This is the début album from US Death Metal band Vorzug.
This is Old-School Blackened Death Metal that takes the brutal nature of Death Metal and adds a Blackened sheen via the guitars and high screaming.
The vocals primarily consist of deep grunts and are backed up by the aforementioned screams. The singer sounds like he’s gargling acid and his cookie-monster style is quite monstrous.
The guitars have a deeply ingrained Blackened edge to them that combines dark melodies with an older Death Metal influence. This results in a pleasing selection of riffs that provide a fresh perspective on the Old-School style.
The band have a good ear for a catchy riff and the Black/Death style means that they have just the right ratio of brutality to melody. The songs harken back to an older era where a good song was worth more than being the fastest/most technical/most brutal/etc.
Vorzug appear to be very talented at what they do and Call of the Vultures is notable for providing an Old-School fix but in a fresh-sounding way. Their passion is apparent for all to see, and in that way they remind me of the recent album from Gruesome, even if stylistically we’re in more Blackened waters here.
The music is propelled forwards by a strong drum sound, though all of the instruments sound good. It’s nice to hear the bass too, especially as it’s used to enhance the songs and is allowed to make its own mark on the tracks.
A very strong album, made a very enjoyable listen by the songwriting skills and catchy Blackened riffing. Definitely worth 33 minutes of your time.
Fuck the Facts are a Canadian Grindcore band and this is their tenth album.
Fuck the Facts are always a good listen. Playing by no-one’s rules but their own, they play Grind with their own agenda and are wonderfully individual.
They combine most different aspects of Grind, including some non-Grind elements too. Labelling them as Progressive Grindcore is not too bad of a description. From blasting brutality to melodicism to experimentalism; Fuck the Facts have got it covered somewhere in their discography, (and on this release), and they do it very well indeed.
These songs are largely, (but not exclusively), short blasts of aural carnage, although there’s much more to the band than just this. Longer songs and more experimentally diverse songwriting, (including solos, melodies, Death Metal, Progressive Metal, atmosphere, noise, cello, piano, etc.), mean that there’s a lot on offer here.
Sitting pretty among similarly individualistic Grindcore such as Cephalic Carnage, Cloud Rat, Antigama and the like, Fuck the Facts have built an impressive legacy for themselves over the 16 or so years of their existence and Desire Will Rot only cements their sterling reputation further.
The vocals alternate between the main singer’s acidic shriek and the bassist’s deathgrunts. It’s a combination and team effort that works very well. The main singer has a very individual and charismatic high scream and her voice sounds as nasty as scraping nails.
This is 39 minutes of challenging and impressive Grindcore. It’s not for people who just want the latest scene-clone; this is thinking Grind for the discerning connoisseur, and yet it still remains its visceral nature despite this.
This is the début release from UK Death Metal band Vorage.
This is dense Death Metal that’s akin to a churning maelstrom of distortion and abyss-like darkness.
Vorage can be compared to similar bands such as Portal, Mitochondrion and Ævangelist; they specialise in creating nightmare soundscapes in which horrors come to life. Mix this with a Morbid Angel influence and you have a band that means business.
Vorage are dirty, murky and impenetrably evil. The music sounds like it has been dredged up from the darkest, dankest pit in order to savage Death Metal’s soul, corrupting it to its malevolent will.
There’s only three songs on this release, but it’s still 20 minutes of music that will be too off-putting for most to stomach, but if you can hack it then it’s a grime-ridden gem of a release.
There are a few tasty riffs here, hidden beneath the swirling gloom, but it’s mostly about the atmosphere and things that lurk in the fog. Obscure melodies occasionally add sick, warped light to the cacophony, only to disappear again shortly after being birthed.
The vocals are indecipherable guttural incantations, bereft of humanity and rich with malice. It’s all very enjoyable, as far as these things can be enjoyed, of course.
A very promising release from a band who know how to weave terror into the fabric of their Death Metal assault. Recommended.
Organ Dealer are a Modern Grindcore band from the US and this is their début album.
Boasting a strong sound, Organ Dealer have come to smash! This is brutal music that’s bound to appeal to fans of extremity and destruction everywhere.
A fast, focused assault of tasty Grind is given further backbone by a Death Metal base and a heart of pure ferocity.
The songs are well written and paced, which might sound an odd thing to say of break-neck Grindcore but this isn’t a pure blast-frenzy; Organ Dealer know the value of a good riff and are not afraid to use it for maximum effect. When the mayhem slows down they’re just as devastating as when they’re going all out.
I like an album like this that essentially compresses Modern Death Metal into a tight ball of rage, clips the songs to about 1-2 minutes in length and then pours hot, scalding Grindcore on top of everything. I mean, what’s not to like here? It’s fast, ferocious and brutal, all with a modern veneer and enough musical talent to make it stand out.
The vocals are scathing screams that will leave you breathless. Deeper deathgrunts are also used and the impression is very much one of intensity and extremity. I can only imagine Organ Dealer would be quite a spectacle live if they can reproduce this faithfully.
Visceral Infection has the timeless dynamics of Nasum and Napam Death and the modern brutality of Maruta and Pig Destroyer. As such, it’s a damn fine listen.
Old Witch are from Canada and Keeper are from the US. Both play Doom. This is their split, containing 58 minutes of crawling, evil music.
Old Witch start us off with their half of the split. Their take on Doom is dirty, nasty and filled with malevolent hatred.
Taking the template as laid down by Khanate, Old Witch proceed to bury this in the soil for a thousand years before digging it up and slowly flaying it alive.
The slow, thoughtful assault of their earthy-sounding Doom combines at once an unforced naturalism and a feeling of urban decay and darkness. The minimalistic Khanate-style approach is enhanced with eerie melodies and textured nihilism that has shades of Funeral Doom.
Other apt comparisons would be the murky Sludge of Culted, only without the Blackened elements, or the marathon of filth that is Venowl, only with more of an emotive presence.
At any rate, this is my first encounter with Old Witch and they have turned out to be an extremely gratify proposition. Their name held a lot of promise as it pretty much evoked images right from the off that gave me high expectations of their sound. I have not been disappointed.
After the grim majesty of Old Witch, many bands would be found wanting. Thankfully, Keeper are not just any old band. Unlike Old Witch I’m already a firm fan of Keeper’s crushing Doom from their recent split with Sea Bastard and their EP The Space Between Your Teeth.
Keeper are heavier than Old Witch and sound like an avalanche of Sludge Metal descending from a great height to destroy anything it lands on.
The acerbic vocals always provide a wonderfully acidic focal point that the guitars seem to congregate around as if feeding off them.
Maybe it’s keeping company with Old Witch, but Keeper sound blacker and darker on this release. The shining, contemplative Post-Metal side of their style is still present and correct, but even this sounds more villainous than usual.
These two songs are just as impressive as I’ve come to expect from Keeper and the entire split, almost an hour of Doom, is a fantastic release that I can’t recommend highly enough.
Regicide are from the US and this is their début album. They play Thrash Metal.
This is Thrash Metal mixed with a bit of New Wave of American Heavy Metal, resulting in energetic Thrash that’s largely Old-School but has a touch of modernity to it to give a little bit of an edge.
The songs are simple Thrashers played with a clear passion for the genre. The band recreate the old feelings with ease and this could easily be an album that has simply been lost to the mists of time and recently uncovered.
The songs are well-written and are obviously a labour of love for the band. They work well and have a youthful vigour to them, speaking of earlier Metal times and simpler Metal pleasures.
The singer’s voice is halfway between clean and gruff, sometimes changing between the two types and sometimes occupying the middle ground.
The recording is earthy and a bit muted, but it gets across the message of the band. I can’t help but feel it would have benefited from a stronger sound to give it more presence and forceful impact though, as sometimes it seems as if the songs are being smothered by the production.
Sound issues notwithstanding, this is a good album that has a lot to offer Thrash Metal fans.
Expenzer’s début album Kill the Conductor is a no nonsense, no frills Thrash album that hits the spot. Their vocalist Tom gave us some more information on the band…
For those who are unfamiliar with your band – introduce yourself!
We are Expenzer, a 5-piece Thrash Metal band from Switzerland. We create Metal that is alive and evolving. Formed in 2014 we just released our début album “Kill The Conductor”.
Give us a bit of history to Expenzer
All members of the band played together in various combinations on projects and have a long history together. I (Tom; Vocals) joined the the four guys (Jeff and Sean: Guitars; Reto: Drums; Lou: Bass) who just played their last gig with their old band Pigskin that existed for about 18 years. They looked for a new singer to restart the band, and it felt right from the beginning. But it was a different thing, so we decided to change the name too. With the focus on all our individual strengths, we created a monster that just tasted its first fresh blood…
Where did the band name come from?
We wanted to call the band Bud Spencer (hehe) … but then we thought it was a bit to lame just to steal a name…. I mean you have to live with that then….but we liked the sound of the words, so we came up with Expenzer. It means nothing, just sounds cool and we are in good company with the EX- at the beginning…
What are your influences?
The spirit of the untamed Thrash Metal. All dudes in the band are very into stuff like The Haunted or Testament, Pantera, Darkane… just bands who took this kind of music and put their stamp on it. We all are not bound to a certain style and there would be so much you could miss if you just focus on a genre, but with Expenzer we want to make music that we are rooted in, that’s our homebase.
What are you listening to at the moment that you would like to recommend?
Oh man…this could fill a double page…I worked for a long time in a CD store and still talk about bands without end… I just check my albums, ah here..
Sadus 2006 Album Out For Blood (A pissed off singer & the coolest bassplayer and a super weird/angry production ).
Anacrusis 1991 Manic Impressions ( Visionary music, still ahead of it’s time.)
Non Human Level 2005 Self titled: ( project of Darkane, Meshuggah and Devin Townsend Band musicians…you get the point)
and some newer cool shit:
Alkaloid 2015 – The Malkuth Grimoire ( Death Metal in the spirit of Gojira, no blinders here.)
Gorod 2012 A Perfect Absolution ( So much music to discover on this; songs, not just riffs.)
Zatokrev 2015 Silk Spiders Underwater ( A Swiss Band, heavy as fuck, Neurosis-like)
And always every Overkill Album….
What’s your favourite song on your new album and why?
I think our album works the best, as a whole. Each song fulfils its purpose in the order we’ve put it on. We just rehearsed today and “Play for the Deaf”, fourth song on the record, just feels awesome to play live. I look forward to every part of the song, it flows and kicks you in the teeth at the right times. Tomorrow I’ll maybe say the same thing about another song, I love them all…
What are the subjects/themes of the songs on this album?
Most of the time I try to put the music into words. I like Metal Songs who sound like Monster Movie Titles, “A Dying T-Rex”, “Lightspeed Heartbeat” or “The Silence of The Amps”, just come to mind over a certain riff, then I write the lyrics around it. I don’t have a concept or a defined message, I just paint bloody pictures over killer riffs….
Give us a bit of information on your songwriting process.
On “Kill The Conductor” Jeff wrote most of the stuff. 3 Songs came from Sean and 1 from Lou. We all work on songs by ourselves, we can trust each other that no bullshit will come through, and if so we are vocal and open about it. I get the instrumental version of the song and, as mentioned , try to support the riffs and rhythms and give the ugly baby a name….
How do you see your songs/direction developing in the future?
I think you can’t make plans on that. I have a vision for the new stuff, but so have the other four guys in the band. So our goal is to combine the strength of everybody, to create the best we can at that moment in time.
What’s next for Expenzer?
Play gigs as often as we can, record the next album and have fun playing exactly what we want and know what that is.
Hope Drone are an Australian Post-Black Metal band. This is their début album.
Well this is a long one; 7 tracks across 77 minutes. Hope Drone don’t do things by halves it seems. But then why should they? This kind of music demands complete immersion and Cloak of Ash provides ample opportunity for this.
The music has a Black Metal base onto which is built Post-Black Metal wanderings and Atmospheric Sludge Metal influences.
Hope Drone take the Cascadian Black Metal template and use it to fashion themselves a wide-reaching, emotive album that’s highly textured and richly delivered. All speeds and tempos are catered to as well as heavier and lighter sections, which means that Cloak of Ash is a diverse and pleasurable listen that succeeds in painting in shades of darkness and light.
The Black Metal is never too far from the surface. Even the Post-Metal and Sludge/Doom elements of their sound have that Blackened twinge to them, although that doesn’t stop them from dripping with a darkened beauty. The band can play ugliness and aggression extremely well, but there are enough moments of resplendent glory and delicate allure here that it’s easy to become mesmerized with the band’s hypnotic performance.
The lighter elements are augmented with some Ambient/Drone interludes. When these segue gently into incredibly effective mid-paced atmospherics it’s a very uplifting and transcendental experience. Of course, I’m aware that words like transcendental get bandied around far too often when describing bands like Hope Drone, but it fits like a glove and conveys the appropriate feeling that the band can sometimes create.
The agonised screams are harsh and unforgiving, reminding you that no matter how the music sounds or where it takes you, this is still music forged from the underworld.
Hope Drone have truly created a wonderfully realised piece of Blackened art. I’m thoroughly impressed and completely in thrall to it.
August Burns Red are from the US and this is their seventh album. They play Modern Hardcore.
I haven’t encountered August Burns Red since their 2011 album Leveler, and it seems that they continue to produce quality music that combines elements of Hardcore, Melodic Hardcore and Metalcore into a user-friendly package.
The band somehow manage to be heavy and accessible at the same time, while crucially displaying their own personality and charisma. No matter what they do, they retain their own identity throughout the 53 minutes on offer here and take the listener on a comprehensive journey that shames most of their one-dimensional peers.
The album opens with a bang and the singer’s vocals sound angrier and gruffer than ever. It’s an instant reminder of why August Burns Red are still relevant and exciting in a music scene where a lot of similar bands are shedding their heavier roots for more radio-friendly climes.
One thing I love about this band is how they combine heaviness and melody in such an appealing way. This style of music is usually rife with generic pap, cliché deliveries and boring, done-to-death repetition and I’m always amazed and impressed when bands playing this style manage to avoid all of these, as August Burns Red do on Found in Far Away Places.
The songs have a lot of recognisable elements that mark them out as subtly different from the masses of bands playing this style. I think the crux of it is that the riffs, breakdowns, melodies, leads, etc. here are just that much better than the norm; August Burns Red are just plain better than most bands of this ilk. Couple that with the fact that they have little moments of experimentalism and interesting ideas, as well as a lot of personality and charisma, and you can easily see why they are leaders and not followers.
After this many releases the band totally know what they’re doing and still have that essential passion for the music which appears completely undimmed. The songwriting is tight and focused without seeming forced or staid.
Top marks for a band who are not afraid to be themselves, try new things and above all remain heavy and relevant. August Burns Red have returned and I for one could not be happier.
Locrian’s new album Infinite Dissolution is a highly textured and multi-faceted release that requires repeated spins to really make its wonders known. In an effort to delve deeper into all things Locrian I got in touch with keyboardist/vocalist Terence…
For those who are unfamiliar with your band – introduce yourself!
I’m Terence and I play keyboards and do vocals in Locrian. I live in Baltimore while the other guys live in Chicago.
Give us a bit of history to Locrian
We started in 2005 as a duo of just Andre on guitar and myself on keyboards and vocals. In 2009 Steven joined on drums and we released “The Crystal World”, we’ve collaborated with Mamiffer, Christoph Heemann and Horseback.
Where did the band name come from?
Andre came up with it, it’s a mode in music theory but it’s also a lost civilization in antiquity.
What are your influences?
It’s really diverse, for the band it’s a lot of progressive rock, noise, German kosmiche music, Industrial and metal – everything from Voivod to Emperor. Personally I would say Einsturzende Neubauten, Skullflower and Brian Eno are big for me.
What are you listening to at the moment that you would like to recommend?
The new Container LP just titled LP is nice. Chaos Echoes “Transient” LP is beautiful I think.
The cover for Infinite Dissolution is pretty special – tell us about this
I am a visual artist and I used to be an art critic and had to review a show that I saw some of David Altmejd’s early work in. I’ve always been enamored with his work and just kept following it as it got bigger and more immersive. Anyway I thought a mirror was kind of this negating surface to compose with mirrors is a way to dissipate an image or presence – it just fit.
Is having a visual aspect to accompany the music an important thing to you?
Absolutely.
What are the subjects/themes of the songs on this album?
The extinction of humanity. By the elements and by our own doing.
What’s your favourite song on the album and why?
The whole album is a story you can’t really pick one – just listen through.
Your songs are quite complex and feature many different parts – what’s the creation process like?
Thank you. Our process is very intuitive we use the studio to create and we just want to surprise ourselves and the listeners. I don’t think there is much new under the sun but I hope we can try and get people excited.
How did the recording go?
Great! We recorded at Electrical Audio with Greg Norman in our favorite space, studio B. It was great. I got to use their Mellotron and an EDP Wasp. Just a great time.
How do you see your songs/direction developing in the future?
I’m not sure, we kind of go where we want and where the narratives go.
What’s next for Locrian?
Well we will be playing on the west coast in August 13-22 and are really excited to get there and celebrate our decade of existence in November with some special dates in the Midwest.
This is the début album from US Death Metal band Vorzug.
Anacrusis 1991 Manic Impressions ( Visionary music, still ahead of it’s time.)
What are the subjects/themes of the songs on this album?
Wonderbox Metal 