A Little Update

Right now I am working on buying a house which has greatly decreased the amount of time I have had to devote to listening to music.  Unfortunately packing has also taken a lot of time away as well.  I have been able to do a little bit occasionally.  I know I have a lot of stuff to catch up on.  It's become a bit daunting.  But I will catch up at some point.  Thanks for your patience.

FMA Reviews: Azure Emote: The Gravity of Impermanence

Originally reviewed here.

What a weird album. I am not even really sure how to classify this band. I suppose the best way would be to compare them to a group like Hollenthon, Septicflesh, Sigh, or the oddball projects of Dan Swanö. In other words, they seem to have influences from a wide variety of metal styles, such as black, death, and industrial. Never has the term avant-garde been more fitting than when listening to this album from Azure Emote.

This is Azure Emote's second album and it has gained them a fair amount of interest. I have been in a little bit of a metal black hole in the last few months due to an extremely busy work schedule and even I have heard some hype about this release. Azure Emote is the new band of former Monstrosity frontman Mike Hrubovcak. But it definitely does not follow in the footsteps of Monstrosity. Monstrosity was a fairly paint-by-numbers death metal band. As previously stated, this is anything but formulaic. The songs do not follow any traditional song structure and the music is widely varied, crushing and intense one minute, slow and dissonant the next, and allows with a number of sonic surprises.

Azure Emote is at their best when they are pushing the boundaries of extreme metal. Utilizing synthesizers, strings, saxophones, and all kinds of other weird and eclectic instrumentation (harmonica, really?), Azure Emote never settle on anything that can be considered traditional metal structure and instrumentation. These moments are frequent and lend a schizophrenic feel to the overall listening experience. There are still obvious metal riffs, but those seem somewhat lackluster when not accompanied by some off-the-wall instrument or sample.

The only real complaint I have about this album is that the band sometimes does too much. There is a lack of cohesion to a lot of the moments and the whole thing feels like a collection of disparate parts rather than one impressive whole. It can be a little off-putting at times.

Azure Emote is certainly unpredictable and have a lot of talent, but at times they just appear to be weird for weirdness's sake. That can be problematic and often prevents any real connection with the listener.

FMA Reviews: Lord: Digital Lies

Originally reviewed here.

First things first, the awful title. This is the kind of title you would have expected in the 1990's when that newfangled internet showed up, but now it just seems outdated. That, added to the cover that looks like something out of a cheap SyFy channel movie is not really the best way to make a first impression.

I will admit I was a little surprised by the sound. I probably shouldn't be anymore, but I was a little surprised by the upbeat power metal. I was expecting something darker. But this is not the "flower" metal style made popular by bands like Sonata Arctica, Rhapsody, or anyone like that. This is the more extreme form of power metal which found its roots in groups like Jag Panzer in the United States. Lord is the new band of Lord Tim (pretty sure that's a Monty Python reference), who previously headed Dungeon in Australia. I was never really familiar with Dungeon other than hearing the name occasionally, but they had a decent track record.

Lord's sound is typical of modern power metal bands. There are some aggressive riffs and some very impressive vocals. The band focuses on crafting memorable songs with catchy choruses and hooks. It is not something unusual for this genre but it has become increasingly unusual in other metal genres. What results is a fun, high-paced and energetic album that actually sticks in the memory. This reminds me a lot of Dream Evil, the sound is very similar, light-hearted power metal with strong vocals that does not descend into the dreaded "flower" metal sound.

For the most part, the songs are pretty well-written and stay away from the standard "swords and sorcery" lyrical themes that a lot of power metal bands gravitate towards. There are still some cheesy moments, the song "2D Person in a 3D World" is really awful. The gang vocals and ridiculous lyrics certainly do not help. But that is the one bad song in the bunch. The rest are solid songs without any real high highs but no low lows either.

This is a pretty solid release. It does not really do anything we have not heard before in power metal but it does not descend to the cheesiness that so much of the genre does.

Rotting Christ: Κατά τον δαίμονα εαυτού (2013)

I really have no idea what I managed to cut and paste up there.  I am not even sure what language it is, but due to the fact that Rotting Christ is from Greece, I can take a wild stab in the dark.  I could look it up, but it's late as I am writing this and I just finished mowing the lawn.  My motivation to do anything is pretty low.  Someday I will, but not today.

Rotting Christ has been one of my favorite bands since I discovered them on Theogonia back in 2007.  This is the second full-length they have released since then and I have also picked up almost all of their past albums.  They have yet to disappoint me.

This one is a little different though.  There is not a lot sonically different from Rotting Christ's last couple of albums.  It is still the same gothic/black metal with symphonic elements.  But the songs feel less complete.  The best way I can think of to describe the music on this album is that it sounds as if it is the soundtrack to a Greek mythology-based movie.  Think Clash of the Titans or something of that ilk.  The hooks are not as present.  None of the songs really sink in like they have on past albums and they all sort of run together.

None of this is to suggest that this is a bad album.  It just is not quite what I was hoping for.  The music still has the same sinister quality that has been such an impressive element in the band's sound for so long.  Sakis Tolis's vocals still sound amazing after so many years.  If anything, this album makes some terrific background music.  It just does not rise to the same level as past releases.    

FMA Reviews: Power Trip: Manifest Decimation (2013)

Originally reviewed here.

If there is one style of metal that has kind of passed me by to my regret, it is crossover. I just do not have a lot of experience listening to the subgenre. But that is slowly starting to change. It all started a few months ago when I was listening to my Skullcrushers compilation, which has tracks from Exodus, Megadeth, Celtic Frost, Voivod and more, when all of a sudden this track came up that I had heard a million times before, but it just stuck with me. That song was from Nuclear Assault and it was called "Critical Mass". Corrosion of Conformity's "Loss for Words" and Prong's "Beg to Differ" also appeared in the compilation and grabbed my attention. All of a sudden, crossover clicked for me.

Obviously I would not be telling this long-ass, boring story if there were not some connection to this review. Some day I will tell a boring long story that has absolutely no relevance to the review just to keep readers on their toes.  But that will not be this day.

Anyway, Power Trip is a crossover band whose sound shows a very strong Nuclear Assault influence. It is an incredibly harsh and chaotic sound. It is aggressive, biting, and angry. And most of all, it gets the blood pumping. This is terrific music to listen to while working out because of its speed and intensity. It is just a vicious album all the way through. A lot of people may think of Suicidal Tendencies or other bands who use a lot of humor and light-hearted party attitudes toward music. This is definitely not in the same ballpark. This is angry, much more like Nuclear Assault.

For some reason this came from Southern Lord, which is very surprising. That label is well-know for doom, black, and sludge, so this album really stands out.

The only complaint that I have about this one is that it flies by so fast and once it is done, it is hard to think of any real highlights, other than the crushing "Crossbreaker". But it is a hell of a ride.

VladPromotion Quick Reviews Pt. 1

I have a ton of Reader Submissions to slog my way through.  So in an effort to catch up, I am going to do some of these together in kind of a quick hits sort of way.

BETRAYER F.T.M.:  No Life Till Fury (2010)

I have no idea what "F.T.M." means.  Fuck the Mormons?  Full Throttle Mongooses (Mongeese?)?  Forging the Mississippi?  No idea.  But it does not really matter.  Betrayer F.T.M. are a thrash metal band with some punk influences shining in.  It is more of a retro sound.  Think early Exodus, Suicidal Tendencies, etc.  The vocals are a little too high in the mix and threaten to take too much focus away from the music.  Musically, this is pretty decent.  If you are a fan of early party-thrash-type stuff, this is definitely for you.  It is a fast and intense record that I found myself tapping my foot to quite a bit.  Tough to bang my head when I am at my workdesk.  I love the cover art too.

D.A.M.:  Human Wreckage (1989) and Inside Out (1991)

England actually had a decent thrash metal scene in the late 1980's/early 1990's.  It is mostly overlooked these days and Sabbat is probably the best-known band from that scene.  D.A.M. also produced a couple of albums in this time period.  D.A.M. was mostly forgotten, even on their own label due to the presence of standouts Coroner, Helloween, Voivod, Celtic Frost, and others.  So it is not shocking that few people remember them.  These two albums are another example of the oversaturation of re-releases into the metal market.  Not every single metal album really deserves to be dug up and resurrected.  These albums are okay in their own right, but they are certainly not exceptional.  These are not exactly lost gems.  They are fine, but there are a lot of other bands with a similar sound out there.

Demise Awaits: 2009 EP (2009)

Demise Awaits is a newer group without a lot of recorded material to their name yet.  This is their first EP and they also have a demo out.  The Pennsylvania band plays a 1980's-sounding hybrid of thrash and heavy, American power metal.  They have a very raw and primal sound, helped out significantly by the lower quality of the production.  What results is something similar to the early Metallica recordings prior to Kill 'Em All.  I am not going to come out and say this is the next Metallica or anything like that, but they have a decent sound.  It's not one we have not heard over and over though.  A good effort.

Enforcer: Death By Fire (2013)

I was pretty excited for this one.  I loved Enforcer's 2010 album Diamonds.  The band struck the right chord with their take on NWOBHM crossed with speed metal.  Not only that, their songs were catchy as hell.  The album was a ton of fun, and even my wife liked the album quite a bit, which is pretty damn rare.

The first time I heard this one though I was slightly disappointed.  All of the elements from the previous album were present, but there was no track like "Running in Menace", which was the standout song to me on this one.  That is not to say that the songs were not good, there just was not that one track that made the entire album.  However, with repeated listens, the album grew on me.  I still do not think that I like it quite as well as Enforcer's last album, but it is no longer a disappointment.

The sound on this album is a little bit different.  The NWOBHM sound is still very much present, but instead of focusing on the poppier groups as they did on the last album, this time around they went for a heavier Diamond Head-meets-Blitzkrieg sound.  "Satan" even sounds like Metallica pre-Kill 'Em All.

The elements that made Enforcer's last album are still there.  The band combines an impressive melodic sensibility with some biting riffs and impressive vocal work.  The songs are catchy, though not as much as on their previous album.  I do not think this album will gain the band new fans, it is not quite as good as Diamonds after all, but it is a reasonably impressive follow-up.

FMA Reviews: Toxic Holocaust: From the Ashes of Nuclear Destruction (2013)

Originally reviewed here.

Hmmm. I am not quite sure why I am reviewing this. I did not realize it at first until listening to it for the first time that this is a compilation rather than a full-length release. I realized it finally when I kept thinking to myself "I know I have heard this song before". I guess it helps to pay attention occasionally.

Anyway, I am a big fan of Toxic Holocaust so even though this is a compilation, I enjoyed listening to it. This is a collection of tracks off of EPs and splits that the band has done over the years. Toxic Holocaust has a lot of music out there and this puts together some of the rarer tracks for easier consumption. That is what a good compilation does after all.

Toxic Holocaust is never going to break down any barriers to new musical ideas not previously heard. Joel Grind is perfectly content to play music bearing sonic similarity to the early days of blackened thrash, paying homage to groups like Sodom, Hellhammer, Venom, and Bathory in their earliest incarnations. Back when playing ability took a backseat to playing raw and vile metal infused with punk. That too is what Toxic Holocaust does.

This is raw thrash metal without a care in the world. The band, mostly Joel Grind, is not the most musically-talented group in the world but it always sounds like they have an absolute blast ripping through short, sharp shards of metal. This is not for people who want their music to really say something. It just rocks, plain and simple.

I am not going to pretend that everyone should check this out. This is a compilation and is really just there for the completists and huge Toxic Holocaust fans

Coming Back Very Soon...

I had a busy few months but it looks like I am finally coming out of it.  I had a trial today and one two weeks ago.  So things have lightened a little.  I will be getting back into the swing of things next week, of course I will be on vacation soon after that.

FMA Reviews: Lair of the Minotaur: Godslayer (2013)

Originally reviewed here.

I have been a big fan of Lair of the Minotaur since I first heard their War Metal Battle Master album. Since then I have been able to track down most of their releases. LotM have not released a new full-length since 2010. I suspect this short EP was released to keep the fans happy while continuing to wait for the new release. This EP was released as part of this year's Record Store Day, an event which I have unfortunately never been able to attend as I do not live within two hours of any independent record store.

This is a very short EP, featuring only two songs and clocking in at less than nine minutes but it exhibits all of the best characteristics of LotM. The riffs are fast with a lot of bottom end and the sound bears no small resemblance to a runaway train. It just steamrolls the listener into submission, but that is all part of the fun.

Of course they slow things down a tad at points with some ridiculously heavy riffing and the frantic howls of Steven Rathbone.

All in all this is exactly what I expect from a Lair of the Minotaur release and I am definitely looking forward to more.

Quick Update

Yes I am still alive and yes I fully intend to get back to writing soon.  It's been pretty busy lately.  Summers usually are for some reason.  Next month I fully expect to have at least two jury trials.  Hopefully after that there will be a little bit of a respite.

I know there are a ton of albums that have been sent to me that I need to get to.  I assure you, I will at some point soon.  I have not forgotten.  I just have not had the time.

Suffocation: Pinnacle of Bedlam

Suffocation has never put out a bad album.  That is impressive.  Since rising out of the early 1990's New York death metal scene, Suffocation has been one of the most influential metal bands in the world.  Think of all of the genres we would not have without Suffocation.  We would not have brutal death metal, slam death metal, technical death metal, or deathcore.  It does not matter what you may or may not think of those genres, Suffocation is the band to which all bands in those genres strive to be.

Despite the band's long history, this is just their seventh full-length album.  This is due to a long hiatus from 1998 through 2004.  This is the band's first full-length without pioneering drummer Mike Smith who left the band in 2012.  Dave Culcross had been with the band briefly in the late 1990's so he was no stranger to the large shoes he had to fill.  Smith revolutionized death metal drumming and is largely responsible for the blastbeat style of drumming.

Well enough introductions, it's time for a new Suffocation album.  I was slightly disappointed with Blood Oath, which is not a big deal, since it was still a damn good album.  And I was a little concerned with how this album would go without Smith for the first time.  But it turned out to be business as usual in the Suffocation camp.  This album still absolutely crushes everything in sight.

All of the necessary elements for a Suffocation album are here: blastbeat-driven drums, heavier-than-fuck riffs, and the ferocious bark of frontman Frank Mullen.  Suffocation have once again proven that none of their imitators can ever hold a candle to the masters.  Suffocation is still one of the heaviest bands in the world and do not look like they will be giving up that title anytime soon.

It is Going to be a Busy Month

I want to get back to a normal posting schedule, but this month is going to be a killer.  I am currently scheduled for five trials, three of which are jury trials.  So I am going to try, but I am not going to make any promises.

FMA Reviews: De Profundis: The Emptiness Within

Originally reviewed here.

De Profundis is a melodeath band, despite the materials listing them as a black/doom metal hybrid. But do not let that word influence your decision about whether to check them out. Because that term has become diluted over the years the same way that the music has. Melodeath has come to be thought of as just recent In Flames, Soilwork, Dark Tranquillity, and the like, but it used to be something different. Something more aggressive and powerful. And that is what De Profundis is.

My personal favorite era of melodeath was the early years. Think Lunar Strain-era In Flames, Skydancer-era Dark Tranquillity, and the like. Back when melodeath bands were just more melodic death metal bands. De Profundis has that kind of sound. Yes there are elements of black metal and doom metal present, but the basis of this album is in the tremolo riff-driven style of the early wave of melodic death metal.

De Profundis uses much more progressive song structures. There are a lot of parts to the songs that flow together surprisingly well. That is often a problem with more progressive styles of metal. Sometimes the musicians focus too much on being unusual and forget to write coherent songs. That is never a problem with this release. The progressiveness only serves to make things more interesting and entertaining.

I find myself extremely impressed with the instrumentation, particularly the guitar and bass work. And when was the last time a bass was that impressive in a metal album? That is how good it is. It almost brings to mind the type of bass-playing that would be featured in funk. This is probably something that might alienate fans of black metal, but I think it sounds amazing.

Overall this is a very strong album. It sounds very much like the early bands in the melodic death metal era, which is an era that I really enjoyed.

Womb/Hellcharge: This Knot...

I was recently sent this review request from HellDProd, or something like that, I am not really sure.  This small label has been sending me some really underground recordings for a little while now.  This is really raw stuff, stuff that most people have probably never heard of, but it is always fun to discover some deep underground material.

This is a split of a couple of black metal bands from Portugal.  It was released on Valentine's Day this year, making someone a very nice Valentine's Day present, I am sure.  I assume that this split is available only on cassette.

Womb is up first and they have a very punkish sound to their black metal, bearing more similarity to the early days of Venom, Sarcofago, and Sodom than to anything released under the black metal genre today.  It is all nasty and raw.  Utterly filthy stuff.  The songs are all very short and typically only feature one riff.  The Womb side consists of four tracks and less than eight minutes of music.  Short and not very sweet.

Next up is Hellcharge.  As low as the production values on the Womb side were, this is even lower.  The guitar can barely be heard and the vocals are even murkier.  The drums are about the only thing that can be heard that well at all.  That is a shame because I think Hellcharge's songs are a little more interesting.  I just wish I could actually hear them.  Hellcharge also has a big punk feel to the riffs and vocals.

Not a bad split.  Definitely geared more towards the ultra lo-fi black metal fans who like a hearty helping of punk in their sound.

Helloween: Straight Out of Hell (2013)

Helloween has been doing the same thing for thirty years now.  They are one of the pioneering bands in the power metal genre.  This is their 16th full-length album, an impressive pace for a band.  Helloween has not always put out quality releases though.  They have been a bit inconsistent over the years, but since 2007's surprisingly great Gambling With the Devil, they have been on a run of great albums that has been unmatched by the band since their first three albums.

This album proves that Helloween still has it.  The album is fast, which has always been Helloween's strongest point, they did start out as a speed metal band after all.  It features the consistently good, siren-like vocals of Andi Deris, who has been the singer since 1994 when Michael Kiske left the band.  Deris has been one of the best singers Helloween has ever had.  And of course there are a ton of catchy songs on this thing.

There really is not a lot to say about this release.  Longtime fans of Helloween will definitely appreciate it.  People who do not like the band or speed/power metal likely will not find anything to change their mind.  Helloween has continued on a recent hot streak as this album stands up well with other albums the band has released lately.

FMA Reviews: Be'lakor: Of Breath and Bone (2012)

Originally reviewed here.

Apparently "Be'lakor" is the name of a demon in the Warhammer series. I will admit to not knowing a damn thing about Warhammer, or any other table top/RPG game for that matter. I could not tell you the difference between Warhammer and Dungeons & Dragons. It is just not something I have ever known about. What I do know is heavy metal. And I know what I like.

Be'lakor is a melodeath band in the vein of mid-era Dark Tranquillity. Oddly they are from Australia, which is kind of bizarre for a band of this style. I would have assumed Be'lakor hailed from Sweden or Finland or some other country in that area. Australia is not really known for its melodeath.

I will admit that I have listened to this album a number of times trying to figure out where I was going to go with this review. Unfortunately after listening to it that many times, I can honestly say that nothing really sticks in my mind about it. It is just kind of there. I do not think there is anything about it that is bad, it just exists.

As I have mentioned, Be'lakor is a Dark Tranquillity clone without the personality of Mikael Stanne. If I heard it without knowing what it was, I would think DT replaced Stanne on vocals. The vocals are the big complaint that I have. There is nothing really interesting or dramatic about them. And that is a shame because once in awhile the music is actually pretty decent, if a little bit stale.

The major thing this album did for me was to cause me to dig out my copy of The Gallery by Dark Tranquillity.

Satan's Host: Celebration - For the Love of Satan (2011)

As a general rule I do not typically check out re-recordings.  I usually prefer the original versions of songs and do not see any need to mess with it.  I made an exception with this release.  Of course this will be very rare.

As much as I liked the black/thrash metal period in Satan's Host's discography, I much prefer their blackened power metal style.  After Harry Conklin, aka Leviathan Thisiren, left the band, Satan's Host went for the black metal style.  I personally liked them quite a bit, particularly at the times in which Pat Evil was given free reign to simply shred on the guitar, but I can definitely see where some people would think they were not interesting enough to pay a lot of attention.

But their blackened power metal is different.  Because there are not a lot of bands out there playing in this style, Satan's Host stands out.  When Conklin came back, the band made waves in the metal underground.  Their debut album was an underrated classic.  Their most recent full-length was listed as my favorite album of 2011.  I was aware of this release but never really checked it out.  Until now.

I have to say that this release is incredible.  Satan's Host re-recorded some of their best songs from their black metal era, including the awesome songs "Dark Priest (Lord Ahriman)" and "Satanic Grimoire".  Musically the songs are virtually identical.  It is the vocals that have been changed.  Gone is the blackened rasp of L.C.F. Elixir, and in his place is the wail of Conklin.

I always enjoyed these songs with the prior singer, but they are given even more of a boost with Conklin.  I love it.  Looking forward to more blackened power metal from Satan's Host.

FMA Reviews: Amnion/Balmog: Grim Repulse of the Southern Lodge (2013)

Originally reviewed here.

I really enjoy splits. They are an excellent way to discover new music from a couple of different bands in one place. I usually prefer them when there are more than one song from each band on the split, as is the case with this one. No matter though. Amnion and Balmog are two black metal bands from Spain. Spain has quietly developed a fairly impressive black metal scene.

Amnion is a bit of a mysterious band. I can not find much current information on the band. This song is very dark. It is particularly hateful styled black metal. Nothing pretty about it. The drums are a bit too high in the mix and there is nothing remarkable about the instrumentation or vocals. The riffing gets a little repetitive at times and the song kind of drags toward the end. This really is not anything terribly new.

Balmog is even darker and more sadistic-sounding. The production values are not quite as good though and the song sounds a little murky. The vocals are probably the most interesting part of the song. Oftentimes the vocals are just odd moaning and groaning while others they come close to forming words. There is a pretty decent guitar solo at the end though.

Overall these are interesting tracks but it is very hard to form any sort of real opinion on either band from them. It is just one track from each group after all.

Aura Noir: The Merciless (2004)

I checked out Aura Noir's latest album last year.  I loved that release and it made my Top Ten albums list for 2012.  So recently when I saw this album for cheap on I had to check it out.

Aura Noir is a blackened thrash metal band from Norway featuring Blasphemer, known mostly for his work with Mayhem, and a couple of other members who have played with a variety of Norwegian blackened-something metal bands, such as Immortal, Ved Buens Ende, Cadaver Inc., Nocturnal Breed, and many more.   I am a big fan of blackened thrash metal personally, so even though it has taken me a long time to get into Aura Noir, I am attempting to make up for lost time.

This is the band's third full-length album and came out after a hiatus that lasted several years.  It is a significantly more raw and primal sound than the relatively cleaner style in their latest album.  Which is saying something.  It is not as if Aura Noir are known for being clean anyway.

These songs have a little bit more of a punk vibe to them than their more recent material.  The music bears a strong resemblance to the early material of genre legends Sodom and Hellhammer.  It is raw and aggressive with absolutely no apologies.  The lyrics are a little ridiculous with song titles like "Black Metal Jaw" and "Condor", but that's not a problem.

I am definitely looking into more Aura Noir material in the future.