Tag Archives: James Conway

Abyss – Heretical Anatomy

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When a new band pops up containing members from a variety of diverse backgrounds, it’s always worth checking them out. Toronto five-piece Abyss boasts veterans from the Canadian death, thrash and powerviolence scenes and have pooled their collective knowledge and experience into Heretical Anatomy (20 Buck Spin), a ripping tribute to old-school extreme metal that contains plenty of sneering punk attitude and knows how to hold your attention as well as bludgeon your ears into submission.

Clocking in at a mere twenty minutes in length, Heretical Anatomy wields a nasty, serrated guitar tone that could cut through flesh with ease. Aided by a bulldozing rhythm section and a vocalist who sounds like he’d stab your eyes out after robbing your wallet, the smattering of tracks on offer here draw heavily from late 80’s death and grind with Repulsion being a clear influence, especially in the shorter tracks such as the deranged violence of ‘Flesh Cult’ and the pounding, mutant punk battering of ‘Nightmares in Skin.’ Elsewhere, the rotting corpse of Carcass looms large in the feral Symphonies of Sickness (Earache Records) worship of ‘The Atonement’ which is tailor made for a surging pit in the Maryland Death Fest parking lot.

It’s not just knuckle-headed, gore obsessed fare either; several raucous guitar solos flare up to prove just how much fun the members are having, while the doomy dirge of ‘Thrall of the Elder Gods’ is pure old school death metal with a penchant for mood and menace. Whatever your pleasure, there’s plenty on offer here for seasoned death and grind lifers and while Heretical Anatomy has only come out this month, it sounds like it’s been thawed out of the Canadian ice after being entombed since the late 80’s.

More of this soon, please.

 

7.5/10

Abyss on Bandcamp

 

JAMES CONWAY


False Pregnancy – Dance Your Meat Off!!!

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If musical genres could be anthropomorphized as people, goregrind would be the ‘special’ cousin who eats road kill and is a little bit too friendly with local farm animals. The four members of False Pregnancy, four self-confessed idiots with alcohol problems would seem to confirm that those who tune extra low and like to grunt like pigs won’t be joining Mensa anytime soon. Having said that, they sure can have fun, as the seventeen minutes of Dance Your Meat Off!!! (Nailjar Records) emphatically proves.

This is quite frankly one of the dumbest records ever recorded; each song only lasts around 90 seconds and features the same low-end, down-tuned chords, indecipherable pig squeals and grunts and absurd, juvenile song titles such as ‘Soft and Juicy Angelina Jolie’s Pussylips’ and ‘Spermnavigator.’ In case things weren’t stupid and offensive enough they throw in an Anal Cunt cover (‘Flower Shop Guy’) complete with falsetto vocals. If the more PC grind bands heard this they would not be pleased. But you know what, all these flaws work to the band’s advantage, for while the riffs may be generic, they are catchy as hell, the atmosphere is like one big party, and the short song lengths ensure it’s impossible to get bored.

The band clearly aren’t taking anything seriously, as indicated by occasional snippets of folk, Euro trance and Volksmusik, that will have you checking they haven’t entered into some bizarre business deal with Spotify. But the truth is they just want to have fun, and it’s likely that if they get offered a mid-afternoon slot at Obscene Extreme with plenty of stage divers on hand, the scale of their ambition will be met. Like Rotten Sound with a lobotomy, False Pregnancy is a prime example of dumbing down and they couldn’t be more welcome.

 

7.0/10

False Pregnancy on Facebook

 

JAMES CONWAY


Tribulation – The Children of the Night

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Having started off like so many Swedish death metal bands by worshipping at the putrid altar of Entombed on debut album The Horror (Pulverised), Arvika upstarts Tribulation clearly weren’t content to merely rehash the work of the elders, as demonstrated by sophomore record The Formulas of Death (Invictus), a lengthy concept piece that won them many admirers despite not straying too far from established templates. All that has changed now with third effort The Children of the Night (Century Media), which save for snarled vocals and horror themed lyrics, is a classic heavy metal record, far more interested in melody and catchy songs than aggression and violence.

Aided by a lo-fi, vintage production which isn’t a million miles away from the kind of vibe Opeth have been cultivating on their past two albums, the music on The Children of the Night rarely gets above mid-paced; those who came here expecting blastbeats and tremolo picking will be sorely disappointed. Instead we get some fantastic guitar interplay between Adam Zaars and Jonathan Hulten that dart and weave amidst each other like a pair of bats dancing at twilight.

A lot of influence appears to have been taken from both Watain’s Lawless Darkness (Century Media), and last year’s final In Solitude record Sister (Metal Blade), especially on the vaguely groovy gothisms of ‘In the Dreams of the Dead’, while the sinister melodies and big stomping riffs of ‘Winds’ is like Iron Maiden if Steve Harris was forced to watch repeated showings of The Cabinet of Dr Caligari.

There’s also a strong yet subtle Sisters of Mercy feel to the album, noticeably on the achingly hip ‘The Motherhood of God’ with its irresistibly danceable rhythms and morose, melodic verses. The songwriting throughout the record is full of surprises, from the catchy chugging riffs of opener ‘Strange Gateways Beckon’ to the mysterious doomy refrains of closing track ‘The Motherhood of God.’ One gripe is that the record is ten minutes too long and where instrumentals should be used to build atmosphere, the two tracks here go nowhere and should have been culled. That said, The Children of the Night is a brave record from an exceedingly talented set of musicians who are just that more subtle when it comes to what style of darkness works best.

 

8.0/10

Tribulation on Facebook

 

JAMES CONWAY


Forgotten Tomb – Hurt Yourself and the Ones You Love

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Just when you thought winter was on its way out and happy, sun-drenched times were on the way, along come Forgotten Tomb with another slab of depressive black/gothic/doom metal to remind you that life ain’t all sunshine and rainbows; it’s full of pain and sorrow. Having said that, the Italian quartet are nowhere near as bleak as the raw black metal of their early days, and seventh full-length proper Hurt Yourself and the Ones You Love (Agonia) sees them crawl further from the crypt into the glare of stadium rock lights, albeit one located in the depths of your own personal hell.

Still heavily influenced by fellow travellers in woe Shining (the creepy black metal lot, not the jazz weirdos), Forgotten Tomb’s songwriting continues to improve, with big stomping riffs and twisted grooves propelling songs such as ‘King of the Undesirables’ forward with grim intent, like a reanimated corpse that wants your hand in unholy matrimony.

Of course, everything is still coated in an impenetrable layer of darkness that prevents these anti-anthems ever being acceptable to the normals in the light-world, even though there are plenty of mournful melodies that the likes of Paradise Lost and Katatonia would sacrifice their first born for. The frequent lurches into ragged, speedy black metal keeps things dangerous and reminds the listener that the band have not forgotten their twisted, blood-smeared roots.

They’re still eager to court controversy as proven by the eyebrow-raising cover art, album title and over-the top lyrics (“I’ll fuck your daughter, slit her throat then bathe in her blood” anyone?) but thankfully have the musical muscle to back it up. The repetitive, marching dirge of ‘Dread the Sundown’ is the longest walk to the gallows you will ever face while the cold emptiness of coda ‘Swallow the Void’ ends thing on a stark note.

Forgotten Tomb will never hit the big leagues but it would be a crying shame if they did. Their twisted talent and the uncompromising vision of frontman Herr Morbid is something that belongs in the underground, where it thrives away from the light. Hurt Yourself… is a grimly satisfying peek into that darkness.

 

8.0/10

Forgotten Tomb on Facebook

 

JAMES CONWAY


Apophys – Prime Incursion

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For those who get their kicks from death metal bands with sci-fi lyrical concepts rather than tried and tested blood n’ guts themes, the debut record from Dutch stargazers Apophys will be more welcome than cast iron evidence of Area 51’s nefarious deeds. Featuring current members of God Dethroned and Detonation in their ranks, the quintet have recorded one seriously heavy record in Prime Incursion (Metal Blade) and have set the bar very high for fellow competitors who believe in scheming reptilians rather than bloodthirsty demons.

The band deliver a systematic battering over the course of nine tracks that hit harder than a sledgehammer, yet still find the time for the odd bit of noodling or a breakdown in speed to collect themselves before the onslaught begins again. Aided by a seemingly inhuman drummer who wields his double-bass pedals like pneumatic drills, the atmosphere remains tense and punishing throughout. This is best demonstrated by the sinister film quote and monstrous groove that begin ‘The Antidote’ while opening track ‘Dimensional Odyssey’ is a no-holds-barred bludgeon that brings to mind vintage Decapitated. Elsewhere, the eerie melodies of ‘Ego’ conjure images of an abandoned spacecraft drifting into the void, the slaughtered crew a testament to the madness which occurred there.

Clocking in at a mere thirty-nine minutes and thankfully avoiding pointless interludes that plague fellow bands with progressive ambitions, Prime Incursion gets the job done in uncompromising style and shows a band with an equal level of talent and prospects. The riffs are devastating, the vocals guttural, and the rhythm section is out of this world. Fans of the likes of Abiotic and Slugdge would do well to check this out when they get a break from listening to the police scanner.

 

7.5/10

Apophys on Facebook

 

JAMES CONWAY


Morgoth – Ungod

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Another day, another reunion. For the unaware, German quintet Morgoth created a reasonable buzz back in the early 90s with the solid if unspectacular duo of Cursed and Odium. Then they went and spoiled it all by doing something stupid like releasing Feel Sorry for the Fanatic, a bizarre jaunt into experimental electronic territory which appalled fans and led to the band breaking up in 1998. However, like so many others they have returned from the grave and Ungod (all Century Media Records) is the fruit of their labours. Is it worth it?

On first impressions, the answer is a baffled “No!” as the naked Obituary rip-off of ‘House of Blood’ comes lumbering out of the speakers. New vocalist Karsten ‘Jagger’ Jäger sounds so much like John Tardy you’ll be wondering if there’s been a mistake at the pressing plant. Thankfully things improve on the catchy mid-paced ‘Voice of Slumber’ which makes good use of those morose yet subtle melodies that were just enough to give Morgoth their own identity back in the day. Further tracks such as the measured riffing and familiar satanic lyrics of ‘Snakestate’ and the more aggressive attack of ‘Descent into Hell’ are pretty much exactly what the doctor ordered; middle of the road, no-frills death metal that sounds exactly like it was recorded in Florida circa 1993.

Honestly, were you expecting anything different? It’s hardly surprising that Morgoth have retreated to their classic sound (comfort zone) after such a disastrous backfire all those years ago, and they certainly know how to pen a decent death metal tune. However, like Massacre’s comeback record last year which shamelessly traded on former glories, Morgoth seem to think that just turning up and acting like nothing’s changed will be enough. Unfortunately the world of extreme metal is a far more diverse, cut-throat entity than it was in their heyday and it’s difficult to see them standing out from the herd this time round.

 

6.5/10

Morgoth on Facebook

 

JAMES CONWAY


Minsk – The Crash and the Draw

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When Chicago, Illinois natives Minsk threw in the towel in 2011 there was widespread disappointment in underground circles that such a well-admired and hardworking band had decided to call it quits. Thankfully the split turned out to be a mere mini-hiatus, with a reformation in 2013, a few changes in personnel and now new record The Crash and the Draw (Relapse) for our delectation. Minsk sound as if the break has done them the world of good, for they have recorded one of the finest post/sludge metal albums you are likely to hear all year.

Always a band to take their time, Minsk are all about the slow build and release with plenty of emphasis on mood and atmosphere, whilst never afraid to use aggression and visceral riff-power to remind us that they are a metal band at heart. The music comes wrapped in a smoky, dreamlike haze that is of a far darker hue than your average doom band, whilst the frequent forays into tribal rhythms hint at a more primal vision. Opening track ‘To The Initiate’ is a snapshot of every aspect of the band’s sound, from the vague, meandering intro, tumultuous mid-section and pounding riffs that close proceedings.

At seventy-five minutes, The Crash and the Draw is a very long affair and the early part of the album, particularly the lumbering four-part epic ‘Onward Procession I-IV’ should have been trimmed. However, what follows is a masterclass in chin-stroking, murky post-metal which reveals more with each lesson. Shorter instrumental tracks such as the gorgeous ambient of ‘Conjunction’ and the sinister percussion of ‘To You There Is No End’ act as perfect flagpoles amid the crushing hypnotic riffs and flowing melodies of compositions such as the magnificent ‘When The Walls Fell.’

Bassist turned producer extraordinaire Sandford Parker does an exemplary job behind the desk, popping up from time to time with his trademark buzzing synths while 4/5s of the band contribute vocals, further adding to the tribal, multi-layered atmosphere.

A fantastic comeback record from a band that is yet to put a foot wrong.

 

8.0/10

Minsk on Facebook

 

JAMES CONWAY


Arvas – Black Satanic Mysticism

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Subtlety isn’t the done thing when it comes to black metal. Take Arvas for example. Their promo pictures are utterly hilarious; contorted, gurning faces slathered in corpsepaint which have the unfortunate side effect of highlighting how certain members of the band could do with brushing their teeth. The title of their third full-length Black Satanic Mysticism (Aeternitas Tenebarum Musicae Fundamentum) was probably selected by throwing darts at pages torn from Watain liner notes, while the cover is haphazardly covered with occult symbols with little thought for aesthetic value. Needless to say, the music they peddle is unashamed second-wave worship which sticks so rigidly to convention you wonder why they even bothered, even if it ticks all the right boxes.

A satisfyingly raw production that in all likelihood was engineered through thoughtful design rather than accident reminds us that Arvas consider themselves to be the real deal. They’ve obviously spent a long time absorbing the classic releases of the likes of Gorgoroth, Mayhem and Darkthrone and over forty-seven minutes repeatedly remind you that those bands did it first and better. The repetitive riff that drives ‘Flames of Black’ should have remained in the rehearsal room while the out-and-out Bathory worship of ‘Follow the Raven’ is so derivative of Stockholm’s finest that Quorthorn deserves a writing credit. The same can be said for the blatant Carpathian Forest rip-off that is ‘Faith of Negatron.’

While their commitment to replicating older material ensures that a few engaging riffs are present on Black Satanic Mysticism, the utter lack of originality displayed by Arvas is troubling for a band that has been around in some form or another since 1993. Black metal is meant to be lawless, creative and dangerous, not safe, predictable and clichéd. Bands such as this may think they are keeping the old flame alive but in reality they are just tending a field of scorched earth.

 

4.0/10

Arvas on Facebook

 

JAMES CONWAY


Gloson – Yearwalker EP

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One of the biggest musical fads of the past decade has been the so-called ‘NeurIsis’ movement; bands who suckle at the withered teats of apocalyptic doom titans Neurosis and post-metal masters Isis with fevered vigour. The result is a not altogether unpalatable cocktail of big lumbering riffs, clattering tribal percussion and post-rock widdling, more often than not performed by blokes with beards wider than their biceps. Swedish quintet Gloson are late arrivals to this bandwagon, sorry, genre and their debut EP Yearwalker (Catatonic State/Art of Propaganda) has zero surprises in its thirty-two minute running time. That isn’t to say it doesn’t pack a hefty punch, mind.

While the band may ludicrously categorise themselves as ‘boar metal’, which explains why there’s a vicious looking porker with bloodstained tusks gracing the front cover, one thing they aren’t is ‘bore metal’ (I’m here all week) as the listener’s attention is unlikely to waver throughout their gargantuan riff onslaught, aided by a three-guitar attack that adds just enough interesting variations along the way to justify the extra axe. Tracks such as the ten minute ‘The End/Aftermath’ is a pummelling affair that will pin ears back when performed live, while closing number ‘The Aftermath Begins’ employs bleak atmospherics amid the crushing tempo with more than a few nods to fellow native gloomy types Cult of Luna.

While Gloson aren’t covering any new ground here, they are trampling a lot of foliage along a well-trodden path, and their relatively straightforward, powerful approach will win them a fair few fans. However, it’s hard to see them ever becoming anything more than a perennial support band who you’ve completely forgotten about a week after seeing them. Unless a tad more originality and songwriting nous is introduced on the next release, this boar’s days could be numbered.

 

6.5/10

Gloson on Facebook

 

JAMES CONWAY


Bio-Cancer – Tormenting the Innocent

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As my good colleague Dan Swinhoe recently noted in his stellar review of the new Reign of Fury album, it’s easy to have preconceptions about thrash albums based on the cover alone. The artwork for Greek quintet Bio-Cancer is exactly what you’d expect from a latter day thrash outfit; designed by genre stalwart Andrei Bouzikov, luridly coloured, biohazard symbol and a freakish, multi-limbed mutant. So far so Municipal Waste, right? Well you’d be wrong, for Bio-Cancer aren’t here to party; they’re here to rip your fucking head off.

It’s fairly safe to say that Tormenting the Innocent (Candlelight) is one of the most vicious sounding, aggressive thrash albums of all time. If you think this is hyperbole, do yourself a favour and listen to the barbaric, light-speed assault on the senses that is opening track ‘Obligated to Incest’ and if you’re still standing, strap yourself in for a further half-an hour or so of brutal, yet catchy riffs, devastating blast-beats and feral, demonic shrieks courtesy of the band’s ace in the hole; vocalist Lefteris who delivers his lines like Steve Sousa with a piranha forcibly inserted up his backside.

It’s not hard to see why the band has described their sound as “ear-piercing thrash” when tracks such as ‘Boxed Out’ and the ninety-second maelstrom that is ‘Haters Gonna… Suffer!’ are akin to having skewers inserted in your lugholes. But just when you thought you had them figured out, what sounds like an oboe commences ‘F(r)iends or Fiends’ and the band demonstrate just what superbly skilled musicians they are, as lethal melo-death style guitar lines, mature rhythmic interplay between bass and drums and a gloriously exuberant solo blow the roof off.

Deftly welding skull-crushing power with measured songwriting nous, Bio-Cancer are that rarest of things; a thrash band with its own identity. Disgustingly talented, full of beans and proof that being pissed-off can be pretty damn fun; these lads have a future as bright as the glow from a field of toxic waste ahead of them.

 

8.5/10

Bio-Cancer on Facebook

 

JAMES CONWAY