Toxic Holocaust - Chemistry of Consciousness

#FOR FANS OF: Death/Thrash

Over the last decade we have seen a resurgence of old school thrash. With numerous bands trying to capture the sound of 80's metal. The likes of Municipal Waste, Havok, and Skeletonwitch have cemented themselves firmly in the retro thrash movement. However, of the many bands within the trash revival scene, none have gained more recognition than Portland, Oregon's Toxic Holocaust. 'Chemistry of Consciousness' the fifth full length from these thrashers is no more inspired, creative or enjoyable than the previous four. It is, however, just as boring as all its predecessors. I am amazed at the popularity and enthusiasm that Toxic Holocaust has managed to gain. There is nothing here that remotely interests me. As I listen through the twenty-nine minutes of speed induced thrash with a blacked vocal style, by minute ten I am just waiting for it to be over. I must push on though, to see if there is even one stand out track on this album that I can talk about. Alas, it's not there and I am left feeling unimpressed and unfulfilled. To mention one track on the album, the best song on 'Chemistry of Consciousness' is the opening track "Awaken the Serpent", because at 1:39 it's the shortest. I have not found much interest at all in this retro thrash movement, and aside from sci-fi progressive thrashers Vektor, I can't name one band worth my time. Even with that being said the most popular of these acts is also my least favorite. After five full length albums (five to many, I might add) I believe it's time for Toxic Holocaust to throw in the towel. The only positive that I can present to you here, is that I respect the energy and enthusiasm that Joel Grind has put into this project and the production is pretty good too. But all the energy and production in the world can't make up for poorly crafted songs. Unless you are a true revivalist, I recommend keeping your wallet in your pocket and moving on. (Brian Grebenz)

(Relapse Records - 2013)
Score: 40

http://toxicholocaust.bandcamp.com/

Autumnblaze - Every Sun is Fragile

#FOR FANS OF: Gothic atmospheric rock/metal, Katatonia, Alcest, AnathemA

Autumnblaze formed in Saarland, Germany back in 1996, after releasing a demo in 1997 and an EP in 1998 they release their first long player 'DammerElbenTragodie' in 1999. Somehow this band has flown under my radar for fifteen plus years. When asked if I would like to review the album, I accepted the challenge with open arms and an open mind. However, because of my ignorance to their previous works, I will not be able to talk about how they have or have not progressed as band. But, this is a review of their current release, so that's exactly what I will do. 'Every Sun is Fragile' is the sixth full length release from Autumnblaze. The style of music played here is "gothic, atmospheric rock/metal". The bands that come to mind when trying to describe their sound would be Katatonia, Anathema, and Alcest. Autumnblaze walk the line between rock and metal, jumping back and forth with varying amounts of success. There are some clunkers on this album, but they do succeed at creating some memorable songs as well. After a nice little instrumental intro, the first proper song on the album, "New Ghosts in Town", has a 'Viva Emptiness' era Katatonia vibe to it. It maintains this vibe throughout most of the songs seven plus minutes, however the last minute of the song builds into a Alcest-esc finish. This is a good song and it peaked my interest and excitement of the band it took me all this time to hear. "Im Spiegel" draws the listener in with it's punchy riff that has very jumpy feel to it. Probably being the most metal song, with hits heavy distorted guitars and harsh vocals, shows how these guys jump from rock to metal with relative ease. This track is followed by the balladish "Mein Engel, Der Aus Augen FileBt". This song shows the band doing what it does best. I believe they feel at home and most comfortable playing the softer rock style tunes. This is very apparent on "How I Learned to Burn My Teardrops". This is my favorite song on the album. An absolutely beautiful song that leaves the listener somewhere between tears of sorrow and joy. Another definite winner on the album is "A Place for Paper Diamonds". This song has all the feel and beauty of the previous song mentioned with a little of their heavier moments sprinkled in. This works perfectly here, where it seems to fail elsewhere on the album. 'Every Sun is Fragile' is a good album with hints of greatness. I feel that at fifty-four minutes it's a little too long. There is some filler here. I would like to see Autumnblaze craft more songs like "How I Learned to Burn My Teardrops" moving forward. Even though there are some clunkers here, there are enough good moments that make this a worthwhile purchase. (Brian Grebenz)

(Pulverised Records - 2013)
Score: 70

http://autumnblaze-kingdom.com/

Ihsahn - Das Seelenbrechen

#FOR FANS OF: Progressive, Experimental

What can be said about Ihsahn, that hasn't already been said? His body of work speaks for itself. Emperor's 'Anthems to the Welkin at Dusk' still remains as one of the top five metal albums ever released, to these ears anyway. Sixteen years after it's release the "anthems" still ring out each and every time it's spun and is still one of the few albums in my collection that actually grows stronger with time. 2010's epic 'After' showcased the diversity of this man's musical ability. Ihsahn has never, and will never conform to the limitations that any label would put on him. He consistently challenges his listeners with each release. 'Das Seelenbrechen' is Ihsahn's fifth solo release and his most expansive work to date. If 2012's 'Eremita' pushed the proverbial envelope, then 'Das Seelenbrechen' tears it up, stomps on it and then sets it on fire. Ihsahn's latest opus definitely focuses more on the progressive side of his work. Almost all of the black metal elements have been stripped away. This is the type of release that could divide his fan base. For the record. let me state, that I am on the "love it" side of the fence. The album starts off in familiar territory with opener "Hiber". The song starts off with him screaming between the three chords that ring out. It then moves forward with a creepy little keyboard passage underneath the distorted heavy guitar riff. The crushing heavy tune to start the album has become a staple in his solo work. However, after the opening track this album takes a turn towards the more mellow side of things over the next three tracks. This comes to a head with the amazing "Pulse". This song is my personal favorite on the album and shows how experimental Ihsahn is on this release. It starts off with an electronica feel, which it maintains throughout most of the song, and the vocals here are clean and simply some of the best he has ever done. At the songs close, the guitars have such rich tones and his vocals soar repeating the words "Incompatible, with myself". The next two tracks "Tacit 2" and "Tacit", in that order, are dark, eerie songs where the main focus is pounding drums and Ihsahn's harsh vocal style. These two tracks appear in the middle and act as a transition from the first half to the second half of the album. "M" which starts out sounding like it could be a lost track from 'Perdition City' era Ulver, with a spoken word passage that adds to the already dark, foreboding atmosphere, then climaxes into a melancholy rock sound that is very Pink Floydish. That vibe is furthered by what is the best guitar solo on the album, a cleaner sounding bluesy solo with lots of bends that are, no doubt, a salute to David Gilmore. "See" closes out the album with more of the experimental sounds that Ihsahn seems to be working with on this release. Another track that sees him going off and doing things outside of what the norm is for Ihsahn. 'Das Seelenbrechen' is a complete album and should be listened to as such. There is a definite flow happening here. This album harkens back to the 1970's experimental phases of King Crimson or Van Der Graaf Generator. However, this is not retro sounding in anyway. I am drawing those comparisons soley based on the experimental nature of the release. Ihsahn has stated that this release was going to be different and away from his more metal sounding stuff. I can only hope that he decides to build off this release and continues to further experiment with different sounds. (Brian Grebenz)

(Candlelight Records - 2013)
Score: 85

http://www.ihsahn.com/

Oranssi Pazuzu - Valonielu

#FOR FANS OF: Psychedelic black metal, Nachtmystium, A Forest of Stars,

All systems go, prepare for liftoff. T-minus 10 seconds and counting, nine, eight, seven, six, five, four, three, two, one....we have liftoff. Oranssi Pazuzu's third mission to the outer reaches of space titled 'Valonielu' has the Finnish quintet pushing their spacey psychedelic black metal sound further. After the first two full lengths, 2009's Muukalainen Puhuu' and 2011's 'Kosmonument' did a good job of putting "space" between them and their peers, 'Valonielu' separates them completely. Some comparisons can be made to Chicago's Nachtmystium, but where Nachtmystium's psychedelia feels more drug fueled, Oranssi Pazuzu has a more spacey sound. One can imagine flying through the outer limits of the solar system into some dark abyss, where the unknown and unexplained reign supreme. 'Valonielu' opens with "Vino Verso", this song has a crushing bass sound, similar to Godflesh. Though the song is very linear, playing the same riff for the entire 4:52, the spaced out guitar effects and the keyboards keep the song interesting. I also must mention that the production on this album is incredible and brings out each layer of the music to its fullest. I believe the production here is what makes the spacey psychedelia work so well (everything is in perfect balance in the mix). The next track "Tyhja Temppeli" follows this same model. Another very linear song with little variation, yet the cosmic sounds from the layering of guitars and the trippy keyboards draw the listener in while the bass is so smooth and the drums keep the low end heavy as hell. Jun-His' vocal approach is also top notch, his harsh voice that never goes too high or too low keeps the black metal vibe while allowing the instrumentation to explore different territories while managing to keep it all cohesive. These first two track serve as the launch, propelling the rocket out of Earth's atmosphere and into a valley of stars. If the first two tracks serve as the launch, then the next two are after the boosters detach themselves from the rocket as it floats towards it's destination. The first of which is the almost twelve minute long "Uraanisula". This song has the band doing its best doom impression. Slow and eerie as the rhythm section retains its repetitiveness, while the guitars and keyboards produce sounds creating a sci-fi atmosphere. This goes on for about the first eight minutes, then it goes into a chaotic black metal frenzy for the last four minutes. "Reika Maisemassa" follows that as the perfect interlude between the albums first three tracks and the last two. An instrumental with soundtrack qualities, think "Arboria (Planet of the Tree Men)" off Queen's 'Flash Gordon'. Keeping with my theme, the last two tracks serve as the approach and eventual landing at whatever destination this mission was set for. "Olen Aukaissut Uuden Silman", which is the most black metal song on the album, takes off with some speed. Most of this the album is mid-paced to slower. This song resembles Nachtmystium's "Decimation, Annihilation", taking the "cult" black metal approach while still maintaining all the psychedelia. Everything mentioned above leads up to the epic fifteen minute closer "Ympyra OnVilva Tomussa", this song starts off slow and soft resembling Pink Floyd's "Set the Controls for the Heart of the Sun". It the builds to an amazing climatic finish. This is the perfect closer. 'Valonielu' is a fantastic album. I believe that one should definitely listen to their previous works to fully appreciate what this band has to offer. They have shown progression from each release to the next. 'Valonielu' takes the strongest elements from their prior releases and puts them all together here. Although, I can not read Finnish, this album has the feel of a concept album. Each track is necessary and seems to have the flow of a solitary concept. Oranssi Pazuzu is at the top of the black metal ladder currently along side Blut aus Nord, Deathspell Omega and Mayhem. They offer an original, creative sound and prove that they are not going away anytime soon. Rush out to your local record store or visit your favorite online store and get this into your hands as soon as possible. (Brian Grebenz)

(Svart Records - 2013)
Score: 80

http://www.oranssipazuzu.com/

Eight Bells - The Captain's Daughter

#FOR FANS OF: Psychedelic rock, Progressive rock, Post metal

As it is, I listen to a lot of music. When I am not sleeping, working or taking in the proper nourishment to sustain me on a daily basis, you can bet that something is playing in the cd player, spinning on the turntable or leaking out of my computer speakers from my itunes. Sometimes this happens even when I am doing those three things. Point is, that I enjoy listening to music,do it every chance I get and have a wide range of tastes. When a friend asks me the question "What is it?" I usually have an answer with one of the thousands of genres and sub-genres. However, sometimes there is that band or album that defies classification. Thus is the case with Portland, Oregon's Eight Bells. This three piece create some of the most unique and interesting sounds around. So, when the question is asked to me 'what is it?" I will answer "get your label maker out and categorize it as psychedelic/dark/doom/heavy/post/prog metalrock" Eight Bells was formed by Melynda Jackson after the disbanding of SubArachnoid Space. Fellow SubArachnoid Space band mate Christopher Van Hussel is on drums and Haley Westeiner handles the six string bass and vocals. The trio produce some of the most eclectic music you'll hear, jumping and melding genres without ever being confined to one. The focal point of the band is Jackson's experimental and heartfelt guitar work. You can imagine each note pouring out of her heart and soul and into her fingers as they dance over the fret board with some kind of otherworldly controlled recklessness. The rhythm section of Van Hussel and Westeiner do not disappoint either. Van Hussel pounds away at the drums like a man possessed. The passion and feeling that he plays with is very apparent. Westeiner's smooth bass lines just flow seamlessly throughout each of the four tracks. These folks play with heart and so much passion, it just makes the listen that much more enjoyable. Although the vocals are minimal on this release, "Fate and Technology" showcases Haley Westeiner's ability as a vocalist. The song begins with Piggy-esc dissonant chords which smoothly transition into a slow and calming melody Westeiner's beautiful and haunting voice is perfect here. Jackson also adds vocals to this song in the form of some blacked screams which is proceeded by rolling thunderous drums and followed by a nice little stop-start riff. The title track, which is the longest song, clocking in at over 12 minutes, is obviously the center piece of the album. The song twists and turns through lavish landscapes of psychedelia. As much as I love "Fate and Technology" this may be my favorite song here. Right around the 8 minute mark after all the chaos, it settles into Jackson playing slow, single drawn out notes. The tone of the guitar here resembles that of In The Woods on their masterpiece 'Omnio' and some vocals are splashed in here, not in the form of words, but rather some dark and foreboding "ahhh's" which only add to the already dark atmosphere of this song. Eight Bells have remained under the radar since this album was released back in February. This is a shame, because this is some of the best and original music I have heard this year. This album is for anyone who enjoys great musicians that play with heart and craft amazing songs. This album was a pleasure to listen to and I will continue to listen to it for years to come. If there is one complaint that I have about "The Captain's Daughter", it would be that it is too short. Clocking in at around 32 minutes, it seems to fly by and leaves me hungry for more. (Brian Grebenz)

(Seventh Rule Recordings - 2013)
Score: 90

http://www.eightbellsband.com/

Waning - Feeding of Fragments

#FOR FANS OF: Melodic Black metal, Dissection, Abyssos

Sweden's Waning have released their "Feeding of Fragments" EP earlier this year in September. This coming after 2 full-length releases, 2008's "Population Control" and 2012's "The Human Condition". The four song EP is a precursor to the upcoming, yet to be titled third full-length due at the end of 2013 or early 2014. Waning play a type of melodic black metal reminiscent to that of Dissection and Abyssos. Although, not as melodic as the aforementioned bands, the similarities can be drawn. Where it differs is in the over all cold and desperate feeling. "Feeding of Fragments" opens with the blazing "When Spawned". Fast paced and very melodic from the start, it hits it's peak between 1:34 to 2:20 when the melody varies and the vocals go from high pitched screams to a gurgling death metal style approach. The best track on the EP is "Not Among Them". This song shows the full potential of the band. A slower to mid-paced tune that displays that cold and desperate feeling I mentioned earlier. There is also the varied vocal approach here as Robert Arntsen moves from his common high pitched shrieks to a lower, not quite death metal growl (think Gorgoroth). As the song moves along it picks up momentum as it crescendos into fury of sick and twisted faster riffs. This track is also the longest of the four. That makes me think they knew they had something a little more special here. "With a Back of Sorrows Bent" is pretty standard issue and quite boring. The final track "Faceless in Line" which starts out with a nice little dissonant riff, meanders off into just ordinary black metal. I had high hopes for this when it started but it left me feeling like they just gave up on the song. Waning's strengths are guitarists Anders and Andreas. They compliment each other well and play some of the coldest and bleakest riffs that the genre has to offer. In genre where cold and bleak are staples, they succeed and exceeded my expectations. Their melodies keep this EP listenable throughout. The weakness of this band are the vocals. At times Robert Arntsen shows that he has the ability to do great things, however he seems to get stuck in the all too ordinary high pitch shrieks that take away from the music. Over all "Feeding of Fragments" isn't bad, but it does fall short of greatness and there is nothing here that's groundbreaking. If you enjoy melodic black metal with a slight, and I mean slight hint of post black metal, then this worth checking out. I hope that on the upcoming full length they write more songs like "Not Among Them" which is easily the stand out here and shows that these guys have the ability to craft original and memorable songs. (Brian Grebenz)

(Self - 2013)
Score: 65

https://www.facebook.com/WaningOfficial