Tag Archives: album

Review: Corrupt Moral Altar’s Eunoia

It’s been 3 years since Corrupt Moral Altar’s debut album Mechanical Tides; an album that creaks under the sheer weight of influences it crams into its confines. With the band’s sophomore effort Eunoia, the band have seen fit to distil their song-writing into its raw components and what we get is a grindcore album that manages to constantly push the boundaries of what it means to be heavy and it’s scarily consistent for its entire run-time.

Despite generally dealing in the sort of metal that likes to make a racket and get the job done very quickly, Corrupt Moral Altar do a fantastic job of writing tons of memorable riffs and barely revisit them over the course of a single song. Their music is fast and punishing; riffs come and go with complete abandon, and just when you’ve got your head banging to a tasty groove, the band have jumped into a sequence of blast-beats or a disgustingly heavy section of double-bass drumming.

What really helps Corrupt Moral Altar from losing all semblance of melody and musicianship is they’ve clearly got a taste for a nice bit of death metal. Songs like Night Chant and Survivor’s Guilt benefit from the sort of structure that death metal brings and it allows the band to push those riffs forward before beating you about the head with another lightning-fast grindcore segment. This results in Eunoia becoming an uncompromising 43 minutes that never puts a foot wrong and never finds itself delivering a song that is merely there to pad out the run-time.

The sheer amount of riffs on Eunoia shouldn’t be possible. The songs are all fairly progressive and always pushing forward at an incredible pace, so it’s nothing short of a miracle that the album manages to maintain its intensity for the entirety of its run-time. It can be quite an exhausting listen, but if you’ve been looking for a grindcore album that never lets up then you’ve absolutely found it with Eunoia.

Corrupt Moral Altar are one of the most consistent and extremely exciting bands in heavy music and Eunoia has cemented their position at the forefront of UK grindcore. The band have so many great riffs to share that they end up making a record that sounds like a grindcore compilation but somehow only made by one band. Despite almost exclusively playing as fast as possible, the band manage to sprinkle their music with interesting little moments like the hardcore punk introduction to Burning Bridges and Burning Homes or the enormous, swinging, mosh-pit groove in Rat King. Eunoia is an album that’s almost euphoric in its consistent delivery of grindcore classics for a new generation.

9/10

Corrupt Moral Altar’s Eunoia is out now and available to download direct from the band.

Advertisements

Review: Helpless’ Debt

If you’ve yet to discover Helpless then you’ll be pleased to know that they feature ex-Brotherhood of the Lake guitarist Russell Cleave (but this time around he’s on drum duty) and they’re about the closest thing to the depraved, metallic hardcore madness of that band that you can find in 2017. With their debut album Debt we are treated to a metallic hardcore record that takes elements from grindcore and black metal to create something akin to Throats, but with a frequent marriage of atonal, high-pitched guitar work and low-end, crunchy riffs.

Debt clocks in at 22 minutes and sounds like the sort of thing you’d expect to soundtrack a serious psychotic breakdown. This is not a subtle record and it frequently assaults you with fast-paced, abrasive tracks full of blast beats and tremolo-picking and then slightly slower, crushing moments of doomy hardcore. Add a vocal performance that sounds like the agonised screams from hell and you’ve basically explained everything you can expect to hear on this record. This is not music for the faint of heart.

Thank God Helpless have seen fit to make this a short record because if it was any longer it would probably be a serious threat to your health. Tracks like opener Worth, Grief Vultures and Sertaline are uncompromising attacks of relentless speed, crusty riffs and devastatingly thrashy drums. When the tempo changes to something not so punishingly fast, Helpless up the oppressive and gloomy atmosphere of their music by using the aforementioned atonal, higher-pitched guitar work. This manifests itself on tracks like Out of Commission, Moral Bankruptcy and Manufactured Consent and they often pair these atonal guitar passages with monolithic, low-end riffs to make their impact that little bit more powerful, and my God does it work.

Helpless’ Debt is an extremely dense and unrelenting record that makes no apologies for being ridiculously heavy. Helpless use some extremely creative guitar work to create a dark and isolated atmosphere to make an absolute racket in. It may not be the most nuanced long-player you’ll hear, but it certainly delivers one of the most powerful and devastating heavy music experiences of 2017. Lord knows Helpless have a serious task ahead of them if they want to best this record with their next release.

9/10

Helpless’ Debt is out now and available to buy on vinyl and CD from Holy Roar Records.


Review: Yards’ Excitation Thresholds

It’s been a long time coming but the debut long-player from Yards is finally here. Excitation Thresholds is a 33 minute metallic hardcore assault that noticeably benefits from the amount of time Yards have had to perfect their craft. Everything on this album is here for a reason and it never outstays its welcome.

Despite being a shouty, aggressive hardcore act, Yards have a lot of strings to their bow. During the first half of the album we see the band getting straight to the point and absolutely blasting our faces off with massive riffs, terrifying vocals and one of the thrashiest, loudest drumming performances put to record. The drums in particular are always front and centre in the mix and they really heighten the ferocity of the music on Excitation Thresholds.

But then Yards start to do something different. The tempo slows down a notch and favours a more mid-paced, stompy approach to heaviness that’s just as effective as when the band are going full steam. The album likes to jump between the two styles and it keeps the record fresh and exciting with every song. For example, the no-nonsense hardcore attack of War Tourist is followed by the mid-paced, chunky assault of Everything You Love Reduced to Rubble. This happens again with The Attic, which despite being 4 minutes long and crammed full of ideas, manages to go flat out for its entire run time. Then we get BL-755 which is an extremely bleak and oppressive track that deals more in atmosphere than savagery.

Yards manage to showcase some extremely diverse song-writing for a band that are this unashamedly aggressive. By the time we get to album closer The Shadow Stealer, we get to experience a song that encapsulates all the ideas that came before it in one mammoth 7 and a half minute beast. It’s fast, it’s dark, it’s atmospheric, it’s punishing. It’s everything Yards stand for and a career highlight for one of the most exciting bands in hardcore right now.

Yards’ Excitation Thresholds is an instant recommendation. If you want to hear a passionate, exciting hardcore band putting all their cards on the table and never putting a foot wrong then this is the album for you. Sure, it’s over pretty quickly, but any more time spent with music this visceral would be exhausting. It’s the perfect length for one of the most diverse and relentlessly savage debut albums in recent memory.

9/10

Yards’ Excitation Thresholds is out now and available to buy on vinyl from Truthseeker Music.


Review: Psython’s HATRED

Sheffield thrash-punkers Psython return for their second long-player HATRED, which is apparently an acronym for Hopelessly Aware That Rage Engenders Despair. The band have now expanded into a five piece and clearly haven’t lost their sense of humour since …Outputs because HATRED contains a song called Chai Latte.

Since we last visited Psython, we were certainly impressed by their no-nonsense, blistering approach to making daft, catchy, thrash bangers and that’s certainly still the case on HATRED. There’s actually a bigger focus on just being a band that doesn’t fuck around and gets the job done and HATRED is a more enjoyable record as a result.

Album highlights include opener Jörmungandr which despite being 5 and a half minutes long, never takes its foot of the gas. Battery Life, Teeth, the aforementioned Chai Latte and Hashtrap are some of the best songs the band has produced and it’s because they’re loaded with great riffs and solos and get the job done. If you like your music fast and aggressive then Psython certainly have you covered and then some.

Unfortunately in the few moments where the album falls down, it’s due to the same reasons as their debut. HATE is more of a mid-paced track and while it’s a perfectly serviceable, stompy little number, the bridge feels like it meanders and kills the momentum as a result. The same problem appears on Ten Pounds and One Indeed. It would have been more effective if Psython got to their solos quicker during their middle eights and just spent more time being fun.

Then there’s album closer Old Man which takes the crown of the only bad song on HATRED. Old Man is the slowest track on the album and it feels overlong and lacking enough ideas to warrant being 9 and a half minutes long. A shame because despite some unfocussed moments during a few of the album’s bridges, HATRED is a great thrash album that deserves your attention.

Psython’s HATRED is definitely a great follow-up to the band’s debut. It’s fast, catchy, aggressive and fun and certainly a great addition to any thrash fan’s record collection. Despite a weak closing track and a few moments where the songs lose momentum, Psython’s song-writing has definitely improved and when the band are going balls to the wall they’re just untouchable.

8/10

Psython’s HATRED is out now and can be bought on limited edition CD direct from the band.


Year End: The 10 Best Albums of 2016

2016albums

10) Raging Speedhorn

ragingspeedhornlostritualcd

Raging Speedhorn released a new album in 2016! Holy shit! And it sounds like a direct continuation of the sound on How the Great Have Fallen! And Frank is back in the band! Raging Speedhorn’s return with their 5th long-player Lost Ritual certainly quashed any worries that their previous album Before the Sea Was Built might have instilled and it’s absolutely fantastic to have them back on top form. The kings of sludgecore have finally returned.

9) Aliases – Derangeable

Digipack Layout

“Derangeable is a welcome addition to Aliases very limited library and it’s pretty safe to say that if you were a fan of the band before, then this was certainly a record worth waiting for. However, if you’re well versed in tech metal then you’ll certainly notice the similarities to SikTh and while you’ll probably never ask yourself, “why am I not just listening to SikTh?” you’ll certainly wonder if there wasn’t more the band could have done to differentiate themselves a bit.”

Click here for the full review.

8) Rash Decision – Headstrung

record cover

“Regardless, Rash Decision have managed to churn out 17 minutes of hardcore punk perfection on Headstrung and if the new material doesn’t quench your hardcore thirst then there’s another 19 minutes of songs for you to indulge in, thanks to Seaside Resort to Violence being on the B side. Rash Decision are an immensely enjoyable hardcore punk act that don’t have too many strings on their bow, but thankfully the ones that are there do the job perfectly.”

Click here for the full review.

7) Karybdis – Samsara

karybdis

“Karybdis have put together a smorgasbord of metal subgenres and masterfully fused them into a sound that is exclusive to the band. Samsara is a metal album that heavy music fans will be championing for years to come and it establishes Karybdis as one of the UK’s best metal acts.”

Click here for the full review.

6) Iron Witch – A Harrowed Dawn

13645302_1128910937168736_5735790256873360803_n

“Iron Witch have certainly spent a long time getting to this record and at only 6 tracks long it is a bit slight for a long-player, but those years of writing and touring have turned them into a well-oiled, doom-making machine and A Harrowed Dawn is the realisation of all their achievements so far. This is easily the best and biggest sounding Iron Witch release to date and an essential purchase for any doom fan.”

Click here for the full review.

5) Let It Die – The Liar & the Saint

Let It Die - The Liar & The Saint - cover.png

It feels like I’ve been waiting forever for Let it Die to put their efforts into a long-player and with The Liar & the Saint the band have finally delivered. In typical Let it Die fashion it’s as heavy as a tonne of bricks to the skull and faster than a cat belting it across the room after having its tail stepped on. The Liar & the Saint is a relentless assault of hardcore punk and grind that demands you’re moshing for its entirety. Let it Die certainly didn’t disappoint on their debut album, but was there really any doubt?

4) The Infernal Sea – The Great Mortality

00 - Cover

“The Infernal Sea’s The Great Mortality is an album that you simply must own if you like metal. The Inferal Sea have absolutely mastered their craft and turned in one of the most satisfying black metal releases you could possibly want. It’s heavy, it’s memorable and it’s pretty much essential if you enjoy metal.”

Click here for the full review.

3) Sunwølf – Eve

sunwolf-eve-cover-art

“Eve is another monstrous achievement for Sunwølf. It’s an album of uplifting highs and crushing lows and despite the simplicity in the song-writing and how long the songs can be, everything is crafted with atmosphere in mind. Sunwølf songs will only linger if the atmosphere requires it to and thanks to the simplicity of the song-writing, the band also put focus on their melodies. You wouldn’t think an album like this would be so memorable but thanks to the focus on melody and atmosphere, it’s very easy to find yourself playing Eve repeatedly without even noticing it. Eve is a beautiful album that makes you appreciate good song-writing and if you’re a fan of post rock then it’s an essential purchase.”

Click here for the full review.

2) Wode – Wode

cover

“Wode’s debut self-titled album is a fantastic achievement. Every element of the band’s song-writing has been so carefully crafted and sculpted to maximise the impact of their music and it makes this album one of the most approachable black metal releases I’ve ever come across. If you’re a fan of heavy music in general then Wode’s self-titled album is something that has a much broader appeal than most underground black metal and it’s a release I’d thoroughly recommend.”

Click here for the full review.

1) Slabdragger – Rise of the Dawncrusher

a1678417040_10

“The UK is spoilt for great sludge as Slabdragger are competing with other brilliant acts like Limb, Gurt, Monolithian and Opium Lord, but Rise of the Dawncrusher sets a new standard for UK sludge metal. Slabragger have written a follow-up so utterly devastating that it demands your attention. Slabdragger, man; what a band.”

Click here for the full review.


Review: Simmer’s Paper Prisms

simmer-paper-prisms-packshot

Glittery emo quintet Simmer have returned with their debut album entitled Paper Prisms. Simmer previously impressed us with their 2015 EP Yellow Streak; a beautiful and delicate yet sharp and biting rock record that showcased an extremely accomplished sound for such a young band. Personal anticipation was high for this record, so do Simmer deliver the goods when they move onto their first long-player?

Sort of. This is clearly the same band that wowed us last year, but there’s something about Paper Prisms that feels like a band trying to spread their ideas too thin. The setup is identical to Yellow Streak; we get beautiful, sweeping guitar melodies complimented with sombre, lilting vocals and it’s all accompanied with a punchy performance on the drums. The one/two opener of Faze and Control is a perfect beginning to the record and it showcases all these elements beautifully.

However, what becomes apparent very early on is just how much time is spent on overindulgent moments of guitar feedback. Every song seems to start with a big wailing burst of feedback and in the case of some songs like Antwerp, they even linger to a limp conclusion using even more feedback. Simmer are clearly trying to create atmosphere on Paper Prisms and the guitar feedback is never abrasive or obnoxious in anyway, it just feels like it takes away from the immediacy of the song-writing. Songs like Calendar don’t kick in until half the track’s run time has gone by and it’s a bit annoying that so much time is spent holding a guitar to an amp.

It’s also a shame that the vocals often get lost in the mix. The vocals on Paper Prisms are often treated more like an instrument and they’ve been hidden away in the composition to the point that you can’t really make out what’s being said. It’s not the biggest problem because thankfully the gorgeous melodies are still audible; it just would have been nicer to have heard the vocals front and centre.

Simmer’s Paper Prisms is by no means a bad record by any stretch of the imagination. This is still a wonderfully light and dreamy emo record and as a debut album it certainly sets the band up with a great foundation to build on. Sadly it’s let down by a lot unnecessarily drawn-out moments of guitar feedback that have a tendency to kill the pacing. It Simmer can tighten up their song-writing and think of ways to meld the extra texture into the songs themselves, then their next release should be something really special.

7/10

Simmer’s Paper Prisms is out now and available to buy from Dog Knights Productions.


Review: Wode’s Wode

cover

Wode’s debut long-player shouldn’t have turned out this good. How does a band debut with something this wonderfully nuanced, textured and accomplished? This album sounds like it came from a band that’s been writing and touring for a decade, not half that time. If Wode’s debut album proves anything it’s that you shouldn’t rush your art and Wode have certainly perfected their own blend of melodic black metal.

Black metal can be a challenging genre to get your ears around. Often lacking in melody, being purposely under-produced and focussing on heaviness instead of melody, Wode’s self-titled album suffers from none of these factors. Well, it’s certainly heavy and there’s almost always a blast beat happening, but it’s so much more than simple heaviness.

First of all the guitar work is astounding. Melody permeates every riff on this record and the amount of tremolo picking is astonishing. It’s exhausting listening to how fast and tight the guitar work on this record is. There’s a wonderful ebb and flow to the riffs as well; always moving in a very natural and calculated way and adding an almost glittery texture to the proceedings.

There’s some real variety to the sound of the songs on this album as well. Opener Death’s Edifice is a pretty bleak and foreboding track that leads into the stunning melody of Trails of Smoke which is almost uplifting in nature. I certainly didn’t expect to have my mood lightened by a black metal song but here we are. There’s also a surprising thrash influence on a lot of this record and the riffs on Cloaked in Ruin certainly have a classic heavy metal vibe which once again adds some welcome melody to the record.

Wode’s debut self-titled album is a fantastic achievement. Every element of the band’s song-writing has been so carefully crafted and sculpted to maximise the impact of their music and it makes this album one of the most approachable black metal releases I’ve ever come across. If you’re a fan of heavy music in general then Wode’s self-titled album is something that has a much broader appeal than most underground black metal and it’s a release I’d thoroughly recommend.

9/10

Wode’s self-titled debut album is out now and available to buy from Broken Limbs Recordings, Vendetta Records and COF Records.


Review: Slabdragger’s Rise of the Dawncrusher

a1678417040_10

It’s been a long time coming, but Slabdragger are back in action with their sophomore album Rise of the Dawncrusher; a massive, sludgy, behemoth of a concept album that improves on their debut in every conceivable way. Got your attention?

Slabdragger were already a force to be reckoned with and their debut album Regress showcased their ultra-dense grooves and long-form song structures in a fantastic way, but with Rise of the Dawncrusher, everything is now even heavier without sacrificing melody and it’s just glorious. Genuinely glorious. I felt like I was having a metal epiphany listening to this record. I imagine if Hendrix was into Black Sabbath, this is the sort of thing he’d make.

Opening with the 11 minute beast that is Mercenary Blues, Slabdragger put their quite brilliant guitar work front and centre and it makes for a seriously punishing yet hugely memorable experience that will keep fans of all things slow and groovy extremely satisfied. The amount of amazing riffs in this song should be illegal and they all deserve to be included in ‘Top 10 Riffs of All Time’ articles.

It doesn’t end there. This record is an absolute monster from start to finish. Slabdragger follow up the opening track with the unashamedly ripping Evacuate!; one of the most disgustingly noisy things Slabdragger have ever concocted. Then it’s back to the groove with the monstrous Shrine of Debauchery; a song with a title so metal it’s probably chrome-plated.

Look, I realise this review is big on the hyperbole, but it’s not often I’m given a record so delicious and as utterly mouth-watering as Rise of the Dawncrusher. It’s everything I want from a sludge record and more and it’s honestly quite difficult to believe it actually exists.

The UK is spoilt for great sludge as Slabdragger are competing with other brilliant acts like Limb, Gurt, Monolithian and Opium Lord, but Rise of the Dawncrusher sets a new standard for UK sludge metal. Slabragger have written a follow-up so utterly devastating that it demands your attention. Slabdragger, man; what a band.

10/10

Slabdragger’s Rise of the Dawncrusher is out now and available to buy on CD and vinyl from Holy Roar Records.


Year End: The 10 Best Albums of 2015

yearendalbums

10) Let’s Talk Daggers – A Beautiful Life

letstalkdaggers

“Regardless, Let’s Talk Daggers have made one of the most electric rock albums of the year. If you can appreciate guitar music that doesn’t sacrifice technicality for song-writing then Let’s Talk Daggers have delivered a record that does just that and even more. A Beautiful Life is an absolute tidal wave of riffs, tempo changes and yelping and despite the madness of its contents, Let’s Talk Daggers have brought it all together into one cohesive yet exhausting piece.”

Click here to read the full review.

9) Limb – Terminal

terminal

“Terminal is the natural continuation from Limb’s self-titled debut and it’s an infinitely more enjoyable and masterfully crafted slab of hard rock. The band haven’t rested on their laurels and continue to get better on every record they release. The pressure is certainly on for the next release, lads!”

Click here to read the full review.

8) Torpor – From Nothing Comes Everything

torpor

London doom behemoth Torpor wiped the floor with the rest of the doom offerings this year. The long-form nature of Torpor’s songs is beautifully tempered by the bands wonderful song-writing which ebbs and flows in a wonderfully natural way that means that 11 minute monsters like From This Time never outstay their welcome. Every riff on From Nothing Comes Everything is a crushing beast of a thing that demands some serious head-banging. This record is a real masterclass of doom song-writing.

Full review coming soon.

7) Svalbard – One Day All This Will End

svalbard

“By the end of the closing moments of Lily, Svalbard have taken you on a post hardcore journey like no other. One Day All This Will End is one of the best punk releases birthed in the UK and Svalbard have mastered an amazingly eclectic sound that’s equal parts angry, beautiful and forlorn. One Day All This Will End is essential listening to fans of post hardcore and a welcoming introduction to anyone looking to explore the more progressive side of hardcore.”

Click here to read the full review.

6) Employed to Serve – Greyer Than You Remember

Employed-To-Serve

“It’s impossible to justify any criticism towards this record. Employed to Serve have absolutely mastered their craft and if dense, bastard-heavy hardcore is your thing than Greyer than You Remember is filled wall-to-wall with some of the genre’s finest moments. The album barely gives you a moment to breath in favour of demanding you mosh harder and it’s almost euphoric in its density.”

Click here to read the full review.

5) xRepentancex – The Sickness of Eden

repentance

“xRepentancex have delivered a debut album that’s so furious it feels like it could tear apart at the seams. The Sickness of Eden is a hardcore record every fan of the genre should own and it’s almost beautiful in its sheer relentlessness. God knows how you follow an album this consistent. Good luck guys.”

Click here to read the full review.

4) Press to Meco – Good Intent

presstomeco

“Press to Meco have delivered an album that showcases exactly what the trio are capable of. It’s a glorious, exciting monster of a record that is stuffed with technical wizardry and choruses so big that they deserve to be blasted across festival audiences all summer long.”

Click here to read the full review.

3) Old Skin – Beneath the Trees

oldskin

Old Skin’s debut album was the most bittersweet release of the year because while it is one of the best metallic hardcore albums this country has ever produced, its release also marked the demise of the band. Given away as a pay-what-you-want download to mark the final chapter of Old Skin’s career, this is an apocalyptic hardcore onslaught that never lets up. Old Skin might be gone but they’ve left behind one of the most disgustingly heavy records this country has ever produced and it deserves to be heard by everyone.

Full review coming soon.

2) Oblivionized – Life is a Struggle, Give Up

oblivionized

“Life is a Struggle, Give Up is Oblivionized firing on all cylinders. This is an unforgiving attack of tech-metal, grind and deathcore that is sculpted with finite detail and it’s not afraid to hit you over the head with a monolithic riff for good measure. This might be an exhausting ordeal on your first listen, but give it the time it deserves and it will slowly unveil a metal record for the ages.”

Click here to read the full review.

1) Caïna – Setter of Unseen Snares

SOUS_Cover

“Setter of Unseen Snares is an album of unbridled fury, bleak atmosphere and eventually, shimmering post metal beauty. This is one of the most diverse and brilliantly executed black metal albums I’ve ever had the pleasure of listening to and it deserves to be heard by more than just fans of the genre.”

Click here to read the full review.

Notable Mentions
Monolithian – The Finest Day I Ever Lived, Was When Tomorrow Never Came. (click here to read the full review)