We all know what the Netherlands are famous for…orchestrated black doom metal of course! This intense and lo-fi abstract horror in “An Epiphanic Vomiting of Blood” sounds like the lost soundtrack that never was for horror movie “Susperia“. Ranging from panic-inducing blood-curdling howls and symphonic splatterfest scores, Gnaw Their Tongues have unleashed one of the most epicly disturbing and repulsive albums of abstract mania. Perhaps “Teeth that Leer Like Open Graves” tells it best with its confession from a mass murderer amid heavy decibels of distortion and insanity-driven crunch. If you’re looking for something demented to show how ungodly you are, this is fucking it.
The joy of listening to an album by Download is deciphering and breaking down each element to the complex sound collage that makes up each and every track. “Sorcear” is a perfect example, trolling about with an almost raunchy bassline and rhythm track, there’s exhausting bleeps, noises, and distorted sounds emanating from the speakers in a random yet controlled chaotic setting. “Zass Pie” continues with yawning voice samples that seem to whisper subversive hints into each ear only to be stood up tall with a military-esque kick drum and blasts of filtered rhythms. Over the years, cEvin Key (Skinny Puppy, pLateaU, Doubting Thomas, etc.) has honed his craft into an ambient textured orchestrated chaos with fittings of pure keyboard bliss, distorted and tangled sound effects, and mangled samples that reek of bong residue. Key over the years has easily been recognized as one of the most influential artists in the electronic circuit surpassing the likes of Autechre, Nine Inch Nails, and even the mighty Aphex Twin who now seem to follow his grace with rabid fascination. Twisted acidic breakbeats haunt many of the tracks with a renewed focus on dance rhythms that are broken, tossed into the air, only to rain down upon our ears. Each album that Download seems to pen casts aside previous futuristic sounds for a chaotic future of disco breaks that no one ever sees coming. Perhaps the most intriguing element of “FiXeR” is its uncanny ability to connect with the listener on so many different planes of existence–I could easily sit still and absorb each tune, as well as get up and attempt to dance, or leave it as background music while reading; but it really gets its vibe off proper when the listener allows each cast-off melody, every broken beat, and all singularly textured and heavily effected soundwave wash over him or her seeming to will a mirror of the listener’s soul and thought patterns out in a playful way. Astonishing and perhaps one of the best all-time electronic albums.
Boston area band Energy is not your average turn-key melodic hardcore band of disaffected youths blabbering on about how hard their suburban lives are. “Invasions of the Mind” is an experience of pure pop-punk bliss lifted with three-part vocal harmonies that are surprisingly spot-on by self-taught crooner Jason Tankerley. Tremendous melodies and hugely impacting harmonies crunch the listener with a sound that is part Saves the Day and part Bane–mainly the best parts combined for a perfect forging of melodic hardcore punk.
Didn’t think I’d ever see a “RIYL” for the band Leatherface and then when it’s combined alongside the likes of Jawbreaker and Joan Jett, I just kind of figured it would blow my hair back a bit. Sure did. Hailing from the crowded punk scene in Boston, Deadly Sins bring experience in Brendan Maguire (Reach the Sky) and Stephanie Dougherty (female vocals w/Dropkick Murphys on occasion–best known for their single “The Dirty Glass”), and Billy Brown (Crash and Burn). Their fiery brand of gut-wrenching harmonies attest to their superb version of nuanced melodic punk. Songs like “Barely Breathing” no doubt will offer the sort of phat riffage and throaty vocal sing-a-longs at any Boston pub worthy of this group’s performance.
British slop punkers XX Teens had their latest produced by the U.K.’s own Sheffield-based Ross Orton (Fat Truckers, MIA). Swampy melodies are smelted with Lemmy-oriented hymns and stripped down rhythms. The guitars are often quite dense but yet somewhat poppy still. Churning rock ‘n’ roll that will appeal to late 40-somethings as well as their kids.
Stirring orchestrated mayhem starts off this heavy metal album that is filled to the brim with pure adrenaline, melodic overtures, and tons of double bass kick drum insanity. Having worked on this saga for over a decade, Iced Earth’s Jon Schaffer has been laying the foundations for one of metal’s most epic concept albums. I always find it thrilling to hear an honest soap opera come to life via a rock opera/metal opera. “I Walk Alone” seems to be an opposing force to the band’s well known single “I Walk Among You” which pushed the group up to the top shining spotlight of metal music. Good stuff.
Not really sure what the album title is about? Well who cares, it’s all about great indie/alt. country damn it. The passion of indie music got it right, and so shall we. Easily an album that one can point towards the influence of Johnny Cash (those deep vocals are truly zany) and The Velvet Underground, “Victory Shorts” by Absentee is an album rich in romantic ideals and poor in easy to chew pop nuance for which we’re abundantly thankful. Produced, engineered, and mixed by Nick Terry whose recent notables include the Libertines and Bernard Butler, “Victory Shorts” is a mediation on the mind and body’s odd quirks via smart lyrics and careful composure. Great for those of you unsatisfied that the Cure isn’t making good music anymore who can’t stand that Snoop Dogg was allowed to remix Johnny Cash.
Vocalist Sabina Classen isn’t just another hot metal singer; she’s a class act that not only lights up the stage but sets it ablaze with her stirring vocals and stunning presence. Thrash metal has seen a revitalization lately in the metal community but bands like Holy Moses who have been around for nearly three decades never stopped to jump onto the latest trend or bandwagon. Tons of cymbal catches, harsh power chords, and harsh aggressive female vocals. The rhythm guitar takes a lesson or two from Kerry King (Slayer) and the abuse of the metal strings is daunting. A fitting title for an album that will kick you in the ass.
With an album title like that you just know you’re in for the ride of your life. SuidAkra doesn’t disappoint with pagan metal so intense you’ll get tattoo from their heated spears and swords. After 8 studio albums, and thirteen years (duh), this German metal outfit has seen their music grown from a hybrid of death metal and pagan folk metal into an ingenious toke of harmonies and sweeping guitar anthems. Included along with the album is a DVD of an astounding live set from the Wacken Open Air Festival, an acoustic concert, and several nice bonuses. Check out the trailer…
Power pop chords chug away with infinite harmonies leaking out and forming a swirling lollipop around which this Baltimore-based pop icon Edward Joseph Neenan forges dynamic songs. He brings to E. Joseph and the Phantom Heart his crafty ability to build bridges between divergent melodies amid smooth grooves in uncanny. The album opener could very well be heard throughout mainstream pop radio with killer guitar hooks and a seminal nod to retro alternative pop-rock. Power-pop this golden needs to be shared with anyone who will listen. Essential.
