This is the second EP from Australian Death Metal band Inhuman Remnants.
The band play their Death Metal incredibly tight with the drumming sounding particularly inhuman. But just when you think it will be a one dimensional blastfest they slow down into modern USDM-style mid paced riffs or change to a more atmospheric section. They certainly have their songwriting heads on right.
As well as the thick rhythm guitars there are a lot of leads winding their way through the songs adding extra levels to the very brutal music. This enhances the sense of dynamics that the band already have from the rest of the instruments and the song structures.
The recording is muscular and lean, with all instruments very clear.
The vocals are done exceedingly well, ranging from the ultra low to the ultra high with no drop in quality at all.
Inattentional Blindness is that rarest of beasts; a release that combines brutality with songwriting skills and parts that gel together to create a greater musical whole rather than simply being a collection of riffs stuck together.
I can hear elements of a fair few bands in their sound, including Cannibal Corpse, Immolation, Dying Fetus, Kataklysm and Aborted. Such a wide variety of Death Metal should demonstrate that Inhuman Remnants are their own masters and are faithfully treading their own path.
I think we’re more than ready for a full album now, as this is just great.
Memories Of A Dead Man are from France and play Modern Progressive Metal.
Here we have a band that merges Metal, Post-Metal, Hardcore and Sludge into one big compelling whole.
This is ambitious music that has the talent to back it up. This is Modern Progressive Metal in the style of Gojira or the excellent Eryn Non Dae – both also French; I wonder if there’s some strange conspiracy to inflict interesting, thoughtful music on the world…? Where do I sign up?
The songs meander and bruise, wander and startle. A pounding rhythm section backs up emotive guitar riffs and a voice like leather. At least that’s when the singer’s not softly crooning at you that is, which he doesn’t do very regularly but when he does it sounds very intimate.
The band will take you on a journey through melancholic atmospheres surrounded by walls of guitars and heavy riffs. The length of the songs work in favour of the band as they make the most of the freedom allowed them, irrespective of genre constraints or rules.
Music like this is full of ideas and quirks, whether it’s as simple as a certain riff in one song or the addition of female operatic vocals in another; the band create an impressive soundscape in which to dwell, and invite you to come join them and sample their world.
Memories Of A Dead Man have crafted a modern Metal treasure with Ashes of Joy. Let’s hope many people get to find it.
Sadhak are from Norway and play Doom Metal. This is their début EP.
This 2 track EP comes to just under 19 minutes in length and is a suitable taster for what Sadhak are capable of as well as holding much promise for what they might offer in the future.
It’s mournful and sorrowful; the emotional content drips from every chord. An emptiness felt deep in the marrow; a feeling of misfortune so profound that nothing can ever set things right.
The vocals are ethereal and timeless, seemingly drifting from some distant world behind a clouded veil. They lovingly caress the music and promise an ocean of despair should they ever fully enter our world. But alas this is never to be. Something, somewhere, is destined to be trapped forever; lost and alone, singing a plaintive song of loss. It is this that Sadhak channel.
Two songs; a lifetime of melancholy. Imagine what they could do with an album.
This is Death Metal with mood and presence, as is instantly apparent from the first couple of minutes of the opening track Circle Of Suffering. Also apparent is the band’s Old-School song philosophy and an ear for a good riff.
Taking elements of Morbid Angel, Immolation and Obituary, the band steer a course through paths well trodden but still manage to offer something worthwhile to the discerning listener. They have a good line in some quite Doomy riffs as well; a real sense of melancholy flows when they want it too.
The songs impress with their melody as well as their dynamics and atmosphere. A collection of riffs is not enough for Angist, they demand flow and song structure to be present too, and rightly so.
The vocals are resolutely Old-School in the sense that they are extreme but not overly so and they have that vibe about them; that indefinable something that says “yes, this is the real deal”. They are legible in places and always work well with the music.
This EP is a few years old now, so I look forward to what Angist offer us in the future. Hopefully they will release a blinder of an album.
The first album from A Breach of Silence, (Dead or Alive), is barely cold and the band have already polished off their second. With this in mind it’s the perfect time to catch up with the band and get to know them a bit more…
For those who are unfamiliar with you – introduce yourself!
Hey, we are A Breach of Silence, we are from Brisbane Australia. There are 5 members. Cossie, Blairsy, Kerrod, Rhys and Stix. If you want to hear something fresh and you love metal/metalcore/power metal. Check us out :).
How did A Breach of Silence form?
We formed in 2009 when a bunch of us decided to get together and see if we could come up with something different and fun. That happened by meeting Blair at a party and seeing him sing and not just sing but hit falsetto’s that were so high that even Rob Halford would be proud of. We wanted to combine different elements of our favorite genres and make something different. So we set out to do that. Add our elements of traditional metal and metal core but add spice by putting in power style signing. I know that sounds weird and somehow might not work? But it does. Our debut Album dead or Alive is testament to that :). So after meeting Blair, we met our drummer Stix through mutual friends and then after going through quite a different number of member changes we have our current solid line up. With Kerrod and Rhys rounding it all out!!
What are your influences?
We have heaps of influences. Myself and Sticks love old school traditional metal and metalcore, Blair is into power metal and Rhys and Kerrod love all spectrums of metal, but mainly the newer style of metalcore and hardcore. Particular bands would be: Iced Earth, Killswitch Engage, Devil Driver, Parkway Drive, As I Lay Dying, and everything between Johnny cash, Toto and Fleetwood Mac.
What are you listening to at the moment that you want to recommend?
Things we have been listening to and would recommended would be the new Steel Panther (all you can eat), new Architects (lost forever/lost together) and we are still on BMTH (Sempiternal).
How did you decide on the sound for Dead or Alive?
The sound was really through trial and error and a lot of credit goes to Fredrik Nordstrom and Henrik Udd of studiofredman. Those guys really helped us pull together the concept of our writing style and help us produce a sound that we are incredibly happy with. Those guys are some of the best producers the world has to offer and you only have to hear the album to experience what they help us create. After getting the mix of riffs, blast beats, singing and screaming to a good balance we were able to work out our sound with the right smarts from the swedes :).
Are you happy with how the album came out?
We’re super happy how the album came out. Our Début release was done to set our foundations in the world of metal and we believe it really has done that. The songs, the sound and the response have been fantastic. We have appreciated every small and big step that this album has been able to offer us. It has been a fun journey so far.
What can you tell us about the lyrics?
Our lyrics are based around life experiences more then anything but we use subtle ways of expressing those views through other stories. Like Night Rider for instance, this song on the outside is about an outlaw gun slinger from hell that is there to take the bad guys to hell. The song is really portraying the message that, yes nobody is perfect, and you can have done bad things in the past, but its up to you and you alone to turn that around and that you can do it. In a sense a part of you can die but that leaves room for another part of you to breathe life. We like to look at things in a fun way and base our messages through stories.
What does the future hold for A Breach of Silence?
We have heaps of things going on :). We just finished recording our follow up album to Dead or Alive and can’t wait to release it. We are touring New Zealand and Australia in 2014 a few times, and we are trying to organize as we speak a tour to the USA later this year in support of the new album. We have just released a new film clip for our song Night Rider (watch at http://youtu.be/fVjFfxHj59c ), and we are about to release a few more live clips :). We have a bunch of surprises with the new album with us releasing a few things different to go along with the album! We are excited about the future and can’t wait.
Canadian band Super Massive Black Holes play Experimental/Progressive Jazzy Death Metal, and this is their début album.
This is bright and shiny music that’s technical but also slightly whimsical in nature; there’s something of the Devin Townsend about it.
The band manage to mix disparate elements of Devin Townsend, Opeth, Ephel Duath, Gojira and Cephalic Carnage; schizoid jazzy breakdowns, atmospheric interludes, Stoner vibe rockathons, pseudo-Grind workouts and heavy melodic cyber Metal all collide on this album.
The songs are surprisingly cohesive for all this. Sometimes an idea or a section can feel a bit half-formed or unfinished, however, although from the sound of it this could very well be intentional; to keep the listener guessing or to stop them becoming complacent?
The vocals are mainly between a shout and a growl, with the vocalist reminding a little of the singer of Gorod, or even Gojira on occasion, only not quite as emotive.
I like this album, although it definitely needs time to reveal its charms and won’t be to all tastes. Give them a listen and see what you think.
Canadian band Sovereign Council play Power/Symphonic Metal.
Well, it’s happened again. Another band from Canada who fooled me into thinking they would be another Nightwish et al rip off, (due to lazy assumptions on my part from descriptions of the band), whereas in reality there’s a lot more going on here. They’re not female fronted for a start.
Along with the recent album from Merkabah, they must be doing something very right in Canada, as even though the two bands don’t sound massively alike they both come from the Power/Symphonic mould and the Canadian scene at the moment seems a hotbed of talent.
The band play their music competently and have the right idea with the music. The symphonics and keyboards are relatively subdued for this genre; you can definitely hear them of course but they’re not over the top. The band also have a bit of an electronica influence here and there which adds a nice touch.
The main male vocals are restrained and confident; no show boating here just quality emotive singing. The female backing vocals add a layer of texture and colour to the songs, and are not anywhere near as ubiquitous as the descriptions would have you believe. Mix this with a few harsher screams and growls and it all comes together as a package quite nicely.
Sovereign Council are also savvy enough to know that ultimately this is all about the Metal and don’t bury the guitars under the admittedly talented vocals. Instead the two walk side by side, with the guitars being just as prominent as the vocals, as they should be.
Scars Divide are from Switzerland and play Melodic Metal/Metalcore with Progressive tendencies.
The riffs are melodic and meaty and don’t get reined in for safety purposes when they get a bit randy; rather they’re unleashed like the proverbial dogs of war and let loose to do what they may.
This is a key difference between Scars Divide and some of their more commercial cousins; Scars Divide are less concerned with opening in front of a big stadium, (although I’m sure they’re like to given half the chance), and more interested in creating modern Metal songs that entice, challenge and bludgeon.
It’s clear the band have an intimate relationship with their instruments and know exactly what they’re capable of. This is state-of-the-art Modern Metal that’s a refreshing change from all of the Djent/Lamb of God/At the Gates clones that seem to have been around forever.
The songs are inventive, interesting and above all Metal. Heavy guitars and a pummelling rhythm section keep things flowing nicely as the band get to work doing what they do best.
The vocals are impassioned and emotive without resorting to cleans or gimmicks, reminding of the Darkane singer on occasion.
Call me cynical, jaded, or whatever, but I am surprised at how good this is; I was expecting more Metalcore-by-numbers and I’m very pleased to be wrong. This is a premier league release that should hopefully see the band earning plenty of positive reviews.
Get in on the action while they’re still small, and help support a talented Metal band. This gets my vote.
Grey Skies Fallen are from the US, and this is their fourth album of Progressive Metal.
The band combine a form of Anathema relaxi-prog and a Melodic Death Metal influence with sharp, rasped vocals and heroic cleans. On paper it looks a bit incongruous but in practice it works surprisingly well.
It’s a tribute to the talent of the band that they can combine the soft introspective nature with the heavier Metal parts of the songs and have it sound cohesive and complete.
Elements of Nevermore and Septic Flesh clash with the aforementioned Anathema influence, add to that a bit of Doom and Melodic Prog…basically they have a lot of fingers in a lot of pies and are talented enough to pull it off.
Subtle keyboards accompany the sometimes epic riffs to create a larger than life atmosphere that also manages to stay compact and manageable as the band flex their musical muscles.
The songs are well composed and have a real feeling of grandeur to them. The music is very operatic in scope and ambition, which means it’s a very satisfying listen.
Grey Skies Fallen have produced an album that demands closer inspection. Check them out and hear what they have to offer. You won’t regret it.
This is professionally-recorded and nicely heavy. The songs are short and the anger high. The vocalist sounds like she is possessed by demons, (yes, plural), and is a whirlwind force of nature stalking these songs and shortening their natural lifespan by her presence alone. It’s an impressive performance.
The songs are hardcore-influenced Grindcore with lots to keep the attention with. None of the tracks reach over the 2:00 minute mark but that just means that every spare second is used for something useful rather than just filling space.
I love this kind of grind; modern and brutal but still with a firm emotional core and lyrics that have meaning rather than just being a pointless gore-fest, (which can also be fun of course).
Cross a band like Nasum with the scathing feral hardcore of Converge and Transient will be the product. This is a top quality Grind album and should be on the want list of every fan of this genre.
This is the second EP from Australian Death Metal band Inhuman Remnants.
Wonderbox Metal 