Myocardial Biopsy Had A Lethal Outcome is their first full-length album after releasing a few splits and an EP. It rages hard and fast; all of the songs are under a minute. The only track that is over a minute long is a hilarious and amusing rendition of Darkthrone’s “The Pagan Winter.” Upon first listen it instantly had me thinking of Grunt’s voracious and un-gay cover of a Cradle of Filth song, “The Forest Whispers You’re Gay.” The music isn’t meant to be taken seriously; it’s meant to be played when going postal on a short bus or bashing hookers’ heads in with ballpeen hammers. Comedic, short and violent; the three magical words that should describe gore grind.

There are hardly any grooves, as this is more LDOH then Intestinal Disgorge, but they do give nods to other notable gore grind bands like Grunt and Gut. They have the obnoxiously loud snare present in all of their songs (LDOH), constant ultra-fast riffs, brutal gurgles and shrieks, and a couple of South Park and Family Guy samples. There are actually only a few samples present on this album, which is weird but thankfully, the ones used are all under a few seconds. The production isn’t weak, although there is some fuzz prevalent and the guitars are of course drowned out by the snare drum. It’s gore grind though, and fans of this genre know what to expect.

A gore grind release to end all gore grind releases this is not, but it’s still a shotgun blast to the noggin. Twenty minutes of gore grind brutality. Definitely get into it.

Okay enough ranting, this album is not actually that bad, its still bad, but not that bad. I think it’s my taste though not brutal enough I guess, no slams or breakdowns, eh total bummer. Anyways the change in sound comes in the form of some pretty gnarly high register vocals from Davy, and the huge addition of melody to most of the songs.

Progressive technical solos fluster in and out during songs like “Black Charge,” “Fearmonger”…actually come to think of it all the songs have solos. “Black Charge” and “Fearmonger” are my two top picks off the album and definitely a recommended download if can’t buy the whole disc. “Black Charge” brings a total blackened war based sound with a ridiculous evil solo half way through. The blackened melodies add a dark touch over technical thrash-y death metal riffs. “Fearmonger” is all about breakneck speed and shredding all over the place until a sick doom-y end brings the song to a close. The growls here fucking slay, too bad I’m not feelin’ the other tracks. Mr. Davy seriously shines on this piece.

The rest of the album is generic and most of the album goes by in a blur, not a good blur to where I’ll jam it again to figure out what I heard. More like a messy blur, riffs move along swiftly but they never lay down a groove and the instrumentation just binds up and struggles to breath. Things just seem out of hand and not in a good way.

Production values are what you expect from a modern death metal band; clean and crystal clear. Everything is audible nothing sounds rough nor does it affect the music much. The record moves fast, the mix is incredible yet the album still suffers from tedious songs and boring song structures.

This is death metal for people who think that Bullet For My Valentine are death metal. It was an enjoyable experience first time through to hear their changes to the sound, but the band still sounds boring. The Doom ep that there fan base worships is straight crap as well. I say forget this album, but listen if you must, if want something good listen to the new Hour Of Penance or perhaps Begging For Incest. Too bad but I knew what was expected, another long drawn out death metal release. On a side note: They are also very boring live.

Loaded with short samples, blast beats galore, ridiculous slam riffs and vocals reminiscent of Disgorge and Lust Of Decay. Severe Suffering is just a short all-out attack of outrageous death grind. From listening to album opener “Kingdom Of The Lifeless” all the way until closer “9.9,” one’s head will be mashed into paste. The album just repeatedly caves your head in from one song to the next.

There’s not much difference in each song as with most blasting death grind (Massmurder, Brodequin, etc.), it’s an almost repetitive nature but for some reason my ears love this shit. Though there is some variation in a bunch of the songs, and no, it’s not just the many samples, which thankfully are all short. Title track “Severe Suffering” contains an evil blackened riff half way through and “Liquid Flesh Splattered” has a sick slam riff around 1:38. “Embraced By Grace” embellishes a little melody in a few parts, now by melodic I don’t mean melodic death type shit, I’m talking some weird melodic claustrophobic type shit that gives the riffs a more decaying approach. Also album closer “9.9” ends with a soft classical guitar part that is equally mesmerizing as it is dreary.

The production is actually really good especially for an album of this nature, as most death grind albums don’t have the greatest production values. Nothing is overly too loud in the mix and everything sounds fine.

So there you have it another fine dose of extreme violence from the Philippines. Showcasing their art, Disastrous have crafted another amazing album that should appeal to all who love the brutal jams.

The crusty hardcore aspect is present in nearly every song same with the constant tremolo battering. It’s shame almost all of the tracks follow the same banter. Whether your ears are succumbing to the rotten hate that is “Surrounded By Skulls,”“Just Add Nauseam” or the dangerously dirty “Apathy In The UK,” and “Motorbastards” one will have a hard time trying to distinguish the albeit linear song structure.

It isn’t until the last two tracks where variation does occur and even then it’s still not enough to save this boring atrocity. First up is “The Hammer of Witches” and it’s a darkened punk rock song with some primal black metal riffing. Next is album closer “Put Me Out Of Your Misery” and it’s a cold doom ridden onslaught of depressive blackened fury. It’s actually quite boring for a five minute track. These two tracks do however demand a listen because it’s cool to hear The Rotted bringing more creative flourishes to their sound even if the songs aren’t anything special.

Vocals on this effort fit the music well. With an array of throaty punk snarls, caveman barks, and blackened shrieks the vocals compliment the music well. The lyrics are punk anthems about horror shit and anarchy. Again nothing special but they do bring tension and aggression when coupled with the instrumentation.

These guys are definitely big fans of Discharge and other crusty cross overs like Impaled Nazarene. It’s not a great record and to be honest nothing these guys ever did was amazing, even their stint in Gorerotted was lackluster at best. Maybe they have it in them to make a memorable album but with all the drab material these guys put out I’m just going to move on and forget I heard their music.

Everything Went Black are a blackened hardcore band from St. Louis, Missouri, By blackened I mean there’s no black metal kvlt mumbo jumbo going on here folks. This is straight in your face hardcore with a dreary undertone and hateful aesthetic; taking inspiration from notable bands such as Ringworm, Cursed, and Integrity.The record which is entitled Cycles of Light is a harrowing experience of frightening razor sharp riffs and throaty vocal atop blast beats and d-beat patterns. Oh and the audible bass is also extremely scary. Produced like poop yet everything is clear and audible. It’s blackened so it needs that raw sound and they nail it on this album.

Album opener “XI” is an instrumental base with an audio track part way through. The riffs lay low into eerie chords that when struck create a rather negative style of drone. The song eventually flows into “Gods of Atlantis.” Scorching hot riffs burn slowly until a fast paced punk explosion brings things to full speed. Crusty southern melodies make an uncanny appearance adding a groovy breakdown to end the piece.“Halo of Vultures” is a foray of classic metalcore meddling and rocking hardcore grooves. Wretched lyrics cave in any thought of happiness. “Lifeless” on the other hand is a full on hardcore blast of frustration, tremolo melodies eventually appear and bring a disgusting crust riff to rot away and devour our ears.“Parades” and “Kingdoms:” the two longest tracks on this short yet masterful record. “Parades” is a jarring experience of dissonant rhythms which bring an almost keen sense of putridity, while one’s ears are admitted an intense broken wailing that’s festered with cries from tortured lungs. A beautiful yet gloomy classical piece closes out the tune.“Kingdoms” on the other hand does however crank out a sort of happy riff in the beginning before the heaviness kicks into a slow post-metal sounding jam. Up tempo melodic hardcore mayhem makes its way in and for some reason gave me a With Honor vibe towards the end of its part. The song brings the melodic riffs back painting a desolate portrait of chaotic hardcore hate.

One of the coolest things I noticed about the record was there are a lot of times where chaotic technical riffs come out of nowhere and HOLY FUCK! Do those parts slay. “Thorn Feeders” and “Baptists” are two rough displays of unbalanced ferocity contained within just two minutes. Not so much technical as in progressive rather it’s a more extensive meandering of chaos: a whirlwind of hardcore punk savagery.

Now with this vocalist imagine a mix of The Hope Conspiracy and Black Flag coupled with the dark imagery of bands such as Ringworm and Cursed. The instrumentation also takes nods from the above but also adds ideas from Entombed as well as Dark Funeral. Finally the philosophical messages of hate and decay that spews forth into a clutter of poignant blasphemies are not just an all out attacks they’re more of a manifestation of masterfully designed evil.

Another perfect example of blackened hardcore done right. From the fast and righteous grooves to the evil sludgy stomps this band has created their masterpiece. Cycles of Light is a thought provoking journey that should appease fans of the aforementioned ones as well as the new bands on the scene such as Black Breath and Mammoth Grinder. So smoke a bowl and introduce one’s ears to some sick new tunes

Bring Me Solace–a progressive metalcore band from Portland, Oregon–did just that, by releasing an EP entitled Nomadic Refuge and then going poof! Erased from existence! Well, not exactly, because this EP has to be one of the most sincere and talented works of art that has been released this year; an album that’s hard to forget and will stay with one for years to come. Imagine a more soulful, and dare I say it, an extravagant Born of Osiris — completely void of ego and filled with heart. The band plays a form of progressive metalcore with a ton of ambient textures and emotional overtones. It’s not filled with breakdowns nor is it direct in its approach. Layers of talent take centerfold and the album comes equipped with a sharp sense of skill.

“Change” opens with an ambient essence and the sound of water droplets as if heard in space. When the music begins, this is where one will finally hear the beauty that is Nomadic Refuge. Speed metal riffage will have one remembering the band Himsa with their melodic shredding and barking vocals. Oddly enough, this song would feel so right in a Sonic the Hedgehog video game. The song “Stars of Hope” continues in the same way by building up a foray of competing guitars that soothe and destroy the listener. Half way through, the music takes a more peaceful route by adding soft clean guitar harmonies, which slowly lead one’s ears to an almighty solo that is magnificently sweep-tastic. “Remains Relentless” continues with the godlike shredding that plows through the listener. Ferocious battering breakdowns spliced in between chaotic yet ethereal riffs; this is how a real proggy metalcore song should sound.

One of the most engaging qualities of this band are the guitars. The way they move and run through each other is actually a bit romantic. Put it this way: Imagine the riffs as the colors of the rainbow, as gay as this sounds it’s the truth. The way all colors mingle with each other and compliment one another is the way these riffs work. By themselves each adds a different personality but when combined into one it brings an artistic edge to their progressive metalcore domination.

“Of Solitude” brings in some djent to go along with their prog and the song is hypnotizing to say the least. “Lost and Deprived” takes an emotional accent and almost brings a more melodic death based approach to their extensive instrumentation. It isn’t until the end where some shred enters the fold yet the whole song is engaging and equally mesmerizing.

The last song is the title track “Nomadic Refuge” and is a great way to close out an already amazingly done album. Taking what was presented to us in the first couple songs and adding in even more harmonies and shred. The solo is extravagant and the peaceful clean picked part that ends the album will have one shedding tears.

It’s a shame that Bring Me Solace‘s story ended so soon since these guys could have taken over the metal scene and it’s also a shame that no label picked these kids up. Instead we get labels signing shitty Emo-trance doo-doo (The Bunny The Bear) or even boring generic deathcore acts (Betraying The Martyrs). When it all comes down to it though, at least the band left us this amazing EP, Nomadic Refuge, that definitely beats out a lot of bands in this genre.

Sure Requiem is a little more brutal then their contemporaries but that still doesn’t deny the fact that one has heard these songs a million times before. However what they play, they play rather well.

Their really is little to variation between the songs. In fact every song sounds extremely similar to the last. The listening experience is linear and most of the riffs have been done better by a lot of other bands.

The riffs are strong and had me head banging at a few parts such as 3:20 during “Echoes of War” and 2:20 of “Omnivore.” Then theirs the blackened tinged jams of “Symbol Of Nine,” “I’am Legion,” and the war metal-esque tunes – “Feed The Greed,” “Solemn Sacrifice,” and the title track “Within Darkened Disorder.”

That being said, not even those songs are worth to dive into since one has heard this style of death metal portrayed better by the likes Asphyx, Hate Eternal, and the almighty super group Hail Of Bullets.

The instrumentation is fine and the vocals are top notch. One thing I commend them for is the use of understandable growls and screams.Also, the production on this release is strong and dare I say it very “powerful.” But really that’s all they have going for them.

I wanted to love this release as the album art is amazing and reeks of old school mentality. It’s just the copy-cat riffs and same-y songs don’t cut it for a release of this kind of death metal. If you’re a fan of this style then by all means dig in, but for those that need a little substance in their death metal, you might want to pass.

What do Ark of The Covenant do different then the other bands in this genre? Nothing really, in fact these kids play the same sounds one has heard a million times before. But you know what? These kids play it with style and even though the main riffs are breakdowns, they seem to add a less preachy approach coupled with a heaviness that rips bands such as Emmure into pieces. Maybe it’s the more hardcore touch or the sense of dread (yes some parts are down right frightening). All I know is Ark Of The Covenant are here to destroy.

On the Separation EP we get a total of five tracks to hold us over before the full length eventually drops. “THIS IS THE END” whispers front man Alexander Vincelette at the beginning of the intro and he couldn’t have been more correct. A breakdown complete with chanted vocals starts the ep and it’s ridiculously brutal. Intro’s are pointless yet when a breakdowns fills in that void intros instantly become awesome.

“The Book of Life” is a more hardcore varied track with breakneck rhythms and huge chant filled breakdowns. The hardcore approach is prominent in this track. Sure the song title could be equated to the bible, and bring forth a preachy aspect but in all honesty Christian music can’t be Christian unless it preaches what they believe. At least they don’t get all The Great Commission on us and make pointless go nowhere songs. One can feel their faith even those of us that don’t believe can find solitude here.

“All The Inhabitants of the Earth” is the heaviest track on this disc and contains thoughtful lyrics and great clean vocals towards the end. This is also where things get scary. Midway through a melody flows underneath that gives off a depressive outlook and then the riff that follows over the breakdown will send chills screaming through one’s body.

Thrash riffs follow suite in “Locusts Look like Horses” right before an almighty breakdown at 2:40 that will have one shitting their pants. The last track as well as the title track follows a simpler approach. “Separated” is an ode to their god, they speak for their faith and they’re not trying to convert anyone. A softly spoken speech starts the track and then eventually the band comes together and presents us with great clean vocals and a nicely sung verse. Sure the satanic metal head will feel nothing but for those with heart one can relate even if the said lyrics are not of one’s liking.

Ark of The Covenant play Christian music with heart, they show us that one doesn’t need to preach, they speak of their relations through personal experience and bring a more suitable nature of Christian hardcore to the masses.

Mongoloids rejoice as this is music for their kind (sure I’m being a prick but this stuff drops IQ) meaning this is akin to what it feels like when having a monstrous mentally challenged person constantly pummel one’s throat with their big neanderthal feet.

“Shattered to the Bone” starts off with some noise that creates a dense atmosphere as if one is hanging from a meat hook in a damp dark dungeon. From their, violence ensues and its thick meaty blasts of slam riff-age and pounding fake drums from here on out. Or at least I believe them to be fake; since a drummer isn’t listed anywhere on their sites or information. The drums here are well put together and in fact sound as if a human is drumming. They’re that believable.

Another turn off for some folks is the vocal territory. Low gurgles, deep growls and burping noises, their typical for slam and here it’s no different. The vocalist however accentuates the songs rather nicely and his vocal patterns seem fitting rather then one constant annoying effect.

One of the main reasons this album plays differently from much of their ilk, is that none of the songs are boring or just slam after slam of bullshit. Many bands in this genre are at fault here such as Carnal Disfigurement, Gorevent, and even Cerebral Effusion. These bands don’t differentiate and can be downright boring at times.

The album has many highlights since theirs really nothing at fault here. Now by highlights I mostly mean slams of course but there are a few textures and parts that are beyond anything seen in this genre. The doom and gloom of “Emenation Of Putrid Entrails” sets a tone that incorporates doom/death style riffs in between a lot of the slams. The solo in “Mechanical Maggots” although short is unimaginable in the slam realm. Hell, even the Vader-esque blackened thrashy death metal riffs that enter the fray after that solo are unseen in this territory. Its moments like these that define a genre, sure they aren’t huge but it’s the small nuances that shine and bring the album together.

The moment you have all been waiting for, the slams and believe me this album has some of the most ridiculous brain smashing, fat women belly flopping, IQ dropping slams one will ever encounter in their life. In the title track at 1:30, the end of “Disease of Humanity,” the constant head banging slams in “Guttural Bleeding,” and the whole 2:40 of “Vomit Carnage” that instantly recalls Devourment. It’s hard picking my favorite slams/breakdowns but to be honest one needs to check this out since all of the slams are heavy and beautiful.

So there you have it folks one of the top contenders for best slam death metal album of the year. Great production and everything fits perfectly, what more could you ask for? Nothing since this my friends is slam perfection.

Modern metal bands are a mixed bag, on one hand they can deliver extremely catchy music (All That Remains), but on the other, well they can also be very boring (Bullet For My Valentine). Trials however are not boring as they do, in fact, follow the All That Remains, Disturbed, Diecast -formula, splicing their music up with technical musicianship and a ton of nods to the old school. Are they a great band? Fuck No! But for what it’s worth, the album is good enough for a one time listen.

Witness to The Downfall is the name of this turd and it stinks with originality. I’m joking, but the progressive patterns in each song give the music a sort of fresh appeal. In fact one would be hard pressed to fine a more innovative modern metal act nowadays. Assuming one cares enough to check out this album, they will be getting technical thrash stylings in “This Is Starvation,” black metal riff-age in “Shadows and Traps,” and a sweet part in “And Still I Breathe” filled with classic guitar noodlings. To be honest, that’s it. The rest of the songs find themselves drenched in the same pattern and most of them follow the simple – verse, chorus, verse structure. Especially on “Hammer” which feels as if it’s built for the radio. Sure its not a bad thing per se but it does tend to get on the grating side. It’s modern metal and one knows what to expect.

The rest of the album contains a shitload of clean vocals that are really biker bar-ish, and even more nu-metal tendencies. The production is top notch for a self-released album and all the instruments sound crisp and clean. Another issue is that the songs seem to go on longer than need be. There’s parts during a few of the longer tracks where it sounds as if the song ended, but nope, they just keeping going like an Energizer Bunny. Long modern metal songs are not fun — remember Chimaira? Stretched songs in this field are never engaging and fun to listen to.

Unless you’re a modern metal, ozzfest going, hot topic wearing person, I would steer clear of this. But if your open-minded and want to take a quick gander then by all means check this album out and give it that single worthy play-through.

Weekend Nachos are back with their second release through Relapse, Worthless. Showcasing the sounds that we all know and love, this my friends is powerviolence the way it’s meant to sound; heavy, violent and fast.

Even with all the quick paced songs under 2 minutes, Weekend Nachos never bores since they constantly switch up the rhythms whilst adding touches of sludge and hardcore.

“Hometown Hero” sets the tone for the album and the brisk violent pace never lets up unless it’s to batter ones brains with molasses riffs and gargantuan beatdowns. In fact the groove laden riff that closes “Old Friends Don’t Mean Shit” will have one instantly banging their heads like psychopaths.

“The Meeting” adds stoner rock riffs with a Benumb grind sound that is absolutely terrifying. This menacing monster leads into the first long song “Worthless.” At 4 minutes (yes this is a long song for pv bands), the band straddles the fine line between dirty noisy drone and gigantic beatdown riffs. No vocals, just utter heaviness.

From here on out it’s a few short songs that do their best to cave in the walls of your skull and collapse your brain. Especially “You Could Exist Tommorow,” the song adds punk beats with an old school grind attack.

“Future” ends the album and it’s a ridiculous closer that shows a different side of the band. For the first 30 or so seconds it’s a short pv intro, and then it’s all sludgy drone territory for the next 6 minutes. Imagine Sunn O))) riffs coupled with Eyehategod sludgy-ness. Not the sound of the world ending more so akin to a torturous rape session, this beast is ugly…very fucking ugly.

Sure there are times during the album where the sludge takes away from the fast songs but hell at least their experimenting with the genre and making it their own.

If your looking for some wicked fast and heavy as hell tunes then Weekend Nachos is for you. Get into it!

Slander is kind of a return to form I guess…well almost because their last record on Uprising had to be one of the most forgettable pieces of garbage ever. More so an album released just to end a label contract but still this was highly unacceptable. Thankfully with the label change came a meaner and better put together album that will remind fans of why they love Dr.Acula in the first place, which is movie samples and weird experimentation that somehow fits and works amazingly well. Welcome to Slander my friends.

If copious amounts of drugs and alcohol as well as sex aren’t your thing then…well actually wait a minute your all metal heads so they probably are your thing so read on fellow travelers. Opening the album is a track called “Clinger (Stage 5)” and it’s a sample-esque intro that gives way into the first full song entitled “Fire Crotch (The Venereal Van Ride)” and to be frank it’s a fun song to get things started. Adding punky riffs and throaty vocals with comedic lyrics such as “Using No Protection While I Fuck All Your Friends” shouted before a breakdown you know Dr.Acula is back. Taking a noticeable turn towards the perverse Dr.Acula adopts an Attila attitude whilst keeping things a little more disgusting then usual. And to be honest that’s awesome. The only noticeable difference between this and older Dr.Acula is the songs are longer, the lyrics nastier, and the music much more violent.

Next up are “Welcome to Camp Nightmare” and “Currently Sexting.” The first song dishes out certain-doom breakdowns and monumental riffs while cancerous vocals destroy ones ears. “Currently Sexting” despite its funny name is a sick and twisted tune that adds cell phone affects between the riffs; adopting a noisier approach with a bit of dissonance thrown in for good measure.

“Cocaine Avalanche” opens with an anti-drugs sample and leads into another assault on ones senses. All I got to say is that songs about drugs are awesome. Southern riffs and Every Time I Die-esque vocals are used and the end result is orgasmic. “Song Before The Song” contains sludgy breakdowns and “Pure and Immature (Goon)” is probably one of the nastier songs I heard as of late. Crunchy riffs, destructive breakdowns (the ending breakdown will have you tearing the pit up in no time), and offensive lyrics make for a raunchy good time. Even though the grind of old is missing the addition of punk riffs and noisy dissonance are a huge welcome and definitely buff out their already extensive sound. Eventually the album leads into two of my favorite songs on the album and they are the last two.

“Party 2.0” is an anthem dedicated to guess what…Partying and comes complete with wicked gang chants and hard hitting breakdowns. Hell Pee Wee Herman opens up the song as well as closes it out…that’s fucking awesome. The last track the “Big Sleep” is amazing way to end the album. Pure deathcore insanity and right when you things can’t get any weirder: out of nowhere comes a sample of Mario’s death music. The breakdown to end the album flat out destroys as well.

The only thing that bugged me about the album is the few tracks leading up to the last two are a little samey but other then that Dr.Acula have crafted one hell of a party album. If you already hated Dr.Acula well then I guess your going to be in the same boat. But to those who love these guys get ready for an insane and magical ride.

“The Continuance” is a short filler intro before the first tune kicks in. “The War Within Us” opens with a tasty breakdown, which then leads willingly into speed metal riffage. Eventually the chorus kicks in with cleanly sung vocals and screams overlapping the singing. Usually with most metalcore bands the clean vocals seem to ruin the music, but here they brighten up the sound and it gives the band a more epic and grandiose tone. The next track “The Revealing” ups the ante in the guitar department and showers the listener with an epic array of thrash metal riffs. Also the cleanly sung chorus for this song is an album highlight; it’s very catchy.

The next three tracks on the album are where the band shines the most in their metalcore delivery. “Hidden Eyes” has this twisting melodic riff around the minute mark, and the solos that are presented to us in “Seeker” and “Structures” are jaw dropping.

“Unsuitable Patterns” is an alright song but acts more as filler before “The March” kicks in. More of a short slow number that is carried out with emotional instrumentation, and finely sung vocals. “The March” transitions into “The Accuser,” which is another semi-filler track. It does however contain a few decent riffs.

The second last song “From The Mouth” is the heaviest track on the album. A breakdown opens the tune and it’s delightfully nasty. Thrash riffs, gang vocals, and another breakdown (1:30, had me head banging like crazy) Onward to Olympas tears it apart.

Album closer “Rebuilt” carries on with the attitude from the last track and spices things up with a more direct yet emotionally intense ride. The heaviness carries on until two minutes in where a southern guitar melody arises; eventually quietly sung vocals get louder while a solo hides underneath the music that pieces itself together.

A few filler tracks and a corny intro are the only things that irked me about this release. Other then that the album is pure gold just like everything Facedown Records (and Strikefirst) releases except for The Great Commission…they just plain suck.

Anyway, Emmure are back with another slab of hate in the form of Speaker Of The Dead. This new album sees the band continuing with their self prescribed hate and meticulous beatings. Even though not much has changed in the breakdown department, the songs do have a touch of experimentation that bleeds in and out of the new songs, basically giving Emmure‘s relentless beating a trace of soul.

Now, Emmure are one of my favorites not just because of the brute strength but rather it’s because of Frankie’s lyrics and the overall sense of the world crashing down on one’s head. The way he executes his vocal delivery is untouched in the world of ‘mosh’ heavy bands — especially on this new album as songs such as “4 Poisons 3 Words,” “Cries Of Credo,” and “Lights Bring Salvation” will testify. Plus, Frankie even throws in a Street Fighter reference in “Demons with Ryu” with the opening phrase Tatsumaki Senpuukyaku (or Ryu’s hurricane kick for those that don’t know.)

The album is a wet dream for us mosh warriors and to be honest lets face it: Haters gonna hate. This is an album made to start wars; breakdowns run the gamut here and it’s perfectly fine in the grand scheme of things. There is a one downside though. Since there are so many breakdowns on this album, there are only a few that truly standout from the crowd. Most notably on “Demons With Ryu” (1:20), “Solar Flare Homicide” (2:20), “Dogs Get Put Down” (1:40), and “My Name Is Thanos” (the whole thing). Chugging riffs galore — hands down some of the coolest breakdowns my ears have heard!

Emmure also touch base on making their music unique, there’s no other band that sounds like Emmure. Case closed. Take a song like “Bohemian Grove” for example. They add a more sludge sound to the mix complete with touches of despair and tremolo riffs. The song has a lot more melody underlining the sound especially towards the end with a sick melodic lead over the rhythm. And “Last Words To Rose” sees the band going on a journey not heard since the majestic “Sleeping Princess In Devils Castle” off their amazing debut album Goodbye To The Gallows. It’s a more melodic song that offers a nice change-up from the rest of the album.

The last song serves as a great outro, with a line that bleeds sincerity and is sarcastically true, “Were All Gonna Fucking Die”, but until then at least we all can enjoy the awesome music Emmure has given us.

With that being said, throw on your basketball shorts, your new kicks, and get ready to throw down as if the world is ending.

One man black metal is a hard genre of music to get into: probably because the harsh recordings and lo-fi music, but for some this is a treat for their ears. Now I’m not the biggest fan of the genre but there are a few exceptions — most notably Leviathan’s excellent discography. There are a few other albums as well, ones that tickle my fancy, such as those by Nortt and now the new album from Scotland’s own blackened doom nut job Necronoclast. His fourth album on Moribund Records is a dreadful assault on one’s senses. Mixing black metal, doom, and a touch of death; giving off a fuller sound while still keeping things grim.

Atonal cavernous melodies rot away any clarity of actual music bringing forth a sense of consternation; “Ghostways” is quite possibly one of the grandest openers my ears have had the pleasure of hearing. A faint classical tone takes over midway through the song whilst adding haunting synth lines, which then evolve into an archaic dirge that slowly drifts into the next track. Then, things get fast as blackened riffs challenge one’s ears until a point of certain doom escalates on Ashes second track “Veil of Flies.” From there on out the music shifts to a dark foreboding atmosphere — instantly recalling a more funeral doom aesthetic.

“Kajicnicke Saty” opens with a march like rhythm that makes way into a more Daylight Dies approach adding a more doom/death foray of ideas but still keeping the sound black with an unpleasant feeling of utter dismay. Fast double bass blast beats of ridiculous speed eventually battle with thrashy riffs, before the rolling blackness ensues. Eventually things get even more desolate as “Serpents” enters the fold. Opting for a more black metal situation, this song brings forth insane tremolo riffs, dreadful noisy melodies and intense demonic screams. On “Looking Glass” one can hear Katatonia-inspired melodies and a shitload of maniacal layered vocals. Also the blasting parts on this tune definitely give off a Belphegor-ish tone. The title track “Ashes” keeps things relatively simple yet ups the ante in the doom department. This 8-minute monster is rough and heavy and if one listens close enough, they too will hear a bit of Marduk-influence that easily shines through greatly on this track. Then the last song off Ashes, “Ravenous,” is a wicked blast of death and black metal that sent chills running all through my body.

The production on this album is great and semi clean: still keeping that rough edge that black metal is known for. Everything is audible and doesn’t sound like your average run-of-the-mill bedroom black metal recording.

I thought this album was going to be a crap-fest but I was oh so wrong. What we have here is a strong musical output from a talented musician. So if bedroom black metal or just black metal in general is your thing then by all means pick this disc up.

If it’s not your thing, then still at least jam it once because I’m sure even the most jaded metalhead will fall in love with this album.

To be honest if you weren’t a fan of the band before then you probably won’t be now. With that out of the way the dudes in Full Blown Chaos have made another awesome and brutal as fuck album. Filled with hate and malevolence, Full Blown Chaos goes for the throat and the merciless beating doesn’t let up until the album runs its course.

Sure the band is unoriginal as far as originality goes I mean with all the slayer-esque thrash riffs and ridiculously heavy breakdowns. But to be honest who fucking cares because what they play they play well.

Now of course there are a few songs on this beast of an album that stand out from the rest. Most notably “Silence Is Golden” with its ridiculous thrash solo mid way through instantly bringing to mind days of the old. Eventually another guitar joins the fold and its mouth watering goodness from their on out. “Villains” keeps it brutal with black metal tremolo and a more death metal tinged sound. “Rise and Conquer” is perhaps their most hardcore song they ever done; complete with an awesome finger pointing, stage diving, pile-on-esque chorus. “Gravedigger” adds a beatdown hardcore edge while adding some melodic riffage and the Crowbar -ish “The Path I Walk” is such a great way to end the album. A more metal based riff fest that closes with a tasty breakdown.

One of the gripes most people would have with an album of this nature is probably the swearing in the lyrics. Believe me when I say this but theirs more swearing here then there is on an Eminem album. But when it comes down to it I’d rather hear these dudes swearing all over the place then some lame fake heavy scene band with wussy looking members.

It’s hardcore and it’s not everyone’s cup of tea but if you do however fancy a little hardcore in your life then by all means check these dudes out.

The album opener, “Reptile”, gives the album a strong start. With its deep space-esque intro, this song introduces us to a slew of technical riffing, inhuman drumming, and semi-understandable guttural vocals. Basically rinse and repeat for the rest of the album as the battle plan does not deviate from the initial execution. Now, I’m not saying this is a bad thing per se,  it’s just that Neuraxis play a form of death metal that isn’t exactly orgasmic to everyone’s ears. What they play, they play well and to tell you the truth, the album is a semi-masterpiece within the genre. On the other hand, the band really needs to add something different (new?) to their music. Especially when the album does drag on midway through.

Other than that, the album has its strong points such as the songs “Savior and Destroyer,” “Trauma,” and “Purity;” with these three tunes the band added more dynamic parts that flow and perfectly mesh well within them. Also their lyrics base is something I always loved by them since most of their songs stay within the science fiction realm of things.

None the less, despite the occasional slump, Asylon is definitely a worthy album and Neuraxis still deserve their somewhat legendary status — especially when their excellent back catalog is taken into account. However, they really need to start playing around with new, different ideas rather than sticking with the same old formula — even if it still works to an extend.

So here we are in 2011 with the new sophomore album, My Devil In Your Eyes, by The Color Morale. The album is being released through Rise Records and to be honest, The Color Morale are a perfect fit for the label.

Combining crushing guitars with extravagant melodies and a dose of metalcore — these guys know what’s up! One noticeable change on this album is the inclusion of heavier, more metal based songs. Unlike their last album the band now has a more heated tone and one can definitely hear the change. Especially midway through the album with the song “Demon Teeth”, because this beast of a song is fucking ferocious; sweeping the listener off their feet with after the burial-esque riffs and shattering breakdowns.

Now of course this wouldn’t be a post-hardcore (remember “new” post-hardcore) album without clean singing, now would it? The vocals on this album are probably one of the reasons I will be coming back to this album in the future. Besides the hardcore/metalcore throaty shout (still good just a bit generic), it’s the clean vocals that make this album. This man (Garret Rapp) can sing and he sings like a guy too. These aren’t any of the kicked-in-the-balls variety that ruins the genre, no sir! These are genuine classically trained vocals and fortunately, this is one of those times when the vocals won’t ruin the experience.

At times the album drags as most of the metalcore parts are questionable because they seem tacked on. Meaning, they fit well yet it’s hard to differentiate between some of the songs because a lot of the heavier riffs sound a lot alike. But once the clean vocals kick in, the album picks up pace and everything’s fine. But there’s no avoiding the fact that almost every song plays out in the same scenario with the exception of the last song “Fill; Avoid,” which is a softly sung ambient piece that serves as a great outro.

The Color Morale are not breaking any new ground with their music, but they are making the genre listenable by adding a slew of sounds to their already eclectic mix. If they add a little more spice to their metalcore vibes, then this band will be unstoppable.

Blasting out of nowhere like your fat girl friend’s farts “The Descent of Man” sets the tone for the whole album; short songs and technical blasts of brutal death grind soil the already rancid air. The song ends with a sample from South Park and fades out with some groovy slam riffs. It isn’t until the third song “Oppressed by Tyranny” where the band experiments with a few different ideas and actually presents us with a full track. Taking a more death metal approach-the band gloriously combines ridiculous drumming with ultra heavy breakdown riffs (Suffocation) and a sick bass part half way through the song. That instantly recalls the killer bass part in “Slit Your Guts” by Cryptopsy.

The next two tracks are among my favorites on the album. “Impurity” opens with some clean guitar melodies and a twisted solo before the blast beats wreck and ravage ones ears. The song “Vanity’s Illusion” brings forth fast riffage with the occasional pinch harmonics and sweeping solo’s thrown in for good measure. The breakdown that ends the song is absolutely terrifying and nut crushingly beautiful all at the same time.

The band serves us more death grind madness with the rest of the album yet the other songs seem to act as filler. Since only half of the albums eight songs consist of variety the band suffers from the same repetitive notion-that all bands in the brutal death metal genre sound alike. But that is quickly forgiven because the album is less than twenty minutes.

All in all it’s a strong and catchy death metal album. If you’re a fan of heavy shit definitely give these dudes a listen.

With that being said, Ace Augustine is here with their Strikefirst Records debut album The Absolute. Taking a more streamlined metalcore approach with clean vocals and crushing breakdowns, the band has managed to create an exhilarating first effort and even though their sound is a bit dated, the album rips from start to finish.

Heart wrenching solos (“Negotiations”), crushing beat downs (“Axioms”) and even southern flare (“The Absolute”) the songs all got their own trademark and none of them sound the same. And did I already mention that the breakdowns flat out rule on this beast? No? The breakdowns on this beast flat out rule! There. Not only are they crushing, they’re perfectly lined up within each song.

It’s no surprise that Ace Augustine‘s lyrical roots lie in Christianity, as they belong to the ever growing herd of one of the biggest Christian labels there is. That fact alone will no doubt deter quite a few listeners away from the music, which is  a damn shame, considering the music displayed here is undeniably awesome. Religious lyrics or not, the music is just so well written and perfectly constructed that not even the dumb song titles (“2013 Looks Promising”) are able to hinder its cause.

If one is hankering for some really good metalcore—Christian or not—then definitely give The Absolute a chance and something tells me that these guys will no doubt kill in a live situation as well.

Reason I bring them up is that this band, No Bragging Rights, sounds an awful lot like older A Day To Remember and to be honest that isn’t a bad thing at all. Their new album Illuminator has all the elements for a strong album with catchy vocals and great instrumentation. There’s also an overall sense of diversity that helps to keep things interesting throughout, despite all the clean vocals.

Opening the album strong, with a song called “Beautiful and Spineless”, one can tell there is a certain mindset dwelling deep beneath the music: An almost unsettling, yet completely uplifting go-for-the-throat effect. The song introduces the listener with a nice two step opening and it’s this melodic hardcore approach that leads the listener from one point to the next.

Continuing on we get even more catchier (“Weeding Out The Weak,” “The Prospect,” “Blind Faith”) and aggressive (“Illuminator,” “And They Threatened Us With Fire,” “Death Of An Era”) songs that will leave you wanting more. If Every New Day (yes the infamous and underrated melodic hardcore band on Hand of Hope Records) had a more metallic background and felt a few breakdowns were needed to spruce up the action…No Bragging Rights would be that band.

The way the band seamlessly mixes the genres is beyond masterful, as most other bands that try to mix these genres never exactly get it right. Each and every song is playful and uplifting. Most of all, there are no cheesy ballads and only one of the songs is an instrumental, so all I can really say is that: Illuminator is pure gold.

Judging the book by its cover is a safe bet this time around. Looking at the band name and the album title, one definitely knows what to expect when delving into an album of this nature; gang vocals and breakdowns galore.

“Relentless” starts the album out with screaming police car sirens before the actual pummeling kicks in few seconds later, instantly reducing your brain into a mush. Macho vocals spray lyrics dealing with beating people up and all types of ill shit while strong burly breakdowns help the surge of aggression reach a definite boiling point. I couldn’t have it any other way; it’s Lionheart―you know what’s up!

After the opening track the band continues with their onslaught adding in a few solos and some thrashy Slayer-styled riffage. The only downside to this madness is that the album is a little too long for this style of mayhem. After three or four tracks―or swings from a baseball bat―you’ve seen it all: Pure tough guy hardcore, bruised with breakdowns and sliced with mean vocals. Those are the key ingredient here.

Even though Built on Struggle is a little long, I still loved every minute of it and will keep on jamming this album all year. For some, the sheer amount of breakdowns will make it or break it but for those that love bands like Thick as Blood or Donnybrook…here’s yet another album that you all have to check out.

The album opens with a short but sweet song called “The Nobleman,” which is a soothing piece that serves as a great intro to this album. The song starts out with somber piano chords until the acoustic guitars slowly integrate themselves cohesively. Before the listener is struck and thrown into a state of awe as the clean vocals drift and swell through the listener’s ears. Powerful and inspiring are the words that best describe this song and it’s still only the intro.

The first full song on the album “Shadows” is a five and a half minute jam that is truly hypnotic and moving. The song opens with soft ambience before throaty vocals emerge over hefty riffage. The album as one will notice is neither heavy nor soft. They are their own entity moving at a brisk pace and constantly changing direction. Clean vocals flutter the air over quickly picked guitar strings and constant shifting drum patterns. The song comes to an end with a brilliant and satisfying solo.

The songs flow with the listener; constantly drenching one amidst emotional back drops and heart wrenching ambience. “The Rift” has the band incorporating Meshuggah like riffs over throaty yells and well placed clean vocals. Taking those riffs the band manages to mix in a southern drawl, which closes out the song.

Instrumental “Curse Variations” is a dynamic piano based song that is emotionally intense. Over the piano is a violin that sounds magnificent and deeply mesmerizing. A venture into classical territory before the band picks up the pace with “Wheelwalker.” Taking a different turn they add modern sludge and heavy dirges with some haunting and melodic harmonies. The vocals hum and caress the listener as they are carefully torn apart with thick and meaty riffs.

Album closer “Fears” begins with the sludge sound from “Wheelwalker” but slowly ends up taking a different route. Adding an almost Pink Floyd layer of sound with monumental riffs and layers of clean vocal harmonies The Mire managed to make one of the most enthralling and captivating songs I have heard in awhile. An airy almost ghostly gentleness that instantly grabs the listener by the heart and stays forever embedded in our minds.

This album is breathtaking and is an impressive work of art. A truly remarkable experience that needs everyone’s undivided attention.

The album opens with a horn blowing and some fire crackling as thunder strikes. Had me instantly thinking of Viking warriors leaving a battle where they just destroyed a temple full of monks. Very cinematic and serves as a great intro before the first actual song. “…Where His Ravens Fly” is a fantastic all clean sung danceable track and an epic way to start the album. The clean sung vocals had me thinking of the band Tyr, which in my opinion isn’t a bad thing. Keeping a steady staccato based beat and almost march like rhythm, the song eventually closes with finely picked classical (mandolin?) guitar.

The next song “Time Between Dog And Wolf” starts with harmonized choir-esque vocals until the demonic rasps make their way into the playing field. Keeping the same mid-paced feel the song adds some classic black metal riffage that brings Burzum to mind.

A river’s stream is present in the beginning of the instrumental track “Tanfana”, signaling the nature aspect found in most albums of this kind. The song itself has a pretty-ish flute melody that dances around the mid-paced drums. That changes around the three minute mark as the flute takes on a haunting yet beautiful sound as soft synths emerge in the background. The mandolin eventually adds itself to the mix and the song continues with the intro melody until the end. A little long for an instrumental but it held its purpose rather well.

The last three tracks have the band continuing with the mid-paced jams. From harmonic choruses and layered clean vocals to finger plucked melodies and Burzum-esque riffs. It seems as if the band is running out of ideas as most of these tracks follow a similar path. It would have been nice to see more flute brought out on some these tracks and the pace could have quickened up a bit as the whole album is a little slow and does get a little boring towards the end.

If the band can work towards bringing in a more diverse sound and adding some more instruments to their art then they will in fact have mastered their craft. It is what it is – a strong Viking metal album; they just need to focus and take a little more time in piecing together their music.

A rather noticeable trait on Dynasty is that of a more brutal approach then their last self released album Blacken The Sun. Getting rid of the streamlined clean vocals that plagued the last release and evolving more into a melodic death metal band.

“Oracle Of The Dead” starts offs with a blasting death metal-ish beginning and introduces a foray of melodic riffing that instantly recalls the Gothenburg-style from the days of old. It is nice to see some bands sticking to a familiar formula but that is also the bands downfall. As most of the tracks on this album sound a bit samey and the album does have the tendency to drag on.

It isn’t until the fifth track “The Darkest Ages” where something of interest really transpires, which is a short but sweet solo. The sixth track “Ritual” is an awesome instrumental that finds the band adding a cinematic touch with a heart wrenching solo. Bringing to mind those old karate movies with Van Damme and Segal, at a part where their studying the martial arts or after defeating a hardened foe. The band decides to play it safe again for the last half and only in two of the tracks do we get a little more substance; that substance being the wicked solo in “Attila” and the epic “Poseidon.”

Drawn out and generic yet I was still head banging throughout the whole listening experience. Sadly there isn’t much to grab onto as I can’t see myself going back to this album again.