This is the latest release from Bangladeshi Thrash Metallers Exalter.
Featuring three new songs and four older ones, this release showcases what Exalter have produced up to this point in their existence.
After being suitably impressed by some recent Thrash releases, (Artillery, Crisix and Exumer, for example), I’m in the mood to be wooed once more by Thrash Metal, and I’m pleased to say that Exalter don’t disappoint. Continue reading “Exalter – Obituary for the Living (Review)”
This is the second album from Swedish Metal band Mindshift.
Mindshift’s latest album is 56 minutes of downtuned aggression in the Metalcore style that pushes the tried-and-tested style of heavy verses and melodic choruses, à la Atreyu, Killswitch Engage, Soilwork and the like.
The singer’s harsh voice reminds me of the singer of Atreyu, and he provides a good performance for the most part. The clean vocals do what they’re here to do, with decent melodies and hooks, some of which are really quite tasty.
The songs are, overall, a bit heavier and more aggressive than some that play this style, which I like, although the radio-friendly choruses clearly show their aspirations.
Although this style has been done to death, with some catchy choruses and good songwriting this is still an enjoyable release if you’re partial to the style. I probably would have loved this about 10-15 years ago. Nowadays I still quite like it, mainly due to the fact that it’s done well and sticks to basic song structures that are as familiar as they are pleasing in their simplicity.
Despite all of the things that are stacked against a band playing this style, I like that Horizon doesn’t play it completely safe and doesn’t just take the easy option of completely regurgitating stuff that’s been done a million times before. This is mainly down to the guitars and clean vocals – the former sound like a lot of consideration has gone into their structuring and layout, while the latter really do add a lot to the tracks and are performed with a passion that’s apparent.
There’s some good riffs and emotive melodies knocking about here too, and the electronic component to their sound is infrequent and used lightly, adding what is needed to the songs without getting in the way.
Ultimately Mindshift have put together an album that is easy to sit back and enjoy. The decent riffs and vocals do their job well and the songs pass by in a quite personable way. I can easily imagine myself listening to this a few more times in the future, despite a slightly over-long playing time.
Have a listen and check them out.
This is the third album from Brazilian Sludge/Stoner Metal band Monster Coyote.
With a colossal and crushing sound, Neckbreaker holds nothing back. The album is aptly named, let’s just say that.
Living in the same hinterland between styles that is inhabited by bands such as Ilsa, Serpent Eater, Northless, Colombian Necktie and the like, Monster Coyote play heavy, nasty music that’s too upbeat to be Doom, too gnarly to be pure Metal, and too rocking to be Death Metal. It’s somewhat how you might imagine Mastodon would sound if they had fallen in love with heavier, nastier music after their first release, or maybe Clutch if they developed a love of Sludge Metal.
The singer has a formidable roar that doesn’t let up. His caustic, gruff tones are a joy to listen to as the music rumbles and chugs its way through the 40 minutes of playing time.
The music is all about the crushing riffs and relentlessly aggressive heaviness. What separates them from some of their peers though is that instead of fusing this with Doom or Hardcore, they instead choose to fuse it with a Stoner Rock sensibility that means these tracks are all endowed with high energy and furious vitality.
The band know their stuff when it comes to playing and some of the longer tracks give them ample opportunity to develop their art. The drums in particular are a really satisfying listen, all rolls and pounding beats.
Emotive without being weak and strong without being brutish, Neckbreaker is the perfect recommendation for anyone into heavy, aggressive music that knows how to rock the fuck out.
Highly recommended.
Beseech are a Gothic Metal band from Sweden and this is their sixth album.
Since reforming in 2012, this is the band’s first release in 11 years, after their last album Sunless Days in 2005. I always really enjoyed Beseech’s older work when I was in the mood for it so was looking forward to hearing their newest music.
Immediately as the first song Beating Pulse starts it’s like they’ve never been away, with sterling melodies and emotive vocals from both male and female singers. It’s a strong opening.
The Beseech of 2016 have refined their sound so that they now pay homage to their earlier work, but have also added something new and, dare I say it, better than what came before. There’s a bit more of a Rock vibe to parts of this album than there was previously, and this has replaced certain overly-Gothic aspects of their sound in some ways. I don’t have a problem with this though, in fact I think it makes for a stronger album overall.
Beseech were always quite an emotive and textured band, but they appear to have developed this even further on My Darkness, Darkness. There also seems to be a bit more subtlety and nuance here than before; although this is not something they were really lacking, it’s just a deeper part of their sound now.
Essentially this is Beseech 2.0; better, leaner, hungrier and more refined than before. Experience and time appears to have aged them like a fine wine, and this collection of songs is very enjoyable indeed.
I’m very pleased with this. Rather cynically I honestly expected some form of half-hearted rehashing of old glories, (not sure why), but instead the band have impressively produced an updated, fresh and wonderfully emotive release that has quite floored my jaded expectations and is currently swamping my brain with quality tunes.
Check this out.
Systemhouse33 are a Metal band from India. This is their latest album.
Their previous release Depths of Despair was an enjoyable, albeit brief, romp through all things heavy and modern, and Regression continues the theme but ups the stakes.
At a slightly longer 30 minutes in length, the band have further refined their blend of modern Metal and Metalcore/Hardcore/Death Metal influences into a potent blend of muscular aggression.
The singer has a harsh snarl that fits well with the music and doesn’t allow for any compromise. He plainly means business and I like what he’s selling.
The songs chug, rumble and bludgeon their way through the playing time and there’s a decent amount of catchy riffs and heavy melodies involved.
Although I liked Depths of Despair this is an all-round more cohesive, focused and superior release; perfect for when you want some heavy, crushing, upbeat, groove-based music. Without too much extremity, but also without going the other way into commercial, sanitised waters, Systemhouse33 have hit the right spot and Regression is actually a positive move forward.
For fans of Lamb of God, Meshuggah, Whitechapel, Skinlab, Machine Head, Testament, Merauder, etc.
Artillery are a Thrash Metal band from Denmark. This is their eighth album.
These Metal veterans return with another 54 minutes of old-school Thrash Metal.
The vocalist’s melodic cleans are straight out of a different era, and in the context of 2016 sound flawless and delivered with a skill and passion lacking in most similar bands.
Savage riffs and sterling solos are moulded around classic song structures. The band obviously know exactly what they’re doing from the outset and this is a ridiculously strong collection of tracks. Catchy, memorable and charismatic, these songs are seriously good. They also awaken such a powerful sense of nostalgia in me that I honestly don’t know what to do with. I’ll just listen to more Thrash Metal I suppose.
Some of the riffs and melodies on this release get the hairs standing on end and the overall feeling is indescribable in some ways. Being exposed to this much authentic top-grade Thrash Metal in one go should come with a health warning.
Well, this really has made me sit up and take notice. I pretty much hate the vast majority of the retro-Thrash movement with its stupidity and moronic nonsense, so it’s great to hear a band that were forged in the original era when this kind of thing was first born produce something so strong and worthwhile. This should put all of the idiotic posers in their place and demonstrates what a force to be reckoned with Artillery still are.
Taken with the recent release by Exumer, could 2016 be the year that reignites my love affair with Thrash Metal? It’s shaping up to be that way so far.
This is what Thrash Metal is meant to be about.
This is the fourth album from these German Thrash Metal veterans.
With a crisp, punchy and professional sound, Exumer return with another album chock full of Thrash Metal anthems.
The songs are well-written and both catchy and memorable. The old-school Thrash vibe is present and correct, but the production and delivery is quite modern, resulting in an album that manages to tread different eras with ease, which is no mean feat.
The band sound focused and tight, intent on delivering a flurry of riffs and pounding drums strong enough to get even the most jaded of Metal fans moving.
I particularly enjoy the guitars on this release; Exumer have a talent for writing good riffs. I also like that the vast majority of these riffs sound energised and perfectly judged; a lot of old-school Thrash can easily sound stale and done-to-death, but Exumer seem to have the secret, (whatever that is), to producing songs that just hit the right spot.
Frequent solos accompany the cutting riffs and the singer’s vocals use good rhythms and pacing.
The Raging Tides is criminally enjoyable and I haven’t been this enthusiastic and excited by Thrash Metal for some time. For an album full of ripping Metal tunes you should look no further.
Crisix are a Spanish Thrash Metal band and this is their third album.
This is an endearing mixture of old-school Thrash and modern know-how. It’s fun without being stupid and authentic without being retro nonsense. I approve!
The album boasts a strong production that’s crisp and clear, lending the songs a sharp edge and professional veneer.
The singer grunts, groans, shrieks and screams his throat hoarse throughout these 39 minutes. Alongside a plethora of backing and gang vocals, he provides an energetic performance and one can’t help but wonder if he survived the recording process with his sanity intact.
As would be expected from the style, solos and leads are tossed around like they’re going out of fashion, alongside so many punchy riffs you could knock someone out with them. With some minor movie and Hardcore influences too, there’s a lot of catchy material here.
There’s a lot of enjoyment to be had on From Blue to Black, especially if you like early Anthrax and Pantera and always wondered what it might sound like if they collaborated on a Thrash Metal sideband. It probably wouldn’t sound too far off how this does.
Very enjoyable. Check this out.
This is the début album from Canadian Metal band Gottweist.
Gottweist’s music is somewhere between the classic Iron Maiden-influenced Metal style and a more modern one, as played by bands like Killswitch Engage, Bullet for My Valentine, As I Lay Dying, Atreyu and the like. The balance is weighted towards the latter, but the former has enough of a presence to give Future Is in Our Hands more impact than is normal for a band like this.
The album features a bright sparkly sound that might not be quite as polished as those aforementioned groups, but still works in concert with the songs themselves to present a band who clearly have a passion and energy for what they do.
The singer’s voice is melodic and smooth, backed by the odd shout or harsher vocal. The Heavy Metal influence counteracts the more modern Metalcore one in various ways, one of the more notable being the fact that the harsh vocals are very much in the minority here, whereas normally it’s the other way around, with cleans usually being restricted to radio-friendly choruses. Gottweist go the other, less-usual route; the majority of the vocals on this release are sung, and when harsher ones do appear they typically back up the cleans on the choruses.
Leads and solos are used well, adding much to the hearty songs and catchy melodies. Indeed, there’s so much enthusiasm here that it’s hard to feel jaded and dislike what the band are doing, (unless you’re just not into this kind of thing, of course).
All of the above results in an enjoyable and slightly different take on the more commercial side of melodic Metal/Metalcore. I have enjoyed their slightly-atypical spin on the modern Metalcore sound; with the traditional Heavy Metal aspects of their delivery lending a bit more depth and longevity to the music than is typical for a band of this ilk.
Given the right backing and exposure, as well as a bigger production and a slightly more adventurous songwriting outlook, Future Is in Our Hands might actually be potentially quite prophetic for their next album.
Check this out.
Between the Buried and Me are a progressive Extreme Metal band from the US. This is their seventh album.
If you haven’t encountered Between the Buried and Me before then you’re in for a treat. They’re one of the best examples of a band individualising what they do, and what they do is progressive Extreme Technical Metal. It’s a bit of a mouthful but it’s hard to describe this band in simple terms. Over the course of their career they’ve pretty much done it all, and over time they’re only getting more ambitious with their releases.
As with anything like this though, it’s not for everyone. If you favour music that has traditional song structures and predictable layouts, then move quietly along. If, however, you like the idea of listening to a band that can effortlessly combine the type of stuff you’d hear from bands like Queen, Deicide, Dream Theatre and The Dillinger Escape Plan, while simultaneously remaining entirely their own entity, then make sure you check this out.
This latest album is as ambitious and grandiose as always, more so in many respects. Piano and keyboards probably feature even more heavily than previously and add to the progressive structures in innumerable ways.
The singer uses both clean vocals and growls, although there seems to be a trend developing now that shows him using his clean vocals more and more. This is reflected in the music too, as the band use blast beats more sparingly than they used too as well. It may be less extreme than some of their other work, but that doesn’t necessarily mean it’s any more accessible for the average listener. After all, there are more ways to be extreme than just playing fast.
The music is flawlessly delivered and the level of musicianship on Coma Ecliptic is staggeringly high; this is a band who know how to work their instruments. The compositions are long and involved, as usual, although the average track length is slightly shorter than some of their previous work.
Eschewing anything close to standard song structures, Between the Buried and Me are all about the song sections and how these holistically fit together. There’s a lot to take in over these 69 minutes and the album certainly requires multiple spins to give up its secrets.
All of the songs have their own personality, as you would imagine, and it’s easy to differentiate between them. They’ve always been a highly textured and nuanced band, and this only seems to be becoming more pronounced over time.
Anyone into challenging music that successfully mixes progressive music with extremity, heaviness and quirkiness should definitely check this out.
Wonderbox Metal 