May 112016
 

Youth Code-Commitment To Complications

 

(Wil Cifer reviews the new album by Youth Code from L.A.)

After the Alaric review, you might have guessed I am more drawn to heavy in all of its forms than being limited only to ingesting it as metal. You might be familiar with my work at Cvlt Nation; if so, my weird taste will make perfect sense.

This album has a great deal of metal influence lurking beneath the electronic beats. Youth Code is aggressive in a way that industrial music has not been in some time. Industrial music has lost a great deal of its menace over the years. It became enmeshed in EDM, with even the legends of the genre such as Skinny Puppy succumbing to coating their songs in a plastic sheen after The Greater Wrong of the Right. Youth Code has come to put the teeth back into industrial.

These kids are not just hipsters playing dress-up. They are the real deal. This aggression doesn’t require sampling riffs from ’90s thrash metal either; it is fueled into the buzz of their synths. Continue reading »

Apr 212016
 

Alaric-End of Mirrors

 

(Wil Cifer reviews the new album by Oakland-based Alaric.)

In my assessment of what makes a band heavy, darkness is an integral component of the equation. Dialing in the gain and tuning lower are easy first steps toward this woeful abyss, but it really takes the ability to convey life experience stained by addiction, mental illness, and deep loss to capture convincing sonic shades.

This band from Oakland is more than convincing when it comes to diving into the shadows. They caught my ear when the whole hipster death rock revival came into my consciousness, though these guys are much rougher around their serrated edges than other bands that rode in on that wagon. Now five years later they have made a very welcome return with End of Mirrors thanks to Neurot Recordings.

All the things that have worked for these guys in the past are in place as they plow into the post-apocalyptic wasteland their music conjures. Their bassist provides varied levels of gloom-ridden melodies that are trod upon by the guitarist, a member of the sludge band Noothgrush. Some of the hypnotizing grooves here take multiple listens to fully sink in. Continue reading »

Apr 062016
 

Bossk-Audio Noir

 

(Wil Cifer reviews the new album by Britain’s Bossk.)

Dream metal serves as a better sub-genre to file this British band’s debut full-length under, rather than dismissing them as post-rock or sludge gaze. Too often post-rock/metal has meant music influenced by Piper At the Gates of Dawn. Before God Speed You! Black Emperor raised their skinny fists, Voivod had already tested those Roger waters on “Nothingface. Instead of trying to re-invent the Floydian wheel, Bossk is giving it a new spin. They bang out a brand of bong-fueled aggression easily agitated into something more overtly metal. Like many of their mellower peers, an incredible guitar tone comes with the job description; it has just taken a decade to make sure it’s dialed in right on this album. Continue reading »

Mar 222016
 

Tombs-All Empires Fall

 

(Wil Cifer reviews the powerful new EP by Brooklyn’s Tombs.)

After wrecking eardrums with 1349 and Full of Hell on the Chaos Raids tour, the Brooklyn band is stepping further into the darkness on their new EP All Empires Fall. It might not seem  as grim a journey, with the increased focus of their song-writing lighting the band’s way, but it is a powerful addition to their legacy.

Without a doubt, things have changed for this Brooklyn band since releasing Winter Hours in 2009. Some of those changes include the band’s line-up, which now includes Fade Kainer from Batillus / Statiqbloom. Kainer’s industrial side is set back in the shadows as a slight drone launches them into the solid metal chug of the opening instrumental “The World Is Made of Fire”, with the band lashing themselves into straight-up black metal for “Obsidian”. But it’s not just full blast ahead. These guys have more tricks up their sleeves with Kainer‘s synths adding a new depth to the band’s post-apocalyptic sonic layering. Continue reading »

Mar 172016
 

Graves At Sea-Curse

 

(Wil Cifer reviews the new album by Graves At Sea from Portland, Oregon.)

After a few splits and an EP, these guys are pulling the trigger on the full-length I have been dying to sink my doom-hungry jaws into. The nastiness they teased us with on previous releases has been filtered through a bigger production value for their debut full-length. The band still thunders into your ears, with some of the evil abrasion that coated their work now snarling at you like crystal-meth-infused stoner rock. Sometimes this even borders on the post- apocalyptic sludge of Through Silver and Blood-era Neurosis.

The vocals are the band’s meanest quality, packing ample grit into each scream. The guitar has warmed up a bit. Perhaps it is the time they took in the studio to perfect their tone versus the raw, angrier sound of previous releases. With each listen I began to appreciate the expanded musical qualities invested into the songs here; it just takes a little getting used-to. Continue reading »

Mar 042016
 

Agostino Arrivabene-cover for Howls of Ebb

 

(We present Wil Cifer’s review of the new album by Howls of Ebb.)

Finally there is some motion in the ocean, as the albums I’ve been looking forward to going into 2016 have begun to creep into my inbox. This project out of San Francisco brings a sense of adventure back to death metal. There is little in the way of rehashing what Incantation and Morbid Angel have already done. No time is wasted digging into the meat of the metal on this one. The trippy grooves and atmosphere are still intact, as the double-bass hammers beneath the rubbery bass lines. The aggression is not conveyed in the manner you expect from death metal. Their guitar tones are not saturated in distortion; they give an organic quality to the chaos bubbling within these songs. Continue reading »

Mar 012016
 

Moonsorrow-Jumalten Aika

 

(Wil Cifer reviews the new album by Finland’s Moonsorrow.)

It’s been five years since the Finnish overlords of pagan metal left us with Varjoina kuljemme kuolleiden maassa. The new album, Jumalten Aika (“The Age of Gods”), opens with folk instruments, creating a ritualistic aura. After a minute and a half of this they storm into the larger-than-life metal you have come to expect from them.

The black metal side of what they do is toned down on this album, as this one dives into folk metal on an epic scale. Holding true to their mission statement, the album does have a commanding Viking feel, without inspiring you to go into a jig with your drinking horn. Continue reading »

Feb 052016
 

Ketzer-Starless

 

(Wil Cifer reviews the new album by Germany’s Ketzer.)

This German band’s third full-length continues to defy genres. It varies on a song-by-song basis as to what shade of darkness these guys are bringing. From the more blackened death metal roar of riffage that is “When Milk Runs Dry” to the punk influence permeating the thrashy moments of almost black ‘n’ roll. It’s the attention to detail and aversion to following a formula that elevates this album above the dozens of other metal releases still sitting in my in-box. The solos are very melodic and add to the song rather than just litter them with shredding.

Ketzer are most often thought of as a black metal/thrash hybrid, though their bassist plays a much larger role in their sound than the bulk of black metal bands. At times this creates almost a groove without conforming to mainstream metal. Continue reading »

Jan 122016
 

Abbath-ST cover

 

(Wil Cifer reviews the new debut album by Abbath — which premiered today as a full-album stream at this location.)

The war was waged on the battle planet of the blizzard beasts and Abbath Doom Occulta walked away from Immortal with his solo project Abbath. It is rumored that the songs on his eponymous solo debut were written for the follow up to All Shall Fall. So if the other guys walked away with the name while Lord Occulta came out of the fray with these songs, then he might just be the winner.

Having enlisted Creature (aka Kevin Foley, who also drums for Benighted) and Gorgoroth bassist King ov Hell, the latter’s influence can be felt in the intensity of the first song. It bites like the artic winds, and it’s not until the second song “Winterbane” that you are able to notice more of the nuances and hear the ice-coated black metal Immortal once made. Half-way into the song, you will already find it hard not to headbang along. Continue reading »

Dec 312015
 

John Zorn-Simulacrum

 

(This is the last installment of Wil Cifer’s year-end series. Part 1 focused on “Mainstream” metal, Part 2 on black metal, Part 3 on death metal, and Part 4 on doom.)

The emphasis here is sometimes on the experimental and sometimes on the more progressive side of things. Some of these bands have pushed the bounds of what they do so far that it’s hard for any label to confine them, much less “metal”. They are all in their own way heavy. Heavier emotionally than most of the more conventional metal that came out this year. There are jazz artists throwing up their horns, and a New York hipster who wants to burn the traditions of metal like a church in Norway. Some shred, others show a more difficult level of mastery in connecting their instruments to their bared hearts.

Here are the albums that gave their middle finger to what you thought heavy was supposed to be. They are ranked according to what Last FM told me I listened to the most.

 

10. John Zorn – “Simulacrum”

This slab of wonderful weirdness, is more accessible than his classic Naked City album. He has put John Medeski together with the guitarist from Cleric, who I had no clue could shred like this. Yes thats right, it’s the dude from Medeski, Martin and Wood, playing with a dude from a metal band. There is more Crimson and Zappa influence on this one than what you normally hear from Zorn. Continue reading »