memorable. And their newest work is no different.Continue reading
ALBUM REVIEW: Fleshwater – 2000: In Search Of The Endless Sky
Fleshwater’s new album 2000: In Search Of The Endless Sky (Closed Casket Activities) displays the lessons the band learned from playing arenas with a more anthemic nineties Rock sound than what was heard on “We’re Not Here to Be Loved.” It shoved singer Marisa Shirar into the spotlight, forcing her to own her identity as a frontwoman. The mix of this album is more radio-friendly with the vocals out front, as the guitar swirls around them. Shirar’s singing style is more Rock-oriented on this album, belting the choruses out as the guitar sits back in the mix. The atmospheric opener is the strongest song on the front end of the album, as the singles dial back the more shoegazing elements. Though it depends on what you want from music in this regard; if you are a fan of Paramore, the more alternative rock-leaning sound might be more to your liking. Continue reading