ALBUM REVIEW: Fear Factory, "Aggression Continuum"

By: Richard Maw
 
Album Type: Full Length
Date Released: 18/06/2021
Label: Nuclear Blast

 
“Aggression Continuum” CD//DD//LP track listing:
 
1.  Recode
2.  Disruptor
3.  Aggression Continuum
4.  Purity
5.  Fuel Injected Suicide Machine
6.  Collapse
7.  Manufactured Hope
8.  Cognitive Dissonance
9.  Monolith
10.  End Of Line
 
The Review:
 
Back in the dark days of 1995, Fear Factory truly sounded like the future. “Demanufacture” was a monster of an album which featured a then-ground breaking mixture of harsh and clean vocals, pro-tools production and computer processed sounds, industrial tinges and some truly memorable songs. Cazares, Bell, Hererra and Olde-Wolbers seemed like it might be them who usurped Metallica with their science fiction, weaponised, mechanised version of heavy metal... except, things didn't work out like that.
 
The band followed up “Demanufacture” with very pale imitation albums, lost their place at the vanguard of metal via the rise of nu metal, line-up changes and the plain old bitter pill of missed opportunities. The tension and fractures within the band are well known so “Aggression Continuum” sees Burton C Bell appearing on the album and delivering a very good performance, but no longer a member of the band for the album's release. Completed by the very capable rhythm section of Tony Campos (bass) and Mike Heller (drums), this record HAD to be good.
 
The good news, though, is that the record is very good! The last FF album, “Genexus”, was also good and saw me regain interest in the band back in 2015 (is it that long?!). “Mechanize”, half a decade prior, was serviceable and of course lifted up a level by Gene Hoglan's involvement. The band have thus put out a couple of good albums over the last decade. I haven't heard “The Industrialist”- and I'm sure the band would understand my stance against human beings being replaced my (drum) machines. They still plough their futuristic furrow and bring to mind Robocop, 2000AD, Terminator and Terminator 2 with most tracks.
 
So, “Aggression Continuum” picks up where “Genexus” and, indeed, “Demanufacture” left off. It is pummelling (“Recode”), it's machine like. It has synths. It has solos (“Monolith” has a great one), it is inhumanly precise and has all the best hallmarks of what makes Fear Factory unique and a top tier metal band.
 
If you want aggression, there is plenty of it- “End of Line” is a relentless finisher and jam packed with the types of production quirks you expect from the band. “Fuel Injected Suicide Machine” sounds exactly like it could have been on “Demanufacture” and sit proudly with the likes of “H-K (Hunter Killer)”, albeit with a melodic chorus that echoes synth wave as much as metal. In fact, the synth wave genre or even sound-tracks (Carpenter et. al.) looms large here. Fear Factory have managed to conjure up the same bleak, robotic atmosphere and it is an aural delight.
 
Fear Factory have been writing about a dystopian future in which the population is tightly controlled and humanity is threatened by technology for decades now. It is sublime timing that this album should see the light of day when these things are happening more blatantly than ever before, and it seems that the band have captured the zeitgeist once again. Where they go from here is anyone's guess. Bell has gone, apparently never to return. It is a shame and a lamentable bookend to his time with the band- he IS the voice of Fear Factory and he and Cazares made some incredible music together.
 
“Aggression Continuum” is available HERE 

Band info: Official

ALBUM REVIEW: Exhorder, "Mourn The Southern Skies"

By: Richard Maw

Album Type: Full Length

Date Released: 20/09/2019

Label: Nuclear Blast

 

“Mourn The Southern Skies” CD//DD//LP track listing:

1. My Time
2. Asunder
3. Hallowed Sound
4. Beware The Wolf

5. Yesterday's Bones
6. All She Wrote
7. Rumination
8. The Arms Of Man
9. Ripping Flesh
10. Mourn The Southern Skies

The Review:

Exhorder, the real Exhorder- are back. Those in the know will readily espouse the fact that “Slaughter In The Vatican” is one of THE greatest thrash albums. Those who delved deeper will know that follow up “The Law” was just as good and influential. They will also say that in Kyle Thomas, the band had a frontman of the highest calibre with a voice so good that Phil Anselmo took more than just notes on it. 

With good unfriendly violent fun being firmly on the agenda, then, what else can Exhorder offer up all these years after their heyday and now that the band are a lot older and a lot greyer? Well, after twenty seven years... the band is as heavy and aggressive as ever. Thomas' voice has not got any weaker at all- one of metal's best vocalists without a doubt. From the opening fury of “My Time”, the band's light is blazing brighter than ever. There are more groovesome tracks (“Asunder”) and pure speed demons and tracks that combine both- “Hallowed Sound” springs to mind.

Of course, to say that this sounds like nothing else after twenty seven years, countless bands influenced and countless thrash bands who forged their own path would be untrue. It occurred to me that Exhorder here sound like a particularly pissed off and up tempo Testament of the latter day (“The Gathering”) onwards. Naturally, the band also have that Southern swagger and groove that their most famous step child also had and this sets them apart from their Bay Area brethren. Ultimately, though, when thrash is executed so expertly as on “Beware The Wolf “ then you can enjoy this for what it is: one of the best thrash bands of all time making a killer third album decades after it should have even been possible.

Over the course of ten tracks, the band don't put a foot wrong. It rages, it grooves, it demonstrates exactly why the band are so revered all these years later. Thomas' voice on “All She Wrote” is superb. His performance on every track is just incredible. His work with Floodgate, Alabama Thunderpussy and Trouble lifted all those releases and added an extra dimension to two of the bands. His work here is just as good, his life-force undimmed.

The grooves that the band conjure up on “Rumination” are excellent as they are on the slower sections of the album- on “Arms of Man”, for instance. Down the back stretch, you also get the thrash-fest of “Ripping of Flesh” and the more measured and epic title track to close out the show.

If Exhorder never make another record, they will be three for three- three records of exceptional quality with an unwavering commitment to heaviness and aggression. There are not many bands that can lay claim to three excellent albums in a row and no-one I can think of that achieved the feat after a near three decade hiatus. A storming and total victory.

“Mourn The Southern Skies” is available HERE

 



Band info: facebook

"Masters of Deception": An interview with Willie Caulfield of Zlatanera & Exclusive Album Stream of "Legerdemain"

Zlatanera are a Belfast, Northern Ireland based heavy rock band formed in 2012 who cite influences such as Black Sabbath, Cathedral, Entombed, Clutch, Corrosion of Conformity, to name a few, the latter of which they were pleased to open for in Belfast in May 2016. Although personal musical tastes are varied within the band, whose members are made up of local circuit veterans, they found common ground in their musical tastes to create what they believe to be the most worthwhile and productive project they've been involved with to date.

The quintet have become known for their riff based, groove rock sound, surreal lyrics and immersive live shows. Not so easily pigeonholed, the band's music consists of a variety of rock genres, which their solid hometown following have come to recognise and admire. Needless to say are a band to look out for and experience.

Their long awaited eight track album debut “Legerdemain” is released today and it is our pleasure to bring you the album in full.  But before we do that, this is what the band had to say, when I spoke with guitarist Willie Caulfield of Zlatanera to get the low down about the roots of the band, what we can expect from the new record and what their plans are for the remainder of 2016 and beyond. The riffs come directly after the interview so check it out and make sure you pick up a copy

SL: Can you give us a brief history of your playing career to date leading up to the formation of your band and release of your current record?

Willie Caulfield:  Prior to Zlatanera, Anthony, Andy McCallister and myself (Willie) played in thrash/metalcore band Residual Effect. Keith and Andy Campbell were both in No Grace Given, although at different times. We all knew each other well, having played several shows together. When Residual Effect split up, the three of us decided to keep going, but in a different direction.

At the time we didn't know what that direction was. Keith had been out of the scene for a while due to personal commitments. By chance, around the time we were searching for a drummer, he was looking to get back into it. So, after bumping into Anthony at a local metal gig in May 2012, he decided to come down and jam with us and it worked instantly. For the next 6 months we wrote and rehearsed together, then in early 2013, we found out that Andy Campbell was on the lookout for a new band so we got in touch. And thus, the line up was complete. 

The next 2 years were spent writing and playing shows, then we began recording the album in July 2015.

SL: What can you tell us about your upcoming record and where do you feel it sits within the context of the current doom scene?

Willie Caulfield:  The new record is made up of several rock sub-genres, with riffs, surreal lyrics and some tongue in cheek references to the Devil. It meanders through doom, stoner, groove, metal, hard rock and even blues. We know that some don't feel comfortable mixing things up like this, but to us it just comes natural and makes things interesting. With regards to the current doom scene, although there are some slow, doom riffs on the album, I think we have more in common with classic doom bands like Pentagram, Trouble, Cathedral and of course Sabbath. That sort of occult/doom rock sound has had a bit of a resurgence lately and I think we fit right in there.   

SL: What was the mood in the camp going into the recording of the new record

Willie Caulfield:  We had been playing these songs for a while and desperately wanted to record them. As always though, personal circumstances got in the way. Also, we wanted to do it right but lacked the finances to pay for a professional, reputable studio. So, when it finally came to making the album, we were like giddy children. The sheer excitement and blatant relief, that we were finally going to be able to share these songs that we'd been living with for about 2 years, was palpable.

SL: What can fans look forward to from you over the next 12 months? How is your schedule shaping up?

Willie Caulfield:  Well, we have quite a lot coming up later in the year. The album release, of course. A couple of festivals in Ireland, North and South, in October. Also, we will be playing a couple of mainland UK shows at the end of November. The highlight of the year, though, will be playing the Jagermeister Stage at this year's Bloodstock Open Air Festival! Beyond that, there are plans to make a music video for the song 'Bad Case of the Devil' and hopefully more UK and European shows. 

“Legerdemain” is available here

Band info: facebook

Anthrax - "For All Kings" (Album Review)

By: Richard Maw

Album Type: Full Length

Date Released:  26/02/2016

Label: Nuclear Blast

The verdict? This is undoubtedly the best Anthrax album for many years. The thrashing songs, when the band burn rubber, are the best things here. The less interesting aspects of the record are the slower tracks. Overall, a cautious endorsement from me. Next time, please, just keep the tempos and energy up all the way!

“For All Kings” CD//DD//LP track listing:

1. Impaled (1:31)

2. You Gotta Believe (6:00)

3. Monster At The End (3:55)

4. For All Kings (5:00)

5. Breathing Lightning (5:37)

6. Breathing Out (0:55)

7. Suzerain (4:53)

8. Evil Twin (4:40)

9. Blood Eagle Wings (7:53)

10. Defend Avenge (5:13)

11. All Of Them Thieves (5:14)

12. This Battle Chose Us (4:53)

13. Zero Tolerance (3:48)

The Review:

Anthrax, that most contentious of the Big Four... The other three bands have several classic albums to their name. In my view, Anthrax do not. I am actually a big fan of the John Bush era, and while I cautiously enjoy “Among the Living”, I just don't rank it up there with, say, “Rust in Peace” or “Seasons in The Abyss” and so on.

With Joey Belladonna returning to the band, my hopes were not high for 2011's “Worship Music.” I was correct not to be too excited; that record is OK, but just not that good. Two things are for sure: Anthrax still slay live and “Fistful of Metal“ is a fantastic metal album.” Probably my favourite of theirs. I also love the “Armed and Dangerous” EP.

On to “For All Kings”, then... First impressions are good. The intro sets things up just fine for “You Gotta Believe”, which is a fine and thrashing track, as is “Monster At The End”... The album is on a roll! The title track is nice and crunchy but with that textbook Belladonna- style melody to the vocals, which, truthfully, I am not a huge fan of. “Breathing Lightning” is a mid paced chugger with some nice syncopated cymbal work from Charlie Benante- who is the stand out player as usual. While I am on the subject, Benante is a superb technician and very fast when he wants to be. Perennially under used- in terms of skill- in Anthrax, I wish he would play more, much more, on every track. Very odd that his name is not often mentioned in the same breath as Lombardo, but there we are. Again, the melodic bent of the Belladonna style Anthrax is all over this track- I will leave you to find out if you like the style or not.

“Breathing Out” is an acoustic intro style track and then it is straight into the bruising thrash of “Suzerain”; this is more like it! It all gets more melodic, of course, but the heavier sections are great. Weirdly, this track would have suited “Sound of White Noise” and John Bush down to a tee. “Evil Twin” is up next- the advance track for the album- and it is thrashy, with time changes and an excellent half time chug riff towards the end. Excellent.

“Blood Eagle Wings” is the album's longest track, but for me it did not quite cut the mustard. Some good riffs here and there and a good melody to the vocals, but it is slow paced and while well put together, it is not why I listen to Anthrax. “Defend Avenge” is better- with some cool stomping riffs and a strong chorus. Lovely bass drum work, too. “All of Them Thieves” has some real thrashing for the solo and is a strong track overall.  “This Battle Chose Us” is also a good track- the album is finishing strongly! Finally “Zero Tolerance” puts the pedal to the metal with great effect. The guitars lock tight and the drums propel all along very effectively.

The verdict? This is undoubtedly the best Anthrax album for many years. The thrashing songs, when the band burn rubber, are the best things here. The less interesting aspects of the record are the slower tracks. Overall, a cautious endorsement from me. Next time, please, just keep the tempos and energy up all the way!

“For All Kings” is available now

Band info: official || facebook

Fear Factory - 'Genexus' (Album Review)

By: Richard Maw

Album Type: Full Length

Date Released: 07/07/2015

Label: Nuclear Blast Records

The record is heavy and tight- there are sections of riffs in “Dialectric” that made me turn up the volume. The bass drums pulse with inhuman precision and the synths and loops really add something to the overall sound. The opener “Autonomous Combat System” is a monster, “Anodized” is equally beast-like.  Ultimately, if you enjoyed Demanufacture, you will enjoy this- it caries on where that left off and is a fine, fine album indeed. If you are new to the band, then this is a fine starting point. Fear Factory remains unique and I am pleased to report that they sound as vital as they did a lifetime ago.

‘Genexus’ CD//DD//LP track listing:

1. Autonomous Combat System
2. Anodized
3. Dielectric
4. Soul Hacker
5. Protomech
6. Genexus
7. Church Of Execution
8. Regenerate
9. Battle For Utopia
10. Expiration Date

LIMITED DIGIPAK BONUS TRACKS:

11. Mandatory Sacrifice (Genexus Remix)
12. Enhanced Reality

Fear Factory is:

Burton C. Bell | Vocals

Dino Cazares | Guitars, Bass (On the Album)

Mike Heller | Drums

Tony Campos | Bass

Deen Castrono | Drums (‘Soul Hacker’)

The Review:

Fear Factory return (again!) with this follow up to their 2012 effort ‘The Industrialist’. Confession time: I have heard two Fear Factory albums prior to this one- ‘Demanufacture’ and ‘Mechanize’. I have never heard ‘Soul of a New Machine’ or any other material. Reasons? I just don't know. Particularly as, in my view, ‘Demanufacture’ is a metal classic and really was a game changing album in that most maligned of metal times; the mid 90's.

Truth be told, there were some very exciting things happening in metal during the 90's. I recall my best mate showing me a Biohazard video from Raw Power (or was it Noisy Mothers by then?) and being blown away. I remember hearing Machine Head for the first time and being overwhelmed by thinking that I was hearing the future of metal. Similarly, hearing that double kick intro that ushers in ‘Demanufacture’ was a watershed moment. The band, at that time, were doing something new- contrasting clean and harsh vocals, very precise drumming and an automated feel to the music. Little did I know at the time that the drums were triggered and often cut and pasted together (the toms were mostly lost in the recording process- listen back and you will hear what I mean!). Weirdly, I just lost track of the band after that record and thought of them as kind of forerunner to the nu-metal movement. I delved deeper into death and black metal and by the time of ‘Obsolete’ I had moved on.

‘Mechanize’ (2010) interested me hugely as they brought in MONSTER drummer Gene Hoglan to play on it. He did an awesome job and the record is heavy and dark- just a touch lacking in memorable moments. I refuse to listen to 2012's ‘The Industrialist’ as it uses a drum machine and that just doesn't interest me at all (from Hoglan to...that?!?!), so on to this release.

‘Genexus’ is good. Very good. For me, a stranger to the band for many, many years, it as if time has not moved on at all. This is odd in many ways- I thought of Fear Factory as something VERY new and modern in 1995, yet here I am 20 years later saying that they have not changed at all. They found a sound. They found a theme. They went with it. Lyrically, the record features the conflict between the automated and the human and the dangers of a machine like society. Free will and emotion are at the heart of all this and it is great to hear what is essentially The Terminator films set to music.

The record is heavy and tight- there are sections of riffs in “Dialectric” that made me turn up the volume. The bass drums pulse with inhuman precision and the synths and loops really add something to the overall sound. The opener “Autonomous Combat System” is a monster, “Anodized” is equally beast-like. Some tracks focus on groove and hooks, some on industrial grooves and thrashing rhythm guitars. Apparently, Deen Castronovo played drums on one of the tracks, ‘Soul Hacker’. Castronovo (currently playing in Journey, when not being indicted for a litany of crimes) is a superb drummer who played a blinder on Geezer Butler's “Plastic Planet” album back in the mid 90's... featuring a certain Burton C Bell on vocals as I recall! Mike Heller plays superbly elsewhere on the drums and Tony Campos completes the current line-up. Naturally, though, the band is really all about Bell and Dino Cazares- they are Fear Factory and their signatures are all over this record.

Take the title track as an example- it is superb. It mixes synths with super precise riffing and time changes. Bell's vocals lift the record, as per, and his voice allows the sound more scope than a one dimensional vocalist would. Again, it packs a strong hook- the refrain “Suffer in Slavery” is very recognisable to anyone in employment, I think! Not every track is a stand out- and I cannot pick an equivalent to “Replica”- but every song is uniformly strong and the whole record is very cohesive. You can stick this one on and listen all the way through- as I have done twice today. For me, the more brutal material is the best stuff here- and that is exactly what I thought of ‘Demanufacture’ all those years ago. I prefer “Battle For Utopia” and “Protomech” to “Regenerate” but I like all three tracks. There is a melody, heaviness and enjoyment to be found in all of them. The album ends on the nigh on nine minutes of “Expiration Date” which offers a melancholic and wistful viewpoint to bookend an otherwise dystopian and defiant album. Bell's vocal on this one is excellent.

Ultimately, if you enjoyed Demanufacture, you will enjoy this- it caries on where that left off and is a fine, fine album indeed. If you are new to the band, then this is a fine starting point. Fear Factory remains unique and I am pleased to report that they sound as vital as they did a lifetime ago.

‘Genexus’ is available here

Band info: Official | Facebook | Twitter | Instagram

Associated Bands: Brujeria | Ascension of the Watchers | Divine Heresy | Asesino | City of Fire

Trials - ‘This Ruined World’ (Album Review)

This is superlative modern metal which mixes elements of thrash, death, traditional metal and comes up with something technical, progressive and accessible.

Album Type: Full-Length

Date Released: 24/07/2015

Label: Self Release

‘This Ruined World’ CD//DD track listing:

1). Truth Defiled

2). Don’t Believe The Word

3). Diggin My Own Grave

4).Disgraced and Erased

5).Blink of an Eye

6). Beat The System To Death

7). They Hide Behind The Law

8). Inheritance

9). This Ruined Earth

Trials is:

Ryan Bruchert | Guitars
Adam Kopecky | Drums
Usha Rajbhandari | Bass
Mark Sugar | Guitars & Vocals 

Review

Trials have produced a bit of a monster with this one. It’s thrashy with death elements (blast beats, riff pacing) but lots of twisting lead parts and riffs mark this as more thrash to me than anything else. It is modern and expertly played. This band are unsigned and hail from Chicago- the first time I have heard them is on this record, but it is not their first (the internet says). It would have been unthinkable a few years ago for a band of this quality to be unsigned, but there we are. A sign of the times?

The opener “Truth Defiled” sets the bands stall out in full and offers up all the elements described in the first paragraph. The record does not really let up from there. Yes, the band vary the pace on “Don't Believe The Word” and use interesting riffs and rhythms on “Digging My Own Grave” but nothing can change the fact that this is just balls to the wall metal. It's technical in places, melodic in places and hooky too- but mostly the album just melts your face. For reference points, think Machine Head at their heaviest and fastest, God Forbid (ditto) and Testament form the late 90's onwards for melody and such. The quartet whip up a veritable storm on “Disgraced and Erased” taking the better elements of the NWOAHM movement of a decade ago and welding it to a stainless steel sensibility for all things metal (no core!).

“Blink Of An Eye” marries melody and brutality effectively in the riffs, sound like a revved up Iron Maiden in the sweep of the choruses- albeit through a modern metal filter. “Beat The System To Death” is a straight up thrasher that I like a lot as it takes no prisoners and just lays down the riffs with power and spite. “They Hide Behind The Law” is dramatic in its opening and allows the band to use dynamics in the delivery for a rather catchy and varied listen (excellent cymbal work throughout, too).

‘Inheritance’ borrows the old school thrash trick of an acoustic guitar intro which precedes heavier sounds. The tempos are never all out, all the time on this record; there is a lot of ebb and flow and that makes for a much more interesting listen. The acoustic resurfaces later in the track too, which is a nice touch. The album finishes with the close-to-epic title track. It features some truly excellent guitar interplay and once again there are excellent shifts between light and shade. Credit must also be given to the drum sound and playing of Adam Kopecky- it sounds like a real kit! The bass drums are not clicky... they are actually bassy. How unusual and, from my point of view, how welcome. A powerful way to close a powerful record.

This is superlative modern metal which mixes elements of thrash, death, traditional metal and comes up with something technical, progressive and accessible. As noted earlier, it is a tragedy that these guys aren't at international level. Hopefully this record will change that.

‘This Ruined World’ is available here

Words by: Richard Maw

For more information:

Listen: https://trials.bandcamp.com/

Like: http://www.facebook.com/trialsmusic

Live Review: Dying Fetus / Goatwhore / Malevolence / Fallujah @ Manchester Sound Control 21/11/14

Yet again, another stacked bill rolled through Manchester. This time, the bill was heavy…very heavy. Consisting of Fallujah, Malevolence, Goatwhore and Dying Fetus, the crowd was treated to a great array of styles, sub genres, riffs and all round greatness!

Kicking off the bill were five piece Bay Area natives, Fallujah. Having previously seen this band, I was looking forward to seeing how they had improved since their last and only trip to the greatest city in the North! From the off, the band set their stall out; with brutal vocals and some hefty guitar work, the sound system in Manchester’s Sound Control was tested to the limit. With the confrontational style of Alex Hoffman leading the bands charge, the atmospheric and serene guitar passages that the band moved to either side of the brutality really added an interesting layer to their sound. The band warmed the already fairly large crowd, well.  



Representing the UK on an American heavy bill were Sheffield shredders, Malevolence. Their bio reads to the effect of ‘a bastard hybrid of Pantera, Biohazard, Hatebreed, Life of Agony and Lamb Of God.’ It is hard to disagree with this statement. The band are young and still learning their trade, however, they had plenty of fans in the crowd on a rainy Friday night in Manchester. Carrying on from the exuberance shown by Fallujah in involving the crowd, Malevolence took the fight to the crowd. There was plenty of action in the mosh pit, where people lapped up plenty of the bands groove/sludge laden riffs. Another fine turn by a band on the ascendency. The bands 2013 debut, ‘Reign of Suffering’ is well worth a listen; hopefully there will be more to come from this band in the future. 

Whilst the more youthful portion of the bill worked the crowd well, the veteran half of the night was simply astonishing. Goatwhore went about their business in amazing fashion. Without stopping to breathe in between songs, the band tore through a mesmerising set littered with all kinds of heavy metal influences. With ex-Acid Bath guitarist Sammy Duet giving a master class in using the guitar, vocalist, L. Ben Falgoust II snarled through the bands set, peering, pointing and goading the crowd. Again, the pit in front the stage was a maelstrom of bodies flying around with the crowd giving their all for the bands set. The material from the bands 2014 release, ‘Constricting the Rage of the Merciless’, fitted well with the varied selections from the bands past. A monstrous highlight of the whole night was the bands run through of ‘Apocalyptic Havok’, with the band encouraging the audience to pump their fists like they were watching Judas Priest in 1984!

Goatwhore could have headlined the bill for the evenings show with no problems at all; however that accolade was left to the legendary Dying Fetus. Death Metal is certainly an acquired taste; if you’re going to get involved with the genre, Dying Fetus should be your go-to band. The Maryland trio, fronted by singer/guitarist John Gallagher, are as uncompromising as they come. Some twenty plus years into their career, the band has been enjoying plenty of success on the back of their latest album, ‘Reign Supreme’. For the show in Manchester, the band plucked plenty of tracks from their 2012 release, as well as tracks from their seven strong back catalogue. ‘One Shot, One Kill’ had the crowd firmly on the bands side early doors, with ‘Subjected to a Beating’ from the bands latest release, showcasing the bands longevity. A three song encore closed out by ‘Your Treachery Will Die With You’ ensured the congregated metal masses went home more than happy.

Words by: Dominic Walsh

Anaal Nathrakh - Desideratum (Album Review)

Album Type:  Full Length

Date Released: 28/10/2014

Label: Metal Blade Records

‘Desideratum’ CD/DD track listing:

01. Acheronta Movebimus (03:30)
02. Unleash (03:41)
03. Monstrum in Animo (04:01)
04. The One Thing Needful (03:53)
05. A Firm Foundation of Unyielding Despair (03:37)
06. Desideratum (03:59)
07. Idol (03:38)
08. Sub Specie Aeterni (Of Maggots and Humanity) (03:16)
09. The Joystream (04:24)
10. Rage and Red (03:30)
11. Ita Mori (03:42)

Bio:

Anaal Nathrakh was created for one purpose - to be the soundtrack for Armageddon, the audial essence of evil, hatred and violence, the true spirit of necro taken to its musical extremes. Since being founded in 1999, the band has gained a reputation for embodying precisely these things, with a history including not only the release of seven albums and an EP to rapturous acclaim, but collaborations with such legendary figures as Attila Csihar (Mayhem), Shane Embury and Danny Herrera (Napalm Death), Nick Barker (Testament, Dimmu Borgir), Joe Horvath (Circle of Dead Children), Sethlans Teitan (Watain) and so on. This, alongside appearing on BBC Radio 1 at the personal behest of sadly missed icon John Peel, headlining a stage at the renowned cult Inferno Festival in Norway as their debut international live appearance, countless placings in 'best album of the year' polls and album of the month awards in the press and cover appearances on leading magazines such as Terrorizer… Anaal Nathrakh's status as one of the leading lights in extreme metal is undeniable

The Band:

Mick Kenney | guitars/bass/programming
David Hunt AKA V.I.T.R.I.O.L | vocals

Review:

Following 2012’s monolithic masterpiece ‘Vanitas’, noisy grindsters Anaal Nathrakh yet again offer listeners a complete sonic barrage in the form of ‘Desideratum’. Known for combining elements of all the most extreme subgenres within metal, Anaal Nathrakh prove once again that they can obliterate ear drums and bring the destruction.

Taking a step back and looking at the past works of Anaal Nathrakh you can see a definite progression from pure black to where they are today. Albums like ‘Hell Is Empty And All The Devils Are Here’ stepped up their game with groove orientated verses and operatic vocals. Although this may not have been the first time they used elements like those, it was certainly where they started to feature heavily in their signature sound. Their previous album ‘Vanitas’ took the groove, power metal vocals and big choruses and mashed it perfectly with the sharp production and grindcore stylings into a beafy blackened death battery for the senses.

This album tends to lean more towards the black, death and grind side than it’s predecessor, which by no means is bad, just slightly unexpected seeing as the last two albums made it look as if they were going to commercialise their music slightly (again, not a bad thing).

Fans of the past 3 albums will feel right at home here. It completely rips in places with blast beats and classic inaudible screaming used to completely desolate your mind. It’s because of this however that it has lost quite a bit of its groove however. With ‘Vanitas’ it seems more like a riffy affair, where ‘Desideratum’ returns to their more tremolo picked songs that fly past at a million miles an hour.

There is no reprieve from the brutality. Not one point does it let you rest from the insanity to take in a cool section or space out the onslaught of blast beats. But really lets be honest, who would relax by listening to Anaal Nathrakh? Anaal Nathrakh are the sort of band that you could imagine a high school kid listening too before shooting up a school.

All round this album has everything you would expect from them in spades. Noise, pummeling verses, big choruses and some groovy sections to top it all off. There really is a lot of great extreme metal out there at the moment and you’d be doing yourself a favour not to ignore these guys. Not that you could even if you tried!

Thanks for reading Y’all!

Words by: Asher G. Alexander

You can pick up a copy here

For more information:

http://www.anaal-nathrakh.com
https://www.facebook.com/Anaalnathrakhofficial
https://twitter.com/ANOfficial
https://www.youtube.com/user/anaalnathrakhtv

Tombstone Crow - Shadows From The Grave (Album Review)

Album Type: Album

Date Released: August 19^th 2014

Label: Self Released

Shadows From The Grave - track listing:

1.Unearthed

2.Hangin' Tree

3.Soul Of A Sinner 03:29

4.The March Of Betrayal

5.End Of Our Reign

6.Turned To Stone

7.Dead Earth Walker

8.Skulls (Decks Of Hell)

Bio

Born in early 2013, Tombstone Crow have groove in their veins and metal up their ass!

All veterans of the local scene, the band will be ripping faces and banging heads for a long time to come....

get used to it!

Band Members

Vocals Debi Lisle

Guitars Andy 'Farmer' Bright

Drums Slayerdude

Bass Steve Barclay

Review:

Tombstone Crow are a Progressive Metal/Groove Metal band from my home town of Newcastle Upon Tyne. They are a hotly tipped local band who are about to release their debut album – Shadows From The Grave. A storming slab of furious riffs if your a fan of Pantera, Black Label Society, Metallica and bands of that ilk. Though Tombstone Crow are forging their own identity with their intense blend of self proclaimed Geordie Metal.

The album is a bruising encounter with lead vocalist – Debi – on fire through out. To tell you the truth I thought Tombstone Crew's vocalist was a dude. As Debi has an impressive vocal range which she blasts out right from the start. Tracks such as Soul Of A Sinner and Hangin Tree show a band not afraid to mix their different style of music. Doom Metal, Groove Metal and Progressive Metal combine for an album so action packed you're never bored for a second. All the band members are seasoned veterans from the local hard rock/metal scene and they have been apart of some fantastic acts over the years. Though Tombstone Crow is where everything falls into place for the band to start gaining some national attention.

The album production can be bit under-produced at times but it counts where it matters most – The hard-rocking and high voltage based riffs which the album has in spades. It's been a long time since I have listened to a proper balls-to-the-wall metal album such as this and boy was I impressed. It's not going to change the musical landscape but when the music is this good, who the fuck cares.

One of the albums standout tracks – The March of Betrayal – has an edgy violent vibe running through out it's 6 minute run time with Debi unleashing impressive vocals once again. Tombstone Crow unleash their progressive fury onto the world as they decide to turn things on their head a bit with different styles of riffs being played at a 100mph.

Shadows From The Grave is a highly impressive debut album from Tombstone Crow. If you're a fan of old-school metal given a 21^st century makeover then this is the album for you. Tombstone Crow have got my attention. 

Roll on album No 2. Awesome Stuff.

Shadow From The Grave will be available to buy from BandCamp on August 19^th 2014. Thanks to the band for sending me a promo to review.

Check the Band from Links Below

Facebook

BandCamp

Written by Steve Howe