Kyle Morrison - Pianometal

#FOR FANS OF: Instrumental Progressive Metal; Mindflowers, OSV

Hailing from Atlanta, Georgia, multi-talented instrumentalist Kyle Morrison has assembled quite a profound and dynamic debut full-length effort taking influence from a variety of disparate elements that takes part in a unique and stylish offering. The skill-set is obvious from the very beginning with a rapid-fire slew of twisting, challenging progressive rhythms that bring about plenty of engaging work. Littered with tight groove-based rhythms, rattling drumming and sparkling piano-focused melodies that add a great touch to the blasting rhythms, keeping a stellar base for the album to work around throughout here. The multitude of guests here makes for a strong collection of talent as well, giving stellar performances to a great mixture of progressive touches and stiff grooves. 'Centrifuge,' 'Hymn of Blasphemy' and 'Mammoth' exemplify this style the most, while the three-part Cosmos trilogy, 'Martian Dusk,' 'Orion's Curse' and 'Interstellar Survival' all give a different look to the material at hand with stand-out progressive leanings and complex riff-work alongside the marvelous piano melodies that take center-stage for those tracks. There are maybe a few too many bonus tracks here which does make for a slightly overlong feeling here, but this is still a great overall release in this style. (Don Anelli)

(Self - 2017)
Score: 80

https://kylemorrison.bandcamp.com/album/pianometal

Lectern - Precept of Delator

#FOR FANS OF: Brutal Death Metal

Italian brutal death metallers Lectern have stayed true to their roots and kept their steadfast tradition to mixing a brutal variation of the Floridian variety of death metal with a much harsher, more Satanic bent to their music that makes it more devastating. The main feature to be found here is the rather sharp, brutal riff-work, managing to work through a strong series of rhythm patterns that showcase a tight foundation with short rhythms and deep, churning grooves. That the vast majority of tracks in this section are built around a thrashing mindset means that they’re fast, vicious and really exploit the fine precision displayed throughout here as the up-tempo tracks and short rhythms give this a distinctly Floridian feel utilizing those similar tactics in their work. This one though adds on a far more blistering and twisting series of riffing over that which adds a frank brutality to the rhythms in this, and given that the riffing still adds a rather old-school vibe to the material is a fine touch. For the most part, it doesn’t have much wrong here beyond the need for repeating the same riff-work and arrangements at the varying tempos, but that’s overlooked with efforts like opener ‘Gergal Profaner,’ ‘Fluent Bilocation’ and ‘Distil Shambles’ all frequently showcase. The longer efforts like ‘Palpation of Sacramentarian’ and ‘Pellucid’ also offer more a traditional old-school death metal feel, but on the whole are more than enjoyable enough throughout here to give this one a lot to really like here for brutal and old-school death metal fans. (Don Anelli)

(Via Nocturna - 2016)
Score: 80

https://vianocturna.bandcamp.com/album/precept-of-delator

Interview with Lectern

Follow this link to read the interview done with the Italian brutal band, Lectern: 

Lectern Interview

Rites to Sedition - Ancestral Blood

#FOR FANS OF: Swedish Black, Unanimated, Dissection

North Carolina-based melodic black metallers Rites to Sedition have taken their influence from the old-school melodic black metal scene to craft an ambitious effort upon the origins of man and his epic quest to overcome occult mysteries. This is mainly built around the utterly phenomenal riff-work present, featuring plenty of thrilling tremolo patterns full of fiery rhythms and a multitude of tempo changes that allows this one to generate a slew of exciting rhythms. By adding in a technicality to these riffs alongside the ability to utilize the grandiose soundscapes throughout here, this manages to acquire a feeling of explosive icy black metal riffing that develops a variety of tempos and patterns throughout here as the vast array of exceptionally glorious rhythms throughout here which help to make the melodic leads all the more impressive. Running over furious tempos as well as plodding mid-paced efforts makes a huge impact on their rhythms by enabling this one to readily shift focus into the varying tempos and not lose any sense of power or grandeur in the attack, making this a spectacular showing that’s able to generate these varying moods and atmospheres here. It does feel it’s length at times because of the lengthy songs sometimes generating a few unneeded parts here and there but on the whole, that’s a minor gripe here just to pick at it. Intro "Waveform 66," "Echelons of Imposition" and "Sorcerers of Atlantis" manage to combine these together exceptionally well, while the epics "The Moon Titan Phylon" and "The Golden Aeon of Saturnia" fit them into even longer segments to really boost this considerably. However, overall there’s not much really wrong with this one. (Don Anelli)

(Self - 2017)
Score: 85

https://ritestosedition.bandcamp.com/releases

Sentient Ignition - Enthroned In Gray

#FOR FANS OF: Technical Death Metal, Archspire, Cryptopsy

Formed just in the last few years, Bay Area technical/progressive death metallers Sentient Ignition have brought a vast array of influences into a complex, challenging sound which is quite a devastating blow for a band bringing about their first offering. The fact that the vast majority of this one is based on twisting, swirling patterns utilizing challenging riff-patterns that dominate this one quite readily, making for a rather fun time here. These sweeping rhythms are based on the technicality of the riffing which is fantastic in building up dramatic moments through the utterly complex notes hit as well as the bands’ far-more-detailed ability to switch from the varying tempos here with the tight chugging, ravenous gallops and blistering thrash paces all coming to play here while expertly navigating throughout the frantic riffing alongside these tempo changes, especially since there are a few minor flaws here. It’s a bit too short here with only a handful of tracks after the intro, and despite how epic they are it’s still a touch short, and the fact that there’s a rather light tone here throughout the music does rob the riffs of their power and dynamic crunch after a while, however, it doesn’t really rob the songs of their enjoyable as the title track, "A Thousand Ages" and "Grasp of the Infinite" all managing to display this style of work to the fullest featuring plenty of strong work throughout, while "Black Lattice" is a touch more on the melodic scale of their sound even though it’s quite enjoyable as well. Overall, it’s a solid effort if really just a touch too short. (Don Anelli)

(Self - 2017)
Score: 75

https://sentientignition.bandcamp.com/

Violet - S/t

#FOR FANS OF: Atmospheric/Post Black Metal, Agalloch, Chiral

Still fine-tuning their sound, Rhode Island black metallers Violet have come upon a rather strong mix of atmospheric black metal and post-rock riffing to leave this a solid if somewhat underwhelming effort. The long, swirling riff-work and churning rhythms present for the majority of the tracks here present a light background for the music to rumble along due to the loose song structures apparent throughout here. It rumbles forth quite nicely and has some solid moments here with the sporadic riffing giving this some life, although it tends to simply come off way too simplistic and repetitive as the exact same rhythms are utilized for the tracks here and it can make these feel too similar to each other. Opener "Haunter" and the rumbling "Kin" are the most expressive and enjoyable tracks, while the frantic outbursts of "Bloodless" offer some strong potential of what’s in store in the future. For the most part, it’s really just the fact that there’s not a whole lot to really distinguish these from each other. (Don Anelli)

(Self - 2017)
Score: 65

https://violetmetal.bandcamp.com/

Infernal Angels - Ars Goetia

#FOR FANS OF: Black, Dark Funeral, Mgła, Belphegor

Italian melodic black metallers Infernal Angels feature plenty of glimpses of pure aggression that are blended into parts of mournful, disturbing sonic extremity with sudden melodic grafts throughout here which produces a fine Scandinavian angle to the music. The album is based mostly on tight, ferocious tremolo riffing that produces a strong, thunderous base for the rest of the music to offer the frantic tempos and patterns featured throughout here. Generating plenty of intensity with the blistering drumming while remaining firmly aware of the tight, frantic buzzing melodies blazing alongside the raging music featured here, and overall there’s a solid amount of work displayed here that makes for a wholly enjoyable time. The one main problem with this one arrives in the fact that there’s just not a whole lot of deviation in the music which has a ton of opportunities to express any kind of variance here yet it doesn’t really offer that here. It’s all pretty much the same general buzzing tremolo melodies and rather tight, same-sounding rhythms for the most part, and that does tend to lower the impact of the album when it’s almost impossible to figure out where on the album you are. Still, the tracks here aren’t all that bad here. Once this gets past intro ‘Amdusias: The Sound of Hell,’ there’s quite a lot to like here as ‘Vine: Destroyer of the World,’ ‘Purson: Matter and Spirit’ and ‘Bael: The Fire Devour Their Flesh’ feature these in rather impressive, explosive manners. As well, ‘Asmoday: The Impure Archangel’ and ‘Paimon: The Secret of Mind’ drop a lot of the intensity and go for more mid-tempo melodies to really give this a bit of variation. Still, that doesn’t detract from the main flaw in this one. (Don Anelli)

(My Kingdom Music - 2017)
Score: 80

https://infernalangels.bandcamp.com/

Arcane Existence - The Dark Curse

#FOR FANS OF: Melodic Black/Death Metal, Thulcandra, Paimonia

Formed just in 2016, California-based melodic black/death metallers Arcane Existence have been taking their influences and running it through the deep lows and emotional highs as they adapt a storyline involving the TV show ‘Once Upon a Time.’ As for the music itself, the group displays a rather adept and profound mixture of stylish symphonic elements within the melodic black/death realm. The fiery tremolo riffing is generally tight and up-tempo, raging along with a galloping pace which generates a rather fun and frantic charge here while engaging the blistering symphonics here. That is far more impactful throughout the album, going for grandiose elements that are far more dynamic than the majority of the riff-work featured here not only in terms of featuring the melodic flurries but also focusing on the massive orchestral sounds when placed alongside these engaging tremolo patterns. It tends to get a little overloaded with the symphonics to the detriment of the riff-work, especially in ‘Reshaping History’ and ‘Bleeding Through’ which showcase this quite effectively. On the other side of the spectrum, ‘Welcome to Storybrooke,’ ‘The Dark One’ and ‘Magic’ offer more traditional elements that make for a strongly balanced and engaging first step that comes off far better than expected for a debut. (Don Anelli)

(Self - 2017)
Score: 75

https://arcaneexistence.bandcamp.com/album/the-dark-curse

Birnam Wood - Warlord

#FOR FANS OF: Stoner Rock/Metal, Kyuss, Fu Manchu

Fresh off their last release, Massachusetts stoners Birnam Wood have continued to spread their massive, comprehensive sound that adds to their medieval-based imagery that was a part of their works up through their present offering. For the most part, that means this is kept to a relatively simple formula of heavy droning riff-work and plenty of swirling reverb-laden rhythms, all done with solid melodic croons over the simple paces which features the fuzz-riddled production so familiar in the genre for nearly every track here. Given that there’s very little leeway within the tracks as the only difference between everything is either a mid-tempo charge like the title track or slow, sprawling epics such as ‘Wizards Bleed’ or ‘Two Ravens,’ so it tends to give off its hand quite easily in terms of stylistic approaches. While this style would surely have rated a little higher on a full-length with more opportunities to impress, the fact that it's so short and is only these four tracks does lower it slightly. (Don Anelli)

(Self - 2015)
Score: 60

https://birnamwood.bandcamp.com/album/warlord

Beyond Chronicles - Human Nation

#FOR FANS OF: Melodic Death Metal, Across the Burning Sky, Enchridrion

In existence since 2012, Paris-based Melodic Death Metallers Beyond Chronicles have steadily risen to the point of allowing their influences to take place in bringing out the groups’ finest official release yet following their continuous stretch of live dates to hone their skills. Built around short, stuttering rhythms and a crunchy mid-tempo attack, there’s a generally solid attack featured throughout here that makes the generally one-dimensional material come to life. With the infusion of swirling melodic rhythms throughout the vast majority of the tracks as well as the inclusion of a stellar dynamic mixing together the hoarse shouts with the clean crooning it all comes off with a fine light melodic touch that’s quite nicely in keeping with the general feel of the album. There’s little to be done, though, for how much of an impact the flaws have on this one as the material is quite light and one-dimensional which makes for a fine if much too familiar experience where the album really loses steam in second half. Still, for the most part the tracks themselves aren’t that bad. Following intro "Ground Zero," efforts like "Cold Vengeance," "Last Transmission" and "Powerless" feature plenty of enjoyable fiery rhythms and tight patterns to be solid highlight offerings, while slower mid-tempo elements like "Upon Them" and "The Best at Everything" all show up as the best of the rest. It’s certainly decent enough for the genre, but it does have its problems. (Don Anelli)

(Dooweet Records - 2016)
Score: 65

https://www.facebook.com/beyondchronicles

Olÿphant - Expedition to the Barrier Peaks

#FOR FANS OF: Heavy/Speed Metal, Judas Priest, The Sword

Formed in 2009, Massachusetts metallers Olÿphant were originally conceived as a classic metal cover band before quickly moving on to writing original music that brings a classic metal with doom and stoner influences to prog and thrash elements alongside. Basically dripping with sprawling, mid-tempo dirges, the album’s main focus becomes quite clear early on with the ability to effortlessly shift from these wide-ranging elements as there’s a strong showing of spindly, galloping heavy metal, swirling stoner riff-work and plodding, oppressive doom rhythms that all come together here. This wide-ranging set of influences creates a wide-ranging sense of free-flowing and unpredictable work, never really journeying through the expected realms of the genres in order to continually warp themselves into a finely-tuned effort that’s quite enjoyable when it drops these vastly-varying elements into the journey without warning. At times, though, that does the album a slight disservice as this rarely manages to feel like it shifts all that cohesively, being essentially a wide-ranging hodgepodge of influential elements coming together to create a seemingly jarring and discordant array of tracks without a singular connecting vibe between any of it, and is an issue to contend with as the band carries on. Efforts like ‘Brown Jenkin,’ ‘Incidents in the Butterfly Garden’ and ‘The Expedition’ offer up the most nominal and enjoyable variations of the style, featuring these elements coming together into a stylistic whole to be the highlight tracks on the album. The multi-faceted ‘The Grey Havens (To the Sea)’ offers a fine look at these elements shifting continuously throughout it’s epic passages that makes for quite a winding journey, while ‘Before the Fall’ abandons the vast majority of what came before in order to turn into a raging speed-metal mosher. Still, this isn’t that problematic of an effort and still has a lot to like. (Don Anelli)

(Self - 2016)
Score: 70

https://olyphant.bandcamp.com/album/expedition-to-the-barrier-peaks

Angelseed - Crimson Dyed Abyss

#FOR FANS OF: Power Symphonic Metal, Dragonland, Kaledon, Ancient Bards

Croatian symphonic power metal newcomers AngelSeed have struggled with numerous lineup changes over the years as the band’s complex arrangements and vast array of influences have kept the band in check throughout the years. Forging forward with these elements, the band is quite adept at their style here which manages to interject so many rather strong and dynamic elements that range from operatic vocals, soaring cinematic orchestrations that generate the kind of power and bombastic grandiosity present there to heavy, thumping riffing alongside the straightforward riffing which is quite a great backbone of attack which generates quite a lot to like here. The fact that it’s not as intense and driving as the vast majority of the genre’s practitioners for the full-on album as they prefer to stay in the mid-tempo chugging realm and offer complex arrangements rather than indulge in those overt speed-drenched numbers might make this a somewhat clashing tone for some but otherwise isn’t all that flawed since the consistency and tone makes up a lot of that. The three ballads might be overkill, but the tracks are still enjoyable enough. First effort ‘Bloodfield’ gets this going with moody atmospherics and pounding drumming that propels this along at a steady pace as the operatic elements coming to pass throughout the swirling keyboards leading into the finale for a decent-enough start. ‘Dancing with the Ghosts’ offers heavy, thumping rhythms and harmonious leads that bring about the controlled Gothic-flavored outbursts while chugging along to the strong rhythms as the mid-tempo patterns keep this one flowing nicely into the final half for another strong offering. Their first ballad ‘Man with Black Roses’ drops off into softer rhythms with a more relaxed tempo that still retains some solid atmospheric keyboards amid the simple strumming and romantic vibe that runs continuously throughout here for a rather nice attempt at the style without really doing much else. ‘Forever Blind’ returns to the forefront of heavy, chugging patterns and utterly frenzied patterns that blast along at more traditional speed-drenched rhythms and bombastic drumming throughout the finale that makes for a standout highlight track. Second ballad ‘Leaving All Behind’ offers even softer and more romantic patterns with simplistic elements and orchestral patterns that brings the keyboards to the forefront against the guitars as the gentle rhythms continue on for a much more engaging and up-tempo effort than the previous effort. ‘Fallen Angel’ and ‘Schizo-head’ tread into the cinematic realm with surging keyboards and simple mid-tempo riffing that relies more on dramatic arrangements as the pounding rhythms and harmonious cinematic melodies make for fun and rather engaging efforts. ‘Dreamer / Breaking Dawn’ mixes the ballad and mid-tempo crunch styles nicely with soft, gentle melodies and dramatic arrangements that contain romantic rhythms alongside the bombastic keyboards which is nice but does feel way too dragged out at it’s current length. ‘Soulcollector’ brings some electronic influences into the dramatic cinematic rhythms and pounding arrangements as the crushing riff-work and swirling keyboards combine into a fine operatic whole for a rather enjoyable offering. ‘The Healer’ offers the heaviest variation yet with the faster rhythms and thumping patterns offering plenty of cinematic-styled outbursts alongside the softer, gentle melodies and simple keyboards only with a lessened impact against the driving orchestral rhythms for a rather enjoyable offering. Finally, the final ballad and album-closer ‘Now’ uses the soft strumming and gentle melodies for a romantic guide through the solid rhythms and engaging vocal melodies that carries on into the final half for a solid if completely inappropriate lasting impression that drops this a notch. Otherwise, this here is a solid addition to the genre overall. (Don Anelli)

(Sliptrick Records - 2015)
Score: 75

http://www.angelseed.info/

H-One - Cygne II

#FOR FANS OF: Hardcore/Modern Metal, Gojira, Soulfly

Active for nearly a decade, French metallers H-One came together from brothers Adrian and Alan who quickly rounded out their numbers into a full line-up that plays a rather energetic and engaging modern metal attack. This is mostly apparent in the rather straightforward riff-work present which adopts a typically hardcore-influenced series of chugging rhythms without as many breakdowns while offsetting that with progressive swirling patterns to get things quite hard-hitting and full of noodling riffing that makes for a nice burst of modern metal throughout here. Though it’s quite apparent here that the straightforward nature of the material here doesn’t really create much of an impression here as the band tends to mostly utilize a simplistic series of chugging rhythms that aren’t in the slightest bit employing any variety or dynamic riffing in their attack, making this a mostly hollow burst of music that doesn’t really go anywhere beyond being simply angry and heavy. Though that’s the case the music when it’s on the better end of their spectrum does come off rather nicely. Intro ‘Salt War’ features tight, ravenous riffing and heavy chugging breakdowns with plenty of furious rhythms and blasting tempos carrying on through the sprawling patterns that carry on for a strong opening. ‘Home’ takes jangly rhythms and stuttering riff-work into a series of plodding chug-patterns swirling through lame noodling patterns that wandering around aimlessly throughout the finale which makes for a wholly bland and lifeless offering. ‘Pray for My Name’ moves through somewhat livelier plodding chug-rhythms and bursts of tight, energetic drumming that makes for a rather nice contrast to the barreling drumming and tight lock-step riffing blasting into the later half for an effective highlight. ‘Mother’ uses stronger churning riff-work and plenty of thumping patterns to offer a slight series of trinkling patterns to the charging groove-laced chugging carrying on through the final half for a decent enough offering. ‘Headcharger’ features bouncy swirling chugging riff-work and a bouncy mid-tempo pace with light thumping rhythms along through the plodding sprawl-like rhythms keeping this one charging along into the plodding finale for a decent enough track. The instrumental ‘Moved Reasons’ serves as a decent album-break for ‘Black Cloud’ which features plenty of stylish chugging and trinkling patterns mixed along the tight, swirling breakdowns flowing throughout the final half with the chugging intermingled alongside for a highly enjoyable effort. Lastly, album-closer ‘Final Track’ contains tight chugging rhythms alongside sprawling loops of swirling melodic tones and plenty of straightforward rhythms before leading into silence with an acoustic track leading into the end which makes for a fine if decent enough lasting impression. That, in the end, is the overall feel of the album as a whole. (Don Anelli)

(Dooweet Records - 2016)
Score: 65

https://www.facebook.com/honemusic/

Order of 315 - Antipi

#FOR FANS OF: Alternative Metal/Hardcore, Pantera, Korn, Five Finger Death Punch

French metallers Order of 315 have once again strayed relatively far into the modern metal scene that has quickly become a strong part of the French scene that contains far more of their counterparts’ elements into their sound. Mostly employing a heavy, groove-centered mid-tempo approach that interchanges swirling rhythms and tight pattern-changes into a series of vicious, groove styled rhythms that add in touches of hardcore and modern progressive rock, there’s a rather tight, frenetic sound on display which becomes quite enjoyable at times while still utilizing far too many plodding and mid-tempo patterns here to really make much use of them overall here. This one works nicely enough in these more hard-hitting sections and acquits itself well there, but the disparate mix of influences and seemingly blander stylings here make this one quite troubling at times, especially the later half which has a lot of weak tracks there to fill the running time. Still, on the whole the tracks aren’t too terrible. Opener ‘A Slap on the Wrist’ offers explosive, charging rhythms and plenty of charging, hoarse vocals containing the strong churning riffs and steady patterns grinding along through the grooves of the final half for a strong opening impression. ‘Telescope’ features heavier chugging and plenty of tight, swirling grooves with a ferocious and charging series of thrashing rhythms and energetic patterns that generate a strong, frenetic pace here with the grinding grooves working well for a strong highlight. ‘The Feather Factor’ offers some electronica influences into the plodding mid-tempo grooves and swirling breakdowns on display that are somewhat at odds with the pulsating electronics though the swirling rhythms are enjoyable enough to make this a somewhat enjoyable effort. ‘Abelian’ and ‘Meiosis’ return to the charging, hard-hitting grooves with the swirling riffing and simplistic rhythms that charge along to a solid mid-tempo crunch with plenty of strong patterns along with scattered electronics for nice highlight offerings. ‘Rumble Fish’ uses more of the electronica influences to plod along with the simplistic grooves and swirling rhythms introduced alongside the series of simplistic, plodding paces featured along into the finale for a decent-if-unspectacular track. ‘Data Warfare’ comes off as a fine mixture of the chugging grooves and swirling electronics featured throughout into the sprawling, buzzing electronic passages that continue swirling along into the final half for a truly disposable and unnecessary track. ‘Greyscale’ uses the down-tuned rhythms and swirling mid-tempo grooves into a fine series of plodding patterns that bring the simplistic chugging along through the simplistic finale for a decent enough offering. ‘Densen’ uses more straightforward, simplistic riff-work and plodding rhythms with plenty of sprawling electronics spread throughout into a bland series of swirling grooves chugging along into the final half for a rather unimpressive effort. ‘Unperfect Circles’ features plenty of straightforward, simple chugging riffing with sprawling electronics into a series of rather straightforward swirling patterns that continue droning on through plodding tempos through the final half for a somewhat enjoyable if still really flawed effort. Lastly, ‘Drone’ features plenty of tight, swirling chugging and lively groove-filled patterns alongside the influx of mid-tempo swirling patterns with more tight crunchy grooves carrying on through the finale for a much more enjoyable effort and does end this on a high-note. It’s worthwhile enough at times, but does have a few problems with it. (Don Anelli)

(Self - 2016)

Score: 70

https://www.facebook.com/OrderOf315/

Enemy Of The Enemy - Hellequin

#FOR FANS OF: Alternative Metal, Lamb of God, Machine Head, Slipknot

In existence for almost a decade, French metallers Enemy of the Enemy have provided a strong blend of styles together into their music as they’ve refined and honed their sound into their current hybrid style mixture. Taking plenty of solid churning groove-style riffing from modern metal, adding in alternative patterns and rhythms while dipping their feet into such diverse and seemingly disparate elements as ska, breakdown-heavy hardcore and slight rap influences in the vocals though they retain more of a solid metal growl for the majority of the time. It works nicely enough overall here when this is the main focus, keeping the strong churning riffs at the forefront which makes for some lively work here, but when it drops this in favor of spotlighting the bland, plodding ska is where this slips with the vast majority of tracks containing these at the forefront suffer highly from a lack of energy and are just plain a drag to get through and really highlights a distressing problem with this one. Still, there’s a lot to enjoy with this one. Opener ‘Lost Generation’ offers a slew of fiery churning riff-work and statticco rhythms that contain plenty of crunchy patterns as the switch-over into the series of bland noodling patterns carries out into the chugging final half for a decent enough opening charge. Both ‘Farm Boy’ and ‘Dangerous Species’ drop a lot of the churning riff-work for more of a down-tempo ska-infused charge which carries along into the droning noodling throughout that brings about the few churning riffing throughout the finale for decen enough efforts. ‘Oh Glory (Superstar)’ is a simplistic series of swirling grooves and a straightforward tempo which are carried on throughout unending into a series of rather simplistic and unending churning for a rather quick and unimpressive effort. ‘Angels Can Die’ also features the discordant noodling and plodding ska-infused rhythms yet keeps the churning grooves and more in the forefront here with the discordant patterns keeping the churning rhythms along through the finale for a rather enjoyable effort. ‘Nowhere’ features a straightforward and unyielding assault of simplistic swirling grooves with the occasional burst into fiery churning rhythms and hardcore-ish breakdowns throughout the final half for a strong and enjoyable highlight. ‘Smooth Pussy’ winds through bland and utterly unimpressive plodding that carries along into the series of churning riff-work with the electronica stylings throughout the final half being incredibly out-of-place and just makes for such a useless and uninteresting track, ‘Beast’ brings it back to the charging grooves and swirling patterns with plenty of lively rhythms alongside the mainly simplistic mid-tempo chugging featured throughout into the final half for a solid and much more enjoyable offering. ‘This Is A Gift’ uses the simplistic and deep churning groove riffing and simplistic breakdowns for a series of vicious, plodding patterns and swirling rhythms that bring about the chugging riffs into the sprawling finale for a solid enough track. Finally, album-closer ‘Vendetta’ goes back to the sprawling ska rhythms and plodding rhythms before charging back into the occasional burst of swirling groove patterns with the main sections on display containing the plodding paces which leaves to a wholly bland lasting impression overall. This is the main element wrong with this one overall. (Don Anelli)

(Self - 2013)
Score: 65

https://enemyoftheenemy.bandcamp.com/

Skox - Years of Legions

#FOR FANS OF: Thrash Metal, Torrefy, BattleX

Toiling in the underground since 2003, French thrashers Skox have had very little output since their creation, spawning only a demo and an EP release five-years later before another six-year gap in releases until now. From the beginning this generates the kind of short, sharpened bursts of thrash which becomes quite frantic and generally far more vicious than expected as there’s a series of tight, vicious rhythms with wildly-chaotic leads that are feverishly played over the whole effort. Likewise, the shorter rhythms work well here in making for a routinely enjoyable mid-tempo chug to dominate the majority of the album, and generally works quite well here by keeping the material up-beat and charging along with the bouncy tempos off-setting the raging rhythms into a solid whole. There’s a feeling here that the album could deal with a more pronounced set of intense tracks here, as though those are where the band really scores quite well the fact that it’s drowned out by the tighter-yet-less-energetic mid-tempo sections causes this to drop off in intensity throughout the album which is slightly troubling. Still, this one is a debut offering and does get a slight pass on that front as the band should get experience to even it out, and for the most part there’s a lot to like here in the tracks. The instrumental intro ‘Entering the Battlefield’ uses it’s militaristic marching to great effect leading into the title track as the swirling, ravenous drumming and vicious stuttering thrashing rhythms carrying this along into a solid series of chugging riff-work that brings along some vicious rhythms along through the final half for a solid and engaging effort. ‘Cell Swelling’ continues the solid mid-tempo chugging patterns with some solid and enjoyable mid-tempo rhythms with plenty of rattling drumming and vicious riff-work throughout the final half for another enjoyable effort. ‘Running Out of Time’ gradually builds into a strong stylistic chug series of rhythms that settle into a solid mid-tempo groove that runs throughout the main rhythms with several slight tempo changes along the way leading into the chugging finale for a solid effort. ‘Thrashtastik’ features some bouncier riff-work and some lively rhythms that carry out through the first half only to get turned into more mid-tempo patterns and thumping chugging riff-work through the final half for a decent if overall unspectacular effort. The bland ‘Engine of Death’ employs chunkier chug-riffs with a steady, solid stream of mid-tempo paces that march singlemindedly along with the vicious chugging carrying the rhythms along into the blistering finale for a fantastic finish to an overall bland offering otherwise. ‘Road 666’ gets this back on track with some decent chugging rhythms and stuttering riff-work that bring the more vicious patterns into the wild and frenetic rhythms of the charging finale for another solid and enjoyable effort. ‘March of the Dead’ is back to the straightforward and simplistic chugging rhythms here which manages to add a slightly more intense charge along through the stuttering rhythms featured throughout the plodding final half for a bland finish that doesn’t detract from the enjoyable first half. ‘Smash Your Enemy’ offers simplistic, plodding chugging rhythms into a series of ravenous swirling patterns with plenty of fiery, energetic patterns and plenty of furious patterns that carry on through the final half for a stellar, standout effort. Finally, album-closer ‘Leaving the Killing Field’ offers a simple series of swirling melodic rhythms and rather simplistic patterns that loop over into a relaxing tempo for a somewhat lackluster and bland final impression here. Still, this here is decent enough when it really matters. (Don Anelli)

(Self - 2016)
Score: 70

https://www.facebook.com/pages/Skox/301533546768

Except One - Haunted Humanity

#FOR FANS OF: Melo Death/Metalcore, Eths, The Agonist

Emerging from the French underground, the new EP from Melodic Death Metal/Metalcore hybrid Except One have quickly become a vibrant part of the scene with the five-piece honing into a fine mixture of aggression and beauty. As is the case for most modern female-fronted efforts in the style, the main crux of the band is the ability to shift between the deep, heavy churning riff-work with the accompanied gruff, violent vocals while still maintaining a clear balance of lighter, groove-centered work throughout here that gives this a strong overall variety between the aggressive rhythms and relaxed melodies. While it’s somewhat of a one-note approach without really bringing any kind of differentiatly throughout here, for the most part there’s not a lot to dislike here with the consistency ringing true throughout here. Intro ‘Rise’ whips along through a series of tight chugging breakdowns and stylish mid-tempo groove-centered riffing that carries along nicely through the rather charged final half for a solid, impressive opening highlight. ‘Lost’ offers along a slightly more up-tempo and energetic variation with a greater emphasis on deep, heavy chugging and twisting metalcore-styled rhythms while ramping up the breakdowns and sprawling patterns into the finale for another strong highlight. ‘Schizofriend’ takes on slightly more melodic swirling riffing alongside some ferocious and strong grooves wrapping around the sprawling massive rhythms that chugs along into the final half for a fine if solid enough effort. ‘Revenge’ returns to the strong and tightly-wound chugging patterns found here with plenty of fine breakdowns amongst the groove-filled chugging into the finale for a much stronger effort. ‘Elm Street’ features a strong plodding chug rhythm and swirling breakdowns alongside the slower pace while bringing in the stronger and less intensive charging rhythms leading into the grinding finish. ‘Disease’ brings forth plenty of strong and straightforward grooves among the swirling riff-work offering ferocious and charging blasts of strong swirling melodies into the final half for another fine highlight. Lastly, album-closer ‘7even’ moves past a trinkling opener into another strong, swirling blast of grooves and churning riffing to a fine, melodic whole offering the charging breakdowns and grooves heading into the finale for another nice effort and a good lasting impression. On the whole there’s quite a lot to like here. (Don Anelli)

(Self - 2016)
Score: 70

https://exceptone.bandcamp.com/album/haunted-humanity

Colossus Fall - Hidden into Details

#FOR FANS OF: Post Hardcore, When Icarus Falls, Abenakis

The debut full-length from Swiss post-hardcore rockers Colossus Falls offers a rather engaging if flawed variant on the style which is a loud, raucous affair without much else going for it. This is the loud, stuttering style of post-hardcore that offers up bland, chug-heavy patterns offset with plenty of sprawling riff-work that further drags the pace to a halt and it’s mainly when they drop that extended sprawling sections in their tracks that they really generate some fiery and enthusiastic work here. The riffing becomes bouncy and dynamic in these sections and the livelier tempos give this a stylish series of drum-work that brings the tempo back up significantly, but those other pieces here just really make this one quite a bland effort overall. Opener ‘Rise of Adrenaline’ features tight and frantic riff-work with plenty of tough, jangly riffing and scattered, schizophrenic patterns that creates a series of frantic and urgent rhythms leading into the blistering finale for a strong opener. Both ‘The Errorist’ and ‘Visions of Inhumanity’ go for extended swirling sprawling sections and a rather dragging, droning pace that rumbles along with a few rather energetic bits with plenty of vicious rhythms and pounding patterns that are dropped for favoring the droning bits here leaving these quite bland overall. ‘Bullseyes’ packs more of an energetic rhythm into a loud, raucous series of riffing with a stuttering pace and plenty of frantic paces that drop off in favor of rather bland post-rock sprawling before bringing the clanging rock back in favor for the album’s highlight. ‘Disgusting Secrets’ is a series of dinkly acoustic trinkling that carries on the light melodies with the heavier chugging coming into play with the final half as a pretty bland effort overall. ‘Kabuki - 歌舞伎’ offers some rather tight chugging and plenty of swirling rhythms that bring about a rather dynamic charge that works rather well leading into the heavier sprawling for the finish for a fine if quite too short effort. ‘(We were) Gatekeepers’ features plenty of strong swirling riffing and a rather strong swirling series of groove-based chugging that brings along the sprawling swirling here that leads into the stuttering finish for a rather enjoyable effort. ‘Nonversation’ plods along with light chugging and frantic pounding that really works along a series of frantic chugging with plenty of rather chaotic drumming alongside the rumbling riffing that leads into the final half for a solid enough effort. Finally, album-closer ‘F.A.T.’ takes straightforward swirling chugging and atmospheric sprawling into a stuttering series of rhythmic chugging that features the endless patterns churning along throughout into the clanking finale for a lackluster finish. On the whole, it’s not terrible but it does have some troubling factors involved. (Don Anelli)

(Self - 2015)

Score: 65

https://colossusfall.bandcamp.com/album/hidden-into-details-2015-new-album

Johansson and Speckmann - Mask of the Treacherous

#FOR FANS OF: Old-School Death Metal, Paganizer, Revolting, Master

International death metal collaboration Johansson and Speckmann are certainly putting their collective might together in this project that brings the two luminaries together once again for a spectacular assault of old-school death metal. As befits the status of the men involved here, this is their usually simplistic and overly primitive-styled mixture of straightforward death metal augmented with strong thrashing overtones. This utterly simplistic and not all that varied music within here allows it either to be a rather tight and ferocious charge swirling with mid-tempo agonized riffing and plodding paces or generates a crunchy thrash-laden series of rhythms that offer up some rather frantic and blistering efforts, and it really sounds like a full-on mixture of both artists’ main groups. While there’s plenty of rather enjoyable work here because of that, it tends to run itself into quite predictable realms because it’s all about letting their main bands come together in one area without much deviation and it does crop up as something within this one. Still, it’s got plenty to really like here in other regards. The opening title track uses tight, crunchy riffing and plenty of ravenous rhythms bouncing along to the straightforward patterns that keep the thrashing elements present during the charge into the final half for a solid and enjoyable opening effort. ‘Inhuman Lust’ has a light intro that turns into a thrashing mid-tempo assault of blistering riffing and tight drumming that switches between mid-tempo pummeling and ravenous straightforward patterns that leads into the swarming leads in the final half for another solid and enjoyable effort. ‘Through the Filth and Riddled Ages’ features a swirling mid-tempo groove fitted with plenty of heavy chugging with a plodding mid-tempo backing up the straightforward, simplistic patterns as the heavy thumping patterns carry on into the final half for a fine highlight offering. Both ‘The Wicked Marches On’ and ‘The Bringer of Pain’ take on strong and blistering rhythms with plenty of furious and strong rhythms backing into the frenzied riff-work that thrashes along throughout here with rather frantic abandon while incorporating plenty of epic melodies in the final half for fine highlights. ‘I'll End Your Rotten Life’ also uses the frenzied swirling riffing and blasting drumming while offering more of a mid-tempo crunch in the rhythms leading into the series of tight patterns throughout the final half for a rather enjoyable offering. ‘Within Reach’ offers strong blasting and frantic riffing that brings along the utter ferocity and intensity throughout here with plenty of tight, ripping riff-work that flows along to the speed-driven thrashing of the finale for a rather ripping effort. ‘Enslaved in Filth’ uses more tight and ripping rhythms that come along with plenty of stuttering crunchy patterns in the riff-work that really works into a strong blistering charge throughout the frenzied final half for a solid, blistering effort. Lastly, album-closer ‘A Grave for This World’ features thumping mid-tempo swirling patterns and plenty of agonized churning riffing that charges along through the rather tight, twisting rhythms that generates the kind of ravenous intensity that carries along throughout the final half which gives this some great work to go out on. This really furthers their collaboration quite well. (Don Anelli)

(Vic Records - 2015)
Score: 85

https://www.facebook.com/Johansson-Speckmann-225899484206206

Megascavenger - As Dystopia Beckons

#FOR FANS OF: Swedish Death Metal, Demiurg, Necrogod, Paganizer

Swedish death metal project Megascavenger are part of multi-instrumentalist extraordinaire Rogga Johansson’s never-ending series of bands dedicated to keeping the flame alive for the original wave of Swedish-flavored death metal. That is the main focus of the album, atmospheric Swedish death that whips the familiar churning buzzsaws through the blazing tremolo-accented riffing and plenty of flowing buzzsaw grooves that make for the ever-present Stockholm-style brand of Swedish death metal that is part of Rogga’s trademark style. The different vocalists present do give the songs a somewhat different vibe here with the different growling and shrieks generating a wholly varying atmosphere to go along with the album’s main drawback in the enhanced usage of industrial keyboards. This is so prominent in the second half of the album that it really derails the intensity and savageness of the first half and drags the album down considerably. Still, for the most part the songs are quite enjoyable. Opener ‘Rotting Domain’ gets this going nicely with stuttering start/stop riff-work and churning buzzsaw rhythms with that slowly form into a stylish gallop with crushing drumming and plodding rhythms that bring along plenty of full-throttle patterns in the final half for a strong opener. ‘The Machine That Turns Humans into Slop’ uses a blaring industrial intro before turning into a frantic mid-tempo groove with blistering drumming and hard-hitting rhythms that churns and burns throughout the final half for a fine and enjoyable enough offering. ‘Dead City’ features more melody-tinged riffing into a fine mid-tempo gallop with the rumbling rhythms and stylish patterns keeps the straightforward and plodding riff-work charging along with the melodic accents keeping the fiery melodies along throughout the final half for a decent enough effort. ‘As the Last Day Has Passed’ goes for the heavily industrial rhythms and pounding patterns that rumble along throughout the first half as the tradeoff with the blaring keyboards and the deep churning riff-work carries throughout the final half for a decent effort. ‘The Hell That Is in This World’ takes scattered riffing and straightforward rumbling drumming along through a stylish and simplistic series of riffing with the exposure of extreme industrial keyboards rattling along to more choatic patterns in the final half for a somewhat disjointed and jarring effort. ‘Dead Rotting and Exposed’ offers more industrial sampling that gives way to swirling tremolo-picked riffing with plenty of stylish howling riffing and plodding industrial tones that give way to the accented patterns throughout the final half that starts off great but really peters out in the finale. ‘Steel Through Flesh Extravaganza’ drops the churning riffing for a straight industrial charge with chugging riffing and simple drumming carrying the straightforward churning riff-work and pounding rhythms along through the final half for a decent offering. ‘The Harrowing of Hell’ goes for a complete industrial rock vibe with straightforward chugging riffing and an abundance of industrial keyboards without any churning riffing patterns and clean vocals that offers such a distracting, out-of-touch vibe that it really doesn’t fit on the album as a whole. Lastly, the instrumental title track outro goes for more industrial-flavored keyboard series of noises and blaring noises that fits with the eerie tone of the rest of the album but just seems like wasted time on the release overall which does end this on a somewhat bad note with the back-to-back weak tracks. Still, it gets enough right to work somewhat. (Don Anelli)

(Selfmadegod - 2016)
Score: 75

https://selfmadegod.bandcamp.com/album/as-dystopia-beckons