Florida's Hellwitch formed in 1984 and recorded demos (plus one 7" single) for six years prior to finally releasing their debut "full-length" (granted it contains just seven tracks in about 26 minutes), "Syzygial Miscreancy", on good ol' Wild Rags Records in 1990. Recently reissued by Displeased Records, the album now comes completely remastered with all of the band's early demos tacked on as a bonus. I'd heard the name Hellwitch many times over the years, but had honestly never actually heard the band until a few weeks ago when MetalHit.com (who's digitally distributing the reissue) hooked me up with the tracks for review. I'll also confess that I looked up "syzygial", 'cause I wasn't even sure it was a word!? (It is.) Apparently these cats were big on the "fancy" language, though, as evidenced by song titles like "Viral Exogence", "Sentient Transmography", "Mordirivial Dissemination", "Pyrophoric Seizure", etc. If I ever encountered this album when I was younger, perhaps the relatively cheesy artwork would've disinterested me at the time, but while I wouldn't classify "Syzygial Miscreancy" as a particularly groundbreaking effort, it is an excellent piece of classic death metal in the early vein, meaning that it's tempered with loads of thrash overtones. The material's aged very well and brings with it a frantic vibe that combines blazing tremolo picking and fast, raw thrash with borderline catchy midpaced crunch alongside blasts of warped, kinda fucked up riffing or chaotic leads. And as opposed to any guttural grunting, the vocals are in that killer style of harsh, strained shouting/screaming that I totally love. A couple of badass little acoustic passages pop up on rare occasion as well. I'm diggin' it. The band released another EP, "Terraasymmetry", and one final demo before calling it quits in the mid-90s, but has (surprisingly) resurfaced in the last few years with a new full-length on the way. I'm always a big fan of underappreciated material like this getting the proper reissue treatment and becoming readily available once again, and this is absolutely worth checking out for fans of this style of old school death/thrash. Good stuff…

Hellwitch "Purveyor of Fear"
Hellwitch "Nosferatu" (demo)

This one doesn't seem to have hit iTunes, Amazon.com, or eMusic yet on the digital front, but it should soon. However, you can grab the mp3's straight from MetalHit, or keep the "old school" theme alive with a physical copy of the disc!

Purchase:

@ CMDistro (CD)
@ Shadow Kingdom Records (CD)
@ MetalHit.com (mp3)

"Testing the Limits of Infinite", the debut full-length outing from Reign Supreme (again released by Deathwish Inc.), pretty much picks up right where "American Violence" left off with 13 tracks of straightforward, no bullshit metallic hardcore in about 36 minutes, loaded with pounding midpaced rhythms, chunky breakdowns, and fierce shouts/screams. The recording's a little thicker this time out, but retains a subtle yet interesting bite of texture to the churn of the guitar tone that helps to keep the density of the guitars from devouring the basslines in the mix. There's arguably a smidge more carefully approached melody buried in there from time to time (the quick two-minute instrumental "Waiting" and "To Live and Die (In Vain)" are the only pieces that get blatant, the former with some slick clean guitars over shimmery "post-rock" textures, while the latter features some brief musical similarities as well as some faint singing from a guest vocalist), but overall I'd say the band's definitely getting heavier, and they're actually doing it without adding more of a metal-influenced riffing style to their writing. That thick, 90's styled chug is definitely still the dominant attack throughout the album, it's just the production values and the overall aesthetic that are packing more sonic punch. As is often the case, I feel like I should say more, but… what more needs to be said? If you're a fan of the band's past efforts, I see no reason why you wouldn't dig this. They keep things fairly focused, consistent, and to the point, so you should know what you're in for here. Good stuff…

Reign Supreme "And Come What May"

Purchase:

@ Deathwish Inc. (CD)
@ Deathwish Inc. (LP)
@ Deathwish Inc. (mp3)

Finally available from Grot Records is the incredibly long overdue debut CD release from Rot in Hell, by far one of the finest hardcore bands out there right now. Included are all of the songs from the band's vinyl releases to date – the 2007 demo 7" (a.k.a. "Sins of Malice"), the "Millennial Psychosis" split 7" with Brain Dead, the split 7" with Hordes, and "The Works of Fate" split 7" with The Process – as well as a handful of other tracks that, for the most part, have yet to be released elsewhere (as far as I know). As I've discussed here a few times in the past (and am sure to do again in the future), expect nothing but top-notch metallic hardcore heavily influenced by the classic "holy terror" sound pioneered by Integrity, as well as flourishes reminiscent of Ringworm and Gehenna, alongside their own wickedly raw and explosive aesthetic. You'll find short, explosive bursts of power chords with loads of tactfully chaotic leads straight out of the early Integrity handbook, maniacally screamed/shouted vocals as well as a few cryptic whispers, slower midpaced rhythms that flirt with darker atmospheres, and searing little bits of feedback galore. And then there's 8+ minute closer "Now, Today, Tomorrow, and Always", which heads in an entirely different direction with beautiful acoustic guitars and faint samples amidst distant, obscured singing and quivering experimental noise textures. In addition, this 12-track release contains four of the absolute best fucking cover songs ever recorded: "Final Word" (Meanstreak), "Kingdom of Heaven" (Integrity), "Skincrawl" (Ironside), and "Chunks" (Last Rights). I mean, holy shit… come on! You just don't get much better song choices than that! This is an absolutely outstanding collection that's sure to be among the best releases of 2009. I'm a huge fan, and can't wait to hear more…

Rot in Hell "Behavioral Resistance"
Rot in Hell "Iron Halo"

Along the motorways the thunder spoke in tongues. Promise of charnel skies and sack cloth for a sun. All this and more, rightfully yours, stolen by a jackal in the skin of a whore. Breeding in the sewer, seething behind the walls. Fenris devours existence, nothing but death for them all. Illusions shatter the order, leaves nothing the same as before. Existence caves in to the weight of your sin, as salvation closes its door. We cease to exist, we cease to resist.

This gem's on sale for just £5 right now (which ends up being about $12.50 US after the currency conversion and postage), so… don't sleep on it.

Purchase:

@ Grot Records

The band name and cover art could be slightly misleading here, but I'll give anything a shot, and when one of the guys from Austin, TX's We'll Go Machete contacted me about checking out their self-titled EP on Cedar Fever Records citing "early-90's influences such as Drive Like Jehu, Fugazi, and Quicksand", he certainly got my attention. Their MySpace page also mentions labels like Touch and Go, Dischord, and Amphetamine Reptile – all of which actually does provide a surprisingly accurate approximation of what the band has to offer here. You'll find six tracks/22 minutes of quirky, angular noise rock riffs accented by surging post-hardcore dissonance and occasional forays into a more melodic, "indie rock" type of direction, fronted by vocals that walk the line – not quite yelling, not quite singing, you know the drill. And always beneficial for bands of this nature is a crisp recording that emphasizes warm, natural tones and a mix that allows every element its own space – neither too polished nor too raw, etc. It's all quite well done, and there really is an authentic "early-90's" type of sound to the aesthetic of the songwriting that should absolutely hit the spot for longtime fans of the aforementioned bands/labels searching for new sources of those classic sounds. I'll definitely be looking forward to hearing more from these cats…

We'll Go Machete "Archibald"

I'm not sure if the EP's being pressed on CD or not, but you can already grab it from iTunes. I'd suggest contacting the band via the MySpace link above if you'd prefer to inquire about potentially scoring a physical copy of the material.

Purchase:

@ iTunes (mp3)

Originally released by Doghouse Records in 1996, "Variable Speed Drive" was the debut full-length from Cable. Much of what I've read states that this Translation Loss Records reissue (complete with all new artwork and the band's three-song 1994 demo included as a bonus) hit the streets back in 2008, but… if that's true, it didn't show up in my mailbox until last month, so fuck it! Expect 11 tracks in a little under 45 minutes that are much noisier and more angular than the sludgier and at times "rock" oriented sound that the band would develop on later albums. At times I'm reminded of what other Doghouse Records bands like the almighty Threadbare were doing around this same time period, but Cable was kicking out an even more abstract (even lyrically), AmRep-influenced kind of angle. There's just this weird not-quite-metal but also not-exactly-noise-rock attack happening – one that even peculiarly flirts with a little of that indie sort of backbone that was common from the Doghouse roster throughout much of the 90's. Harshly screamed vocals and heavily pulsing basslines punctuate loads of quirkily winding riffs and jangly harmonics that explode into chugging rhythms peppered with discordant chord phrasings – occasionally decaying into unhinged slides and gnashing guitar noise. At times the song structures can feel overly loose and somewhat tiresome, but such moments make the payoffs – when everything locks together to become a hint more memorable – extra powerful. And while I typically find it rare that bonus demo tracks are all that intriguing, they're actually an excellent inclusion here, so… I'd certainly recommend giving this a shot even if you haven't necessarily been a fan of some of Cable's more recent work.

Cable "Carolina Eyes"
Cable "Chained" (demo)

Sinking – killing – sinking – down. Six weeks I've crawled. Step on my fingers. Rape my eyes. Rape my eyes. Lie. Sterile needles make nice presents. Stainless steel lasts forever. Lie.

Purchase:

@ Translation Loss Records
@ The End Records
@ Relapse Records

The latest from Holy Terror Records is "The Seven Fat Years are Over", the long-awaited debut 12" EP from Blind to Faith, which tears through eight excellent tracks in less than 17 minutes. Expect absolutely ripping hardcore/punk that's actually a little faster and more furiously intense (in a straightforward, blasting hardcore manner) than many listeners might expect, while an almost Celtic Frost-like vibe provides a counter to the speed by injecting a forceful midpaced churn to several of the compositions. The recording is completely awesome as well, boasting an insanely crisp/clear mix and a badass guitar tone that surprisingly has some of that Sunlight Studio sound to it, thus lending a classic Swedish death metal edge to the material without the songs sounding at all like Swedish death metal. It's basically over in a flash, but certainly calls for repeated listening thanks to the explosive fury of the delivery, and I can't recommend this enough. The vinyl comes handsomely packaged in a sleeve that utilizes lots of subtle gloss printing, and while I haven't played the actual vinyl yet due to lack of time, I'm told the 12" is curiously "reverse mastered" so that the grooves run from the center to the outside. Nice little touches to keep you on your toes!

Blind to Faith "Blood Like Water"

To my shock the pre-orders didn't sell out, so you can still get your hands on one of the first 250 copies of this gem – which includes the limited edition Integrity/AVM split 7" that I wrote about a few weeks ago. Apparently the 7" is actually "parallel mastered", so rather than playing from start to finish, each song on each side of the record runs parallel to the other, so you have to choose which song to listen to one at a time. Bizarre!

I'll be stunned if the remaining pre-orders last through the end of the month, so make the grab while you still can…

Purchase:

@ Holy Terror Records

The Reed Sea is a four-piece from Portland, OR, and that's pretty much all I know about 'em. One of the band members shot me an email a week or two ago and asked me to check out their free EP, "No Help", and I immediately knew that this was something I could appreciate. They play what I would lazily describe as stripped down and restrained emo/indie rock, but there's really more to it than that because there's also this unique sort of dark, "post-punk" sound that's to some degree reminiscent of assorted UK bands from various points over the last three decades. The vocals definitely have that soft, somber, monotone approach goin' on, while the music relies almost exclusively on jangly clean guitars over pulsing bass and relatively straightforward percussion. They transition into a mild surge of light distortion once or twice throughout the entire 17-minute listen, generally opting for lots of slow, winding arpeggios. In theory it sort of seems like it's the kind of thing that might get old fast, and I'll admit that typically bands of this nature hit me as far too one-sided. I generally miss the dynamics and clamor for a distorted edge to act as a counterbalance. But that's not the case here at all. Whatever they're doing, consciously or otherwise, they've completely nailed it. The atmosphere really works – it doesn't feel overly plain, and nothing seems missing. I'm already looking forward to hearing more…

The Reed Sea "Other"

As mentioned above, the whole EP is available as a free download, so there's really no excuse not to check it out in full:

[DOWNLOAD] The Reed Sea "No Help" (@ The Reed Sea)

"Night Minutes" is the latest from New Zealand's Strangers on the sadly now defunct Action Man Records, unloading six tracks in about 13 minutes. For the most part this picks up where their full-length, "Weight", left off, with an absolutely awesome recording helping unite the band's fusion of dark 'n' dingy midpaced rhythms and looser, more chaotic riffing (think "noise rock" meets Converge-esque "metalcore"). But things are definitely starting to feel a little more intense here in terms of frantic speeds, hammering basslines, and overall explosiveness. Each time out the band seems to push just a little farther, and it definitely pays off for 'em. The variety keeps things interesting and adds a little more atmosphere/breathing room, the acerbic bursts aren't so out of control that they become unhinged, and the overall aesthetic of the songwriting is dead on for this style. It's hard for me to believe that in this day and age bands from outside the US still face so many challenges in terms of reaching the widest audience possible, but… it's really lazy listeners that are to blame. I'm quite sure this band would be fairly "popular" if they were from the US and signed to a label like Deathwish Inc. or something, so… keep an open mind and check 'em out!

Strangers "Suck & Burn"

The 7" comes with a 3" CD-R of the material, so you should be set even if you don't have a turntable. Gotta love it!

Purchase:

@ Interpunk
@ RevHQ

"Within Suffering", the sole full-length release from excellent Canadian thrash band Overthrow, was originally released in 1990 by Epidemic Records. Apparently it was reissued by NHR Records in 2007 with the band's 1989 "Bodily Domination" demo and several live tracks as a bonus, though unfortunately I had never heard of Overthrow before and was completely unaware of this fact. But thankfully this outstanding reissue is now being distributed digitally by the increasingly impressive MetalHit.com, so I was finally introduced to the band's material a few weeks ago. While the glory days of thrash metal inarguably took place in the 80's, I must confess that many of my favorite thrash records are from 1990/1991, and "Within Suffering" is right up my fuckin' alley with its super meaty riffs and raging guitar tone. Expect snarling vocals over energetic, high-speed picking patterns interspersed with chunky rhythms and quick little hints of melody – standard yet better than average fare for the time period, basically. They pretty much perfectly combine American and European sounds with a balance of Bay Area crunch/technicality and an aggressive yet punchy riffing style reminiscent of late-80's era Kreator. I guess the fact that they didn't form until 1987 and released their debut album just as thrash was first starting to "die out" didn't help them secure a great deal of attention back in the day, but… this is such a quality release that I'm shocked I can't recall having ever heard mention of Overthrow's name before!? Oh well! This is absolutely a hidden gem, and I'm quite pleased to have learned of its existence, even if it did take almost 20 years!?

Overthrow "Chemically Exposed"
Overthrow "Corrupted Faith"

Enucleation Records has this disc on sale for a measly $6, so definitely pick one up if you like what you hear…

Purchase:

@ NHR Records (CD)
@ Enucleation Records (CD)
@ Amazon.com (mp3)
@ iTunes (mp3)

I learned of The Platoon, from Germany, last month when I posted about Drift, as The Platoon features former Drift vocalist Marcel Ströter, who was kind enough to hook me up with the band's latest EP on Filled With Hate Records, "Like Hyenas in the Desert". And as I might have guessed, this shit is absolutely crushing metallic hardcore at the high-quality level I've come to expect from Filled With Hate over the years, dropping six tracks in about 20 minutes and honestly making for one of the finest releases I've ever heard from the label. Like many European bands of this nature expect burly vocals and loads of viciously chugging midpaced breakdowns, accentuated by just the right amount of catchy groove, occasional hints of melody, and subtly more metal-based leanings here and there. They're not really rewriting the book on this style of hardcore, but the songwriting's extremely forceful and the the recording's fuckin' outstanding in every possible way – with a perfectly massive guitar tone leading the charge alongside a strong bass presence – so there's definitely enough going on here to make this EP stand out from the pack with ease. I really believe that those familiar with this genre will agree with me that these guys are creating a sound that's pissed off and in your face without relying on overly stripped down rhythms or arrangements that are too simplistic and one-sided. This is an awesome and highly recommended EP, and I can't wait to hear more from The Platoon…

The Platoon "Zero Gravity"

Purchase:

@ Filled With Hate Records
@ Interpunk

Castevet's "Stones/Salts" 7", which I believe is their debut release (on Paragon Records), is one of the most interesting records I've heard in awhile. The label states that the material "reshapes the grim, dissonant riffing and anguished rasp of black metal into a new form that asks questions of the listener before revealing the secrets hidden within its epic structures", but were it not for that description and the label's often black metal-based reputation, I'm not entirely sure I would've made a significant connection to black metal here. There are definitely some surging tremolo picked rhythms with a great sense of dissonant melody, but there are also some math metal sounding arrangements with weird chord phrasings or slower, peculiarly winding takes on black metal's discordance. Plus, the vocals have more of an almost hardcore-ish strained shouting/yelling thing going on, which makes sense to me because some of the music really could be associated with top-notch "metalcore" as well (and notice that I said "top-notch", so I mean the good kind of "metalcore", not the bullshit where 16-year-olds with throat tattoos try to sound like Scandinavian bands with mosh breaks). It's definitely epic, but the blend of influences is pulled off in a way that can't be simply pigeonholed into one genre or another. Whatever you want to call it, it's fucking great, and there's a lot of curious elements at work here – continued by the fact that the visual presentation consists of almost no text whatsoever. There's a two-sided insert with photos befitting of the record's title and a clear vinyl 7" with no labels. The only text present is the label's name/address and a sticker on the 7" bag with the band name/record title. Very cool. I'm impressed, and quite looking forward to hearing more…

Castevet "Stones" (excerpt)

Purchase:

@ Castevet
@ Paragon Records

I've been reading the absolutely recommended "Burning Fight" this week, and it's been driving me to revisit a bunch of 90's hardcore that I haven't listened to in awhile (or ever, in some cases). While I didn't get into the band until shortly after their time had passed, and (regretfully) haven't listened to them very often lately, I've been a huge Endpoint fan ever since discovering them around 1996/1997. Widely regarded to be one of the most important bands ever to come from the highly influential Louisville, KY scene, I honestly don't like Endpoint's early material very much at all. It seems that their third album, "Catharsis", is generally considered their best, but I wholly disagree (in my opinion it was simply their first truly solid release). The increasingly diverse and more melodic leanings of their final full-length, "After Taste", and aptly titled last EP, "The Last Record" (released by Doghouse Records in 1993 and 1995, respectively), are where the band's powerful and emotional fusion of influences really shines.

In the segment of "Burning Fight" about Endpoint there's a part where one of the band members basically mentions that he can understand how a lot of the their fans weren't into "The Last Record" at the time, since it was even more of a musical departure than what they had started to hit on a few years earlier with "After Taste", but both releases clicked with me right away, and have always stood far above and beyond all of their prior work as far as my listening preferences are concerned. In a sense this EP just takes the wide-ranging songwriting style of "After Taste" and kicks it up a notch with a totally killer recording that's full of warm, natural tones that have just the right amount of loose ruggedness balanced with a brighter, clearer, and more balanced mix than any of their other releases. Shit, the bass presence alone makes such a huge difference in this material.

It is really diverse, though, now that I'm thinking about it. You've got the heavy opener, "Chalk", which fuses chugging rhythms and harmonics with discordant basslines and winding post-hardcore riffs, followed by the outfuckingstanding "Pencil Break" (probably my favorite Endpoint song ever) and its more somberly melodic approach. Then there's the much slower "Strings", blowing up into an energetic burst of those badass little arpeggiated riffs that were so popular back in the 90's before gradually easing into straight string-scraping guitar noise; while "Mather's Point" sort of takes everything the EP's offered so far and pushes it somewhere a little darker. And what about the more hopeful delivery of closer "Brown County", which is accented by acoustic and slide guitars for an almost – yes – "country" kind of vibe!? I'll let the debate over whether or not Endpoint was "emo" or still "hardcore" at this point in time rage on, 'cause I just don't care. At their best they were fucking brilliant, and in just 21-and-a-half minutes this EP most perfectly exemplifies why.

Endpoint "Pencil Break"

And, thankfully, it's still easy to come by. So if you like what you hear, buy it. I absolutely recommend "The Last Record" and "After Taste" without a second thought. Work backwards with these guys…

Purchase:

@ Amazon.com (CD/mp3)
@ Interpunk (CD)
@ eMusic (mp3)
@ iTunes (mp3)

"The Bestial Awakening" (released by Bubonic Productions) is billed as the "debut album" from Portugal's Profan, but seeing as it's limited to a mere 200 copies, I'm not really sure what makes it potentially more "official" than any of the preceding limited edition CD-R's in the band's (seemingly prolific) discography to date – especially since this does indeed mark my first exposure to their work. Apparently the band formed in the late-90's as a black/death metal group, and then sort of broke apart until 2004. Since that time a few lineup shifts have taken place, and Profan is now exploring a doom/drone oriented approach that's actually quite impressive. To be honest with you, in the years since "drone" has started to become recognized as somewhat of its own genre, my tolerance for/interest in such outings has rapidly decreased. I just find most "drone" bands to be extremely boring and unmoving. I'm not exactly sure what it is about Profan that captured my interest, but I could immediately sense that there was something different about this band, and they won me over right off the bat.

For one thing, drums and vocals are present, which is a plus. Let's face it: Rumbling instrumental guitar and bass drones get old fast. But more than that, there's a lot of true diversity across the board here. For example, the compositions aren't massively long just for the sake of being big, oppressive, marathon songs – of the seven tracks, some are three or four minutes, some five or six, some 10 or more (for a very tasteful total running time of about 46 minutes). More specifically, some pieces come across more like experimental noise – true "drone" – utilizing synths, vocals, and unidentifiable sound sources to create eerie dark ambient excursions; while others actually play out like "real" songs – moderately slow and relatively streamlined, sure, but with an actual sense of structure and purpose as opposed to the often haphazard and/or improvisational characteristics that I tend to associate with this type of thing. There's definitely a bit of an improvisational element at play here, whether it be found in layers of Godflesh-like feedback or throbbing low-end hums, but the use of percussion and vocals tends to help create more substance and focus. Furthermore, the vocal delivery ranges from your usual black metal-esque snarls to obscured whispers and deep, moaning chants, as well as an almost Joy Division-like croon!? There's just a hell of a lot more going on here than most such bands that I've encountered, and it really works well to create a chilling atmosphere that holds your interest throughout.

Profan "Sea Curses" (excerpt)
Profan "Howling" (excerpt)

I'm not clear on ordering information for this one, so I'd contact the band on MySpace or send the label an email to see what it takes to get your hands on one of these while you still can. As far as "drone" goes, Profan is certainly deserving of significantly more praise out there…

The third release from Thug Free Records is also the third full-length from One Hidden Frame ("Giant Steps"), and the band and label are also both from Lappeenranta, Finland. Unlike most of the Finnish bands that I cover, One Hidden Frame has a pop-punk/melodic hardcore sound with singing vocals over loads of midpaced rhythms, octave chords, and some of that more technical, 90's era Fat Wreck approach – such as dissonant chord phrasings, hammer-on/pull-off riffs, and zippy picking patterns. I reviewed their debut album about four years ago and thought it had some potential, but they've improved greatly over the years, and this is easily their best release to date. The production values alone make a huge difference here, with a crisp mix that provides just the right amount of breathing room for each instrument, but the songwriting is also light years ahead of what they were doing back then. There's a good balance of tempos and overall variety, and while they do throw in a few more contemporary riffing styles that hint at a modern "emo" sort of undercurrent here and there, the material's catchy without taking it too far in that direction. It's cool, because it's not overtly complex, but there's definitely some musicianship happening here, you just don't necessarily notice it since the songs are so punchy. They're definitely doing a lot with layered/panned guitar parts, though, and I'm really enjoying the way they're fusing an assortment of influences from the past 20 years in a way that sounds current. I feel like a lot of bands of this nature tend to stagnate in the sense that if they start out kinda so-so, that's just how it's gonna be. Thankfully that hasn't been the case with One Hidden Frame at all: Their growth is obvious, and it's really paying off for the listener.

One Hidden Frame "Race to the Moon"

I'm not sure what kind of distribution this release has at the moment, but I'm not seeing it in any distros, so contact the band and/or the label via the MySpace links above to inquire about getting your hands on a copy of the album…

I just got an email letting me know that the site was requiring people to login in order to post comments (thanks, Blaž). That should not have been the case, and I have no idea how it happened, but as far as I can tell it's fixed now. If anyone is still have issues, please let me know! Thanks…

I can't believe I've never written about this album before, as Edge of Sanity's "Crimson" is one of my favorite metal records of all time, and without a doubt one of those albums that – though loved by many – really does deserve a great deal more accolades. I can't really recall how I came to discover "Crimson", but I remember buying it off eBay sometime in the late-90's, and hearing this record is almost certainly what gave birth to my complete and total worship of musical genius Dan Swanö. Mikael Åkerfeldt from Opeth does make a guest appearance here, doing some vocals and lead guitars, so I bet that's what initially led me to pick it up, as Opeth was among my favorites at the time. Whatever the case, released in 1996 on Black Mark Productions, "Crimson" was the incredibly ambitious fifth full-length from Sweden's Edge of Sanity: One single song running 40 minutes. No track separations, nothing. One song. And it's an absolute masterpiece of progressive, melodic death metal from start to finish. You'd absolutely expect such an effort to get a little dull at moments, but it never happens. Not once. It's so good, I bought every Edge of Sanity album right after hearing it, and I can state with absolute conviction that, no matter what anyone else says, this album utterly demolishes every other contribution to the band's discography with ease.

In addition to loads of top-notch "melodic Swedish death metal" that doesn't really sound like what "melodic Swedish death metal" has come to represent are some of the most beautiful, haunting clean passages you'll ever hear; superbly moving lead work; occasional spurts of harsh, dissonant, borderline chaotic wails of tremolo picking and blasting percussion; and sparse fits of slow, sludgy doom riffs – not to mention Swanö's impeccable singing (and his/Åkerfeldt's harsh growls to boot). The lyrics tell a story, and the arrangements of the riffs follow suit, occasionally returning to variations (or literal revisitations) of earlier riffs throughout the piece, so in addition to the outright diversity, there are quite a few subtleties at work beneath the surface as well. So, while I don't give two shits about "fantasy" lyrics, the delivery of the material is so fucking powerful here that the lyrical content doesn't even matter, 'cause at its best, there's so much force and feeling present that it, well… it just kicks ass. Seriously, I can't think of any other album that urges the listener to headbang, fist pump, sing along, play air guitar, and feel some sort of emotional gut reaction – separately or all at once!

Seriously, this shit absolutely defines "epic". The fusion of death metal and melody on "Crimson" operates in an entirely different realm than any other band I've ever heard, and the best of the best riffs herein are, simply put, among the finest riffs I've ever heard in my life. Period. I'm not exaggerating. I've been flipping out over these riffs for at least a decade now, and the overall songwriting talent present is totally mindblowing. I mean, 40 fucking minutes! One song! And it's somehow one of the greatest songs in the history of all living things!?

I could gush about this for hours, but that's just scratching the surface, and none of it matters in the end. Just listen to these excerpts for yourself, and buy this CD immediately if you don't already have it. Every metal collection is incomplete without it!

Edge of Sanity "Crimson" (excerpt I)
Edge of Sanity "Crimson" (excerpt II)

Thankfully, unlike some of Black Mark's other old classics, "Crimson" is still relatively easy to come by – digitally or as a physical CD – so… like I said, this is absolutely mandatory for any metal fan. So good.

Purchase:

@ Amazon.com (CD/mp3)
@ Century Media Distro (CD)
@ Relapse Records (CD)
@ eMusic (mp3)
@ iTunes (mp3)

The latest from Robots and Empire is the four-song "Color Touches" EP (once again on the great Trip Machine Laboratories label), which delivers more of their extremely awesome yet wildly peculiar blend of thick, sludgy, occasionally rocked out rhythms and winding, melodic post-hardcore textures – not to mention great vocals that really lend a different, more memorable feel to the material. The songwriting's perhaps a little crisper this time out, too – taking less than 15 minutes to get the job done and bouncing around between the varied influences with even more ease. Initially it starts to come across like it's a little catchier and more balatantly melodic, but then you're greeted with plenty of those unexpectedly dense dirges laced with little fits of feedback – reminding you that, yes, there's a hell of a balancing act going on here. And it's fucking cool!

Now, sometimes people get pissed off at me when I harp on the little things like this, but… I swear I mean well, and it needs to be said, again, that… uhhh… the visuals… I mean, this shit is ugly. Yeah, yeah, "don't judge a book by its cover", but you know damn well that everyone does it anyway, and Robots and Empire are definitely in an extremely select minority of bands whose CD's look like they're gonna blow, when in truth they're actually very good. It just doesn't work that way 99% of the time. I'm a big fan of this band, and I sincerely believe that consistently releasing tacky looking records will in fact give off the wrong impression and create a barrier between the music and potential listeners. So… I go off like this because I'm a firm believer in bands that deserve more attention and support actually getting said attention and support! Artwork matters!

End "rant". I once more fully recommend Robots and Empire, and if you like what you hear below, you simply can't beat the 2-for-1 deal the label is running right now where you can get this EP and the "Omnivore" full-length for just $8…

Robots and Empire "Rush at Burnt Siennaville"

…but if you (wisely) already have "Omnivore", this EP's still only $4!

Purchase:

@ Trip Machine Laboratories

Released at the very end of last year by Aesthetic Death, this self-titled, two-song EP marks the debut solo release from French doom/sludge act Eibon, after a split CD with Hangman's Chair in 2007. Both compositions, "Asleep and Threatening" and "Staring at the Abyss", top 10 minutes and are packed with pulsing, pounding rhythms that keep things interesting with creeping undercurrents of dissonance and aren't so slow that they crumble into drones or become stagnant. Combined with absolutely vicious, scathing snarls it all amounts to a surprisingly powerful 22-and-a-half minutes that really does hold your interest quite nicely. Some very effective little atmospheric elements are buried in the mix amidst all of the low-end throbs and crushingly distorted power chords as well, from beautiful acoustic passages and subtle ambient hums to eerie feedback swells and melodic leads. As I've stated in the past, I'm not a huge follower of this particular scene simply due to the fact that it's lower on my priority list in terms of all the different music out there to try and keep up with. But that being said, I can still recognize when a band really delivers the goods, and this EP is an extremely promising effort that absolutely hits the mark. I have a shitty attention span, and there aren't a ton of bands out there that can get me to sit through back-to-back 10+ minute tracks without getting bored. Eibon succeeds, and rather effortlessly, I might add. Great feeling, great songwriting, great recording… what more do you need?

Eibon "Asleep and Threatening" (excerpt)

Buying from the band will be extremely pricey if you're outside Europe, but thankfully they seem to have at least a couple of stateside distributors, so… make the grab if you like what you hear. And if you're a doom fan, I can't imagine that not being the case!

Purchase:

@ Eibon
@ All That is Heavy
@ Red Stream

Originally released as a free download before being wisely snatched up by Panic Records, "Bodies of Water" is the second six-song EP from the absolutely brilliant Make Do and Mend. I don't know why, but their debut, "We're All Just Living", was a huge grower for me, and when I wrote about it on the site last year I had minor little complaints. Well, over time all of those complaints completely vanished, and "We're All Just Living" ended up being one of my favorite releases of 2008. As a result, their song "Insomniac Jams" is now one of the two most played tracks in my iTunes library, and I'd probably rank Make Do and Mend as my favorite new band of the past several years. Period. I've completely fallen in love with their totally heartfelt and sincere blend of emo, indie, and pop-punk influences, and there's absolutely no fucking argument whatsoever that these guys are among the finest songwriters out there right now when it comes to this particular niche. Unlike many such bands there's no shred of cheesiness here at all, nor do they flirt with any potentially irritating "emotional" posturing that comes across as trying too hard. No, everything about Make Do and Mend's music feels completely open and natural, from the driving chord progressions and layered melodies, to the gruff, honest vocals (and lyrics, for that matter), to the looseness in some of the playing that adds a little rawness without being sloppy. Obviously I'm barely even touching on the true character of this material, but it doesn't even matter, because everything gels together in the songwriting, and the songs are where this band shines. So… I'm hoping my enthusiasm makes up for my lack of detail here!

Make Do and Mend is one of those bands that should absolutely be huge, but I sort of get the feeling that they might never be. They seem like completely modest and down to earth guys that sell their merch for cheap and are much more interested in simply expressing themselves and getting their music out there to the listeners, as opposed to any of the extraneous bullshit that tends to go along with what it often takes to "make" a band "huge". And that's exactly how it should be. Exactly. Fuck money, fuck the "right" look or the "right" tours – the quality of this music and the connection it creates with the listener is so far above and beyond any of that shit, and that's so rare yet so important. I just hope that others will appreciate what these guys truly have to offer and support their efforts. This is the second Make Do and Mend release that I've gotten for free, and the second Make Do and Mend release that I've purchased anyway. I really can't speak highly enough of this band…

Make Do and Mend "Shambles"

I don't believe in anything worth fighting for, worth dying for. I don't believe the clouds are hiding much more than a reason to downpour. So what would you do if you were me? Give up, forget, go back to sleep…

If you like what you hear above, please buy it… and buy "We're All Just Living" as well, if you don't already have it!

Purchase:

@ Make Do and Mend (CD/12")
@ Panic Records (mp3)

There were actually a surprising number of absolutely raging hardcore albums coming out of Europe in the early part of this decade, and "Stalkin' Like Killers", from Germany's Drift, remains an incredible disc that never really got the attention it deserved. Released by Alveran Records in 2002, I believe this was the band's sole full-length – the follow-up to a split CD with Copykill that, if I remember correctly, wasn't nearly as forceful (but I need to buy that shit again to make sure, I can't find my old copy). With "Stalkin' Like Killers", though, they absolutely hit the mark, cranking out eight tracks of crushing metallic hardcore plus a cover of Integrity's "Diehard" in just a half-hour. The songwriting offers an excellent (and seamless) fusion of fast-paced hardcore with thrashy picking patterns and punishing midpaced breakdowns, as well as some more dissonant chord phrasings and such that add a touch of variety throughout. The grooves combined with the burly vocals definitely give the band that European type of sound, but they also flirt with little hints of added metal (especially the clean guitars and melodic leads of instrumental "… In Recurrence") and brief melodic flourishes here and there that, in retrospect, really give me the impression that these guys might've been somewhat ahead of their time. I can definitely hear a lot of elements here that have since been further explored by a number of loosely comparable bands worldwide. Admittedly those little creative aspects take a backseat to the more traditional and in your face metallic hardcore attack that dominates the album, but I think that's what makes it such a great record! In addition to a killer recording, these are fuckin' great songs that benefit from coming across as a little more simplistic than they really are. I guess it's just the band's limited output and relative obscurity that kept this disc under the radar, but… it still deserves more respect!

Drift "Enemy Grounds"
Drift "Downtonone"

I have no idea what happened to Drift, but I definitely wish they had stuck around a little longer. Maybe some of the guys are in other bands these days, but I have a pretty hard time keeping up with that stuff. Thankfully, to my surprise, it's still really easy to get your hands on this album, so… definitely check it out if you like what you hear. I think I have an even greater appreciation for this material now than I did back when it was released…

Purchase:

@ Interpunk (CD)
@ Amazon.com (CD)
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

It's been an astoundingly long six years since the last full-length release from Finland's Bolt, but "Behind Obstacles Lies Truth" has finally seen the light thanks to the always solid Full House Records. I haven't kept up with the Finnish scene as much as I probably should have in the last few years, but there's simply no doubt that Bolt remains among the best of the best, and this album is everything I'd hoped for. Expect plenty of the band's traditionally-based metallic hardcore rhythms and pounding grooves with gruff, bitter vocals (including some completely badass guest spots) – all delivered through an excellent, tight-knit recording that boasts plenty of crunch and just the right amount of pulsing low-end. However, branching out just a touch, this time around you'll also encounter subtly technical and/or dissonant metal influences as well as some really slick little melodic characteristics – somewhat reminiscent of fellow countrymen Down My Throat and underappreciated American acts like the Rag Men, respectively. They've achieved the perfect balance between a number of different styles of hardcore in a manner that gels perfectly, and this is exactly the kind of sheer force that made me fall in love with this niche of the Finnish scene in the first place. This really is an incredible album that's packed with killer songwriting and sounds fuckin' great, so it certainly comes highly recommended, and I'd be thrilled to see Bolt carry their currently 12-year existence on into the next decade. Awesome.

Bolt "Stabbing Nation"

I'm not seeing this one in any distros here in the US just yet, but you can generally find Full House's releases at Interpunk, so keep your eyes peeled over the next few weeks if for some reason you don't feel like ordering this gem from Europe…

Purchase:

@ Full House Records (CD)
@ Full House Records (LP)

"Heartificial" is an extremely brief two-song "teaser" EP from Syracuse, NY's Casting Curses (released by Tuned to You Records) that flies by in a mere five minutes. Expect that contemporary hardcore type of sound that blends moderate heaviness and yelled vocals with some melodic bits. Everything tends to fall in the midpaced range with these two tracks, and the approach feels neither overly aggressive nor blatantly melodic, with a little bit of experimentation with light effects and dissonance that doesn't take things too far. It sort of comes across as a slower take on a sound comparable to bands like Defeater, Verse, Modern Life is War… that kind of stuff. It's not entirely in that vein per se, but to my ears a lot of this type of hardcore kind of blends together. I guess in some respects Casting Curses feels like they're pushing for the more artistic vibe of the aforementioned bands, but without losing a certain sense of simplicity, and I can definitely appreciate that element of their delivery.

Casting Curses "Change the Lights" (excerpt)

The disc is limited to just 100 copies and is available from the band for only $4. Be sure to check out the rest of their webstore as well, though, 'cause all of the prices are very solid, and you can even get this CD with a shirt for less than $10!? That's a great deal…

Purchase:

@ Casting Curses

"Masks" is a limited edition cassette (you read that right) containing six new tracks from Pittsburgh, PA's Unreal City in a little under 20 minutes. The overall approach is very similar to that of their "Ephemeral Subsistence" full-length, which is to say that the songwriting is heavily influenced by Integrity and Cleveland hardcore in general, with lots of chugging midpaced power chords and quick little explosive solos. However, the recording is much rawer and more stripped down here, with a distant feeling to the vocal placement and a little bit of a muffled thump to the percussion, etc. But that's not a bad thing – it actually really works to lend a "classic" aesthetic to the material, and doesn't detract from the force of the songs or the listening experience at all. They do suddenly change things up at the end, however, with "The Mortal Sermon": An eight-and-a-half-minute experimental noise piece that layers ambient hums and whirs with assorted samples – predominantly some sort of reading of T.S. Eliot's "The Waste Land" (which, I'm now assuming, is where the band got their name). A nice touch that certainly lends something of a "Humanity is the Devil" vibe to the EP as a whole… and, as usual, you just can't complain about that! Here's a taste of what to expect:

Unreal City "Changeling" (excerpt)

From what I understand this tape is limited to a mere 50 copies and will only be available at the band's upcoming shows. So, if you're a fan and you want to get your hands on one of these, I'd highly recommend attending one of the first few shows, 'cause, ummm… 50 copies ain't gonna last long!

"Is it Nothing to You" turned out to be the sole full-length from Canada's All State Champion (released by Five One Inc. back in 2003), and while I wrote about it on the old site all those years ago, I still feel it deserves more attention. Since I had pulled it out for another spin in recent weeks, I decided to go ahead and revisit it for the blog to see if I can't get a few more listeners interested in its mix of assorted emo/indie rock types of influences – especially since the album's still easy to come by. You can pick up on everything from the DC/Dischord thing to a San Diego/west coast vibe amidst all of the angular rhythms, jangly open chords, tasteful discordance, melody, and a mix of predominantly singing vocals backed with the occasional screams. The singing is great, and remains a strong point for me – straightforward and to the point with a few subtle harmonies or a little layering, which fits the music nicely. But the songwriting is also strong: Memorable and at times catchy, without utilizing any "poppy" elements or anything like that. They constantly mesh the melodic with the caustic, and it works perfectly in my opinion, never leaning too far in either direction. There's always a good blend of driving rhythms, moderate tempos, post-hardcore tinges, and frequent shifts in dynamics. Also incredibly beneficial is the fact that the recording is so natural and warm, with a stripped down sort of approach that really lets each instrument hold on to its own area of the mix with just the right amount of breathing room. Maybe it's just that I can't keep up with everything, but for my money there's been somewhat of a void for this style of high-quality "emo" (or whatever the fuck you want to call it) since the late-90's, so… this is a really enjoyable disc that I'd still wholly recommend to fans of the genre.

All State Champion "Work is Killing Me"
All State Champion "Curse of the Northwest"

Long way down I've bound myself. And it's been two years but I've a way to go. And I guess that's why I'm still sinking. This time around I swear I'll swim. At least I was there when I said. Don't you know? This time around I swear I'll swim. At least I was there when I said. Don't you know?

Purchase:

@ Five One Inc. (CD)
@ Interpunk (CD)
@ Amazon.com (mp3)
@ eMusic.com (mp3)
@ iTunes (mp3)

I was a big fan of Hiretsukan's debut EP, "Invasive//Exotic", when it hit the streets in 2002, but the band broke up shortly thereafter, so when they reunited a few years later for "End States" (released by G7 Welcoming Committee in 2005) it went under the radar and I foolishly kept forgetting to pick up a copy. I eventually grabbed it from eMusic, but I've yet to write about it here on the site, so… I'm finally doing that now! Somewhat rawer and slightly more abrasive than the EP, these 10 tracks in just over 26 minutes lean more towards the underlying "screamo" vibe of "Invasive//Exotic". It's clearly a more diverse and dynamic outing, though. I'd say there's definitely more melody seeping through the discordant riffing and jagged rhythmic patterns, some beautiful little clean passages fall into place here and there, and despite the appearance of some soft singing throughout much of "19 Year Barrier", the primary vocal approach is still that absolutely fierce screaming. Even more forcefully and efficiently than before, Hiretsukan strikes the perfect balance between explosive aggression/acerbity and powerful songwriting/emotion. There's always a strong sense of true feeling in the delivery (musically and lyrically) that really creates a huge impact and makes their work far superior to many comparable groups. All too often bands that can even remotely be associated with the term "screamo" are just fucking irritating on some level, so I want to stress that Hiretsukan is simply above and beyond any of that bullshit. This music really hits you at the core and strikes up an emotional response, and that's always a rare characteristic that should absolutely be held in high regard.

Hiretsukan "Manual Function"
Hiretsukan "Click and Repeat"

This picture was painted by numbers. This promise was drawn from lies and mistakes. I'm thinning out my outlook while you're turning action to inaction in disguise. Can you speak your mind, does it come out like a story or forced through a sieve? Your scars hold more than history. Fight like you mean it, like you mean to end it all. The world keeps turning and handshakes and shaking are going full-circle.

Purchase:

@ G7 Welcoming Committee (CD/mp3)
@ Interpunk (CD)
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

I wrote about Damn the Machine's lone self-titled CD many years ago on the first version of my site (in fact, if I'm not mistaken, one of the "reviews" on Amazon.com lifts what I said word for word), and as far as I'm concerned it still remains one of the most criminally underrated albums that's ever been released. If you didn't know, Damn the Machine was formed by Chris Poland (with his brother Mark on drums) several years after his departure from Megadeth, and this disc came out in 1993 on A&M Records. One of my best friends introduced me to this band shortly after the album was released, and I distinctly remember that despite his raves, I hated it. I bought a used copy of the CD for a couple bucks, but I couldn't stand the vocals and just didn't "get" the overall tone of the music. It's heavy, but it's not really metal, and I guess teenage me just didn't know what to make of it at first. But the disc stayed in a "limbo" box, and I revisited it every six months or so. Then, at some point within the following couple of years, it finally clicked.

Listening to it now, I honestly don't know what the hell I was hearing back then, 'cause I love it. I guess I can still understand how the vocals might take some getting used to, and there are definitely some quirky little oddball riffs to be found here and there, but… everything about the entire album is fuckin' incredible. It's just this weird fusion of jazzy progressive rock with hints of metal thrown in. And the recording's a little strange, too! The hard-panned guitars each have their own unique tones throughout, pretty much always playing off of one another and additionally interacting with the plunky and prominent bass runs, and the blend of unusual tones/textures creates this odd, "naturally unnatural" atmosphere that really works with the creativity of the arrangements. But for all the artistry and complexities (both subtle and overt) that are present, the record's also packed with solid songs. The quality of the musicianship yields some absolutely beautiful clean passages and fluid soloing, not to mention loads of killer vocal harmonies and memorable hooks.

While I wouldn't call the album wildly diverse as a whole, it's far from one-sided, and the band would've had an impressively wide range of styles to continue exploring had they pressed on. But sadly, an apparent lack of label support led the band to call it a day all too soon. According to Wikipedia they toured Europe with Dream Theater, which makes sense, but… hitting North America with Voivod, Flotsam and Jetsam, and Excel? In 1993? That's… perhaps a little wacky, and probably didn't do the band any favors. But hey, that's life, I guess, and regardless, this is such a great record. I know there are still more people out there that need to check this shit out…

Damn the Machine "The Mission"
Damn the Machine "Countryside"

I can't believe this thing isn't even available on iTunes or anything like that!? But as is often the case with out of print unsung classics, you can find used copies on Amazon.com for a few bucks or less, so grab one while you can if you like what you hear. I won't be surprised if it never gets reissued, and one day it'll probably be sought after enough to fetch unreasonable prices…

Purchase:

@ Amazon.com

From right here in Richmond, VA and formerly known as simply Sword (whose sole release was titled "Lord by Fire"), Lord by Fire's debut under their new name is this self-titled 7" on Forcefield Records, so… as far as I know, this actually marks the band's first recorded output since the summer of 2005!? With just two tracks in 10 minutes it's over all too soon, but the band's approach to dark, dingy, "doomy" rock/metal remains intact with the added bonus of an absolutely awesome recording that's loaded with warm, natural tones and plenty of crisp breathing room that allows all of the subtle intricacies of the elements' textures to shine through perfectly. Expect hoarse, strained shouts over an assortment of pounding midpaced power chords; choppy, chugging rhythms; sludgy, textured grooves; and occasional layers of searing feedback. It's neither too rocked out nor too overly aggressive and in your face, and that balance works out quite nicely for the end result. Hopefully some more material is on the way sooner than later!

Lord by Fire "Tribes of the Unnamed Beast" (excerpt)

Purchase:

@ Forcefield Records

Back in 2005 I wrote about Solstice's "Pray" album, which was – at the time – their final release (from 1995), so I was both shocked and psyched when the band's guitarist, Dennis Munoz, recently got in touch with me and sent over a CD-R of the band's new, yet-to-be-released full-length, "To Dust". But even more shocking is that the band has yet to secure a label for the proper release of the album, so I'm hoping that this post might happen to remedy that problem! While both of Solstice's early-90's full-lengths are excellent slabs of chunky, thrash-laced Florida death metal, "Pray" remains my favorite, so it's great to see that 3/4 of the "Pray" lineup returns on "To Dust", with drummer Brian Harris being the only new addition. And as I'd hoped, this material picks up right where the band left off more than a decade ago, with 11 tracks and 42 minutes of tight, churning death/thrash that still reminds me a good bit of early Malevolent Creation (which is nothing but complimentary seeing as I find "Retribution" to be the greatest death metal album of all time). The prominence of the bass in the mix retains some of the added oomph that made the band's prior work so forceful (here more textured due to the crispness of the recording), while the occasional lead break offers even more sleek melody and tactful flash than before. The songwriting's just a hint faster and more technical as a whole, adding more of a counterbalance to their penchant for absolutely pounding rhythms and meaty picking patterns. Also incredible is the inclusion of a cover of Cynic's "Extremes", from the "Reflections of a Dying World" demo. I mean, come on, that's just fucking cool, man!

Everything's still very much in line with what the band was doing back in the day, though, so if you were into their first two records, you'll absolutely be down with this material. Not only is it somewhat rare for a band to reunite with the majority of their former lineup intact, but for a death metal act to deliver such a killer piece of work about 14 years after their last recorded output is pretty fuckin' outstanding. Here's the title track to give you a little taste of what the complete album holds:

Solstice "To Dust"

I sincerely hope I can do some good here in spreading the word about this and getting some labels interested, so… please spread the word if you're a fan. And if you're potentially interested in releasing this record, by all means shoot Dennis an email or contact the band on MySpace!

"Paranoid Delusions/Paradise Illusions" is the latest five-track EP from Maryland's increasingly intriguing Pulling Teeth (again released by Deathwish Inc.), unleashing more than 20 minutes of the band's most diverse material to date. This time around you'll find the explosive, Integrity-inspired lead bursts, forceful breakdowns, and fast-paced chord progressions of the band's take on metallic hardcore fused with a range of even faster riffing that has an odd sort of "grinding thrash" fusion happening; slower, darker, sludgier rhythms that flirt with both Sabbath-esque vibes and subtly more rocked out, southern-tinged fare; and segments where layered instrumentation stacks up with more prominent basslines, eerie clean guitars, swirling effects, or even faintly whispered vocals and experimental noise textures (most notably in 9+ minute closer "Paradise Illusions", which even utilizes some distant singing and samples buried in the mix). It's a curious growth towards a similar but obviously expanded palette that largely plays out more like one complete piece as opposed to five individual tracks, and at this point it seems impossible to predict what Pulling Teeth will shoot for on their next outing. Very curious…

Pulling Teeth "Ritual" (excerpt)

Purchase:

@ Deathwish Inc. (CD)
@ Deathwish Inc. (12")
@ Amazon.com (mp3)
@ eMusic (mp3)

Acme was a short-lived but highly regarded metallic hardcore act from Germany that formed in 1991 and called it quits in 1995, basically releasing just one 7" and a few compilation tracks for a total of just nine songs in around 23 minutes – all of which were collected on one CD, "…To Reduce the Choir to One Soloist", by Edison Recordings in 1996. And really it's just eight different songs (one track is a live recording of two songs that appear on the disc in alternate form), which is all too little recorded output from such an outstanding and influential band. From what I can tell not much is known about Acme, and to be honest with you I never did much investigating back in the day either. I bought this CD and that was all I fucking needed to know! I don't know if it's because the band was ahead of their time or what, but I think this material actually sounds better today than it did in the late-90's after the discography's release. Last summer I pulled this CD out for the first time in a good while and was kicking myself for not revisiting it more often over the years. Every song is just an intense blast that perfectly balances fast, chaotic riffing and relentless, over the top vocals with grinding midpaced rhythms and wicked discordant textures that lend a darker feeling to the base aggression of the material. Opener "Blind" is an absolute scorcher – the kind of song whose attack makes you want to drive straight into a fuckin' wall at top speed. What can I say? If you're familiar with this band, you probably love 'em, and if you've never heard 'em before you need to check this shit out immediately to hear for yourself how devastating they can be:

Acme "Blind"
Acme "Attempt"

I'm actually somewhat surprised that Very Distribution doesn't have this in stock anymore, as many of Edison's largely outstanding releases are still for sale there. But while a handful of offensively priced used copies are floating around, thankfully there are some reasonably priced used copies as well, so pick one up if you like what you're hearing (And how could you not!?).

Purchase:

@ Amazon.com
@ Half.com