Album Reviews Archives - Page 131 of 545

THE HALO EFFECT – DAYS OF THE LOST

Aug 112022

(Andy Synn gets to grips with the debut album from Melodeath “supergroup” The Halo Effect)

Let’s face it, a lot of people aren’t going to be able to resist pitting the upcoming albums from In Flames and The Halo Effect against one another.

And while that’s understandable to an extent – after all, most (arguably all, if you count Mikael Stanne’s early stint filling in on vocals) of The Halo Effect actually used to be in In Flames – any attempt to position them in direct competition to one another completely misses the point of why this band exists in the first place.

Let’s face it, while the current incarnation of In Flames are essentially a franchise unto themselves – with all the external and internal pressures to produce “hits” which that entails – The Halo Effect is, for all intents and purposes, just five old friends getting together to jam out some tunes that hew a little closer to their roots (though how closely is certainly up for debate).

But while this means that the pressures and expectations surrounding the release of Days of the Lost may not be quite as overbearing, that doesn’t mean there aren’t any expectations riding on it at all… and it’s up to Iwers, Engelin, Svensson, Strömblad, and Stanne to prove that they’ve got more to offer here than just a fleeting hit of feel-good nostalgia.

WEREWOLVES: “DEATHMETAL” AND “FROM THE CAVE TO THE GRAVE”

Album Reviews 1 Response »

Aug 112022

Photographer credit: Rob Brens

(We continue our week-long series of reviews wherein DGR is doing a lot of catching up, and today he tackles not one but two 2022 releases by the same band, the Australian extremists in Werewolves.)

I get the sneaking suspicion that Werewolves‘ style of music works fantastically well for each person one time and after that it’s a little bit more give and take. Your first album with them is the revelation of how gloriously stupid and how intentionally so the Werewolves‘ brand of music is, and then once that becomes the high mark, everything is a little bit more even-keeled in spite how teeth-gnashing and vicious things may appear from there out.

For me, it was the group’s 2021 album What A Time To Be Alive, which was basically an album of deathgrind front-to-back with almost no chance to breathe. It was an album that basically felt ‘needed’ when it landed with, even if the overall approach was one-note as all hell.

Werewolves have achieved a rapid clip in terms of releasing music as well, essentially going year-over-year since the release of their debut album The Dead Are Screaming. 2022 alone has brought us the release of their latest album From The Cave To The Grave as well as a four-song EP simply called Deathmetal. We’re late to the bus on both, so this rumination needed to cover both releases, but that sure as hell isn’t going to stop us now. Continue reading »

AN NCS ALBUM PREMIERE (AND A REVIEW): BLASTED HEATH — “VELA”

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Aug 102022

“Vela is a blast of blackened chaos from distant galaxies, mastered by death metal legend Dan Swanö (Edge of Sanity, Bloodbath). Imagine early Bathory mixed with Darkthrone’s grim eclecticism and Black Breath‘s punk grime. Mutate that sound with Lovecraftian psychedelia and you get this unforgettable album.”

That’s the PR come-on from Wise Blood Records for the debut album by Blasted Heath from Indianapolis. I thought, if that’s even pretty close to accurate I’m going to be very happy with this one. The preview checks a lot of the right boxes for my tastes. Another one got checked when I read guitarist/vocalist Kyle Shumaker‘s comments about the last three conceptually linked songs on Vela, which are about neutron stars (aka pulsars) and “Killanova” events in which two such stars in a binary system collide and potentially release “strange matter”.

And then there’s the fact that the band named the album itself for a pulsar that’s the remnant of a supernova that occurred 11,000–12,300 years ago, and the brightest pulsar (at radio frequencies) in the sky.

So, lots of reasons to be intrigued and attracted before hearing a single note. But, as always, it comes down to the payoff: Do these black/thrash cosmonauts deliver what’s promised? You’re about to find out. Continue reading »

SHORT BUT SWEET: TOMBS — “EX OBLIVION”

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Aug 102022

(We continue a week-long run of reviews by DGR, and this one takes stock of the latest release by the always-interesting NY crew Tombs.)

Tombs have made a name for themselves as more than just a black metal collective out of the East Coast. Whether through the rotating cast of band members or influences pulled from all around the underground scene, Mike Hill and gang have absorbed a lot more into their sound, evolving Tombs past a post-metal/black metal hybrid and into an art collective where you never fully know what to expect next.

Tombs have kept busy as well, especially in recent years, because, save for 2019, every year has seen some sort of release from them, whether it be an EP, full-length, compilation, or a single. There’s always something to keep them out there and show that maybe the constant refresh works for them.

Mid-June of 2022 saw the release of the latest addition to the group’s collective musical works with the EP Ex Oblivion, which contains one new song, one ambient block of experimentation, a remix/housewrecking of a track from Under Sullen Skies, and two cover tracks – for a combined total of three cover songs within the last year, if you caught their cover of Samhain‘s “The Shift” in 2021 – for twenty-two minutes of music. Continue reading »

ETHER COVEN – THE RELATIONSHIP BETWEEN THE HAMMER AND THE NAIL

Album Reviews 1 Response »

Aug 092022

(Andy Synn gets filthy and furious with the new album from Floridian sludge-slingers Ether Coven)

What makes a band “big” these days?

Is it album sales? Streaming numbers? Social media reach?

Maybe, you might think, it’s being on a “big” label… but if that’s the case then why are Ether Coven, currently signed to Century Media Records/Good Fight Music, such a relatively unknown and firmly underground phenomenon?

The answer, of course, is that the band’s music is so unflinchingly ugly, so unforgivingly abrasive (yet tempered with moments of bleak, brooding beauty) that, no matter who they signed with, they were always going to be something of an acquired taste.

But while Ether Coven might not be “big” in the conventional sense of the word, there’s no denying that The Relationship Between the Hammer and the Nail is anything less than an absolutely massive album… in multiple senses of the word.

AMON AMARTH: “THE GREAT HEATHEN ARMY”

Album Reviews 2 Responses »

Aug 092022

(DGR has finally gotten around to reviewing the latest album by Amon Amarth, which was released last Friday by Metal Blade Records.)

While digging around in old files and folders I came across the old draft of my review for Amon Amarth‘s Berzerker, wherein the opening line – since scratched – was ‘fuck it, let’s do this’.

Even then, and especially around the release of Amon Amarth‘s Jomsviking album, it had become clear that the band that I’ve long referred to as one of a small handful of fantastic shuffle bands in the world were getting to be huge and had started to ascend in their career to the point of becoming more spectacle than music.

That’s fine but it just represents a shift in priority for seeing them live, much in the same way one might see Kiss, Iron Maiden, Gwar, or Tool. Yeah, you get a bonus and it feels great actually knowing the music, but you really don’t need to any more, because the band have become a spectacle to witness. The recent release of Amon Amarth‘s 12th album The Great Heathen Army hammers this fact home. Instead of Amon Amarth being the super-heavy melodeath-skirting Viking pillagers, they’ve become a spectacle themselves. Fewer runes and gravesites and a whole lot more medieval times.

However, since I’ve been the one to write about Amon Amarth releases here for a while now – though I skipped Jomsviking – l felt weirdly drawn to The Great Heathen Army. The traveling show that is Amon Amarth doesn’t really need our corner of the internet much these days, but there’s some amusing stuff happening within this album, so as the old draft for Berzerker said ages ago,

Fuck it, let’s do this. Continue reading »

SVART CROWN: “LES TERRES BRÛLÉES”

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Aug 082022

(NCS writer DGR has been on a roll, clearing out a backlog of reviews, and our plan is to publish them on a daily basis this week. We begin with his thoughts about the final recording from the French band Svart Crown, which was released in June by Nova Lux Production and Les Acteurs de l’Ombre Productions.)

In all honesty the events that took place after the release of Svart Crown‘s newest EP Les terres brûlées kind of took us aback when it came to writing about it. Granted, we were already late on reviewing it because it arrived in the post-MDF/pre-NWTF hangover period, but who would’ve guessed that in the time since its release the group would hang it up two weeks later? Yet here we are, now almost two months since its release, and the world is less one Svart Crown project.

Thus, writing about Les terres brûlées now is a little strange because it feels partially like we’re going to be praising the band for recognizing that it was time to call it quits and partially mourning the potential that Les terres brûlées promised, since the four songs and cover track here are some of the more ferocious material within the Svart Crown playbook.

Wolves Among The Ashes may have been divisive among the writers here (I enjoyed it, Andy ranked it as ‘disappointing’), but it’s hard to imagine anyone making it through even just the first song of this final EP without becoming convinced that Svart Crown sound absolutely mean this time around. Continue reading »

WEREGOAT: A DUAL REVIEW (“THE DEVIL’S LUST” AND “ORGIASTIC RAPE OF RESURRECTED REMAINS”)

Album Reviews 3 Responses »

Aug 052022

(Hope Gould prepared the following lusty review of two forthcoming releases that feature the deviant talents of Oregon’s Weregoat, a new full-length and a split with Eggs of Gomorrh.)

There’s a lot of merit in making love: Building the anticipation, savoring the smallest sensations, relishing in the way your partner’s body responds to your touch as the mutual hunger grows. Perhaps taking the time to create some ambience for the occasion, setting the stage for a beautiful exchange of energy and intimacy.

On the other hand, there’s a helluvalot of merit in hard ‘n’ fast fuckin’. With a career centered on unbridled, animalistic depravity, Weregoat know this all too well. Their forthcoming mini-album, coming in just shy of 23 minutes, packs all the punch they need to prove size may not always matter, especially when they know exactly how to use it. The Devil’s Lust, to be released on August 12th, is a crash course in bestial passion. Like a rendezvous with an old lover, fans will find a sick familiarity in revisiting the band’s reliable tricks and a jolting pleasure in their seasoned execution. Continue reading »

BEST OF BRITISH: BASTIONS / GRAVE LINES / IMPERIUM

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Aug 042022

(Andy Synn presents three more fine examples of bombastic British belligerence)

Like I said yesterday… I’m more than a little swamped – both mentally and physically – right now, so I’m not going to waste what little time I have on a long preamble.

Instead I’m just going to urge you all to give each of these three albums – two from last month and one scheduled for release at the beginning of September – a shot. You might just discover something you like!

SHORT BUT SWEET: BLEEDING THROUGH — “RAGE”

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Aug 042022

(Here’s DGR‘s review of a new EP by Orange County’s Bleeding Through, their first new music in four years and out now on Sharptone Records.)

The fact that this site’s roots grew out of an in-joke born from early-aughts metalcore is always an amusing one, especially given the many pathways into things way, way heavier that we’ve taken in the decade-plus since. Yet we – and especially yours truly – would be lying if we said we didn’t still have a soft spot for a lot of those bands. That was partially why we found ourselves so oddly interested in the resurgence of MTV2 Headbanger’s Ball-era dominating bands beginning a few years ago as a lot of them decided that would be the time within the nostalgia cycle to mark their returns.

A few of those releases were legitimately good – we’ll still go to bat for The Agony Scene’s Tormentor release – and the rest at the very least were solid returns to what you’d always expect for that style of band. Bleeding Through‘s 2018 album Love Will Kill All somewhat stradled the line between the two, wherein there were a handful of truly ferocious and jaw dropping songs but also many other that sounded like Bleeding Through getting used to being Bleeding Through again.

They played what they’ve always done, and weirdly enough it made Love Will Kill All play out like an unintentional career retrospective…run backwards. It started out with their blisteringly fast and heavily chugged-out death metal leanings that colored their later releases and slowly became the more brawny and breakdown-filled style that made them a hallmark of the early 2000s. It was a weird dynamic for sure, but also one that made it perplexing to know what Bleeding Through‘s gameplan was for the future. Continue reading »

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