In a post to social media, California metalcore kings Atreyu has announced their new album In Our Wake, releasing on October 12th via Spinefarm Records. This is the band’s second album since their reunion, following 2015s excellent comeback album Long Live (Search And Destroy/Spinefarm). The band created the album with John Feldmann (a.k.a. Feldy of Goldfinger) who famously produced their classic Lead Sails And Paper Anchor album. The final track ‘Super Hero’ even features M. Shadows of Avenged Sevenfold and Aaron Gillespie of Underoath. You can hear the title track of the new record and another song, ‘Anger Left Behind’ and pre-order the album right now! Continue reading →
Admiral Sir Cloudesley Shovell is one of those bands you just have to like – it’s ruckus great fun and Keep It Greasy (Rise Above) is a shit kickin’ fun album. I like it because I can head-bang and two-step to it. The track ‘Tired N Wired’ is this mish-mash of chunky bass driven black metal with thick twangy guitars of southern rock mixed with 1970s epic guitar solos. It makes me want to find a pole, put on my hooker heels, a pair of Daisy Duke’s and just dance my wee heart out. Continue reading →
In the three years since Suicidal Tendencies released their last album, 13 (Suicidal), to a somewhat mixed reception, things have changed substantially once again in the Californian act’s camp. Main man Mike Muir and his trademark bandanna are back of course, but only lead guitarist Dean Pleasants survives from the 2013 line-up. Out go guitarist Nico Santora, bassist Stephen Bruner, and drummer Eric Moore, to be replaced by Jeff Pogan (rhythm guitar), Ra Diaz (bass), and some chap called Dave Lombardo holding the sticks. Continue reading →
Act of Defiance 2015. Photo credit Stephanie Cabral
Late last year, both guitarist Chris Broderick and drummer Shawn Drover announced they were parting ways with thrash legends Megadeth. A few months later, the pair announced they had formed a new band, Act of Defiance. This new supergroup, also featuring former Scar the Martyr vocalist Henry Derek and Shadows Fall guitarist Matt Bachland released their debut album Birth and the Burial (Metal Blade) in August of this year. A surprising change of direction, the album is far heavier than many would have expected, especially after the main songwriters’ last record was Megadeth’s AOR-friendly Super Collider (Tradecraft/Universal).
Despite having played in one of the biggest metal bands in the world and probably in the position where they could attract as big a name as they wanted, the former Megadeth men went for a relative unknown with Scar the Martyr’s Henry Derek. “We put together a list of 30 singers we thought would work well for Act of Defiance and Henry came back as one of 5 we sent out an initial demo to record on”, begins Broderick. “Henry’s demo fit the music so well, so we knew we wanted him as our singer. Talking with him and working on demo material was really easy, and we have a great working relationship.” The addition of Matt Bachland on bass didn’t involve such a wide search, however, as Shawn Drover confirms: “I have known Matt for over 15 years now, and after seeing he was looking for a new gig since the Shads aren’t touring anymore, I hit him up.”
Despite the legacy of their previous bands, the duo felt no pressure over fan expectations, Drover calmly explains. “You can’t worry about what people’s perception of a new band will be before they have even heard one note. We just wrote and recorded the exact record we wanted to make, at the end of the day what else can you do?” Broderick is on the same page, equally fearless about people’s reactions.“While we knew we would be compared to our former bands it didn’t concern us, we just wanted to get our own music out there for people to experience, so that attitude allowed us to write freely without chasing any preconceived idea of what people would expect from us.”
One of the most surprising things about Birth and the Burial is how heavy is; it’s a record far closer to the likes of Arch Enemy than the melody of Megadeth’s Super Collider. Broderick’s confidence shows: “Both Shawn and I knew we wanted to come out with something heavier not only for ourselves but also for the fans.” Despite what some might see as a new direction, Drover felt there was no compromise: “Certain tunes are a bit more progressive and dynamic, but in the end it’s all Heavy Metal. We just created what we truly wanted to write with no regards to chasing trends or wanting to be soft just to try to sell more records. We have no interest in that. “
On top of that, Broderick respects the impact of the unknown that Henry brought to the table. “I think the thing that caught people most off guard was Henry’s vocals being so heavy but I think once they hear how melodic he can be at the same time and realize how appropriate and emotionally accurate each style he sings is for the music he is singing over it becomes clear how cool it is.”
While there were a few ideas and riffs that existed previous to the band forming, the majority of material on Birth and the Burial was written specially for the record. Drover: “I have never had much of an issue being inspired to write new music, so there was certainly no shortage of inspiration going into the writing process for this new record. Chris and I were very focused on what we wanted to do on this record, which was to make a Metal record without compromise.”
Act of Defiance 2015. Photo credit Stephanie Cabral
Obviously AOD’s previous bands were known for their strong leaders; Megadeth’s Dave Mustaine is known for his authoritative streak, while Scar the Martyr’s Joey Jordison was a key member in the nine-man chaos of Slipknot. Who’s the leader now? Broderick: “Right now, Shawn and I are the ones who created Act of Defiance and are taking the initial reigns on its direction, however as Henry and Matt come into the fold and get more involved in the band it will become more equal between all four of us.” There are no dictators though. Drover: “This is a band. We all have a say. When you have people who all have the same goal, which with us is to make the best Heavy Metal we can, it’s not too difficult to agree on matters.”
Was it these strong leaders that led to everyone leaving and eventually forming Act of Defiance? Broderick: “I can only speak to my experiences and it was just a measurement of the positives against the negatives. Performing for such ravenous die-hard fans was awesome, but there came a time where I felt stifled artistically and musically. I liken it to a lawyer leaving a firm to start their own or a chef starting their own restaurant.” While neither are giving specifics, it’s clear that a change of direction and freedom is the theme. Drover: “It was simply time for me to move on and make the kind of music I wanted to make. My focus is about music and the new record, period. Anything negative about the past becomes the headline and is a distraction to what I’m here to ultimately promote.”
As well as a new sense of musical freedom, there’s a strong focus on the future, the band say they have no intention of playing old material from their previous bands and this is their sole focus. Broderick: “It started with Shawn and I wanting to get out some of our own music, unaltered or controlled in any form. Act of Defiance is a band with no intention of it just being a project. A lot of people are just doing project after project and giving the fans nothing of substance to connect with.” From the sounds of it, we should be looking forward to plenty more from the supergroup. Drover: “I have never been a huge fan of being in 9 different bands, because most people tend to view those things as just a “project” as opposed to a real band, which is exactly what AOD is.
“This is our future, and we are prepared to take Act of Defiance as far as we can for the long haul.”
Psycroptic’s new self-titled album doesn’t quite sound like the extreme metal of 2015. And that’s not a knock whatsoever on the record. It just seems to be from another decade.
An artifact from an era where death metal bands played it no frills. A generation before neck tattoos and digitally altered vocals became fashionable (cough, deathcore). It’s from a time when death metal didn’t dabble in synth atmospherics or space age themes.
While I do enjoy many of those atmospheric/concept minded bands (The Faceless, Fallujah, most artists on the current Unique Leader roster) that are so prevalent today, it’s always fun and even refreshing to hear something more on the raw side of the sonic spectrum. And the less we say about modern American deathcore the better.
While everyone is in fine form, guitarist Joe Haley is still the main attraction. It seems like every nook and cranny on this album is packed with the man’s incessant riffage. See ‘A Soul Once Lost’ and ‘Echoes to Come’ for prime examples of wrist snapping fret action. As strong as Haley’s performance is he never lets the guitar pyrotechnics become overbearing or completely overshadow the songs. Psycroptic is a lean 39 minute recording that is all about tight songwriting and clean production. If anything it’s a little too clean. I would’ve appreciated just a tad more low-end in the mix.
And in that regard, this self-titled offering is much like their 2012 wrecker, The Inherited Repression, Psycroptic’s current musical makeup is as much about groove as it is about death metal and its concussive blast beats. ‘The World Discarded’ is the perfect marriage of tech wizardry and Pantera/Testament groove. It’s a mating of sounds that leaves Psycroptic sounding more akin to Gojira than to Decrepit Birth.
It’s not your kid brother’s idea of extreme metal, but that doesn’t mean it can’t kick all sorts of ass.
Hard working trio Truckfighters have made themselves a name on the live circuit, gaining critical praise from such luminaires’ as Queens Of The Stone Age head honcho Josh Homme in the process. Since last release 2009’s Mania there have been several changes. Most notably the departure of sticksman Oscar “Pezo” Johansson who opted to join retro rockers and fellow Swedes Witchcraft, there were certainly questions over what the next album of fuzzed up retro rock would match the power of its predecessor.
The California desert can still be felt throughout this record with the growling basslines of ‘Prophet’ giving way to a hazy chorus recalling a more metallic Fu Manchu. Alternating between straight up driving rock like driving opener ‘Mind Control’ and the sprawling ‘Get Lifted’. Most intriguingly is closer ‘Mastodont’ not least for how the title references the Atlanta based quartet although it is unclear if the reference is intended to be received positively or negatively. At over thirteen minutes it takes up a third of the running time alone but manages to hold the attention with its subtle shifting dynamics. The spiralling guitar work is certainly more minimal in its approach that the Georgians stoner-prog emissions but the weight and power involved is definitely the direction the band should be steering towards. The acoustic section that ushers in the last two minutes suggests great things if they are able to embrace these more progressive influences.
‘The Chairman’ also blends the low down grunt of prime desert rock. Oskar “Ozo” Cedrmalm pulling off a leather-lunged performance atop storming riffs.
‘Universe’ sees a gradual expansion of Truckfighters sound which holds much promise. Shedding the “baby QOTSA” tag, yet still having not wriggled free from the glut of Kyuss wanna-bees whose sickly sweet patchouli and hash sent lingers most unwelcomingly.
Some great hooks and clever riffing has stepped up Truckfighters game. If they can leave behind the more generic sections they could seriously be onto something. As it stands the gradual evolution ofthis Universe (Fuzzorama Records) remains a compelling one.
