Following on from Our Endless War and Mark of the Blade, Whitechapel are back with another thundering album of deathcore, modern metal, and pit-rousing brutal anthems. So how have they got on this time? Continue reading “Whitechapel – The Valley (Review)”
Boundaries are heavy. Like, crush your skull into a bloody pulp heavy. Add to this the fact that they can also write a good song, and you have a pretty damn satisfying EP. Continue reading “Boundaries – My Body in Bloom (Review)”
Here we have 22 minutes of Depths of Hatred’s brand of punishing intensity. Mixing together multiple strains of death metal with some decent character and a professional recording, the band’s modern attack is easy to recommend. Continue reading “Depths of Hatred – Bloodguilt (Review)”
Was it really 2015 that [R-!-E]lentless was released? Crikey. How time flies. Well, here we have a new 20 minutes of material from this industrial metal troupe that features a member of Unborn Suffer. Continue reading “Kontagion – KO[R-!-E] (Review)”
Mixing modern metal, metalcore, thrash metal, nu-metal, and groove metal into their sound, this is an enjoyable romp through a landscape that sees many different complementary influences touched upon. Continue reading “The Shape – The World Away (Review)”
I haven’t heard anything Suicide Silence have done since their 2009 album No Time to Bleed, so was very interested to finally catch up with them once more. I didn’t expect them to be the same band, of course, and they really aren’t. Continue reading “Suicide Silence – Suicide Silence (Review)”
Kontagion play industrial-tinged cybermetal, taking influence from the earlier of strains of the Fear Factory virus, and morphing itself into an altogether darker and more feral breed via some early Slipknot/Mushroomhead influences and a touch of Godflesh, (of which there’s a cover version here of Crush My Soul).
This really does have a late 90s/early 00s feel Continue reading “Kontagion – [R-!-E]lentless (Review)”
World War 3 is a surprisingly varied album for what it is. I was expecting a straight Metalcore band for some reason, and although they have this side to them there’s more to Cold Snap than just this.
Mix Metalcore with a bit of Nu-Metal and you’ll have an idea of what Cold Snap are attempting here. Elements of Korn, Disturbed, Slipknot and Machine Head can be heard.
After Nu-Metal effectively stopped existing, (as far as I am concerned), a very long time ago it’s actually quite refreshing to hear something like this again, especially when it’s actually done quite well and without the majority of the generic nonsense that plagued the style.
So as I was saying; Cold Snap have a fair degree of variety in their sound and don’t simply repeat the same formula every song. Similarities exist between tracks of course, as is the same for most bands who play one style, but within their chosen framework they do attempt to mix it up a bit.
The singer has a decent voice and doesn’t fall too foul of the various vocal pit-falls that this style can have. Overall he gives a good performance.
The band are at their best when they let the Euro-Metal influences come to the front. Sections of some of the songs have influences from bands like Nevermore, Darkane and Soilwork, and these are the most enjoyable parts for me.
It’s quite a nostalgic listen in some ways; it’s a familiar style but without being overly so, probably because I haven’t really listened to anything like this in a while. If World War 3 had come out about 15 years ago Cold Snap probably would have been quite big.
If Nu-Metal is a best-forgotten nightmare for you then this will probably not float your boat, but if you want to hear a modern take on it with a beefy, professional production then check out Cold Snap and see what you think.
For myself, this has definitely grown on me and I’ll be spinning this again in the future.
Insense are from Norway and play a highly developed form of Modern Metal. They combine elements of multiple genres of heavy music, from Djent to Thrash to Sludge to Progressive Metal and others in between.
Well this is very nice indeed. Heavy, emotive and not afraid of striding boldly into territories avoided by a lot of bands.
The vocals are agonised cries, soft crooning, semi-cleans, powerful melodics, gruff shouting…essentially whatever the song needs; it’s a very personal and distinctive performance that immediately makes apparent the man’s talent. The moment his vocals make an entrance on the first track Part I- Conception I’m hooked straight away. This keeps up for the rest of the album and his vocals bleed charisma and character.
The music doesn’t slack behind either; none of the songs are especially long but every one of them seems committed to ringing out every last drop of emotion and feeling from the guitars. The tracks are all tightly focused balls of energy and in the hands of this clearly talented band there’s no need for longer songs – there’s absolutely no filler here.
Reference points? Wide ranging really; I can hear bits of In Flames, Fear Factory, Devin Townsend, Meshuggah, Mnemic, Slipknot, Darkane, Nevermore…I could go on, but you get the idea; polished, diverse and heavy whilst retaining melodics and soul. A smattering of modern European Power Metal; a bit of Djent in the riffs; wildly energised heavy riffing; stirring and memorable vocals…so much about this recording can be praised.
The sound is suitably huge and massive with everything coming through crystal clear and every sludgy riff sounding crushing and effective.
Quite frankly this album is an absolute revelation. If you were to cut it open it would have the words QUALITY stamped all the way through it in big letters.
Heartily recommended; you need to get this album.
Coming off as a modern Metal band with industrial elements and keyboards the band peddle their aggressive brand of music with passion and fortitude.
If you take all of the heavy bits of early-noughties bands like Spineshank, Slipknot, Downthesun, etc. and take out pretty much all of the clean singing you’ll have a reasonable starting point for Our Last Enemy. Plus guitar solos.
The industrial and atmospheric parts of these songs are more subtle and understated than you might think, the main emphasis instead on the heavy guitars and scathing vocal attack. With enough double bass and blasting drums to ensure the listener knows they mean business, the guitars churn and turn their way through the songs while the singer barks out vicious diatribes.
Each song contributes to the whole and on the final analysis this is an enjoyable album that has a perhaps surprising amount of depth to the compositions.