California based band Kill The Precedent has released a wild punk/thrash influenced EP entitled “Some Version Of The Truth” which promises to be a reckless and spontaneous work of music.
“Two way Mirrors” is mosh pit material with abrasive enraged screams and heavy guitar riffing but the guitar leads tend to steal the scene with catchy polished licks.
“Lesser Of Two Evils” adds loads of modern electro tricks to a speed metal influenced rhythm that keeps alive the heavier side of the song while a smooth guitar solo adds a pleasant melodic vibe.
“Irrational Anthem” channels some chaotic punk roots mixed with catchy electro beats to deliver an edgy energetic rhythm spiced up by anger driven harsh vocals.
“A Song For Slit Wrists” features an interesting blend of music genres as a raw guitar driven rhythm is smoothly embellished by heavy industrial elements and a more laid back combo of melodic guitar leads and electro atmospheres.
Referring to themselves as “seven maniacs from Sacramento”, Kill The Precedent works hard to deliver an unpredictable collection of songs and “Some Version Of The Truth” successfully conveys an overdose of fury and savagely caustic rhythms that will have a high impact live on stage.
American deathcore act Suicide Silence returns with an ambitious self titled album in which the bands decides to experiment and explore new musical depths in order to deliver a more interesting work of music.
“Doris” packs aggressive tight guitar riffs that recall primordial metal roots and create a sort of structured chaos where scattered nu metal elements jump in the mix to add random dissonant accents.
“Silence” is all about chaotic feelings that need to be released to find a necessary balance as narcotizing slow guitar passages create a contrast with nervously caustic riffs and screams.
“Dying In A Red Room” is charged with anxiety and anguish deeply and inevitably embedded in the slower rhythm. The whole song recalls Deftones’s music style as whispered emotional vocals linger over discordant riffs and melodies stuck in an oppressive distorted reality.
“Conformity” is filled with desperate melancholy portrayed by soft guitar chords and mellow vocals. The melodic aspects of this song create an introvert mood rather than trying to channel some healthy groove and when guitars acquire a distorted energy everything remains trapped in a foggy confusion.
Suicide Silence’s self titled album is a raw chaotic music realm that attempts an avant-garde approach with atypical melodic features, and supposedly a change in musical direction that has generated turmoil among the fans, therefore it might appeal mainly to a specific underground audience.
Finnish heavy metal act Battle Beast is still young enough to have loads of opportunities to explore the grandiose realm of music but on the newest release “Bringer Of Pain” the band focuses on nostalgic themes recalling some forgotten glorious days of metal.
“Straight To The Heart” is a full blown 80s tune with cheesy keyboards and over polished guitar sound that make everything sound happy and fun. New vocalist Noora Louhimo screams with all her passion and devotion as the rhythm attempts to build a highly energetic groove.
The title track channels some dated classic metal combo of tight simple guitar riffing and mid paced drumming while a pompous power metal aura is emphasized by typical warrior style choirs.
Even if the 80s vibe might sound overwhelming to some listeners, “King For A Day” delivers a catchy rhythmic core with guitar riffs that could have been more dominant and dirtier to benefit the general mood but overall it is a rather entertaining track for nostalgic metal fans.
“Beyond The Burning Skies” has the melodic melancholy of classic metal ballads while Noora Louhimo delivers powerfully sincere vocals over repetitive melodies that recall many other popular power metal songs that we already heard and loved.
“Lost In Wars” is the only song that will truly stand out immediately for the compelling vocal duet with Tomi Joutsen of Amorphis. Also, the metal nostalgia is still present but toned down by a more modern groovy approach with crunchy guitar riffs and an enjoyable smooth melodic core.
Undeniably stuck in the 80s, “Bringer Of Pain” might lack the necessary creative energy to leave an unforgettable mark in the music scene but nostalgic listeners might still find something enjoyable in what Battle Beast is trying to deliver.
Featuring members of iconic rock band Thin Lizzy, supergroup Black Star Riders certainly knows how to write a catchy collection of rock songs. Therefore, it’s not surprising that the latest release “Heavy Fire” comes with a true dirty vintage attitude that can and will attract a wide variegated audience.
The title track relies on inflamed catchiness deeply embedded in a series of retro rock guitar riffs that would sound even more vibrant at a live show. Ricky Warwick on vocals delivers a smooth rocker style performance as the rhythm gains dynamics and momentum with sharper guitar riffing.
“When The Night Comes In” is a memorable catchy rock tune with the additions of soul style choirs. Again the guitar riffs dominate the scene with stylish rock attitude while some guitar leads provide easy classic rock melodies.
“Who Rides The Tiger” keeps alive a genuine retro groove featuring a heavier gritty rock approach that doesn’t need modern special effects to grab attention. The hard rock music core holds an insane dose of healthy energy that is further expressed in the incendiary guitar solos.
“Testify Or Say Goodbye” effortlessly keeps a radio friendly classic rock backbone with catchy drumming and riffing while the guitar leads channel some more mellow almost melancholic melodies.
“Ticket To Rise” delivers another winning ensemble of catchy guitar riffs and an irresistible rhythmic groove. Holding all the beloved and popular elements of classic hard rock, this track shines also for the no frills, yet pleasantly wild, guitar work and the harmonious choirs that naturally enhance the main rhythm.
With “Heavy Fire” Black Star Riders channel a proper rocker style without any hesitation and with that special vintage inspired creative spark that calls for long wild nights or just forgotten golden dreams, but someone might still say that it’s only rock ‘n roll.
We all know that Accept is a metal institution and one of those untouchable bands that gained fame and popularity also for the memorable live performances. Now Accept’s fans can enjoy the full live experience sitting on the couch because the band has released a massive Blu-ray/DVD plus two CDs combo produced by Andy Sneap and appropriately entitled “Restless & Live” which includes the entire show played at Bang Your Head!!! Festival 2015.
Featuring new vocalist Mark Tornillo, this live album includes 27 tracks and blistering true heavy metal anthems such as “Stampede”, “Pandemic”, “Shadow Soldiers”, “Fast As A Shark” and “Balls To The Wall”.
With impeccable sound quality and a variegated setlist of classics and newer material “Restless & Live” triumphantly celebrates Accept’s successful musical career and will become a must have for the band’s faithful fans.
Death metal pioneers Immolation reconfirm their undisputed influential status with the new full length “Atonement” which marks the band’s triumphant return delivering an inflamed creative force both relevant and unique in the extreme metal scene.
“The Distorting Light” is certainly a strong opener that sets an asphyxiating mood where absolute desolation reigns. Ross Dolan delivers steady ominous guttural vocals that perfectly match the obscure guitar driven rhythm that shines particularly for the dangerous overdose of blistering riffs and doom oriented melodic licks.
“When The Jackals Come” stands out for the darkly precise and heavy guitar work effortlessly supported by furiously intense drumming. Anguished feelings of desolation saturate the atmosphere as slow and heavy guitar melodies gain the appropriate spotlight.
“Fostering The Divide” packs a series of addictively groovy guitar riffs and while the rhythm might elegantly slow down at times a forlorn ferocity still permeates the song’s theme.
“Lower” conveys an intoxicating realm of darkness where brutal growls and fierce guitar riffs lead the listeners into an obscure musical journey. Robert Vigna delivers a smooth melodic guitar solo that shines for accuracy and deeply darkened tones.
The title track stays true to traditional death metal elements with intense speed and rhythmic audacity that create an endless series of dissonant gloomy spirals further enriched by highly atmospheric and melodic guitar work.
“Epiphany” combines a perennial sinister aura with a crunchy brutal groovy combo of ruthless fast drumming and methodical heavy guitar riffs while Vigna’s guitar solos create a mesmerizing melodic dismal force that cannot be ignored.
Old school death metal fans will immediately rejoice listening to “Atonement” as this album holds a particularly darkened force that deserves full attention and feels like a rightful celebration of Immolation’s music legacy.
Swedish folk/ambient multi-instrumentalist duo NOÊTA is ready to lure the listeners into a darkly magical sonic realm with the fascinating debut album “Beyond Life And Death”.
“Beyond Life” captures the enigmatic nature of dreams through a loop of obscure dissonant ambiance textures that are stripped of dynamics or easy melodies.
“In Drowning” showcases powerful introspective emotions effortlessly portrayed by simple fragile guitar melodies and loads of subtle ambiance layers that create a cold anxious atmosphere meant to reach a stylish noisy acme.
“Darkest Desires” will stand out immediately for its inner cathartic nature, surrounded by a vintage folk instrumental palette, and the exceptional hypnotic vocals that add a particularly alluring decadent mood.
With minimalist intensely melancholic acoustic arpeggios “In Void” has a pensive soul that doesn’t need flamboyant gimmicks to naturally shine through dark monochromatic nuances as gentle pensive vocals float above atmospheric layers.
“Beyond Life And Death” is a unique collection of gloomy poetic tunes and lovers of dark ambient music will certainly feel drawn to the elusive intriguing soundscape meticulously created by NOÊTA.
French black metal act The Great Old Ones unleashes the brand new full length “EOD: A Tale Of Dark Legacy”, a title that perfectly describes the darkened musical depth and Lovecraftian themes explored by the band.
“The Shadow Over Innsmouth” channels the proper amount of nightmarish mood with intense and furiously fast rhythmic section, anger driven growls and tight blackened guitar riffing. Melodic atmospheric layers and monolithic doom influenced guitar work also add a heavily oppressive feeling that will inevitably haunt the listeners.
“When The Stars Align” maintains an aggressively heavy approach as it flows like a classic horror tale carrying the burden of melancholy embedded in the guitar melodies and orchestral arrangements. The guitar riffs become painfully heavy and slow in proper doom fashion and convey darker rhythmic patterns.
“The Ritual” features modern post black asphyxiating elements with thick blistering guitar riffs and enticingly heavy drum work. As the visionary chaos tapers down, inspired melodic guitar leads channel an exquisitely dark emotional palette that feeds off the vibrant atmospheres.
“Mare Infinitum” will immediately stand out for its elegant moody atmospheres with palpable gothic influences as we are entering a gloomy realm of hopeless madness and pale distant lights. Fluid and hypnotic slow guitar passages, dissonant tempo variations and subtly savage drums channel a bleak void that no one can truly avoid as ominous choirs sing a dreadful lullaby.
With “EOD: A Tale Of Dark Legacy” The Great Old Ones successfully translate macabre storytelling into a gloomy work of music with cold aesthetics and plenty of obscure atmospheric melodies.
Not all Finnish bands are dark and gothic, in fact Ember Falls can even sound rather happy at times due to the electro dancey blasts and the modern trendy riffs that you will hear all over the band’s glamorous debut album “Welcome To Ember Falls”.
“The Cost Of Doing Business” packs a catchy ensemble of variegated metal/rock elements. Electro elements add a trendy vibe, gritty growls/screams deliver a more aggressive punch while clean vocals and polished guitars maintain a widely accessible melodic core.
On “Of Letting Go” the electro layers are particularly dominant and display a 90s style that gives a pleasant retro mood that culminates in a glossy chorus and a crispy clean melodic guitar solo.
“Freedom” is a mellow ballad style tune embellished with melancholic piano and melodic keyboards arrangements filled with the renowned rock romanticism which is also fully expressed by simple melodic guitars and soft vocals.
“Coe” relies on energetic rhythmic gimmicks resulting in an electro rock combo with enraged screams while metallic guitars make only a brief appearance as they tend to disappear in the background.
“One More Time” has a palpable pop soul with super catchy electro beats and scattered yet solid guitar riffs but the rather mellow chorus might not hold the desired groovy strength that instead can be easily found in the crunchy guitar solo.
It seems quite obvious that Ember Falls is trying hard to become famous in a perennial overcrowded music scene, some people will frown hearing a bunch of radio friendly tricks while others might seriously enjoy the cold melancholy, but with some luck “Welcome To Ember Falls” might truly become the gateway to success.
Underground dark/black metal legends Bethlehem return with a rejuvenated lineup and an ambitious self titled album which celebrates and marks the 25th anniversary of the band. Besides the palpable traditional black metal roots, Bethlehem successfully channels multiple musical influences and an understated experimental force.
“Fickselbomber Panzerplauze” has a savage rhythmic approach at full speed that certainly channels familiar primordial black metal roots surrounded by an oppressive atmosphere while occasional melodic guitar passages that mitigate the mood.
“Kalt’ Ritt in leicht faltiger Leere” delivers some raw blackened guitar riffs that manage to build a solid groove. Besides the traditional anger driven growls, vocalist Onielar delivers desperate screams and cries over super melodic guitars and piano harmonies matching the particularly depressing mood.
“Kynokephale Freuden im Sumpfleben” slows down the rhythm as it relies on a grave atmosphere where a gloomy yet pleasantly melodic guitar work becomes extremely dominant. Bethlehem also adds a groovy dose of blackened rock guitar riffing that temporarily takes away the deeply desolate aura.
“Arg tot frohlockt kein Kind” might focus on a bleak emotional palette but the guitar leads and the mid paced, almost mellow, rhythm seem to erase the previous depressing patina and the extreme metal raw elements as lovely dense melodies bring a post rock catchy glow.
“Wahn schmiedet Sarg” returns to a more aggressive rhythm dominated by tormented growls and screams but there is still space to properly showcase the band’s melodic side with a series of rocking guitar riffing and some slower doom oriented sinister passages.
Bethlehem self titled new album might feel unsettling to the occasional listener due to its bleak visionary nature and its extreme metal themes, nevertheless it also holds an unexpectedly approachable melodic melancholic mood.