Category: Album Reviews

Atrox – Monocle

Norwegian band Atrox has been around since 1990 and, after exploring diverse music styles, has embraced an intriguing sonic evolution leading to the current groovy blackened industrial sound that characterizes the latest full length “Monocle”.

“Mass” certainly feels dark and dramatic with minimalist melodies enriched by well-structured electro arrangements. When guitars begin to craft a crunchy rhythmic backbone aided by confident rocking vocals the atmospheric layers continue to evoke a mysterious futuristic industrial style sonic realm with sophisticated modern tonalities.

“Vacuum” features intriguing progressive rhythmic passages that at times gain extra speed and strength while the overall atmosphere keeps on channeling a gloomy mood enhanced by loads of eccentric eerie synths and smooth melodic guitars.

“Suicide Days” is a particularly interesting track with a diversified structure that effortlessly mixes the cold nature of dark guitar riffs & melodies with the acidic groovy vibes of industrial metal while fervent vocals contribute to create an absolutely memorable chorus .

“For We Are Many” revolves around elegant darkened melodies that soon acquire an avant-garde inner strength due to an intricate series of atmospheric arrangements that eventually give way to unexpected crispy polished guitar & keyboards progressions. Then the song literally goes through a metamorphosis centered on softer cinematic haunting melodies and clean emotive vocals.

“Target” offers a cyber-industrial approach with groovy electro vibes and super catchy chorus balanced by steady powerful vocals and a charismatic prog oriented guitar solo.

After nine years of silence, with “Monocle” Atrox demonstrates to own a renewed energetic music approach creating thrilling and absolutely catchy songs which ultimately celebrates an exciting new  music chapter for such longstanding band.

 

Voids – No Character : No Crown

In the growing chaotic metalcore scene, Maryland based quartet Voids is ready to stand out with the debut album “No Character : No Crown” focusing on an entertaining heavy music formula.

“Dolores” dwells in a realm of obscure guitar tones supported by extremely crunchy and harsh riffing that easily builds a no frills breathless rhythm.

On “Idols” guitars continue to craft steady heavy rhythmic sections but also provide some wild technical twists and tempo variations that introduce more melodic polished patterns amplified by crispy clean vocals.

The beginning of “Tyrant” surprises with soulful guitar phrases soon followed by the main aggressive metalcore approach but that particular melodic theme keeps on returning to add subtle atmospheric quality.

“New Beginnings” keeps a moshpit friendly distorted groove fueled by endless energy and extremely harsh growls in contrast with the combo of easier melodic moments and emotive vocals flowing through solemn atmospheres.

“Déjà vu” is filled with impactful guitar driven grooves that often showcase intense speed and diverse technical accents while vocals deliver the expected metalcore brutality but Voids doesn’t forget to deliver the right amount of soothing melodies with bright atmospheric layers.

On “No Character : No Crown”  Voids is capable of delivering a massive dosage of sheer brutality mixed to a series of more accessible melodic patterns skillfully utilizing popular metalcore elements and keeping a cohesive sonic flow.

River Black – River Black

River Black is a new name in the metal/grindcore scene but in reality the band’s line up features former members of Burnt By The Sun and Revocation, therefore the self titled debut album is the product of experienced musicians & songwriters.

As expected “Jaws” is fast and brutal focusing on raw rhythmic energy built by thick guitar riffs but a couple of slower almost introspective breakdowns give you a chance to breath.

With a palpable darker mood “Low” blends fierce thrash style rhythmic grooves and less menacing guitar melodies.

The short string instrumental interlude “River Black” deviates completely from the band’s music formula but serves as a compelling introduction to the massive heavy sonic assault of “South x South” which features additional classical string melodies.

“#Victim” easily triggers headbanging with tight relentless riffing and remarkably punishing drums as the whole instrumentation offers obsessively thrash oriented heavy grooves.

“Haunt” is sincerely darkened with monolithic guitar riffs and surprises with emotional clean vocals and pleasantly softer haunting guitar melodies.

“Everywhere” offers catchy syncopated tempo variations but doesn’t refrain from delivering a reasonable dose of harsh thunderous guitar riffs and offering music diversity with a series of intense post-apocalyptic guitar melodies.

Considering the band’s members past endeavors River Black demonstrates to be capable of crafting fury driven tunes yet some elements, such as vocals, at times might feel monotonous throughout this album which would really appeal to a devotees of extreme metal subgenres.

Mountains Crave – As We Were When We Were Not

British band Mountains Crave has released the debut full length poetically entitled “As We Were When We Were Not” which definitely dwells in the mysterious sonic realm of traditional black metal but also features trendy elements of Cascadian black metal.

“Ynisvitrin” is a lengthy track that shines for the cold nuances of the atmospheric layers which take you to a world of silent desolation. There is a fair dosage of the expected black metal obscure guitar riffing and desperate screams but what renders this track far more interesting is the lavish emotional quality of the detailed melodic tapestry which features all kinds of delicate distant harmonies.

“Clear Light Of The Void” starts with light atmospheres but soon gains a blast of untamed rage with fast tight guitar riffs and ominous enraged growls channeling an extreme darkness nevertheless there is space for ethereal peaceful arpeggios.

“Arise O Magnificent Sun” evokes a cold winter day in the middle of the forest or sitting by a lake as introspective elegant guitar melodies feel simply sad and gloomy with post metal atmospheric elements but Mountains Crave again provides also a classic blackened rhythmic core.

The instrumental title track feels particularly melancholic focusing on poetic evocative melodies that flow gracefully through a solitary realm of distant dreams accompanied by subtle atmospheric layers.

Shifting from purely melancholic melodies to venomous black metal fury “As We Were When We Were Not” is a cohesive album that feels like a promising beginning for Mountains Crave.

 

Urarv – Aurum

Black metal connoisseurs are certainly familiar with the work of Björn Aldrahn Dencker in DHG, The Deathtrip and Thorns. With the new visionary project Urarv, Aldrahn is eager to explore diverse often avant-garde music territories to create the debut effort “Aurum”.

“Forvitringstid” starts with melancholy infused arpeggios that bear the cold nature of Nordic quiet landscapes but soon viciously abrasive blackened tonalities and gritty rhythms become extremely dominant entwined with scattered spacey melodic guitars while vocals can be wildly moody or desperately introvert.

“Ancient DNA” is filled with a recognizable black metal urgency as guitar riffs acquire speed and blackened groovy tonalities emerging straight from a black hole but this track also features a profound arcane essence.

On “Broken Wand” unconventional vocals and cascading guitar riffs can become quite savage with intense experimental freedom that leads to dissonant elements channeling a dramatic almost hostile sonic chaos.

“Red Circle” chooses a more accessible monolithic guitar driven groove enriched by haunting atmospheres that create hypnotic vibes while vocals range from fierce blackened growls to cries of despair through a thick breathless rhythm that in the last couple of minutes naturally fades into a dreamy serenade.

Psychotic and borderline dissonant yet absolutely spontaneous “Aurum” might be a strange album, uneasy for some unprepared listeners, but its strength will be found in the limitless unrestrained passion for music.

Ewigkeit – Cosmic Man

In the underground metal scene multitalented artist James Fogarty is known for several music endeavors and now is ready to resurrect his solo project Ewigkeit delivering the new enigmatic album “Cosmic Man”.

The hazy instrumental opener “Quantum Eraser” clarifies that “Cosmic Man” was never meant to become music for the masses. Then the variegated “Cold Souls” surprises with particularly heavy guitar riffing and venomous vocals but soon acquires a sludge temperament and classic metal guitar melodies lead the scene surrounded by spacey atmospheric layers.

“Death Is The Portal” amplifies the vintage vibes with stunning psychedelic organ galore while the main music core revolves around a consistent series of easy classic metal melodies.

“Neon Ghoul Ride” is definitely an awesome song title that absolutely matches the retro psychedelic infused mood as the charismatic guitar & organ combo holds a fuzzy cosmic essence.

“Time Travelling Medicine Man” features a darker mood and the dominant groovy guitar riffs deliver steady distorted energy through a thick inter-galactic haze.

Channeling multifaceted music influences such as ‘70s psychedelic rock and NWOBHM Ewigkeit pushes boundaries crafting a complex album that might require multiple listening sessions to be fully appreciated and comprehended.

Samael – Hegemony

With thirty years career and numerous excellent records Swiss veterans Samael do not need any superfluous introduction. Samael certainly put wisdom and effort in the creation of the long awaited eleventh album “Hegemony” which is finally within our reach and ready to fulfill high expectations.

The title track confidently prepares a triumphant mood with extensive bold guitar driven grooves surrounded by flamboyant industrial oriented synthesizers which work together to provide a thrilling yet ferocious catchy music core.

The eponymous track “Samael” feels like a rightfully deserved celebration of the band’s music legacy as the atmospheric synths generated textures acquire maximum darkened strength and symphonic emphasis around a steady whirlwind of guitar riffs.

“Angel Of Wrath” is filled with that precious darkness that constantly fuels the multifaceted majestic orchestrations surrounding a clearly groovy thick guitar riffing inevitably amplified by massive fierce growls.

“Black Supremacy” features additional electro/industrial patterns and guitars are more engaged in a faster black metal style riffage to ensure a quite powerful colder blackened groove while gruesome growls relentlessly carry extra aggressive darkness.

“Murder Or Suicide” offers another excellent round of darkly catchy grooves with gothic tinged guitar melodies and the band’s industrial side becomes exquisitely dominant with pleasantly eclectic arrangements and solemn atmospheric layers.

“Land Of The Living” shines for the absolutely addictive malicious chorus featuring the expected beloved ferocious growls but this song also exhibits a rather entertaining macabre mood carefully enhanced by eerie futuristic synthesizers and loads of catchy guitar riffs.

There are many covers of “Helter Skelter” around the world but Samael’s version surprises with an extraordinary diabolical creative interpretation where sharp guitars, ominous growls and haunting arrangements channel darkly energetic vibes.

Following exciting industrialized blackened themes “Hegemony” celebrates the grandiose return of Samael who demonstrates a relevant songwriting and music style that will definitely please the band’s fanbase.

Caligula’s Horse – In Contact

Based in Australia progressive rock/metal band Caligula’s Horse has crafted an ambitious new album entitled “In Contact” conceptually based on how art and creativity connects human beings.

“Dream The Dead” showcases the band’s clearly eclectic personality with compelling polished guitar work that particularly shines in the memorable skillfully executed solo definitely characterized by modern prog influences. At the same time, this song delivers emotive nuances embedded in clean guitar melodies and a rather catchy chorus.

“Will’s Song (Let The Colours Run)” picks up speed with entertaining tempo variations again structured according to prog metal style. While the music themes keep on focusing on crispy sparkling guitar melodies/solos the syncopated rhythmic textures rely on a series of precise crunchy riffing and soft vocals seamlessly shift to a more rocker delivery.

“The Hands Are The Hardest” continues to emphasize delightful guitar melodies and sophisticated solo surrounded by polychromatic atmospheric layers that enhance the particularly emotional nature of this track without sacrificing a full display of the band’s instrumental prowess.

“Fill My Heart” becomes mellower and atmospheric channeling pure melancholy through smooth melodic guitars. As the song progresses the whole instrumentation acquires a more impactful prog metal approach that naturally leads to a truly impressive guitar solo that will inevitably capture the listeners’ attention.

The longest track on the album is “Graves” which might feel like a stand alone opus due to the significant instrumental and vocal variety but surely fits the overall heartfelt mood. This is one of those songs meant to impress as Caligula’s Horse create loads of complex cinematic themes focusing on absolutely stellar guitar leads, a stunning ensemble of intricate vibrant guitar melodies and graceful piano passages.

Caligula’s Horse effortlessly demonstrates excellent mature musicianship delivering an evocative charismatic work of music therefore the powerful soundscapes and the vivid emotional quality of “In Contact” will be easily appreciated by prog lovers worldwide.

Death Rattle – Volition

New Hampshire based groove/thrash outfit Death Rattle worked hard to independently release the sophomore full length “Volition” which promises a relevant inflamed heavy approach.

“Internal Determination” hits you right in the face as Death Rattle aims to unleash all kinds of heavy guitar riffing and ferocious growls but spices up the whole distorted core with more intriguing well executed guitar leads marching through multiple tempo changes.

“Love And War” continues to rely on brutal grooves and lethal screams while lead guitars again steal the spotlight with a more variegated approach and occasional gloomy melodic tonalities.

“Adrenalize” channels a chaotic rhythm with vocals that feel like hearing multiple voices in the head but as expected the guitar riffs take the role of maintaining a fierce groove bearing a quite somber tone.

With the usual monumental guitar work “Doomsday” has a thick groove that could easily trigger a savage moshpit even if the tempo slows down to favor a darker mood and a fancy guitar solo.

“From Blood To Black” might be the darkest track with pitch-black almost creepy atmospheric vibes. With a crunchy furious style the whole rhythmic instrumentation successfully match the absolute nightmarish scenario and rightfully gives way to a rather compelling lengthy guitar solo.

Overall, “Volition” offers interesting moments and is mainly fueled by fast aggressive guitar driven grooves which might not always be memorable but definitely stay true to Death Rattle’s heavy music pathway.

Vulture Industries – Stranger Times

We could try to analyze and categorize the music style of Norwegian Vulture Industries but it would become a challenging process so we should conveniently tag them as ‘avant-garde metal’. The latest release “Stranger Times” is in fact all over the place as Vulture Industries channels a surreal darkness embracing multiple rock/metal styles.

“Tales Of Woe” offers some inflamed ensemble of gothic rock style guitar riffs & melodies following a quite catchy rhythmic crescendo that often bears enigmatic heavy accents while the whole instrumental galore is spiced up by occasional intense screams and flamboyant vintage rock keyboards arrangements.

The darkly sultry track “As The World Burns” should never be ignored as Vulture Industries skillfully and effortlessly craft slow burner bluesy melodies that eventually gain all kinds of energetic rock dynamics ultimately crowned by a highly enjoyable guitar solo.

“Strangers” might sound exquisitely melodic with solemn clean vocals, carefully structured soft guitars leading to a lovely sparkling solo and a mournful trumpet waltz yet the massive shroud of darkness is rather palpable within the borderline experimental rock tonalities.

“Something Vile” revolves around rich rhythmic textures with embedded catchy qualities and fascinating guitars offer also a lavish dosage of darkened rock melodies that can be considered widely accessible and memorable.

“Gentle Touch Of A Killer” features over the top yet quite charismatic vocals while guitars focus on gritty riffs as well as loads of obscure rock melodies that follow a sort of creepy carnivalesque theme.

Vulture Industries successfully deliver their signature ‘dark metal cabaret’ and despite its inner entertaining quality “Stranger Times” is an album that might not necessarily sound immediately/easily loveable to the average metal/rock listeners.