The almost entirely instrumental "Pentagon" is by far the strangest release to date from Virginia's Wrnlrd, with five tracks essentially divided into five parts each (sans the one-part closer) - making for a 50-minute affair in which the disc is literally broken up into all 21 seamless tracks. For example, opener "Annuit Coeptis", which is among the shorter segments at just under six minutes, is actually made up of the tracks "Susurration of Cairn", "Agalma Manteia", "Veil & Rope", "Widow of Pain", and "Stone & Vapor" - which blend clashing, dissonant, sustained chords that fade into dark ambient textures with extremely faint samples or vague vocal work buried in the distance amidst the occasional drum hit or shimmery clean guitar work under warbled effects. Afterwards, the project's chaotically blasting black metal starts to filter into place, complete with a massive array of wildly gnashing layers of guitar riffs and textures, but the more experimental ambient side of Wrnlrd's work is never too far behind, as the latter segments even bring in some acoustic guitars (which are some of the most promising moments of the album, actually) over low-end howls after the piece slows down a good deal. This approach continues in the 16-minute "Shaft of Ba'al", even bringing in some banjo (!?) and twisted, noisy leads to the discordantly layered spirals of the composition. Heavily obscured vocals finally resurface midway through the 10-minute "Awakening", alongside a more blasting and ferocious musical backing more typical of the bulk of Wrnlrd's work, but again, things start to cave into a wall of twisted leads and noise before shifting into another chilling dark ambient throb.

In addition to the structure of the songs' delivery, the packaging is also rather intriguing, with a tri-level cover that includes some abstract printing on the outer jewel case and faint imagery printed on a square of semi transparent vellum overlaying a small, simple pentagonal shape that resides on the booklet itself. There's also some strange content hidden underneath the CD tray - the factorial of the number 21 (I didn't even know what the hell a factorial was until I Googled the number and looked it up). I have no idea what these mathematical relationships might reveal or have to do with the album (aside from there being 21 tracks), but Wrnlrd seems to now be making it clear that there's some sort of "master plan" at work behind the scenes, as his website has some other bizarre hints here and here. Perhaps there are only three more Wrnlrd releases slated before everything comes to an end?

Very strange… very strange. Curious, though… you can never be sure what's going to come next from this project. And despite areas that remain rough around the edges, you can't help but hold a great deal of respect for the creativity and mysterious obscurity of this type of work.

Wrnlrd "Death's White City" (excerpt)

Purchase:

@ Wrnlrd

Someone posted a comment here and recommended Connecticut's Unforgiven to me some time ago, and I've been eagerly waiting for this shit to come out ever since. I don't think I've ever made a note to keep checking back on a band's MySpace page before to see when a release was finally out, but I did for "Last of the Few", which finally hit the streets a couple months ago thanks to Eightfold Path Records, it just took me until this weekend to realize it! I'm talking six tracks of absolutely perfect metallic hardcore in just 13 minutes. The band cites their influences as New York, Cleveland, and Connecticut hardcore, and that about says it, 'cause there's plenty of that chugging 90's style of NYHC in there alongside some driving midpaced Clevo rhythms and heavier tinges of a little straight-up old school styled hardcore - plus some unexpected little melodic flourishes to color things up just a bit and add some extra (tactful) variety. It's just hard, in your face, and pissed off, just how I like it… and the fact that they toss in some little Burn sounding riffs and shit, I mean, that's just bonus awesomeness as far as I'm concerned. Plus, they scored a great recording, so… there's not a damn thing missing. I'm all over this shit. Highly recommended, and I can't fucking wait to hear more from these cats…

Unforgiven "It's All Been Wasted"

When I bought the EP on Download Punk over the weekend the first song (posted above) was missing for some strange reason, but thankfully I noticed that the band had it posted on their MySpace page, so it all worked out. I just can't say enough good things about this material. I wish more bands could properly capture this style of hardcore these days…

Purchase:

@ Eightfold Path Records
@ Download Punk

"Filthlicker" is the debut EP from New Zealand's Akaname on Debello Recordings, tearing through five tracks of intriguingly diverse and jarring metalcore in about 20 minutes. I've always been very picky when it comes to the more discordant and chaotic side of the "metalcore" realm, but there's something about these tracks that works very well. For one thing, the recording is nice and dense, and the vocals have a harsher and more aggressive tonality than the borderline irritating cackled screams and shrieks that often plague this niche of the genre, so there's a certain warmth and ferociousness going on that certainly adds to the overall impact. But they also tend to throw in a little more variety than usual as well, and without losing sight of transitions or the big picture of the songs' sense of feeling. So, while there are plenty of the expected quick shifts from chugging rhythmic fits to bursts of flurried notes, there are also some subtle samples and electronic noise textures beneath the surface, as well as some churning death metal-infused riffs - complete with warped pinch harmonics and thick, gnashing picking patterns that make for some surprisingly meaty moments. Much more interesting than the legions of bands out there tossing out fifth-rate Botch/Dillinger ripoffs, you know?

Akaname "The Garden Path"

Oddly enough the band's vocalist left shortly after the recording of this EP, and they've decided to carry on as an instrumental act, so… I guess we'll see how that plays out when their full-length hits the streets. Hopefully they won't lose any steam.

Purchase:

@ Debello Recordings
@ Interpunk

"Shotgun Justice" was the sixth full-length from prolific, longstanding, and I assume legendary (Yeah?) Canadian thrashers Razor, originally released in 1990 on Fringe Records. It was their second to last record (they first called it quits in 1992, about a year after the release of "Open Hostility"), and in my opinion also their best. They did reform in 1997 and release a new full-length, "Decibels", however, they haven't put out anything since - though they did reform again in 2005, granted none of their old websites have been updated since late that year - so… who knows what's going on with 'em now!?

Anyway, in the interest of complete honesty, I had barely heard any Razor material prior to this week. I had sampled tracks here and there over the years, and they had always been one of those bands that I had wanted (and fully intended) to check out, but for whatever reason I never got around to it. Perhaps it's because their CD's are kind of a pain in the ass to find for reasonable prices, I don't know. But somehow or another (I have absolutely no idea how) I stumbled upon this video last week:

And, I mean… come on! It took me all of 10 fucking seconds to assure myself that it was mandatory that I finally check out some Razor albums immediately. That's gotta be one of the greatest fucking videos in the history of all living things, (probably) unintentional comedy gold or not. I could talk about the video for hours on its own. But let's face it, the fucking song rips, too.

So, "Shotgun Justice" was obviously my first choice. And yes, I'm kicking myself over the fact that Razor formed in fucking 1984 and it somehow took me 24 god damn years to fully experience their absolute brilliance. Here we have a whopping 14 tracks in just 39 minutes and 19 seconds, jam packed with generally fast (and, okay, with crunchy midpaced breaks aplenty) early-90's thrash with perfectly blunt song titles such as "Violence Condoned", "Brass Knuckles", and "Cranial Stomp", to name but a few. The vocals are 100% badass, too. I'm sure there's a legion of diehard Razor fans out there who would have my head for this since "Shotgun Justice" was the band's debut album with Bob Reid on vocals, but… I definitely prefer his Exodus-esque bitterness/subtle sarcasm to the band's former frontman, Stace "Sheepdog" McLaren (guitarist Dave Carlo has been their only consistent member throughout their history). What can I say?

And let's not forget the utterly fucking impeccable cover art (don't deny it) - one of Razor's many contributions to the archives of incredible metal album covers - or the classic fucking lyrics, man!

Pressure is building inside. Strengthening desire to kill. Tension rips through my veins. Increasing hardcore hatred, my will. Angered. I reach in my coat. My fingers find my weapon of brass. Planting my fist in your face. A violence fix, I'm kicking your ass. Punch out your lights. Fist fighting every night. Fractured your face. Left you a total disgrace…

Oh yeah, this band is the shit, my friends. Why the fuck haven't they gotten more blatant praise over the years, and why have these albums always been so damn hard to come by!? I just don't get it…

Razor "Shotgun Justice"
Razor "Brass Knuckles"
Razor "Stabbed in the Back"

I honestly can't find this damn CD for sale anywhere (sans the one used copy on Amazon.com for fucking $120, which is just plain stupid), nor are the songs on iTunes or whatever. But, if you want to enjoy some undeniably raging thrash metal from a band that seems to have gotten somewhat of a raw deal over the last few decades, well, you can find the tracks out there. I don't usually support that kind of thing, but… what else can you do, you know?

The Black Box Recordings-released debut full-length from NYC's ASRA (Alleged Satanic Ritual Abuse) tears through 11 tracks of completely and totally fucking badass death metal-infused grind in a mere 22 minutes. Legendary bands like Assück, Napalm Death, Man is the Bastard, and Discordance Axis seem to get thrown around frequently in press materials related to ASRA, and I actually can't argue with that at all. From the blasting, super tight drumming to the thick riffs that balance tactful speeds and intense grooves, or the maniacal vocals that shift effortlessly from burly growls to fierce sneers, snarls, or shrieks, it's all here, and it all fucking rules. The songwriting's memorable without lacking a shred of intensity, the recording's gritty and textured but still forceful and crisp… I mean, shit, it's just everything anyone should ever want out of a grindcore record. Even the cover art is fucking great! I can't speak to the lyrical content because the promo didn't come with lyrics, but judging from the song titles I'd say there's nothing to worry about in that department either. So, yeah… fucking perfection. I love it.

ASRA "Human Construct"

This one's available on both CD and vinyl, but I don't think the CD pressing is out just yet (though it should be available within the next few days). However, it looks like the limited edition clear vinyl pressing comes with a CD of the tracks or something like that, so… pick this shit up if you like what you hear. I'm already looking forward to hearing more from these cats.

Purchase:

@ Black Box Recordings
@ Relapse Records

The always quality I Hate Records recently dropped another extremely intriguing release - "Strega", the second full-length from Subrosa (whose limited edition debut is apparently now sold out). When I first popped the disc in I was immediately stricken by the band's curiously innovative approach to the types of eerie, sludgy, doom-laden atmospheres for which I Hate's roster is most known, and assumed they were probably from Sweden or the UK or something like that. Then I sit down to write this up and I come to find out they're actually from Salt Lake City, UT of all places, which somehow seems even stranger!? Whatever the case, a somewhat monotone (yet emotive) form of singing tends to be the focal point, blended against a foundation of relatively simple, stripped down "doom" riffs with that classic, fuzzed out tone and somewhat of a bluesy "old school doom" sort of backbone. However, they also utilize electric violin, and somehow layer textures together to create a lot of really unique droning effects that sort of bubble up amidst the background tones of the mix to thicken things up and create additional space within space, if that makes any sense. I hate to keep using words like "curious" and "intriguing" and "strange", but I assure you that I mean them all in a very complementary manner, as the peculiarities of Subrosa's approach are both admirable and inventive - keeping them in line with the general vibe of this type of genre while also separating them from the pack and creating an experimental sort of angle that effectively draws the listener in with nonstandard tactics that shun conventional expectations. For example, you'd often expect a band within this realm to be dealing with long, drawn out compositions, but the majority of these tracks are just two or three minutes each, and the title track is the only song that tops six minutes. I don't know what else to say, really. I just find this to be a really interesting album, and I hope some of you will feel the same and pick it up as a result.

Subrosa "Crucible"

Purchase:

@ The End Records

I personally don't hear too much black metal from Spain, but when this re-release of "The Last Breath of My Mortal Despair", the most recent full-length from Empty, showed up in the mail from De Tenebrarum Principio I was immediately impressed. The first few minutes of the opening track alone shift from precisely the types of cold, dissonant, atmospheric riffs that I long for from the genre to plenty of warped tremolo picking and droning leads, spacious clean passages and ambient textures, powerful midpaced surges, and then some. Even when they break into an instance of the ferociously blasting speeds so typical of this style, they certainly don't remain there for very long. It's really interesting, because in many ways the general feeling of the album is what I tend to think of as "classic" black metal, but their approach really isn't very straightforward. It's neither overtly technical nor blatantly avant-garde, but they're definitely touching on those types of influences in a manner that's occasionally frenzied or dramatic, but without being particularly chaotic or over the top. Hell, you can actually hear the basslines and everything!

The band formed in 1995 and took four years to release their first demo, then another three for their debut full-length, so… with "The Last Breath of My Mortal Despair" having originally been released in 2005 by Blackened Moon Productions, it's obvious that - unlike many black metal bands - these guys are in no hurry to rush material out there. And that emphasis on quality over quantity damn sure pays off, because this is a cool record. Having never heard any of the band's prior work I can't speak to whether or not this album marked a significant shift in quality, but based on the strengths of this material I'm fairly surprised that I had never heard of Empty before.

Empty "The Horrible Drawing Back of the Veil"

Purchase:

@ ATMF
@ Moribund Records
@ Paragon Records

This split 7" between two intriguing Finnish hardcore bands that I've written about here in the past (both of whom eschew the sheer brutality for which the Finnish scene is often known these days) came out last year as a split release between the Finnish labels Deaf Forever and Brown Records. Lighthouse Project kicks things off with three tracks of their generally fast-paced melodic hardcore with uniquely searing vocals that still manage to capture some feeling and melody to match the tone of the music. For the most part the song structures follow a straightforward path, but there are some shifts in tonality and pacing to keep things from stagnating. Satura Lanx then follows with two tracks of their own, which actually sound a little more straightforward and energetic this time out - not unlike the Lighthouse Project material, but with a subtly rocked out vibe buried underneath the pounding basslines and palm-muted melodic hardcore riffs. It's still a little dirtier and more aggressive overall, but they definitely seem to have focused their approach a bit, and the songs certainly deliver. This split actually marks Satura Lanx's final release, as they unfortunately called it quits late last year. It's only about a 12-minute record, but both bands serve up great tracks with no filler, so it's a damn enjoyable listen that continues to demonstrate that the Finnish hardcore scene has a lot of different styles to offer.

Lighthouse Project "Freezing to Death"
Satura Lanx "The Higher You Climb, the Harder You Fall"

I'm a little late in getting around to covering this one (Sorry, Samuli!), so the 7" is already sold out from both of the labels. Act fast if you're interested in getting your hands on a copy!

Purchase:

@ Surprise Attack Records

The latest release from The Catalyst - which is actually my first exposure to the band, despite the fact that they're from right here in Richmond, VA - is "Marianas Trench +9", released by The Perpetual Motion Machine. The disc collects their tracks from the "Marianas Trench" one-sided 12" EP, their split 12" with Mass Movement of the Moth, and their split 7" with the Brainworms, for a grand total of 13 songs in about 42 minutes. What's it like? Good question. Wacky song titles like "This Bike is a Gravity Bong", "Smoke Crack Worship Satan", and "Jesus Garcia", among others, might suggest a certain air of chaos or, well, humor, but… that's really not the case at all. The lyrics are actually quite serious and seamlessly fuse the personal with the political - or the political via the personal, etc. - and musically there's a hell of a lot going on, so they've really done a nice job of creating somewhat of an uncategorizable amalgamation of sounds.

There is a little bit of a chaotic thing happening to a degree, but part of that's simply due to the sheer variety of influences swirling around within the tracks, and how frequently they change things up. It's weird, but it's not necessarily all over the place or anything like that, there's definitely a sense of control. They effortlessly transition from tactfully abrasive noise rock into loose, quirky indie riffs; there's thick, grungy, fuzzed out rhythms and sludgy feedback aplenty; plus throbbing basslines and pounding, bashing percussion; while the vocals are generally lightly distorted shouts and screams. Hell, there are even some spacey post-rock types of passages happening, with lots of droning effects and noisescape "leads" that all sort of bleed into some kind of fucked up 70's prog rock vibe or something. Like I said, it's weird. The label has said, "Recommended for fans of Karp, Nirvana, Melvins, Pg.99, etc.", and I could see that. Oddly enough I can hear some Nirvana tucked away in there, just dirtier and more fucked up… which could explain the Melvins mention and such. I don't know, I think it's cool shit, so see what you think?

The Catalyst "This Bike is a Gravity Bong"
The Catalyst "Born With a Buzz"
The Catalyst "Three Ring Binder as Makeshift Monster"

I want to know what we think we are accomplishing. We're all just playing our roles. You'll make up reasons, I'll be left speechless. I think you're missing the point. You'll wash your hands of it, just like you always do. Parasites personified. Redefine the compromise. Paralyzed, internalized, stupefy, lobotomize. Ringworm in my stomach. You'd settle for less, you'd settle for nothing. Hands in your pockets, alert for alarm. There's no cause for alarm, no cause for alarm. Punch me in the face, please. Thank you. Found out early on, hate can be a useful thing. But I never found a use for it. Laugh first so no one can laugh at you. You and me, we'll never change, we'll only grow more cynical. Never quite together, but never far apart. I still think you're missing the point.

Purchase:

@ The Perpetual Motion Machine
@ Robotic Empire
@ RevHQ
@ iTunes (mp3)

The latest from Escapist Records is this killer split CD between two California hardcore bands with a penchant for the 90's style of metallic hardcore and subtly apocalyptic lyrical themes, totaling seven tracks in just under 20 minutes. No Truce kicks things off with three tracks of thick, bass-heavy, in your face metallic hardcore that blends vicious breakdowns and loads of fast, straightforward hardcore chord progressions with pissed off vocals and all that jazz. On occasion they'll toss in a little bit of dissonance to color things up a bit, and that's a great touch. Nothing too fancy, it just works, you know? Crucified then follows with four tracks of their rather similar take on this niche, granted their vocal approach has more of a bitter sneer to it that lends a certain air of explosiveness to their compositions. Though ironically there's probably a little more of a midpaced chug happening within these four tracks as well, so it's cool that the fury of the vocals kind of counters that and works to amp things up. Both bands are pretty much sticking to tried and true metallic hardcore "formulas", but I'd say that's the case with the vast majority of these types of acts, and there's not a damn thing wrong with that in my book. I wasn't familiar with either of these bands prior to checking out this split, but I obviously should've been, so I'll be looking forward to hearing more material from both of 'em in the future. Good stuff.

No Truce "The Binding of the Wolf"
Crucified "Order Out of Chaos"

The disc's only like $6, which is cheap as hell, so pick it up if you like what you hear. It should also be available in mp3 format from Download Punk in the near future, too.

Purchase:

@ Interpunk
@ RevHQ

The last time I wrote about an impressive French band, several people posted comments suggesting Revok, and before I could check them out for myself, the band actually contacted me and offered to send me their debut full-length, " Bad Books and Empty Pasts", on Rejuvenation Records. And holy shit, I absolutely understand why people were telling me to check this band out, because this is an absolutely excellent album that really has a lot to offer. The base of their approach should definitely appeal to fans of this niche of the French scene, what with its pulsing rhythms and dark, grating textures and scathing vocals. However, the direction in which they're heading is also incredibly distinct, and really sets them apart from other (often more standard) acts that explore these realms of "extreme music".

For one thing, the compositions explore a much wider range of influences, offering a more consistent sense of spaciousness and melody that makes for a completely uncategorizable big picture. Loads of killer, intricate basslines pulse and throb and roam to lay the groundwork alongside warm, natural percussion; while the guitars weave in, out, and around through a range of dissonant textures that brings to mind "noise rock", math metal, and even some emo/indie sensibilities. The vocals are also pretty colorful, often employing strange techniques that combine singing, speaking, and sneering - which really adds to the overall atmosphere of the material and fits in well within the spaciousness of the music. It's impressive how awesomely everything pieces together, really. I mean, the recording is superb, and the mix keeps one guitar on the left and the other on the right, thus allowing plenty of focus to fall towards the rhythm section. This also highlights the fact that the two guitars are damn near never doubling one another (or the bass, for that matter), so there's always something unique happening on all sides and layering together into the whole. Very fucking cool. Very. I'd be curious to hear if their two prior EP's were already at this level of curious innovation…

Revok "Bills Pay Pills"

I knew the abyss like the back of my hand. I might have not seen the sun enough. Trying to hide the sky to broken mirror eyes. Failing in hearing the echoing voices of the old ones. The passed ones. Small blizzards passing through. It takes your hand and takes you for a walk or a ride. Hard to tell before the seizure hits. A lifetime effort sending you in a place filled with old books and bad attitudes. Like reading an article with synæsthesia and being washed in a cascade of confusing colors and perfumes. Until all senses are gone. Not making any sense anymore.

The disc is housed in a slick, glossy digipack with some simple yet intriguing artwork throughout the cover and six-panel foldout insert, which also contains the oft-cryptic lyrics. So… a nice release all around, this one. Certainly recommended, and though I'm not entirely sure about ordering information, I'd recommend contacting the band or the label on MySpace to see about getting your hands on this gem. And I received my copy from the band in less than a week if that influences your decision to act at all!

The debut album from Philadelphia's Javelina (released by Translation Loss Records) is chock full of sludgy, dingy, gritty fuckin' rock… meets hardcore/punk/metal/whatever the fuck you want to call it. In fact, at times certain facets of their approach remind me of Alabama Thunder Pussy's mighty early days, granted Javelina's triple-vocal attack offers up a harsher-edged array of shouts 'n' yells 'n' sneers. And, accordingly, their heavy yet rockin' backbone tends to branch out into a more aggressive array of pounding basslines, erratic flurries of hammering drum fills, and thicker, nastier guitars - where the occasional dual guitar runs are more like NWOBHM via Eyehategod (if that makes any sense) than any 70's-esque rock 'n' roll throwbacks. I don't know, there's probably a small hint of some of that kinda shit in there, too (check out some of the more fuzzed out/less noisy bursts lead playing during the seven-minute "Architect"), but… it's all just a little nastier and more over the top here, you know? Not that they're really trying to rewrite the book on this particular niche or anything like that, 'cause they're not, but… the overall sense of energy definitely does the trick for me, and keeps things moving along at a strong pace that carries the listen well and leaves you feeling content when all is said and done. Good stuff. That's all there is to it.

Javelina "Throttled"

Oh, and the lyrics are kinda badass as well:

Snake handler, serpent preacher, touched by tongues. Partake in the poison from the mouth of your god. Anointed by fire. Fangs of Christ. Cleansed from within. Clergy of snakes, captors of man. Eulogy of snakes, prisoners of faith.

Purchase:

@ Translation Loss Records
@ The End Records
@ Relapse Records
@ Amazon.com (mp3)
@ iTunes (mp3)

The Eight Arms Around You is a new, creative metallic hardcore band from Gothenburg, Sweden that features members of Scraps of Tape, Smackdown, Anchor, Dead Vows, and One Final Breath. I think the incredible (and vastly different) Scraps of Tape is the only one of those bands that I've heard before, but it's because of that fact that I got to discover The Eight Arms Around You, as Johan Gustavsson from Scraps of Tape (and now The Eight Arms…) sent me an email asking me to check out the band and see what I think. I was way into it - they remind me a lot of early Burst (when they were at their absolute best, in my opinion), with some stuff like Catharsis and His Hero is Gone thrown in (though The Eight Arms… seems to be heading in a darker and perhaps more personal direction in some ways) - so I offered to help them out by posting a track from their recently recorded five-song EP to see if anyone out there might be interested in releasing it. I've only heard two songs, but they're both fuckin' killer, and these guys really seem to be efficiently fusing a shitload of different influences together, so… here's an advance track to check out:

The Eight Arms Around You "Guilt Ridden"

If anyone reading this is interested in releasing this EP, or knows someone else who might be, please either pass the word along or get in touch with the band on MySpace and see if you can make it happen!

I'm quite surprised it's taken this long for me to officially give a nod to Anacrusis here on the site, as they're one of the more innovative and unquestionably unique progressive metal bands of all time. Formed in the late-80's as a diverse though harsher-edged unit, they had grown into a much more mature and adventurous (if still underappreciated) outfit by the time they called it quits in 1993, shortly after the release of their final album, "Screams and Whispers". And for the longest time I felt like "Screams and Whispers" was my favorite Anacrusis album, but as the years pass I'm not so sure anymore. The more I listen to it, the more their third full-length, "Manic Impressions" (released by Metal Blade in 1991), has slowly inched into that top spot. Make no mistake, "Screams and Whispers" is an absolute classic, and I recommend it just as highly as this material, but… I now feel like this record's just a hint more consistent in terms of overall songwriting quality.

If you've never heard the band, this album is where they really, truly started to come into their own and fully realize the foundation of their overall vision. Retaining just the right amount of the harsher, speedier thrash riffing and shrieking vocals from their debut, the technicality and diversity of the progressive influences really gelled here - with much more singing, melody, and far more memorable songwriting. This material also really set in stone the band's unique set of production values, as their guitar and bass tones are immediately recognizable, and have rarely been similarly utilized in this combination by any act since. Furthermore, their penchant for hard-panning the guitars in the mix makes for some great headphone listening, as you can really hear how the dual guitar lines differ and work alongside one another in tandem with the crisp basslines.

While "Screams and Whispers" contains a handful of absolutely stunning compositions, this album's standout, "What You Became", remains my favorite Anacrusis track of all time, and really hits home right off the fucking bat. Hell, even their cover of New Model Army's oddly titled "I Love the World" is fucking incredible. You can't lose. I definitely hope I'll introduce some new fans to these guys here, so… see what you think!

Anacrusis "What You Became"
Anacrusis "Dream Again"
Anacrusis "I Love the World" (New Model Army cover)

You've grown into this faceless mask and empty shell. And, like a ghost of your indulgence, you wear them well. Still haunting something, by your own hand, lost. And you shiver with the chilling sense. You've saved nothing for yourself… The lies, the games, devoid of guilt or shame. Now you resent what you became, and the reality of only you to blame…

This one's out of print, of course, but thanks to the band's criminally underrated status as more of a "cult favorite" you can still grab the CD for less than $2 at Amazon.com (and it's on iTunes as well, if you prefer).

Purchase:

@ Amazon.com
@ iTunes (mp3)

The debut EP from California's Restrained (on Glory Kid Records) blows through six concise tracks of furious metallic hardcore in about 11 minutes. For the most part it's fairly standard, 90's-inspired metallic hardcore based around chunky power chords and traditional hardcore runs given that heavier edge, with a few forays into darker musical influences with some slower breaks or clean runs - which, when combined with the harshness of the screamed/yelled vocals, definitely lends a certain dingy kind of His Hero is Gone aesthetic to the material. And lyrically it's a pretty even mix of the personal and political, which also makes sense given the combination of hardcore/punk influences swirling around in the mix. They're certainly not rewriting the book here, but I don't give two shits about that. The writing and recording are absolutely solid, and they're very good at what they do, so… I'm all for it. Not bad at all, and I'll be curious to see where these cats head in the future…

Restrained "November 17th"

The 7" is limited to 500 copies with screenprinted covers and inserts, so… vinyl junkies rejoice, heh.

Purchase:

@ Glory Kid Records

Strange that a copy of the Southern Lord reissue of the self-titled 2005 debut from one-man black metal "legend" Wrest's Lurker of Chalice project showed up in my mailbox just days after I posted about Leviathan's "Massive Conspiracy Against All Life", the comments for which ended up containing numerous mentions of this album. And I have to say, while it's "rumored" (I suppose) that "Massive Conspiracy Against All Life" was going to be a Lurker of Chalice album at one point, I just don't see much of a connection here, and must disagree with those who feel that "Massive Conspiracy…" should've been released under the Lurker of Chalice banner. Sure, there are similarities in terms of some of the sneering vocal work and faster, more Leviathan-esque black metal runs, but here those chord progressions are even more twisted and mangled, bending and churning in an even more severe and tormented manner (if you can imagine). And not that Leviathan's work is one-sided at all, but this is so obviously far more diverse! Take for example the unexpectedly dingy, sludgy, crawlingly paced doom of "Minions". Not to mention the more prominent, melodically throbbing basslines; tactful synth melodies; droning, melodic yet abstract lead lines; or similarly droning, chant-like appearances of not-exactly-singing that creep into play throughout the compositions. Everything just feels a bit more vast and experimental, with a good amount of obscurely layered guitar work that often creates cascading waves of ambient texture as opposed to tangible "riffs", as well as the occasional presence of samples (which are also quite efficiently employed). I'm honestly not entirely sure you could truly classify this as "black metal", though most seem to, as the parallels are quite far from clear-cut. It's just an entirely different beast from Leviathan… it really is.

Things do start off a little slowly with a less-than-stellar two-minute instrumental, so I was initially very uncertain as to how I'd feel about this album, but within five to 10 minutes it was clear that this is yet another admirable piece of work from Wrest. And yet again I'm quite late to the game in discovering an appreciation for what his output has to offer.

I'm only posting one song, so keep in mind that this is but a small representation of the album as a whole:

Lurker of Chalice "Spectre as Valkerie Is"

This reissue also contains a bonus track, "Wail", previously only available on the out of print 2xLP edition of the album, making for a total of 10 tracks in 68 minutes. And here's where I complain about trivial details, but I have to point out that I find it incredibly irritating that there's absolutely no mention of the bonus track on the CD's digipack presentation whatsoever. Especially since the bonus track appears smack in the middle of the tracklist (it's the seventh of the 10 songs). It wasn't until I looked up the album in the iTunes store, where it just happened to be, that I saw the complete track listing and had my suspicions as to the bonus track's location confirmed. Relatively minor details, I know, but that kind of shit still bugs me, because it's just stupid, you know!?

Nonetheless, I think this puppy used to go for absolutely obscene prices on eBay, so… now it's back in print and more widely available at no extra cost. Pick it up if you like what you hear.

Purchase:

@ Southern Lord
@ The End Records
@ Relapse Records
@ Amazon.com (mp3)
@ iTunes (mp3)

I'm not sure if this is to be considered some sort of demo or an EP or what (technically this isn't a true "release", the band just has the three songs available for download on their MySpace page), but I got an email from The Joy Formidable a few weeks ago, and upon checking out their material I was immediately blown away. What's odd about that is that the UK trio's somewhat peculiar niche isn't exactly what I'm normally known for listening to - that is to say there's nothing even remotely metal- or hardcore-esque about this music in the least - but I simply can't deny a good song, and every single one of these tracks is just fuckin' great. I have absolutely no idea how the majority of the world would classify this stuff (hell, even the band just tags it "Other/Other/Other" on MySpace), but there's a little bit of punk-ish indie rock to the tonality and catchiness of the songwriting, though the overall vibe kind of has that Interpol-ish contemporary new wave thing going on (And I just use Interpol as a loose reference point there since they're sort of a benchmark, you know?), it's just more upbeat and memorable as opposed to relying on the darker and more subdued side of things (though there is a certain somber air in there, too). I don't know, it's just excellent material, and I totally can't wait to hear more from this band. It won't be for everyone as far as the readership of this site's concerned, but I know a number of you will appreciate it as I do. Awesome.

The Joy Formidable "Austere"

Download all three tracks from The Joy Formidable's MySpace page.

"We are the Nightmare" is the Nuclear Blast debut from the alfuckingmighty Arsis, a band that I've absolutely adored for a little over four years now, ever since I first saw them live prior to the release of "A Celebration of Guilt". No matter what, Arsis can do no wrong, and is without question one of the finest metal bands active today. From a songwriting standpoint this material is probably a hint stronger than that of "United in Regret", recapturing more of the energy, catchiness, and just utterly fucking badass, mindblowingly technical flashiness of the riffing from their debut full-length. It definitely took me a few minutes to get used to the recording, though, I must say. I listen to 95% of my music in headphones, which certainly helps in this case (both for capturing the full effects of the layering and complexity, and in terms of the mix), but it seems like every time I throw this album on, it sounds really thin for a minute or two, and then thickens up if I increase the volume a bit and give it a few minutes to settle in. I'm not sure why the hell that is, though!? There's definitely some "…And Justice for All" happening to a degree in terms of the basslines (they're too damn hard to hear), and I think the drums could probably fall back a smidge, but… I dunno, maybe those two tweaks would've done the trick 100%? Or maybe it's just me? I don't know… fuck it. 'Cause the songs and the playing are fuckin' superb, as expected. Always. You'll be hard pressed to find better solos anywhere else in contemporary metal, not to mention the fact that half the time the rhythms are as fucked up and complicated as solos in Arsis' work anyway! I just love this god damn band, man. And trust me, the three songs they've placed on MySpace thus far are certainly not the best that this album has to offer. There's ripping greatness aplenty. But I don't want to give away anything that they don't already have out there for promotion, so… just think of this as a teaser for what the full album has to offer, as it definitely gets better from here!

Arsis "We are the Nightmare"

The physical CD's packaging is the band's best yet (the metallic bronze foil outline on the front cover's logo is slick as shit), and comes with a bonus "making of" DVD - which is really more comedic footage of the band fiddling around in the studio and "behind the scenes" during the recording than anything (and at less than an hour in length did leave me wanting more). Though it does prove in a few brief moments that the band's new guitarist, Ryan Knight, is just as much of a badass shredding lunatic as band leader Jim "The Fucking Man" Malone. Impressive.

And don't download this shit for free, fuckers. Please support these guys if you're a fan, 'cause they really, truly fucking deserve it, okay?

Purchase:

@ Nuclear Blast
@ The End Records
@ Relapse Records
@ eMusic (mp3)
@ iTunes (mp3)

I couldn't resist. I just randomly found this, and cannot fucking believe there's a video for it. I've seriously worshiped this song since I was 9 years old. One of the greatest 80's rock/pop songs ever written, from by far the greatest movie ever made:

Fucking unbelievable.

When I was a kid I held a tape recorder up to the TV and recorded all the songs from this movie onto a tape and listened to it in my walkman while I rode my shitty old BMX bike around my neighborhood. Totally classic! Ha, ha…

I had a busy weekend and didn't get any reviews written, and this week is shaping up to be similar, so… I probably won't be posting anything new to check out until Monday. Hopefully next week will be pretty much back to normal, though.

In the meantime, here's one of the greatest B-grade glam metal songs ever:

(Can't remember if I've ever posted this one before or not… granted only three people will actually like it.)

Random? Absolutely…

Though fairly "legendary", I feel like Florida's Assück doesn't get talked about all that much anymore in terms of influence, or just how incredible they were in general, etc. Perhaps it's because so few grindcore bands have since matched their overall quality in terms of riffs/songwriting, or truly touched upon their otherwise brilliant fusion of death metal and hardcore/grind, I don't know. Admittedly I had forgotten just how killer this material was myself until earlier this week, when I pulled out their discs for the first time in years to throw 'em on the ol' iPod. "Anticapital" in particular (released on CD with bonus tracks in 1992 by Sound Pollution) really stands the test of time as an absolute masterpiece of sheer socio-political brutality. The album itself tears through 17 tracks in just 15 minutes and 18 seconds, with not one song hitting the two-minute mark. The thick-as-fuck guitar tone is perfect for the twisted and mangled pinch harmonics and subtly groovy Cannibal Corpse- or early Gorguts-styled riffing (similarities no doubt helped along by the Scott Burns production values); the drums are tight 'n' technical with plenty of raging blasts and flowing grooves that follow the guitar work; and the vocals are super burly without sounding the least bit goofy. It's just an incredible release on every level, with powerful tunes and a sense of urgency/energy extremely uncommon for grindcore - as is the sincerity of their message, which is delivered in a more intriguing and creative manner than your typically bland "politics". Now I'm actually somewhat pissed off that I haven't been rockin' this shit on a regular basis all this time!

Assück "Socialized Crucifixion"
Assück "State to State"
Assück "Page by Page"

I want to do everything yet I sit and do nothing. All that say, says nothing at all. Does mere existence truly justify itself? Optional in your world of confusion, powerless in my world of frustration. You seem to laugh, I sit and cry. In this world we all lose to the politics of lies.

Purchase:

@ Sound Pollution

Yet another killer new release from Malfunction/Deathwish is the "American Violence" EP from Philadelphia's Reign Supreme, which busts out five concisely focused tracks of perfect metallic hardcore in just 12 minutes. I don't entirely know what to say, 'cause this is textbook stuff here, with straightforward song structures; furious vocals; fast-paced power chords with some traditional hardcore influences; powerful, crunchy midpaced breaks; and just the right amount of groove. They're not trying to rewrite the book, and that's fine by me, 'cause every song's a keeper and they god damn sure leave you wanting more. If it ain't broke, don't fix it, right? In fact, pretty much the only thing that could've made this CD any better would've been if they'd tossed some bonus tracks from the band's prior work on at the end, 'cause I wasn't familiar with these cats beforehand (I'm "out of the loop", what can I say?), and it appears that their prior releases were all on vinyl. Fuck it, though. This is great shit and I can't wait to see a full-length hit the streets. What more can be said?

Reign Supreme "Iscariot"

Purchase:

@ Malfunction/Deathwish (CD)
@ Malfunction/Deathwish (7")

Available from Lyderhorn Records, though I don't think it's an "official" Lyderhorn release, "Reality Check: Ansiktet Ditt er en Personlig Fornærmelse" is the first vinyl output from Norwegian grinders Slaxxmaal - tearing through 19 songs in just six minutes. And this is without a doubt some of the most "serious" grindcore you will ever hear in your life, from their extremely "in tune" and "accurate" cover of the Misfits' "Some Kinda Hate", to the numerous six-second outbursts of not at all noisy, never chaotic grind mayhem. There's nary a shred of humor or lightheartedness here. Nah. Sarcasm? Huh? Forget the fact that song titles like "Vet du Ka? Du e så Stygg at eg må Spy Opp Ting eg Allerede Har Drete ut, du Stygge Stygge Umenneske (Eg Spyr så Jævli at Driten Blir Sugt Opp av Dass og Inn i Ræven og Gjennom Fordøyelseskanalen og ut Kjeften, så Jævlig Spyr eg av Det Stygge Trynet Ditt)" are almost always longer than the songs themselves. But in all seriousness, there is a rather badass layout, with absolutely killer looking cover art and a slew of collaged photos inside of the band practicing, in the studio, or just hanging around - all creating the illusion that they take themselves much more seriously than they do. This is further evidenced by the crude little xeroxed insert for the lyrics (which, like the titles, are all in Norwegian), hand-numbered out of 300 copies and complete with random artwork such as little hairy penis drawings and other "high-brow" doodlings. I'm guessing that there's an absolute wealth of hilarity to be found herein, but without speaking a shred of Norwegian much of it's lost for me. But that doesn't mean I can't appreciate that it's there!

Slaxxmaal "En Kjekk og Grei Liten Pre-skrevet Anmeldelse av Denne Platen du Hører på nå, Slik at du Slipper å Anstrenge Deg Mer Enn Høyst Nødvendig Når du Skal Fortelle de Støgge tjommiene Dine Hvor Drit Skiten Er"
Slaxxmaal "Eg Skrev en Bok/Some Kinda Hate"

Purchase:

@ Lyderhorn Records

"Embrace the Horror" is the debut full-length release from Dutch metalcore act Incarnate (on Demons Run Amok Entertainment), and the band seems to have beefed up and branched out a bit since the days of their first EP, "A Dark Age of Lies". Expect super burly vocals over dense, chugging guitars and throbbing bass with a good amount of tempo changes - from crushing midpaced breakdowns to some of that H8000 sounding tremolo picking. There's definitely a pretty significant metal influence happening, with bits and pieces borrowed from both thrash and death metal, but most of those influences tend to come through that 90's European metalcore filter, with an over the top kind of Arkangel edge, and maybe a little All Out War thrown in as far as similarities to any American bands from that particular niche. Where Incarnate succeeds, however, is that they keep things moving. The album's a consistent whole, but it's not a one-sided listen, and with 10 tracks in a little over a half-hour they tend to trim the fat and keep pushing forward, so there's a certain sense of energy and focus that a lot of these bands lack. The performances are also fairly solid, the recording's nice and crisp (Sweet acoustic instrumental in "Marching Into…"!), etc. There's still room for improvement here and there (the guitar solos are actually pretty fuckin' cool, I'd like to hear 'em a bit more often, really), but things are coming along nicely for these guys, and they're honing in on an aptly fierce sound that's rooted in the glory days of Europe's metallic hardcore scene.

Incarnate "Abandoned"

I'm not seeing this one around in US distros yet, but you can try to contact the band and/or label at the links above for more information on that, and I bet you can probably pick up copies from the band for a reasonable rate and get them within a fair amount of time, too.

Purchase:

@ Demons Run Amok Entertainment
@ Filled With Hate

I've been sick and incredibly busy lately, so I haven't been able to get much done in the way of reviews. Hopefully I'll get a little more caught up next week.

But I did get an email the other day from my man Erik, formerly of Digital Metal (R.I.P.), about his new site, Teeth of the Divine, so check that out. It's all new, so it's still growing, but there's already a good amount of news, reviews, interviews, a blog, and plenty more to come. Slick layout, too!

The "Plagues… Walking Disease" CD (on Malfunction/Deathwish) combines the recently released "Plagues…" 7" with last year's "Walking Disease" 7"/CD from Sacramento, CA's Trash Talk. I wasn't familiar with this band prior to checking out this material, but they basically blaze straight through cut after cut of blisteringly fast-paced metallic hardcore with a little smidge of that grinding sort of powerviolence edge happening thanks to the sheer speed and blasting aggression present throughout. There's not a ton of metal in there, but they do offer up a great range of cohesive influences throughout, from straightforward old school-infused hardcore to some churning thrashiness, pounding midpaced breaks with some killer bass runs, and an overall sense of fierce, explosive energy - especially the maniacally screamed/yelled/shouted vocals, which are pretty fuckin' intense. And when I say that they blaze straight through, I'm not kidding: Few compositions top the minute mark, and most of those don't even hit a minute-and-a-half, so despite the collection's misleadingly lengthy 17-song tracklist, everything's over and out in just about 14 minutes. The listen is 100% consistent from start to finish, so it sounds like all of these tracks were recorded in the same session, but I'm not sure since there's no recording information or anything like that in the booklet - but it does fold out into a six-panel "poster" full of completely badass artwork, and all of the lyrics are on the flip side. Good stuff. That's all there is to it…

Trash Talk "Lepers to Feed the Lepers"
Trash Talk "Walking Disease"

Purchase:

@ Malfunction/Deathwish

There has been much drama and speculation surrounding the release of "Massive Conspiracy Against All Life", the third proper full-length from San Francisco's infamous one-man black metal outfit Leviathan, but I have little interest in such nonsense, so dig around elsewhere if you'd care to read about such topics. The long-awaited album was finally released last week by Moribund Records, and that's all that really matters: The music. Granted, I was very late to become a Leviathan fan, and in fact simply did not care for much of what I had heard from the project prior to a few years ago. I'm not sure if it was the production values or the actual material itself, but while I admittedly never really cared for the "Tentacles of Whorror" album (and honestly haven't really revisited it since its release, though I should), I did eventually discover an appreciation for Leviathan's full-length debut, "The Tenth Sub Level of Suicide", and some of Wrest's split material.

Similarly, the first few minutes of "Massive Conspiracy Against All Life" found me uncertain, and I think it was just that my ears needed to adjust to the peculiarities of the tones and the mix, because as I settled into the second and third tracks I became more and more intrigued by the entire affair: The overall quality and diversity of the riffing, the chaotically arranged yet relatively precisely delivered drumming, the occasional presence of numerous forms of windy, howling dark ambient tones (to varying degrees of prominence), etc. With seven tracks in just over an hour's time it doesn't take a math wiz to determine that these are relatively long-winded compositions, but even with the majority of the tracks running from eight to 13 minutes, there's so much layering and directional twisting and turning going on that there's little room for boredom. Take for example the unexpected foray into eerie dark ambient hums, subtly melodic volume swells, faint bass runs, and indecipherable vocals towards the end of "Made as the Stale Wine of Wrath". But such frequent shifts and variations are actually employed incredibly efficiently within the grand scheme of the complete compositions/the album as a whole, with an obviously significant level of thought behind the way the transitions rise, fall, and progress throughout.

If you've heard any of Leviathan's past efforts at all you'll know that plenty of the staples of the black metal genre are to play a significant role, and Wrest's take on said elements are still prominent on this recording: Speed, discordant tremolo picking, fucked up chord phrasings and sliding/bending riffs, muddled vocal sneers fighting forth from the core of the mix… But herein even the more "straightforward" and relentlessly aggressive pieces, such as the hammering "Receive the World", are accented with surprises - such as the droning lead melodies tucked away in the distance before the track sinks into a spacious clean riff enveloped by more strangely melodic ambient textures, resonant percussive thuds, and heavily obscured vocal whispers as it draws to a close. You won't find me gushing empty praise for Leviathan's work, but I have to confess that I'm a bit of a convert here, as I never "got it" years ago, but now that I do… it's plain to see that the musicianship and vision at work here really do put to shame so many of the other "renown" one-man "USBM" acts out there - to the point where at least a few of them should feel rather embarrassed, really. This is quite a powerful album, and I think it'll take a few listens to truly begin digesting it as a whole.

Leviathan "Made as the Stale Wine of Wrath" (excerpt)

Purchase:

@ Moribund Records
@ The End Records
@ Relapse Records

By far one of the most painfully underrated albums ever released by Revelation Records was "The Last of the Daydreams", the 1999 debut full-length from Vancouver, Canada's By a Thread. The band was formed in 1996 by ex-members of metallic hardcore outfit Strain (who I was never a big fan of, truth be told), and later went on to release split CD's with Waterdown in 2002 (I've actually never heard this one - anyone got it?) and Still Life Projector in 2004. But this album in particular is an absolute fucking masterpiece of heavy, hard-hitting emo/indie rock, and still deserves more attention to this day.

It wasn't until about four years ago that this record really clicked with me, but when it did I was completely hooked, and listened to this disc in my old CD player/alarm clock damn near every night as I was falling asleep for like six months straight, maybe more. No joke. For one thing, the recording has that density to it that I really love when it comes to the more melodic, emo-ish side of things, as it accentuates the chunkiness of some of the riffs and really beefs up the overall delivery of the material with some added heaviness. But make no mistake, the bulk of the tracks are fairly midpaced and blatantly melodic, with emphatic singing and just the right amount of vocal harmonies making for a strong balance of feeling and catchiness. It's weird, because in a lot of ways it's textbook late-90's emo/indie sounding stuff, but at the same time I feel like By a Thread had something of a unique sound, and I wouldn't exactly compare them to any other bands off the top of my head or anything. At the end of the day, though, it's all about killer songs, plain and simple. See for yourselves:

By a Thread "Surface"
By a Thread "Walkway"

And here's a "bonus" track from the "Revelation 100: A 15 Year Retrospective of Rare Recordings" compilation that came out back in 2002, as this is without question one of the band's finest songs (it's my personal favorite, in fact):

By a Thread "Tainted"

And what kills my life is that apparently these dudes have had a new fuckin' full-length done and mastered for, like, a god damn year now! I thought Revelation was supposed to release it, but apparently the band is in "contractual talks" and attempting to "sort out things" - granted said statements come from a MySpace blog post dated last summer! They've since uploaded a few tracks from said currently unreleased album, and all the shit's great, so… I don't know what the god damn deal is, but someone needs to release that record pronto. There's just no excuse. Great music can't just rot away on a fucking shelf somewhere!

In the meantime, you can pick up "The Last of the Daydreams" new or used in various formats (it's around a buck used on Amazon.com right now), so… get to it if you like what you hear. It's a damn shame this band wasn't hailed more significantly nearly 10 years ago when this jam originally dropped. Maybe they'll get a fairer shot if that new material ever sees the light. Let's hope so…

Purchase:

@ Revelation Records
@ Very Distribution
@ Amazon.com
@ Amazon.com (mp3)

Ills is a brand spanking new band from Finland (Formed just two months ago!), and they've already recorded an extremely solid demo that plows through three tracks of straightforward, crunchy metallic hardcore with absolutely no frills whatsoever in just six minutes. Apparently some (Or all?) of the members are/have been active in other Finnish hardcore bands, but they seem to be keeping their identities under wraps for the time being. No matter, as it's a well-documented fact that I'm a huge fan of metallic hardcore from Finland, and these three tracks achieve a great balance of moderate speeds, tactful breakdowns, and a little bit of Clevo - which is never a bad thing! The metal influences never go too far, and the vocals have more of a bitter, sneering edge than one would expect, which is a great match for the subtly dirty grit of the guitar tone. I don't know what else to say, really. It's a short fucking demo and I've got no complaints. I'm already looking forward to hearing more, and apparently these cats work fast, so hopefully the wait won't be long…

Ills "Revisioning"

If you dig the track above, you can download the entire demo (for free) as high-quality mp3's from the band's website. The lyrics are there, too.

[DOWNLOAD] Ills "Demo 2008"

"Heavier Than Heaven, Lonelier Than God" is the latest "full-length" (I suppose? 11 tracks in just under 20 minutes?) from Philadelphia's continually improving Blacklisted (again on Deathwish Inc.), whose newest material always seems to be their best, which is somewhat of a rare feat. But this is without question their strongest sounding release to date, which certainly plays a role. The mix is incredibly well balanced, the guitars are thick and warm with an unexpectedly fiery grit hovering at the outskirts (which works great against the raging vocals, which actually have a hint of "melody" to 'em from time to time), and the rhythm section holds down the fort with a nice and natural drum sound and absolutely punishing basslines filling the gaps. And the songwriting and performances are also gold in that they're still managing to diversify from the metallic hardcore base of their sound while still honing the explosive edge of their earlier work through loads of tracks that blast right past in less than two minutes apiece. You'll still find plenty of those chunky midpaced breaks and straightforward hardcore chord progressions, but there are also a few borderline sludgy riffs and subtle little discordant/melodic twists and turns in the slightly longer tracks - namely the excellent closer, "Wish". And what about those quick shots of acoustic guitar in "Touch Test"!? Never saw that comin'! What can I say? I often forget how good this band can be, but this record generally just tears through and has a great flow and energy to it that really caught me by surprise straight from the first listen. Nicely done.

Blacklisted "Touch Test"

This one's not officially out until April 1st, but you can pre-order it from the label for just $8 (or $10 on LP), and I'm guessing the pre-orders are gonna start shipping any day now, if they're not already.

Purchase:

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

"Inverted Funeral" is the sophomore full-length from Sweden's almost too perfectly named Kill, and was released almost a year ago by the almighty Total Holocaust Records, but I've been a little behind, what can I say? Despite having been active for over a decade now, I had never heard Kill before, but this album tears through eight tracks of totally raw, furious black metal in about 43 minutes - complete with an efficiently thin, dry recording that bears a shitload of fiery, overdriven bite to the guitar tone; while subtly plunky basslines help to fill in the gaps at the core of the mix. The vocals are slightly up front, while the drums tend to fall to the distance, but overall I actually like the aesthetic of the recording, and find it to be relatively balanced out when all is said and done. They're clearly shooting for a grating, over the top sound, and they certainly achieve it, but they do so without going too far, you know? It fits, considering the band's equally raw riffing style, which builds around straightforward blasts and tremolo picking, solid midpaced runs, and the occasional presence of some crude old school "heavy metal" riffs and power chord breakdowns. For the most part they forgo the colder, more dissonant style and aim for a bashing, churning, go-for-the-throat attack - which does retain some air of dissonance, but mainly due to the raggedness of the guitar tone during some of the faster and more chaotic note-based tremolo picking (though certain tracks, like "Below", do bust out some killer little arpeggiated riffs and shit like that as well). Is it creative? Is it diverse? Well, not really… but who gives a fuck!? Sometimes simple and to-the-point is all you need, and this album does a great job of that as far as I'm concerned. Good stuff.

Kill "Deathmessiah"

Purchase:

@ Total Holocaust Records
@ Hells Headbangers
@ Regimental Records

I have another kind reader to thank for graciously sending me an email suggesting I check out Reykjavík, Iceland's Celestine, whose debut EP, "At the Borders of Arcadia", cranks out six tracks of absolutely incredible material in a little under a half-hour. Expect loads of nastily churning detuned power chords, chugging rhythms, and low-end throbs accented by tactfully executed caustic/chaotic guitar textures and completely ripping vocals that tear forth with some genuinely pained 'n' strained grit. There's a hint of discordant melody tucked amidst the dense force of their attack, but they're not afraid to venture out into some straight up clean/acoustic atmospheres either - at times utilizing smatterings of loose ambient effects and such to round out the mix and create a more enveloping sound. All of the song titles unite to form the phrase, "Despair and witness the ruin of god and me.", which appears across the back cover of the disc, and the lyrics are basically presented as a continuous narrative on the first page of the CD booklet, so there's obviously a little something more going on behind the scenes here as well, which works far better than average with the overall tone of the music, artwork, etc. I don't know, as usual there's so much more that I should probably say here, but I'm just going to let the music speak for itself in the end. From the moment I first heard this band I was impressed and intrigued, and that's always a very promising sign…

Celestine "Witness (the)"

He was restless, tired. "Please let me sleep," he said. "Just let me sleep." And in this exact moment, he had begun his journey, with only the end in mind…

I believe the CD was self-released by the band, but it's going to be re-released here in the US by Milkweed Records as a limited edition run in a couple of months. So be sure to get in touch with the label at that MySpace link, or contact the band using the same means to see what you can do about getting your hands on this gem. I seriously can't wait to hear some new shit from these guys, and certainly hope they start getting some of the attention they deserve throughout the duration of 2008 and beyond. Great stuff…