Slug Comparison’s self-titled debut album, was a very enjoyable and well-realised 41 minutes of modern rock. It reminded me of a mix of elements of bands like Radiohead, Nine Inch Nails, Steven Wilson, and Sunna. Continue reading
This is a varied and diverse release; an hour of drone, doom and experimental sounds that mixes a huge array of influences from all manner of styles and genres. Continue reading
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
I love Aborym’s earlier work, but after Generator I lost track of the band unfortunately, so Shifting.negative is my first experience with them in about ten years or so. What a shocking omission on my part! This review will inevitably come from this viewpoint, as I have missed out on their last two albums, which would probably, (I imagine), have given me a more smoother transition to the current incarnation of Aborym. Continue reading
This is a split release between three modern death metal/deathcore bands, featuring one original song and one cover song from each artist. Thy Art Is Murder are from Australia, and The Acacia Strain and Fit for an Autopsy are from the US.
Thy Art Is Murder contribute the song They Will Know Another and a cover of Rammstein’s Du Hast, for a total of 9 minutes of music.
They Will Know Another showcases the familiar roars of the band’s vocalist alongside mid-paced Continue reading
Dawn of Ashes play modern, professional, industrial black metal with plenty of keyboard/electronic enhancements. Kind of coming across as a mix of Dimmu Borgir, Deathstars and Neurotech, this is heavy, rhythmic and quite catchy. Continue reading
The Unravelling’s music is modern, Progressive Rock with Industrial elements. It’s layered with emotive content and depth of songwriting.
Recalling elements of bands such as Filter, Nine Inch Nails, Sunna, Gravity Kills, Tool and Katatonia, Tear a Hole in the Collective Vision is 44 minutes of music that draws you in with its dark edge and personal themes.
This is a diverse collection of songs with a great variety in mood, pace and dynamics across the 10 tracks. It’s easy to view a band such as this as providing the listener with a musical journey to go on, travelling down the various routes and paths with the band as they explore the moods and atmospheres of their self-created landscape.
Strong vocals provide a focal point for the music and the singer’s slightly atypical voice fits the atypical music to a tee.
This is an impressive album and should definitely be checked out by anyone who enjoys this electronic approach to atmospheric Rock.
Give it a try.
This is music that’s catchy and can carry a good beat. For easy and lazy points of reference think Rammstein and Nine Inch Nails.
The songs incorporate a wealth of electronic and Industrial elements into the tracks and these form the basis of the band’s sound; an electronic base with guitars built on top.
There are some good grooves on this release and the songs give the listener plenty of excuses to bounce along to the energetic music.
Die Krupps are a veteran band that have influenced a whole host of other groups and on V – Metal Music Machine they clearly know what they want to achieve and how to do it. These songs are written and performed by experienced hands and this comes out strongly in the music.
Most enjoyable – check out the latest from Die Krupps.
Actually a solo album with guest/session musicians, Slug Comparison contains 41 minutes of modern Progressive Rock.
This reminds me of early 00s band Sunna mixed with elements of Radiohead, Nine Inch Nails and something like Steven Wilson. It’s extremely accomplished and very well realised.
The songs on this album are diverse and professional, with dark themes and a quasi-Industrial/Electronica feel to them on occasion; synths and electronic effects are frequent accompaniments to the standard instruments. These are used well to add extra flavour to an already tasty feast.
The singer’s voice has a contemporary feel to it and has a raw presence and charisma that money couldn’t buy. He has good range and deals with all of the challenges the material offers him with zeal and skill.
There’s a lot to be absorbed here, and repeated spins reveal the depth of nuance that these songs have to offer. It’s clear that a lot of work and effort has gone into this album, and it pays off spectacularly.
I have no qualms at all about highly recommending this album for your aural delectation. There’s a wealth of talent and expertise on display here, and it’s well worth the taking the time to explore it.
This is catchy and atmospheric Industrial/Electonica-tinged Metal. If you think of bands like Neurotech and Deathstars, remove the Black Metal side and mix this with a Nine Inch Nails influence instead, you’ll have a good starting point for the band.
The tracks mostly hover around the 3 minute mark meaning that the songs are largely to the point and hook the listener in quite quickly. The music is quite emotive and has an atmospheric quality to it that recalls some of Devin Townsend’s work on occasion, (but only occasionally).
Always Active has a professional sound that befits music of this nature. It’s a powerful and driving sound that seems to push the songs along as much as it works for them.
The vocals vary from whispered, semi-spoken word parts to sung cleans and to event the odd shout. He sounds at his best when he’s singing though, as the spoken parts seem a little forced/repetitive sometimes.
This is a good début album, and if Alexanred can build on this then the next album should be very good indeed.