Already an impressive and accomplished technical/progressive death metal proposition prior to this album, Where Owls Know My Name sees the band developing their sound even more than previously. Continue reading
Dead End Scene play modern metal. Now, before you start rolling your eyes in boredom, I’d recommend giving Dead End Scene a chance, as they’re more individual and agreeable than you might expect given the genre tag. Continue reading
How to describe this? It’s not easy. Well, I think I’ll just sidestep the entire issue and call it a metal album and be done with it. Then I’ll run away and hide. So, ‘metal’ loosely covers it in a general sense, I suppose, but what an injustice a simple genre tag can be.
This is an album that’s as insane as the album cover. Continue reading
This is post-black metal with avant-garde tendencies. However, this is a very simplistic description of what you’ll find on Futility Report; the music is anything but simple.
Combichrist are one of those bands that I’ve been aware of since they came out, but I’ve always managed to unintentionally avoid listening to. As this is their eighth album I’m quite late to the Combichrist party, but I’m glad I’ve finally experienced their quite personable brand of industrial metal. Continue reading
After releasing 2015’s challenging and unusual Hirngemeer, Todesstoss are now back with their latest release, which features one 48 minute track.
Just like its predecessor, Ebne Graun is a sprawling, mind-shattering release full of discordant black metal, rampant experimentation and peculiar personality. Continue reading
There are a lot of moods and feelings at play across the 86 minutes on this release. All of them are arguably cut-short in typical soundtrack style, leading to somewhat of a grindcore-feel, (only synth-based); there Continue reading
This is a complex album with a multifaceted, layered sound. The Body are not your average band and consequently No One Deserves Happiness is not your average album.
Industrial Sludge Metal is an apt description of the band’s output, although this barely describes the monstrous creation that the band have unleashed on the world with this work.
Electronics and Metal meet in a way that is fused at the very core of the music, revealing a collaboration that you might never think possible. Certainly it’s out of reach of the talent of most bands who attempt to combine electronics and guitars.
This is an album full of bleakness, isolation and despair. The sense of melancholy and hateful abandonment is strong, with the music absolutely reeking of complex negative emotions and the utter failure of all human contact.
Harsh, needle-thin vocals are sometimes joined by ethereal female cleans, which ratchet up the emotional content to almost unbearable levels.
This is a hard album to describe in many ways; although there is a massive amount of things going on here, it’s more the emotional resonance of the music that’s difficult. No One Deserves Happiness seems to easily and swiftly evoke all of the feelings of negativity, discomfort and nostalgic loss that you’ve experienced your entire life. It’s an extremely powerful listen because of this and at the end of its 48 minute journey you feel hollow and spent.
After listening to this, it’s hard to disagree with the album name.
Well, there’s a lot going on here. At only 22 minutes long this features more creativity and ideas than most albums three times the length. This is Experimental Metal featuring elements of the Progressive style as well as Jazz, Funk, Djent and Electronica influences.
This EP is a like a bright, shiny beacon of exciting and interesting music. It’s like the proverbial breath of fresh air. Of course, it won’t be for everyone, (but then again what is?), but these groovy and imaginative tunes certainly can’t be accused of lacking ambition or flair.
The singer’s voice is smooth and slinky, fitting in with the ultra-modern delivery of the music with ease. He’s like a Rock version of Jamiroquai.
Try to imagine a Djent base mixed in with a Progressive edge, Electronica melodies and added Jazz/Funk. Periphery meets Incubus meets Jamiroquai? It’s not far off.
The music is like an unusual version of a Pop hit, only with added guitars. It’s quite rare these days to hear a band doing something so completely their own, but Novallo are doing this more than most others.
Put on your dancing shoes and get ready to freak out to music that doesn’t care what you call it, but just wants you to feel the groove and move.
A hit, to be sure.
This is an ambitious album, containing just over an hour of Progressive, sci-fi-themed Metal that incorporates elements of Power Metal and a slightly more aggressive, heavier Modern/Thrash Metal influence into its Progressive Framework.
As befits the subject matter, this is a very keyboard-heavy release, with both Classical tinges and Electronica coming into play. In many ways the keyboards are the stars of the show; they’re never too far from the action and are an essential part of it, as opposed to being an additionality that could be done without.
The songs are well-written and draw the listener into the vivid world that the band create. Simulacrum certainly know how to play and there are more than enough leads and solos to keep the guitar-fanatics happy.
The singer has a decent voice and his delivery suits the ostentatious nature of the music. Good harmonies and melodies are used and combined with the music it results in the majority of these songs being quite memorable and catchy.
A strong recording allows the band to develop an immersive atmosphere that they manage to keep up for the full playing time. While the keyboards do the most to promote the sci-fi elements of the music, (alongside the vocals/lyrics, of course), it’s the guitars and drums that lend the sound such a modern edge.
Simulacrum are to be commended on this album. They’ve managed to straddle a few different styles within their concept, and it all fits together and works wonderfully.
Well, I have very much enjoyed this. Highly recommended.