ALBUM REVIEW: Candlemass, "Sweet Evil Sun"

By: Richard Maw
 
Album Type: Full Length
Date Released: 18/11/2022
Label: Napalm Records

 
“Sweet Evil Sun” CD//DD//LP track listing:
 
1. Wizard Of The Vortex
2. Sweet Evil Sun
3. Angel Battle
4. Black Butterfly
5. When Death Sighs
6. Scandinavian Gods
7. Devil Voodoo
8. Crucified
9. Goddess
10. A Cup Of Coffin (outro)
 
The Review:
 
Swedish doom legends Candlemass return with- depending how you look at it- yet another album or an exciting new album!
 
There are no Iommi guest spots this time, but original vocalist Johan Lanqvist is still there and with material written for him in mind, this is lined up to be a more cohesive and convincing album than “The Door To Doom”. Now, it goes without saying that Candlemass are one of THE seminal doom bands- usually mentioned along with Saint Vitus, Trouble, Cathedral and so on- that legacy, though is a blessing and a curse.
 
When a band makes a record as seminal and legendary as “Epicus Doomicus Metallicus”, it’s hard to follow it. Fortunately, for many Candlemass fans records like “Ancient Dreams” or “Nightfall” are even better. It would be hard to find fans who pick their latter-day output above the debut and the Marcolin classics, but there must be some out there.
 
For me, I enjoy most of their records. I thought the aforementioned “The Door To Doom” was a good album- catchy, solid, well produced and overall a quality return to form. “Sweet Evil Sun”, for me, continues that trajectory. “Wizard of the Vortex” is a suitably riffy opener and the BIG song of the album- the title track- follows with big choruses, pagan references and big riffs. Is it groundbreaking? Does it match up to EDM? Does it need Iommi soloing away? The answer is… no; to all of those things. However, this is good stuff.
 
Sure, it sounds like Candlemass. Yes, it’s doom metal. As the likes of “Angel Battle” and “Black Butterfly” rolled by, I found myself enjoying the record for exactly what it is: one of the classic doom bands still doing what they do best. Good songs. Good epic sounding riffs. And, honestly, it’s great that they are still around, let alone actually producing cohesive bodies of work like this.
 
The band still plough the Sabbath furrow like few others- it has that Nordic darkness along with the Iommi-esque menace. The writing uses good and tested methods; faster riffs for the middle sections, dramatic vocal shifts when required, female backing vocals (“When Death Sighs”), solid production and a dark and ethereal atmosphere throughout.
 
Overall, it’s probably best not to compare this to the early records- or even to attempt it. A lot of time has passed since then, a lifetime really. The band just cannot be the same. I’m just happy that there is still a Candlemass and they still make records I enjoy. Yes, I’m not that keen on “Scandinavian Gods”, or the intro to “Devil Voodoo” but that’s ok. The fact is that most of the stuff here I DO like and I’ve liked it more each time I’ve listened to it.
 
This is another solid entry into the canon of Candlemass. If you like/d the band, you might well like this. The band won’t reinvent the wheel again, but at this stage I don’t want or expect them to. Epic Doom metal, as it should be.
 
“Sweet Evil Sun” is available now 

Band info: facebook

ALBUM REVIEW: Overkill - "The Grinding Wheel"

By: Richard Maw

Album Type: Full Length

Date Released: 10/02/2017

Label: Nuclear Blast

This album is a stone cold killer. I have written it and said it before and I will do so again here: Overkill are the best thrash metal band on the planet.

“The Grinding Wheel” CD//DD//LP track listing:

1. Mean Green Killing Machine (7:29)

2. Goddamn Trouble (6:21)

3. Our Finest Hour (5:49)

4. Shine On (6:03)

5. The Long Road (6:45)

6. Let's All Go To Hades (4:55)

7. Come Heavy (4:59)

8. Red White And Blue (5:05)

9. The Wheel (4:50)

10. The Grinding Wheel (7:55)

The Review:

Overkill are back again with “The Grinding Wheel.” First off, it's a cracker. The band has been in a purple patch now for a decade. “Immortalis” was a strong swing into form and then they followed up with the career highpoint of “Ironbound”. “Electric Age” was a similarly awesome and a straightforward thrash record and then “White Devil Armoury” was also an absolute ripper. In my view, the band are at an all time creative high. After a thirty year career and counting, that is some achievement.

With a stable line up in effect for the last decade, I pressed play with high hopes. First impressions? The band are performing at the top of their game. Bobby “Blitz” Ellsworth is ageless. He gives a strong performance throughout and one that is more intense than men half his age. The Dave Linsk/Derek Tailer guitar partnership is in full effect (catch them live; what a team!) and DD Verni locks down the low end, while Ron Lipnicki brings the rhythms with consummate professionalism on what appears to be his swansong with the band. Don't worry, I saw Eddy Garcia play drums with them in 2016 and he slayed.

Opener “Mean Green Killing Machine” is seven and a half minutes of hard as nails thrash. For those of you who have been looking out for the advance tracks, “Goddamn Trouble” is up next - tales of high speed misdemeanour abound on this thrasher; look out for the Deep Purple reference and the nostalgia-triggering tape-into-dash verse!

The thrash fest continues through “Our Finest Hour” while “Shine On” is a mid paced stomper that Overkill often throw in on their best albums. “The Long Road” is very hooky after a lengthy and lead- laden intro, packing a very memorable “Onward! Upward!” refrain. At ten tracks, Overkill have delivered a good lengthy record here. The first five fly by- even with song lengths almost all north of six minutes! The second half is just as strong; “Let's All Go To Hades” is kind of like a Motorhead type track, which is fitting, considering Overkill's consistency and longevity. It has a strong memorable hook and the lyrics are rather poignant. The band mix things up here and there, of course, and throw in “Come Heavy” here for a groove laden departure. It's a fine moment for the album and recalls Sabbath at their most playful with a wonderful loping feel.

Overkill always had more rock and roll to them than the likes of Slayer and you can often hear echoes of bands such as AC/DC and Motorhead in their records- this is a good thing and reinforces the working class ethic of the band: nothin' fancy; just thrash metal. “Red White and Blue” has a strong “liberty or death” message- with a difference- and is a thrashing wake up. “The Wheel” and “The Grinding Wheel” round the album out in style. The last two tracks feel like companion pieces to one another, the former being a very catchy revved up anthem, the latter being something of a moody epic, Overkill style.

Having listened through the record multiple times now, I can confidently state that it is a winner. It's immediate and showcases everything that Overkill do well. The production is warmer than “White Devil Armoury” and somewhat less processed than the previous three albums. The drums are a little more organic sounding and the album benefits from this less machine like feel. The aforementioned rock 'n' roll feel comes from this, in my estimation.

With Nuclear Blast delivering a broad range of formats (I have pre-ordered the vinyl and limited CD with a bonus track) there is choice for the collector and casual fan alike. Once again, the label deliver in terms of formats, value for money and packaging. The front cover looks good too- with its gears-locked-in-place visual it absolutely conjures up the right imagery. For a band like Overkill, this is important as they sell a fairly consistent amount of albums, I believe, and have a recognisable brand and sound. They make an album, promote it by touring and then make another one. Professionals to the last.

If you have never heard Overkill, by all means start here... or any of the previous three albums... or “Horrorscope”, “Years of Decay”, “Feel The Fire”, “From The Underground and Below” and so on. For me, this record is kind of a cousin to 1994's “WFO”; similar thematically and even in production style. Will it win over new fans? It should. Overkill are operating in the kind of bracket that Motorhead did; they've always been around, they've always put out albums every two years or so, their records are always at least good (often great) and they have ALWAYS been under-appreciated. Get on board now, before it's too late. This album is a stone cold killer. I have written it and said it before and I will do so again here: Overkill are the best thrash metal band on the planet. Enjoy them while they are still here.

“The Grinding Wheel” is available here

Band info: official || facebook

ALBUM REVIEW: Crowbar - "The Serpent Only Lies"

By: Richard Maw

Album Type: Full Length

Date Released: 28/10/2016

Label: E.One Music |

Steamhammer

Each album is demonstrably different while maintaining a common thread so no record is out of place within the discography. Stylistically, I would say that this is closer to “Symmetry...” than “Lifesblood”, and perhaps is a little closer to the band's earliest material, but at the end of the day: it's Crowbar. Where this album sits in the band's discography will only be fully revealed over time, but I can say that it has got better and better with each listen. What a band. Appreciate them while they are here.

“The Serpent Only Lies” CD//DD//LP track listing:

01. Falling While Rising
02. Plasmic And Pure
03. I Am The Storm
04. Surviving The Abyss
05. The Serpent Only Lies
06. The Enemy Beside You
07. Embrace The Light
08. On Holy Ground
09. Song Of The Dunes
10. As I Heal

The Review:

Crowbar are 100% reliable. They have never made a bad album. They have never gone commercial, gone thrash, gone death, gone hardcore or deviated in any way from their uniquely satisfying sound.

Generally regarded as sludge, and New Orleans sludge at that, the band have been operating at the highest level of quality for a quarter of a century now. Kirk is still at the helm and now Todd Strange is back on bass (Kirk plays on the album) after a career in something non-metal related. The album, as per, mixes riffs of the heaviest weight (“Falling While Rising”) with faster bursts of hardcore pace (“I am The Storm”). Most people familiar with the band have a favourite Crowbar album (some go with “Odd Fellows Rest”, some the self titled, or “Broken Glass” etc. etc.) but I can reliably inform you that this one could be a contender on anyone's top spot.

The last record, “Symmetry In Black”, was a tour de force: this is just as good. They really haven't put a foot wrong on this release. The doomy and spacey vibe of “Surviving The Abyss” is a welcome shift in dynamics and recalls “When Planets Collide” (and other tracks) from the bands formidable canon.

Operating, as they do, in a field of one brings its own challenges. The band have to find ways of making things interesting; the line up has always been in flux, but whether this is by design or default I don't know. Each album is demonstrably different while maintaining a common thread so no record is out of place within the discography. Stylistically, I would say that this is closer to “Symmetry...” than “Lifesblood”, and perhaps is a little closer to the band's earliest material, but at the end of the day: it's Crowbar. The title track is as vicious and melancholic as their best work, with Windstein's voice still a unique selling point.

The album is another focused and concise release; ten tracks of similar length gives the right playing time for enjoyment and immersibility (running out of actual words, so making them up!) and each track goes by at a fair clip. “The Enemy Beside You” is another hardcore/sludge hybrid which spits some serious bile. Kirk is in his 50's now, but isn't showing any sign of mellowing. Since leaving Down, he seems to have re-focused on Crowbar and brings some huge riffs and vocals to tracks such as “On Holy Ground” down the back stretch of the record. “Song of the Dunes” is even more impressive, with a rather creepy atmosphere added to the mix.

By the time of “As I heal”, the record had absolutely won me over as yet another sterling piece of work from Crowbar. Where this album sits in the band's discography will only be fully revealed over time, but I can say that it has got better and better with each listen. What a band. Appreciate them while they are here.

“The Serpent Only Lies” is available now

Band info: facebook

ALBUM REVIEW: Nick Cave & The Bad Seeds - "Skeleton Tree"

By: Victor Van Ommen

Album Type: Full Length
Date Released: 09/09/2016
Label: Bad Seed Ltd

Musically, “Skeleton Tree” trudges through with sparse instrumentation, drones, and swells. This makes for an immersive, emotional listen, pulling at the listener’s psyche. There’s no let up, either, with each song diving deeper and deeper into darkness. By mastering the art of minimalism, The Bad Seeds have turned to making vast soundscapes, by focusing on accents instead of a steady drive.

‘Skeleton Tree’ CD//DD//LP track listing:

1). Jesus Alone
2). Rings of Saturn
3). Girl in Amber
4). Magneto
5). Anthrocene
6). I Need You
7). Distant Sky
8). Skeleton Tree

The Review:

If you’re wondering why the cold, dark days of winter seem to be approaching fast, it’s thanks to Nick Cave’s new album, “Skeleton Tree.” Cave has dove deep into his well of inspiration, spinning dark tales of dealing with life and death, and unleashed this collection of eight songs on the world.

Cave’s melodramatic voice adds depth to the already bleak backdrop. His voice is full, coming more from the throat rather than the diaphragm, resonating rather than bellowing. The quivering he lets slip isn’t so much technique as it is him living the lyrics. By doing this, Cave has saturated his lyrics with an overwhelming amount of feeling, which may or may not be based on him mourning the death of his 15 year old son. There seems to be a disagreement in the online blogosphere about the inspiration for these lyrics, but what is for sure is that these eight songs are fueled by Cave’s struggle with the existence and his faith in higher powers, wrestling to find a purpose in such a mundane life, as well as contemplating death and what this means to the living.

Musically, “Skeleton Tree” trudges through with sparse instrumentation, drones, and swells. This makes for an immersive, emotional listen, pulling at the listener’s psyche. There’s no let up, either, with each song diving deeper and deeper into darkness. By mastering the art of minimalism, The Bad Seeds have turned to making vast soundscapes, by focusing on accents instead of a steady drive. Minor chords are played for effect rather than melody, percussion is few and far between and when it does hit, the element of the song it brings to the fore could shatter glass. The album feels fragile because of this, as though at any moment we’ll hear Cave completely break down.

“Skeleton Tree” is a commanding listen, one that sits heavy on the shoulders, and judging by how the weather has turned, Mother Nature has scored herself a copy of this exceptional slab of wax as well.

‘Skeleton Tree’ is available everywhere now

Band info: official

ALBUM REVIEW: Brant Bjork - "Tao of the Devil"

By: Victor Van Ommen

Album Type: Full Length

Date Released: 30/09/2016
Label: Napalm Records

In short, “Tao of the Devil” isn’t much different than Brant’s other albums in that it’s both a look back and a step forward. And like his other solo albums, this one can stand alone as a prime example of what Brant Bjork does best.

‘Tao of the Devil”CD//DD//LP track listing:

1). The Gree Heen
2). Humble Pie
3). Stackt
4). Luvin'
5). Biker No. 2
6). Dave's War
7). Tao Of The Devil

The Review:

Throughout “Tao of the Devil,” Brant has gone and mixed all of his solo efforts together with a few firm shots of tequila. The result of which is an album that’s as welcoming as a cold glass of margarita on a hot summer day. There’s plenty of that “Jalamanta” haze, which is really nice to have back, but the tunes here are mostly a throwback to Brant’s time flinging licks with The Bros. Naturally, there’s some Santana and Hendrix swing felt throughout, and like these idols, Brant confirms on "Tao of the Devil” that he isn’t only a songwriter but also a master of groove.

On this, Brant’s tenth solo album, he’s brought along some heavy hitters for the ride. There’s Dave Dinsmore to handle the low-hanging four-string, Bubba DuPree checked in on the fuzzy six string, and the young gun Ryan Gut keeps a heady beat with his open handed delivery behind the kit. This is by far Brant’s best backing band since the days he traveled the world with Cortez, Cordell, and Peffer.

With an underlying message of love, peace, and harmony, “Tao of the Devil” is just what you’d want from a Brant Bjork album. This Low Desert Punk has always been about vibe, and on this album he serves it up in spades. A cut like “Luvin,” for example, keeps things snappy with its stop and go fuzz riffing. The riffs talk back to Gut’s command of the snare, and eventually even a tambourine during the song’s second chorus. Here Brant sings “keep on lovin’ like your day is done” as a call to arms for those listening in. Brant wants us to stop our bullshit and get down to some good times. This message pops up in “Stackt,” too, though in this cut the lyrics are packaged in the down and very dirty low end, which is so, so good.

But as the album’s title suggests, these tracks aren’t all good times and high fives. There’s an overwhelming sense of the blues on these 7 tracks/ 37 minutes, too. Brant doesn’t even try to hide the sadness or despair this time around, staking claim in the title track that he’s “got the blues right down to his bones.” In “Dave’s War,” the band’s attack is at its hardest – though I dare you to refrain from snapping your fingers to the beat – while Brant spews tales of running low on things he loves. A lyrically heavy concept, sure, but it’s a side of Brant that also needs to be shown.

In short, “Tao of the Devil” isn’t much different than Brant’s other albums in that it’s both a look back and a step forward. And like his other solo albums, this one can stand alone as a prime example of what Brant Bjork does best. He is able to sum up the good life, let us know that it’s all good, and as long as we keep our cool, we’ll be fine. Brant’s a wise man with many stories to tell and luckily those of us hanging out in the heavy underground love to hear these stories told.

‘Tao of the Devil’ is available here

Band info: facebook

RIYL: Kyuss, Vista Chino, Brant Bjork & The Bros, Fu Manchu

ALBUM REVIEW: Death Angel - "The Evil Divide"

By: Richard Maw

Album Type: Full Length
Date Released: 27/05/2016
Label: Nuclear Blast

The material here is a thrash master class and is perhaps comparable to that of the latter day Overkill records- thrash, hooks, some speed, some mid paced stuff.... Yep, the Death Angel of recent times is my favourite of their career. Proper metal, all the time, of uniformly high quality.

“The Evil Divide” CD//DD//LP track listing:

1. The Moth

2. Cause for Alarm

3. Lost

4. Father of Lies

5. Hell to Pay

6. It Can't Be This

7. Hatred United, United Hate

8. Breakaway

9. The Electric Cell

10. Let the Pieces Fall

The Review:

Death Angel return, hot on the heels of last release “The Dream Calls for Blood”- which was awesome, in case you missed it. Business as usual is the name of the game here. Opener “The Moth” pretty much slays with thrash beats, twisting riffs and strong hooks. The run that Death Angel have been on recently equals the quality of their earlier records, in my view. Old school Death Angel may be, but there are echoes of such bands as God Forbid and Shadows Fall in the arrangements and delivery- theirs is a more expansive sound than, say, Exodus (not knocking Exodus- great band).

The album continues at pace with “Cause For Alarm” which is again a thrash tour de force. “Lost” is more mid pace, but still of thrash features- and hooks. The same can be said of “Father of Lies” which motors along nicely with trading and chugging guitars and the vocal is spat out with genuine spite by Mark Osegueda. The material here is perhaps comparable to that of the latter day Overkill records- thrash, hooks, some speed, some mid paced stuff... a thrash masterclass, basically.

Over the course of the ten tracks there is not really any let up- “Hell To Pay” is a rager, “It Can't Be This” is more measured (but still deadly) and so on. One thing is for sure as the clean intro of “Hatred United, United Hate” gives way to a thrashing riff, the Death Angel of 2016 is the heaviest most metal of their lengthy career. I for one welcome this approach- as enjoyable as their early records are, they certainly contained some experimental elements and more balladic material from album three onwards. The comeback of the early 2000s mixed and match brutality and melody, but for me the band have really hit their stride with “The Evil Divide” and its predecessor. There are echoes of NWOBHM esque sounds and vibes in “Breakaway” and even the NYHC hardcore scene as well.

The final two tracks are no less impactive with “The Electric Cell” being rather state of the art thrash and “Let The Pieces Fall” being an impressive and almost epic finisher- a maelstrom of riffage and changes. Yep, the Death Angel of recent times is my favourite of their career. Proper metal, all the time, of uniformly high quality.

“The Evil Divide” is available here

Band info: facebook

RIYL: Testament, Exodus, Annihilator, Evile

Surgical Meth Machine - "Surgical Meth Machine" (Album Review)

By: Mike Wilcox

Album Type: Full Length
Date Released: 15/04/2016
Label: Nuclear Blast

“Surgical Meth Machine” CD//DD//LP track listing:

1. I'm Sensitive (4:10)

2. Tragic ALert (3:36)

3. I Want More (3:51)

4. Rich People Problems (3:06)

5. I Don't Wanna (3:19)

6. Smash and Grab (2:49)

7. Unlistenable (4:54)

8. Gates of Steel (2:46)

9. Spudnik (2:33)

10. Just Go Home (2:51)

11. Just Keep Going (1:03)

12. I'm Invisible (5:01)

The Review:

Having the opportunity to get my hands on Al Jourgensen’s new project, Surgical Meth Machine and review it presented an interesting quandary for me: Do I review it and focus on the good aspects? The ripping speed, the furiously fast pace, the undeniable industrial roots, indeed Al had said in a Blabbermouth interview earlier this year,  “…it’s like I literally just put my foot on the gas pedal for this record.” I really didn’t know what to expect.  Ministry, Al’s former glory, is an interesting beast in and of itself, spanning decades, many albums, a massive fan base, and just as much polarity towards the band as one would expect.  With the death of guitarist Mike Scaccia during the wrap up of Ministry’s 2013 album, “From Beer to Eternity”, nobody, perhaps including Al himself, knew if the projects would go on, but Al took to the helm to present something different, a new project.  From these efforts we get Surgical Meth Machine, an album that is just as confusing as it is break neck.

Starting the album off, “I’m Sensitive” introduces the listener to the very familiar drone note on top of a quick paced unchanging industrial sounding rhythm.  It goes on to deliver the full force of older Ministry as Al goes off on a diatribe of how he simply does not care about your feedback, your criticisms, your reception….he doesn’t care.  Listening to this it’s hard not to develop the opinion that this is simply the steam of an artist who has made enough acclaim to be able to release whatever they want simply because.  I would like to emphasize, however, that it is the lyrical content and themes that allow that feeling.  The music is completely solid.  As the album continues and you are bombarded with “TRAGIC ALERT…TRAGIC ALERT…”, and the next track breaks away and is carried with that token fast paced drum programming that we know and love Al for.  The word “EXECUTION” is shouted constantly and I’m reminded heavily of the Suicidal tendencies.  Frankly I could see Al donning a bandana for the song….ok maybe not, but the ST vibe is almost undeniable.  About two minutes into “Tragic Alert” the beat slows into a small break down of sorts, but quickly revamps with the anger and ferocity of industrial metal.

“I Want More” brings back the vocal filters that you might have heard Al use for albums like Ministry’s “Psalm 69”.  In fact, I could see this track following “Just One Fix”; however a guitar solo a little ways in reminds us that this is Surgical Meth Machine and not Ministry, but It kills just the same.  No breaks, no stops, no mercy.  “Rich People Problems” seems to be a hot air track; it’s amusing, but nothing more.  “I Don’t Wanna” gives us nostalgia for Lard as it features guest vocalist and former collaborator Jello Biafra.  It also ties in strangely to the former track, “Rich People Problems”, in that it seems to exemplify issues that well to do people might have.  “I don’t wanna go to your funeral, I just wanna cash my check…”  Life can be really hard sometimes I guess…

Marking the halfway point of the album, “Smash and Grab” actually reminds me a reasonable amount of Static X, though it seems to be more of a fill junk track than anything else.  The lyrics literally tell you, “Don’t listen to this, it’s nothing at all, it don’t mean a thing, blah blah blah blah blah…”  It’s a jamming’ track, but I just wonder what the point of it actually was.  Track seven, “Unlistenable”, I read elsewhere, is just that.  That wasn’t quite my take on it but I will stand behind the notion that it’s a more experimental track.  Those are my nice words, but, as we learned with the first track, Al does not care anymore. 

I have highlighted some of my favourite tracks here, rather than an exhaustive track by track review but after all is said and done, what the hell am I supposed to make of Surgical Meth Machine??  I enjoyed it more than not, and it’s not my intention to be critical, but I sincerely think that this album was an enjoyable personal effort from an artist that is clearly telling people that there are much better things to worry about than the tract of a given musician.  The lyrical content belittles society and exemplifies the little hills that we create mountains out of.  If you are expecting a return to the glory days of Ministry you will be let down.  If you buy the album because it says featuring Jello Biafra then you are a sap and will be let down.  If you buy this album because you simply wanted to hear it, to hear what Uncle Al is doing with his time these days then you might be let down, but I really do think that for the solid fans of Al’s former work across the board, there are many redeemable qualities to be had.  I’d give it a firm 7 out of 10.  But what do I know?  People don’t pay me for my opinions.  I just review albums and shit.  FFO Ministry, Al Jourgensen, Lard, Dead Kennedys, Suicidal Tendencies, thrash metal.

“Surgical Meth Machine” is available here

Band info: official || facebook

Prong - "X - No Absolutes" (Album Review)

By: Hunter Young

Album Type: Full Length

Date Released: Steamhammer/SPV

Label: 05/02/2016

Prong is one of those bands that seem to be able to move effortlessly through differing genres, usually within one song. Typically categorized under thrash, they move through many guises and for that reason, it is a very hard to pigeonhole, but it's always fun to hear and “No Absolutes” is absolutely no exception. “X-No Absolutes” begs further listens after it kills the last note, it's a deep cave to explore, and one that will have your neck at the breaking point rather quickly once it hits full swing. Prong fans, new and old, will be able to appreciate this for years to come.

“X-No Absolutes” CD//DD//LP track listing:

1.Ultimate Authority (2:54)
2.Sense Of Ease (4:05)
3.Without Words (3:18)
4.Cut And Dry (3:51)
5.No Absolutes (3:17)
6.Do Nothing (3:40)
7.Belief System (3.21)
8.Soul Sickness (3:05)
9.In Spite Of Hindrances (2:45)
10.Ice Runs Through My Veins (4:04)
11.Worth Pursuing (3:12)
12.With Dignity (3:14)
13.Universal Law (Bonus Track)

The Review:

MMMMMMMMM that new Prong album smell!

For those of you that don't know the Prong freight train, whether too young or you simply didn't get the memo, they've been around since 1986 and despite demolishing in several other projects, including Danzig, Prong is always going to be his home. Classic tracks to check out for the curious include “Whose Fist is This Anyway?”, “Beg to Differ” and, of course my personal favorite, the brutal “Snap Your Fingers, Snap Your Neck”. Their new endeavour, entitled “X-No Absolutes” is a perfect return to form for these metal legends.

Prong is one of those bands that seem to be able to move effortlessly through differing genres, usually within one song. Typically categorized under thrash, they move through many guises and for that reason, it is a very hard to describe pigeonhole, but it's always fun to hear and “No Absolutes” is absolutely no exception. It's a hodge-podge of styles that mix like gin and tonic: perfectly.

Opening up with “Ultimate Authority”, you have a solid thrash base, accompanied by heavy chugging with high gain crunchier than fresh popcorn. Victor continually keeps it heavy, with his alt picking rhythmics and savage shreddery, classed up with tapping and runs galore sprinkled liberally on the album. Examples of just titanic guitar work can be found on “Sense of Ease”, “Cut and Dry”, and the latter half of “Belief System”.

Something I have always loved about Prong is their ability to carry a melodic streak without sounding forced  and Tommy Victor absolutely nails the clean vocal sections,  indeed the title track, “No Absolutes” and “Do Nothing” are hauntingly beautiful as he almost croons to you, bringing the mood into a deep shadow. Victor plays his voice like his guitar, casting a wide net to ensnare the listener.

“X-No Absolutes” begs further listens after it kills the last note, it's a deep cave to explore, and one that will have your neck at the breaking point rather quickly once it hits full swing. Prong fans, new and old, will be able to appreciate this for years to come.

“X-No Absolutes” is available now

Band info: facebook