Cave Dweller - Walter Goodman (or the Empty Cabin in the Woods)

#PER CHI AMA: Neofolk/Psych

Sono dieci i brani che compaiono in quest'album di debutto in qualità di solista, del musicista americano Adam R. Bryant. Uscito con il nome di Cave Dweller (da non confondere con altri, omonimi progetti sparsi per il web), già mastermind e componente effettivo della band post industrial, Pando, Mr Bryant ne evolve il concetto musicale, spostandolo decisamente verso le terre sconfinate del neofolk. Dieci canzoni immerse nelle nebbie mattutine, notti insonni e spazi aperti di natura incontaminata tra i paesaggi del Massachusetts. Storie che parlano di solitudini e disordini mentali, malattie, affrontate con il tono solenne del folk apocalittico ("Ancestor"), dell'alternative country filtrato dalla più buia espressività del dark e dell'alternative più rumoroso ("Why He Kept the Car Running"). La ballata nello stile di David J, soffocata da rumori d'ambiente, cicale, uccelli, fruscii, registrazioni in finto low-fi, una sorta di Burzum in veste di menestrello folk, imbevuto nello shoegaze, che a suon di chitarre acustiche mescola la selvaggia libertà di 'Into the Wild' con certo noise minimale e sperimentale, tanto caro ai Death in June. 'Walter Goodman (or the Empty Cabin in the Woods)' è un disco intimo e frastagliato, che riporta alla mente proprio l'album del 2016, 'Negligible Senescence', degli stessi Pando, con una ricercata vena poetica di base che si snoda lungo tutte le tracce. A volte si sentono echi post rock ma il suono è scarno, acustico e pieno di interferenze, anche il folk psichedelico appare tra le fila, ma il buio lo anima e lo rende tragico, mai spensierato, spesso ipnotico, malinconico, a volte persino evanescente, quasi ad inseguire un suono fantasma che ammalia, rapisce e sconcerta ("Where Trees Whispers"). Parti recitate e rumori d'ambiente inquietanti, disseminate ovunque ("Upon These Tracks"), registrati con smartphone e qualche altro aggeggio anomalo. Allucinazione e un senso di angoscia che si trasforma nei quattro brani conclusivi, spostandosi verso una tenue luminosità quasi pastorale con il coro di "The Secret Self", la cavalcata, alla Hugo Race (tipo 'Caffeine Sessions 2010'), tra country e synth wave cosmico di "Your Feral Teeth", lo strumentale dal solitario e rallentato passo bluegrass con il sottofondo di gabbiani e mare di "Bliss" ed il finale (con l'inizio che ha la stessa intensità della splendida "October" degli U2) lasciato ai rintocchi di piano di "To Return", segnano il battito di un disco non convenzionale, pieno di paesaggi in chiaroscuro tutti da scoprire, un viaggio insolito nel mondo di un folk parallelo, assai personale, intimo e nero come la pece, votato alla pura espressività poetica, per certi aspetti coraggioso ed innovativo. Una nuova veste per il neofolk a stelle e strisce. (Bob Stoner)

(Aesthetic Death - 2020)
Voto: 79

https://cavedweller3.bandcamp.com/album/walter-goodman-or-the-empty-cabin-in-the-woods

Deranged - Deeds of Ruthless Violence

http://www.secret-face.com/

#FOR FANS OF: Death Metal, Cannibal Corpse, Deicide

This is an extremely brutal death metal album that pulverizes the eardrum. I have their previous release, but I think that this one is stronger. It might only be a bit over 30+ minutes of music, but it sure packs a punch. These guys take no prisoners. I liked this album from start to finish! The music, the vocals and the sound quality. All top-notch. The vocals sound a little like Glen Benton in 'The Stench of Redemption' release, there is a similarity to his coming out in Deranged vocals. That's not a bad thing, it fits the music, absolutely. These guys put together one helluv a kick ass record all the way.

The album just doesn't let up. It's in your face pretty much the whole way through. There's only a couple of tracks that are a bit slower. But they're still brutal. The riffs are catchy and original. I liked them a lot. I felt that they did the band justice with this one. A step up from their previous release. Well thought out music, all the way. And intense as fuck! Everything on here seemed to fit in and just seemed to make sense from a musical standpoint. They seemed to have totally progressed since their last album. The vocals fluctuate but it's mostly growling. This is good though. Making it brutal for listeners.

Lead guitar is pretty technical and the rhythms go well with the vocals. Nothing bad to say at all about anything wrong with this album. They meshed Deicide with Cannibal Corpse together interwoven it into their own sound. I feel that they seemed close to both of those bands in style and from a musical aspect. But I like it. They have their unique qualities and vibe to them. Though the two mentioned bands have their sound to them that Deranged seemed to not copy but just show their influences. And the production quality was good for an underground band to beholden-to.

I didn't download this album first, I just grabbed it off the CD shelf and it struck me having their prior album and liking that I thought that this one too would be worth it. And mind it was! You can download it or maybe YouTube it just as long as you're a death metal fan or brutal death metal fan. Either way, it's good as gold, I gave this release an "A" because I felt that from start to finish the quality of the music was enough to grand it that. But if you're a CD collector, I'd say even more so to buy the album! This band keeps on improving. So go and hear what it sounds like in any avenue! (Death8699)

(Agonia Records - 2020)
Score: 80

https://agoniarecords.bandcamp.com/album/deeds-of-ruthless-violence

Dark Tranquillity - Moment

http://www.secret-face.com/

#FOR FANS OF: Swedish Death

I didn't discount this release when I first heard it because of my initial reaction to 'Fiction' wasn't great, but 'Projector' my favorite release from them of all time. This I felt it a "B" average because there are some quality parts to it, it isn't just a waste of $20. I thought that the vocals were solid (as always) though the guitar riffs are a little iffy. However, I was glad to get this recommendation from a long time friend of mine. I thought that the melodic parts were cool, even though Martin is no longer with the band. I thought that it was an excellent that Christopher Amott (ex-Arch Enemy, current Armageddon) is on guitars. Not that sure of Johan, but both do a great job!

As to who did the most songwriting on this release is obligatory. The guitars are superb, though not as good as they could've been. But I liked the album anyway. The music itself isn't very heavy, just emotional based. Mikael's vocals are some of the best that they've ever been, maybe better than even my favorite from them. The keys blend well with the melodic guitarwork and more of a feeling-based album. Mikael isn't sounding like he's crying on the voice but he's definitely in sad-mode. The riffs accompany the voice and synthesizers with absolute precision. And the production on top of it all is way good.

It was striking that an Amott was a part of this album. Christopher was amazing in Arch Enemy. I'm glad he clanged onto this release. He's one of my favorite melodic death metal guitarists just as Jeff Loomis (Arch Enemy, ex-Nevermore). So as far as the lead qualities on here, they're superb. I didn't think Christopher would last as long as he did in Arch Enemy since their style was continually evolving maybe into something that he wasn't into anymore. But him abandoning melodic death metal completely wasn't the case. And on here is another example of a great effort he puts through with this band. I suppose they did the band justice acquiring him.

I was totally skeptical about this release being something worthwhile and yes it is worthwhile. So on basically blind belief I bought a physical copy of the album despite the putrid reviews. I thought that from start to finish this album has a lot of grit to it. And it's definitely feeling based which is what you want from a band like this. I don't think there's any song that I disliked from the album. It's not the best Dark Tranquillity to date from my viewpoint, but I did like it better than 'Fiction' of course. It's got a different feel than that album. It's definitely not an album to listen to when you're feeling melancholic. Great release nevertheless! (Death8699)

(Century Media - 2020)
Score: 76

https://www.darktranquillity.com/

In Quest - The Comatose Quandaries

BACK IN TIME:

#PER CHI AMA: Death, Meshuggah, Nile

Nati dalle ceneri dei System Shit, i belgi In Quest evolvono ulteriormente il loro sound, sempre e comunque fatto di una miscela esplosiva di death metal e partiture brutal, arricchendolo di atmosfere plumbee e decadenti, talvolta apocalittiche. Se i primi album erano fortemente ispirati dai Cannibal Corpse e in seguito dal sound di Soilwork e In Flames, questo lavoro ci consegna una band che propone una sorta di brutal death prog con un’influenza più marcata derivante da Meshuggah e Strapping Young Lad. Le caratteristiche peculiari della band rimangono comunque intatte: lavoro di chitarre impressionante, drumming devastante, tastiere tetre e opprimenti che creano atmosfere rarefatte, ottime vocals, sia growl che pulite da parte del vocalist svedese Mike che ha sostituito più che degnamente il vecchio membro fondatore Sven. Il feeling che emana 'The Comatose Quandaries' potrebbe essere tranquillamente la colonna sonora della fine del mondo, per quei suoi passaggi da brivido; ascoltatevi “Warpath” e capirete di cosa stia parlando: le ritmiche sincopate, le atmosfere angoscianti ci rubano le ultime molecole d’ossigeno capaci di tenerci in vita. Citavo i Meshuggah come punto di riferimento principale per l’uso più frequente, rispetto al passato, di stop’n go, blast beats, ambientazioni industriali oscure e minacciose; ma nel suono degli In Quest sono rintracciabili anche influenze derivanti dal thrash/metalcore americano, dal cyber death dei primissimi Fear Factory e dal brillante brutal di act quali Nile o Cephalic Carnage. Ottima la produzione, ottimi i musicisti, ottimi soprattutto gli intriganti e angoscianti solos, capaci di toglierci gli ultimi soffi vitali. Da rilevare la presenza infine, in veste di guest, del vocalist dei Mnemic, Michael, sulla title track di questo entusiasmante 'The Comatose Quandaries'. Grande passo verso una vita (o una morte) piena di successo. (Francesco Scarci)

(Dockyard 1 - 2005)
Voto: 75

https://in-quest.bandcamp.com/album/the-comatose-quandaries

As We Fight - Black Nails and Bloody Wrists

BACK IN TIME:

#PER CHI AMA: Death/Metalcore

La Danimarca non ha mai avuto una scena cosi florida. Nei primi anni 2000 c'erano gli Hatesphere, i Mnemic e gli Smaxone, dopo questi la nazione nordica partorì un’altra band che combinava death melodico e metalcore. Ecco a voi gli As We Fight e il loro debutto sulla lunga distanza (nel 2003 uscì il Mcd 'Darkness of the Apocalypse'), un lavoro appunto che è una commistione di sonorità già allora abusate: chitarre aggressive, voci al vetriolo che si alternano ad animaleschi growling, sprazzi melodici e tanta velocità. Direi che le carte in tavola per un presunto successo ci potevano anche stare, sebbene ancora una certa immaturità aleggiasse nello stile della band, talvolta troppo involuto verso soluzioni anacronistiche per il genere. A differenza di colleghi ben più famosi, gli As We Fight cercavano qualche soluzione alternativa nell’utilizzo di una tastiera dalle spente tinte apocalittiche. Devo ammettere, ad ogni modo, che 'Black Nails and Bloody Wrists' sembrava poter impressionare favorevolmente l’ascoltatore nelle prime quattro tracce, ma successivamente cadeva in un anonimo torpore da cui difficilmente risvegliarsi. Prodotti tuttavia egregiamente negli Antfarm Studios da Tue Madsen, il risultato di questo debut album alla fine risulta essere alquanto scontato e privo di dinamicità, diventando spesso troppo noioso. L'auspicio rimase che i ragazzi si facessero le ossa col tempo (altri due album successivi ahimè non troppo brillanti) cercando di sfruttare meno i trend imperanti e personalizzando maggiormente il proprio sound con idee più originali. Ma tutto fu gettato alle ortiche con lo split della band. (Francesco Scarci)

(Goodlife Recordings - 2004)
Voto: 58

https://www.facebook.com/aswefightdk/?fref=ts

Revolting - The Shadow at the World’s End

#FOR FANS OF: Swedish Death, early Entombed, Edge of Sanity

The Swedish metal scene is undoubtedly one of the most prolific ones in almost every subgenre of this music. Moreover, if we speak specifically about death metal, no one will deny that this Scandinavian country has given to us some iconic bands, both in classic death metal and also in the more trendy melo death, with some notorious examples that we all know. It was during the '90s, when some bands forged what was a particular form of death metal, being its influence in the scene undoubtedly huge. From that time and including some highs and downs in the popularity and level of inspiration of the scene, new bands appeared playing this iconic form of music, staying loyal to this particular sound. The Swedish trio Revolting is one of them. The band was formed in 2008 and has maintained a very stable line-up, being quite active as the band has released seven albums, including the new opus 'The Shadow at the World's End'.

As mentioned, Revolting plays death metal in its purest essence. There is no need to add more adjectives like melodic, brutal o technical. Revolting's formula is clear and honest, and it includes all the main and expected features of the genre, including profound growls, a pretty heavy and strong wall of guitars, and a consistent rhythmic base. The new album doesn't differ from this formula, so if you want some great surprises or novelties, you will feel disappointed. On the contrary, if you want some strong stuff with the aforementioned characteristics, 'The Shadow at the World’s End' will be an album that you will enjoy for sure. This work is iconic also in its artwork, with this mysterious and dark painting depicted in the cover album, which I consider excellent. Starting from the opening track "Defleshed", you will notice that the band´s sound is totally linked to the genre core aspects. Rogga’s vocals are excellent with super consistent growls, exactly what the genre requires. Both the guitars and rhythmic base have a powerful and clear sound and thanks to the good production, they are very distinguishable. The guitar work is excellent, being equally crushing and diverse when it is needed. I would like to mention that some short, yet melodic solos are also introduced, giving a melodic touch to the overall dense sound of the band. Pace-wise the band’ compositions flow between mid-tempo sections and some faster or slower sections, but never falling into ultra-speedy sections, so typical in the brutal death metal scene. The cadence here always calls for a good session of headbanging. The second track, "1888", is a good example of it, varying from slightly faster to mid-tempo sections and some slow and super heavy sections, where the band sounds particularly well. "Dragged Back to the Cellar" is maybe more representative of the general pace of the album, being generally faster, but with a slower final section which sounds great. Apart from it, as said, the album has a slightly faster pace but with a controlled speed, giving room to implement some great riffs, the expected crude aggression and lite melodic touches here and there.

In conclusion, 'The Shadow at the World’s End' is a pretty consistent album, it won´t break the scene but it is a good addition to the band’s career and will please any fanatic of old school death metal. (Alain González Artola)

(Transcending Obscurity Records - 2020)
Score: 76

https://revoltingdeath.bandcamp.com/album/the-shadow-at-the-worlds-end-death-metal

Black Viper - Hellions of Fire

http://www.secret-face.com/

#FOR FANS OF: Heavy/Speed Metal

These guys sound pretty vintage heavy metal in the vein of Ozzy (old), et al. I really enjoyed this entire album. The songs are lengthy and quite innovative riff-wise. The leads are good, too! I'd have to say that every song is good on here. And the vocals aren't annoying like some other heavy metal bands. This band reflects the early 80's 90's era of heavy metal. That's what I like about them! They've gone old school and they're a modern metal band. I like how they put together the songs. And I don't hear the "speed" metal but the moderate guitar work. I really like this band. I'm glad I discovered them.

The music and vocals are the highlights to this album. The guitars were a little sloppy in some instances, but not on a whole-scale. A lot of tremolo picking with the rhythms. But the tempos were just reflective of a classic heavy metal album. I enjoyed it really. There was some sort of echo to the vocals and production. It just seemed to be how they wanted the album to sound. And the vocals at times were screaming in a high pitch. But it went along with the music. I liked the guitar the most. The riffs are wholly likable, that's what drew in their audience, I think. But the vocals and drums were good, too.

I'd say the groove this band gives off is significant! The rhythms are notorious for being catchy and original. It's just that the vocals have a tinge of Ozzy (as mentioned) in them, but it's still good to listen to. It's nothing too brutal. These guys are solely not mainstream at all. This is a band that needs more publicity and recognition. I was happy to discover them when I did. Even though this album is about 2 years old, it's not really lacking in anything. It's straight forward and grappling. They seem to draw in their influences without duplicating them. The riffs are totally invincible I think they're the highlight, absolutely.

If you're just in the metal (general) genre, you should be able to dig this with immense joy! Or just want a change from brutal genres then you're set. They seem to attract people that are interested in many different forms of metal. So if you're like me, check them out when you want a change from say death metal. These guys are straight heavy metal with a punch,. The riffs are awesome and the originality is there too. You can download or buy the physical CD. I'd say the latter to show support to the band. I might have to do that myself keep these guys going onward! (Death8699)

(Self - 2018)
Score: 80

https://blackvipermetal.bandcamp.com/album/hellions-of-fire

Empress - Premonition

#PER CHI AMA: Stoner/Sludge/Post Metal

Scovati quasi per sbaglio sul web per un evidente errore ortografico del sottoscritto, mi ritrovo oggi tra le mani l'album di debutto dei canadesi Empress. 'Premonition' segue infatti a distanza di tre anni l'EP 'Reminiscence' con il quale il duo di Vancouver diede voce alla propria personale proposta musicale che combina stoner, doom, sludge e post metal. Il tutto è chiaro fin da subito, quando "A Pale Wanderer" fa il suo debutto nel mio hi-fi. L'impianto ritmico è infatti quello stoner dei Mastodon con le chitarre granitiche e la voce di Peter Sacco (che peraltro suona anche nei Seer) che ammicca ai Baroness. Quello che mi conquista è la seconda parte del brano affidato quasi interamente al sibilare delle chitarre in tremolo picking e ad un arrembante cavalcata finale che sfiora il post black sia a livello ritmico che vocale, il che permette ai nostri di ampliare ulteriormente il proprio raggio d'azione, inglobando tra i propri fan anche i non puristi di sonorità estreme. E qui di apertura mentale ne serve parecchia, visto che con la seconda "Sepulchre" (uno dei single dell'album) si ritorna ancora in territori tipicamente stoner, anche se poi non mancano le esplorazioni verso un robusto hard rock sporcato di sludge non troppo melmoso a dire il vero, ma che comunque anche troppo pulito non è. "Passage" sembra un mix tra stoner, psych rock di scuola teutonica (penso ai berlinesi Elder), un pizzico di doom, ma anche una certa vena progressiva che esalta non poco l'output finale dei nostri. Con "Trost" si infiamma l'anima del duo originario della British Columbia, e si torna cosi a pestare sia sul piede dell'acceleratore che sullo sbraitare dietro al microfono, con la voce di Peter che aspira ad uno screaming quasi black, ma solo per quella manciata di secondi in cui anche la ritmica corre impazzita come un cavallo indomito. La song poi evolve attraverso forme stilistiche più evolute che chiamano in causa i Pallbearer, prima che la bastarda anima hard rock torni a rimpossessarsi dei due musicisti canadesi. Eppure c'è ancora tempo per sentire anche le velleità post rock dei nostri proprio in finale di brano. "Hiraeth" parte lenta e oscura, magnetica come poteva essere l'intro di "1,000 Shards" degli Isis e poi continua a muoversi in territori tipicamente post-metal ammiccando indistintamente a Neurosis e Isis. La title track è ancor più ispirata, disegnando splendide atmosfere post metal, complici gli ottimi arrangiamenti ed una song tra le più dotate di una forte emotività. Ma questo è uno standard degli ultimi pezzi visto che anche la conclusiva "Lion's Blood" guarda in questa direzione con un sound forse più abrasivo della precedente ma che comunque sottolinea le ottime eccellenti doti compositive della compagine nord americana, in una song riconducibile musicalmente al post metal più malinconico e crepuscolare. Il che la rendono un altro degli episodi meglio riusciti di questa prima prova su lunga distanza degli Empress. Insomma l'Imperatrice ha colto nel segno e non posso far altro quindi che invogliarvi all'ascolto di questo 'Premonition', credo che gli spunti che ci troverete, saranno di sicuro interesse. (Francesco Scarci)

(Petrychor - 2020)
Voto: 75

https://thisisempress.bandcamp.com/album/premonition