Venom Prison – Samsara

Animus’ reversal of more traditional Death Metal imagery was a breath of fresh air for many and a point of contention for others. Alongside tours with the likes of Trivium and Bloodstock main stage slots, Venom Prison garnered a large support base from fans and journalists alike, but it’s the ‘difficult second album’ that often causes younger bands to be ditched by the mainstream Metal press. There were those who debunked the band’s debut record as not much more than industry hype, but those people should brace themselves because Samsara (Prosthetic Records) will make the naysayers eat their words.Continue reading

Venom Prison Share New Single And Video “Uterine Industrialisation”, New Album Details

At last, Venom Prison has released the full details of their new album, one of the most anticipated of 2019. Samsara will release on March 15th via Prosthetic Records. Pre-orders are live now at the link below. Having named the album Samsara – after the Buddhist concept of being reborn into a never-ending cycle of suffering Get a taste of the fresh hell that is the song and video clip for “Uterine Industrialisation” right now! Continue reading

Monuments – The Amanuensis



Alongside the likes of Textures and TesseracT, Monuments were one of the driving forces of djent during the movements’ initial explosion, back when it little more than an online community. In the following years, djent became huge news with bands such as TesseracT, Uneven Structure and Chimp Spanner taking the world by storm whilst Monuments were yet to release their debut album. Finally in 2012 Gnosis saw the light of day (with guest work from Chimp Spanner’s Paul Ortiz) with the band having a lot of ground and momentum to recover, but a set of songs that rightfully put them in the top crop of such acts.


Two years on and the band have a new album in The Amanuensis (Century Media), a new vocalist in ex-Periphery vocalist Chris Barreto, and, as a result, somewhat of an evolution to their palette. Chris’ vocals vastly improve on Matt Rose’s, with a range, diversity and bravery akin to Mike Patton. The typical transition between soaring singing and growls are present and done to a top level while elsewhere there are hints at his experimentation. ‘Saga City’ for example begins with a near gospel like soulful vocal passage before the song erupts.


The rest of the band seems rejuvenated by the new presence at front. As brilliant as Gnosis was, it did prove fairly straightforward with a more limited vocalist (well, as straightforward as a prog metal band can be), but here they are beginning to feel unshackled. Musically there is no huge departure from before, songs still have that recognisable tone and are founded on massive melodic passages and chugging riffs, but a wealth of ideas is beginning to creep through. Final track ‘Samsara’ brings the whole album concept full circle with a lyrical repetition of opener ‘I, The Creator’, a chanted incantation over a moody folky back drop.


The Amanuensis offers some of the bands most memorable and best songs such as ‘I, The Creator’ and ‘Garden Of Sankhara’ and the only niggle here is the thought of how much further they could take their sound now they have a vocalist with a huge dynamic and near seamless delivery. The Amanuensis is a bar-setter for djent, and still it only hints at the possibilities of what these guys can offer.




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