The mighty BISON BC return to Kingston!! (at The Mansion)

October 20th, 2011. The day Bison BC returned to Kingston, ON. It was almost 3 years ago when they last (and only?) played here.  I remember the day clearly. It was Saturday Nov. 8, 2008. I was supposed to work that night but luckily I took the night off. Righteous. Trouble is, it was my 30th birthday and my wife planned a party for me. FUCK!! But the party's at AKA! With Bison!! (shakes fists at sky)  This was shortly after Quiet Earth was released. That album (which made my Top 5 that year) greatly increased their recognition in the underground metal scene. When Dark Ages was released in 2010 it pushed Bison to an even higher level (#2) across the board and I figured my chances of seeing them perform live were done. Traveling to Toronto or Montreal isn't in the cards for me much anymore. (One show since the inaugural SOTU tour) But, BUT! The metal gods smiled on me. They brought Bison back to Kingston.

As always, I like to say a little something about the opening bands. Unfortunately, my capacity for coherent thought was hampered by the joint I smoked before I went in to the show. I'll do the best I can.

Severence led off the night. They also led off the last show I was at but I missed them. I was too busy trying not to totally freak out. (Advice: Kingdom of Noise does not recommend the use of high powered energy drinks and marijuana simultaneously) They weren't that bad really but I think my tolerance level was abnormally high. (he he, I said high) No, it definitely was. Whatever the case, I couldn't help but think they sounded like a mashup of say, Godsmack, Protest The Hero and The Black Dahlia Murder. In so much as a varied vocal style (I can't say range) and an apparent inability to play the same riff more than once in a row. At times it bordered on crabcore. One guitarist, whom I dubbed Stiffler due to both his appearance and personality, kept doing that fucking pigeon neck thing. I hate that. BANG IT!! He was probably doing that so his cockeyed backwards ballcap didn't fall off. FUCK! I guess my tolerance wasn't that high after all. In the most spot on appropriate moment of the day, the band announced they had one more song, then, while they were sippin' beers/adjusting hats/shouting Go Leafs Go!, the house music came on and they didn't get to play their last song. Severence. I almost laughed out loud but I feared if I started, I'd never be able to stop.

I wanted to write more about the next band, Ponderous Chain, than Severence but I think my high peaked during their set and I got lost in it. On the progressive side of death metal. Proficient without being overly technical. The vocals were that kind where he kind of just screams somewhat randomly. They don't follow the flow of the music. That's not uncommon these days and at least he didn't try and mix in too many clean vocals. Some, but not too many. They did have some "mosh parts" but they had just as many passages where they chilled out a bit and let the guitars wander. My buzz liked those parts. Lead Guitar was wearing an Opeth shirt which surprised me not at all. I could hear some influence. (Not that mess Heritage though) I wouldn't be surprised by an affinity for Meshuggah either. I would be interested to hear their stuff while sober. I was interested enough to extricate myself from the chair to get a better look so that's a positive for them. At one point during their set, I came up with a description of their sound that blew my mind. I didn't think I was capable of stringing together such a profound series of words. Dreams are made of that description. If there was a Pulitzer for phrases such as it was, I would have won. But, I totally forgot.

Toronto duo I, Emperor were in the direct support slot. While they weren't the best openers of the night, they did have to travel so I guess that's why they get it. I was having a very difficult trying to categorize this band. I still am really. Art-metal speed punk? indie-core? I don't know. They were well practiced and very passionate. They had PA issues a couple songs in, and the show was already running 30-40 min behind. I had started to come down and the loss of momentum bummed me out. I lost focus and just started people watching. Us metalheads are a weird lot.

Vancouver's Bison BC have become one of my favourite bands. Especially Canadian band. As intense and their recorded work is, I have heard their live performance notches that up a ton.  Their performance at The Mansion in Kingston did nothing to change that impression.  As with some of the great bands that I have seen, I can tell they are a touring band by the feel of the show. This is their arena. Not the studio. They didn't stick to note for note rehashings of the songs as heard on the CD. They could jam out passages, pulling the audience along, holding us above their heads waiting, waiting, and then slamming us against the rocks with fury. That's just the way they are. If Bison wants to just bowl you over they will. If they want to toy with you a bit first with beautiful instrumental passages before the destruction is wrought, they will do that too. It all makes for some pretty interesting headbanging. I'm sure some people were having fun at my expense as threw my body around in time with the onslaught. Said onslaught was quite varied as far as material goes. I'm a little rusty on Earthbound, and less so on Quiet Earth but I think they hit all three albums. My memory is horrible for song titles but I did remember a few. They played what might be my favourite Bison tune, "These Are My Dress Clothes" along with, I believe, "Slow Hand of Death". Dark Ages songs included "Melody, This Is For You" and "Stressed Elephant" as well as set closer "Fear Cave". The rest of the songs have been lost to broken synapses. It makes no difference to me what they played. It's all killer. Part of the problem might have been due to my positioning at the stage. I couldn't hear Dan's vocals at all. I might have been able to at the back but I was having way too much fun self-inducing whiplash in range of being brained by James' guitar. It was unfortunate there wasn't a better turn out for the show. However, I have resigned myself to the fact that Kingston as a city doesn't hold bands such as Bison BC in as high regard as I do.  Hopefully it doesn't deter these East Van road dogs from making their way back to the Limestone City. In less than three years would be nice too. Then again, I had no idea what was going on behind me. Nor did I care. I was RAGIN'!!

Oathbreaker - Maelstrom

You may remember my theory about the relationship of ad size to band quality. The bigger the badder. Well, a few weeks ago I was reading a George R.R. Martin novel and thought to myself, "Oathbreaker would be a cool band name". Literally minutes later, I open Decibel Magazine and a FULL PAGE ad for Oathbreaker is staring back at me. Oh great, not only did they steal my band name but they probably suck too. Thankfully, there are exceptions to every rule. And my theory is falling farther and farther apart.

I like the word maelstrom. I also like the word plethora. I get to use both in describing Maelstrom the album. Basically, the album contains a plethora of songs exhibiting a maelstrom of intensity which assaults the listener from all sides. There you have it! What? More words? Now? It's 6:30am! Fine.

I can't help but draw comparisons to Landmine Marathon but the similarity is really quite superficial. Both are fronted by a female who can scream her ass off and both can knock your socks off. But while Landmine can bring the doom and lean more towards the death metal end of the spectrum, Oathbreaker convey more of a hardcore feel. I can also hear some touches of black metal infusing itself in mix as well.  Also, vocalist Caro doesn't sound as much like Grace Perry as much as a hybrid of Angela Gossow and Dee Prescott of the now defunct I Hate Sally (who also happened to have some hardcore flavour).

I did read something comparing them to Converge which isn't terribly far off but Oathbreaker seem  a little more to the point. I've listened to it a bunch of times and I am still having a hard really putting words together to describe it. Intense and heavy hitting. Would be great live I imagine. Although I could do without the ballad at the end but it does feature a different side of Caro in which her banshee scream turns in to a very nice voice!

Napalm Death live in Kingston,ON Oct 3,2011 Review

This show was a shining moment for live underground extreme music in Kingston.  I've seen some great shows in town but we're talking about NAPALM FUCKING DEATH here people!! It doesn't get much more legendary for club shows in towns the size of Kingston.

But first, the openers.

Severance were the first band to hit b the stage this night. However, I was sitting in my car scarfing a veggie sub trying to satiate my munchies and letting my pupils return to a somewhat normal state. They are opening for Bison b.c. next week so maybe I will catch them then. I'll try and show up earlier and get my "veggie sub" out of the way before the doors open.

No Russian followed up. I believe I only missed one tune if any. And this is really all I have to say: Performing deathcore must be more fun than listening to deathcore. And I was stoned. They looked and sounded like a bunch of apes. Especially the vokillist. (That's how the kids spell it nowadays, right?)

Direct support came from a band called the Polidicks. This is the perfect band to play before Napalm Death. While a little more punk than grindcore, they held to the same ideals like anti-violence, human rights etc. At least from what I could gather from the between song banter. He was screaming enough I couldn't make out much else. And, I was still stoned. They said they hadn't been on stage together in two years but you'd never know. They were really tight. I think opening for Napalm might have brought out the best in them. The vocalist said at one point, "If you had told me 10 years ago when we started this band that we'd be opening for Napalm Death, I'd have slapped you." I am sure it was an honour and a privilege to share the stage with such a legendary band and obviously big influence on them.

Now what we paid for. Grindcore legends, pioneers and gods, Napalm Death.  Would the extreme music landscape look anything like what it does without Napalm Death? I highly fucking doubt it.  If you do doubt it, read Albert Mudrian's amazing book Choosing Death: The Improbable History of Death Metal and Grindcore. Then we'll talk.  Speaking of history, Napalm's set ran the gamut of their discography and beyond. Barney Greenway (whom I will fawn over momentarily) told us they were going to play "some really old shit, some really new shit and a bunch of shit from in between." During a quite extensive set, they played classics such as "Scum", "Suffer The Children" and "Nazi Punks, Fuck Off!" up to newer songs like "Life and Limb" all the while never showing their age at all. But wait! In addition to the songs we know and love, we were treat to two covers! The first was a Cryptic Slaughter cover and the second was a Siege cover. When Greenway said they were covering Siege, some kid who looked young enough he couldn't even vote, just about lost his shit with excitement. Good on ya, kid. But that's not all! According to Mr. Greenway himself, we were given a special treat. Being the first stop on the tour, they played "a brand new song, for the first time. Ever. Anywhere." The song was called "Quarantine" and if it is any indication of what the new album (that he said they just finished up) will sound like,it's gonna be bloody brilliant!

Having never seen Napalm Death live, I was amazed by Greenway. His signature bark was even more intense live. He performed like a man possessed. I loved it. He embodied the hardcore punk aesthetic and channeled his frustrations with the world into his screams. All the while pointing his finger so we knew we'd best be paying attention. At one point, while trying to think of how to describe his sort of build-and-release stage presence, I couldn't help but liken him to that neighbour that the kids used to torment. And you could see him getting more and more physically angry and frustrated. Holding it in, because they're just kids. But he just can't take it anymore and explodes into a tirade. The difference here is, Greenway's pressure buildup=>explosion was full-on right from the opening bell and happened between every line he sang. Glorious.

As electrifying as he was, we musn't forget the living legend himself, bassist Shane Embury. After watching him play, (and hearing him on countless recordings) I should just give up now. I'll never be that good. Nor would I ever be as good as drummer Danny Herrera or guitarist/backing screecher Mitch Harris. (Who looks a lot like my parent's old neighbour who works at Costco but shorter and with longer hair. Weird.) None of those guys let up the whole time. The whole band just clicks and delivers. I mean seriously, when Scum was released, I was still a few months away from turning 9 and I wouldn't be able to play with the kind of sustained intensity that these guys do. If you have the chance to take in this experience, fucking do it. They're touring across Canada RIGHT NOW! Get out to a show!

Legen.....(wait for it)......dary!

And yes. The played "You Suffer".

Inspired by Girls Who Don't Really Like Metal

Inspired by this article on Metal Sucks, I've preempted by Napalm Death live review to bring you a few words about girls and metal. At least from my perspective and opinion.
First, my wife doesn't like metal. She doesn't pretend to like metal. The only metal she likes is a couple Rob Zombie tunes and that's not even metal. Thankfully, she doesn't like Country Music either. Otherwise, I wouldn't have married her. So, I got to thinking, if I wasn't married what would I think of "metal chicks"?
a) Most of the young women I see at metal shows are too young for me anyway. I'm an old man now. More grey hair than black but not really because of age. With a hat on, I still get ID'ed sometimes. Anyway,...

Would I want to have a girlfriend/wife that loved metal as much as I do? I don't really know. On one hand, it would be really great to listen to Black Metal at breakfast, and Death Metal at dinner, Sludge at supper etc. I would have someone to watch my Immolation DVD with, a reason to get my old Sepultura VHS tapes out of the garage, and not have to listen to the crap on the radio all the time. But on the other hand, she would want to go to all the metal shows with me, right? Do I want that? Will she DD? Metal shows are kind of my escape. A night out by myself to let loose. I don't even have to drink or get high. I just rage. I end up sore for days but I have a good time. I don't go out and shoot pool or hang out a sports bar with my friends. I just go to metal shows. So, if my wife were to come to all those shows too because she was a "metal chick" what would I do? Not hang out at a sports bar alone, that's for sure.
If my wife liked all the same stuff I do, (metal, sports, sci-fi/fantasy, logging etc) would I find that sexy? Or would it feel like just having a female best friend that you sleep with? Ya sure, I get frustrated sometimes that I can't talk to her (or anyone really, I'm kind of isolated in terms of like minded friends) about the amazing new Krallice album, or how much I hate the Yankees, or Arthur C. Clarke's Rama series, or how I need a new chainsaw chain etc. but say she didn't LIKE the new Krallice album, then what would I do? I think this way, where I have my own shit, and she has hers, is better in the long run. Sure, I have to listen to Selena Gomez (kids) and Adele (wife) and I can't watch every Chicago Blackhawks game on tv but I love my wife just the way she is.
Besides, I don't know about other guys, metal nerds or not, but I am not automatically attracted to a woman just because she is wearing a Skeletonwitch t-shirt or has rad tattoos. It helps, but if she's not attractive, she's not attractive. Plain and simple. A musical preference isn't going to change that. Also, for me anyway, too much makeup is a turn off. And I see lots of makeup on the faces of the bodies wearing some of those shirts.
I guess what I am trying to say is, it would be cool if my wife liked metal. Just not as much as me.

As far as the article goes. I really hope it's tongue-in-cheek. Otherwise, it's bullshit. I believe women can love metal just as much as guys. I "know" lots of them. I see lots of them. Killing themselves in the pit with the rest of us. Girls don't voluntarily get beat up so guys notice them. That doesn't make sense. "Hey, I have a black eye and a bloody nose. Wanna make out?" No, thanks.
Granted, there ARE people, women and men alike that think it's cool to wearing Maiden shirts and the like without knowing anything about the band. To whom I would refer to this video.

Did I make any sense or did I just waste some of my precious time? Hey, whatever happened to Most Precious Blood?

More Wasted Bandwidth

I've got two megabite buster for ya. Maybe 3. Or 4.

 

Opeth - Heritage: I've never really like Opeth to begin with. But there was a time I didn't like Black Metal. And now I like all kinds of Black Metal bands. But that is not the case here. Opeth took pretty much all the things I liked least about them and made a whole album of it. Proggy stuff, clean singing, instrumental passages blah blah BORING!

 

Kittie - I've Failed You: No no, Hunny. You haven't failed me. For you to have failed me, I would have to actually expected you to accomplish something. I didn't expect anything at all. In fact, because I was actually able to listen to the whole album without tossing my iPod in the river means you exceeded expectations. That's not a failure at all!

(June 2023, sorry about "hunny". I've evolved as a person and wouldn't say that now. Shouldn't have said it then but I assure you it wasn't meant to be demeaning at any time. Just could have chosen better.)

 

 Chelsea Grin - My Damnation: Fuck me. Bombarded by breakdowns. I don't think these dudes would be able to masturbate. They can't keep a rhythm going long enough.

 

Anthrax - Worship Music: I'm confused. Do they want us to worship music? Or are they saying this is music to worship to? Whatever the case may be, the album is crap. It's practically not even thrash! And that Refused cover is a goddamn abomination.

There Is Always Another Way Out

gmail.com

hide details 1:48 PM (4 minutes ago)

I should be blogging about something good. Like my second daughter starting school. But sometimes the impetus to express oneself in words is brought on by events of tragedy rather than of triumph.
 
A friend and former band mate took his own life this past week. I haven't seen or talked to him in many years but the news is weighing heavy on my heart nonetheless. I've been lucky enough not to have known very many people that have taken this path to another life. It's not something I care to get used to. One suicide is one suicide too many.
 
Another friend and former band mate broke the news to me. They were best friends. As is often the case, even those closest didn't see it coming. As I've spoken to him, he told me that the deceased seemed like he was on top of the world. It was "all good" and there was nothing that sent up any flags. Apparently he did have a bit of an issue with painkillers after a motocross accident but not to the extent that it was feared this would happen. Like I said, his BEST FRIEND didn't see this coming.
 
Which got me thinking about the nature of suicide itself. I have a hard time wrapping my head around how people can go so far as to believe that suicide is the only way out. And I am no stranger to the concept. I've been to the bottom of the pit of despair. I know what it feels like to be surrounded by the slick walls of pain and loneliness. To feel like you have nothing to grab on to and no one will ever be there to pull you out. But deep down in the bottom of my heart, I knew that there were people out there that cared about me. That cared about me a great deal. That LOVED me. And I knew that if I resigned myself to thinking I would never get out, that the only way to escape the pit would be to put myself in the ground below it, that it would cause more pain and loneliness to those that loved me than I would ever feel myself.
 
That's why I find it so hard to understand when people actually do take their own lives. Because everyone has someone that loves them. Everyone has someone that wants nothing more than to see them happy. Sadly, sometimes people hold their eyes shut so tight, they can't open them up again to see that. They've blinded themselves to the door that is right in front of them. The other way out.
 
I suppose some people feel that they are a burden to others. That by choosing to remove themselves from this life, they are somehow doing "us" a favour. Their notion of putting others ahead of themselves has been twisted somehow. Somehow they fail to realize that those they are trying to "free" are actually the ones that will hurt the most. It's a harsh reality, but when it comes right down to it, suicide is a selfish act. (Unconsiously selfish) It's putting your pain and suffering, your needs, ahead of all others. When the true way to happiness is by putting the pain, suffering and needs of others ahead of your own. But it happens everyday. And each one is just as sad and tragic as the next.
 
I can't begin to know what reasons my friend had for ending his own life. Even his best friend was blindsided. In the end, his suffering in this life has ended. I can take some small solace from that. But it just means the cycle of birth, suffering, sickness and death begins anew for him. I pray that in some way, his return is able to enrich the lives of those he left behind.  My heart of hearts goes out to his family and friends in this most difficult time.
 
RIP Dude. You were part of some of the most exciting years of my life and I will never forget that.

Engineer - Crooked Voices

My posts have been far too infrequent as of late. Part of that is because I've been following more metal writers and I honestly feel a little inadequate compared to them. So in an attempt to stay active, I'm not going to worry so much about long involved reviews. I'm just gonna let you know what my first (or second or third) impressions are. And if it's really good, and I feel inspired, I will stretch out.

 

Engineer - Crooked Voices

 

I listened to this on the "recommendation" of a banner ad. First mistake. I have come to think that the size of the ad is inversely proportional to the awesomeness of the album/band it is promoting. Bigger ad= shittier music. The harder the label pushes, the less the music really speaks for itself. In general. This isn't in stone. (Have you seen the size of Devildriver ads?!) I digress. Anyway, I saw a banner ad, and I thought "Engineer. That sounds familiar. D-beat HC maybe? Or more Neur-Isis?" I couldn't really pin what I thought it would sound like. At least with words. In my mind was different. My mind was bang on. I'm no good at descibing this style but it did sound familiar. As in, it slotted right in the genre box that I pictured. It sounded like a dozen other bands. I heard flashes of Norma Jean, maybe a little The Chariot (stylistically. I don't know anything about their religious leanings) perhaps Architect? And other bands l picture with beards, (non-stupid) hoodies and flexible day jobs. I mean it's not bad. It's burly. There is screaming. It's not too chaotic. But there was really nothing there that is calling me back. Who knows? I may be passing over a gem because the light isn't hitting it the right way. But, I have a pocket full of jewels and I can't stop looking for new ones.  Can't spend too long in the same place. Someone else may get there first. My metaphor is collapsing.

Trivium - In Waves

I'm going to make this short and sweet. I've already wasted enough of my precious time by actually listening to it. You may fire when ready.

This sounds very familiar. Oh that's right. This dead horse and been beaten countless times by talented guitarists without a shred of originality.

And it sounds like just about every other Trivium album.

The harsh vocals are uninspired. The clean vocals are weak and whiny.

There is clean and harsh vocals. Metalcore bad/goodcop style.

18 tracks? Really? I thought Track 1 was just on repeat.

Nothing really grabbed my attention about this. I mean it. When I first listened to it, I was cutting grass. Mindless pacing back and forth. And In Waves failed to distract me even once.

The best track is the Sepultura cover. (Slave New World) Nothing special about it either. Note for note reiteration. Good choice though.

Somehow, I listened to it 3 times. That's 3x68 mins of my life I will never get back. In this case, I'm so glad I rarely have the time to dedicate solely to music. I got the grass cut, the kitchen cleaned and some reading done.

68 mins! That's a long time to listen to the same handful of riffs and chugs recycled ad nauseum. Somehow, random bits would get stuck in my head. And it annoyed the hell out of me. Catchy does not equal good.

Honestly, if you are even reading this, then you must be a metal fan. And if you are a metal fan, you probably know who Trivium is. And if you know who Trivium is, you know what they sound like. And if you know what they sound like, then you either think they kick major ass, or they need their asses majorly kicked.

Damn it! I just wasted another half hour on this crap. Good thing it wasn't the only thing I was doing.

JUCIFER! w/ guests at The Mansion. KIngston, ON July 28, 2011

I knew the venue was small. There was no way I was going to miss this.

What I could have missed were the openers. The first act, An Optional Circus, didn't know what they wanted to do. There was such a mix of styles thrown together (with very obvious seams) that they just sounded like a band that was trying so hard not to be "something" that they ended up being nothing. At times they sounded like Pearl Jam, Incubus, The Tea Party, Our Lady Peace and at times almost heavy.  I almost got the impression the singer just paid the rest of the band to play whatever he told them to. I have trouble seeing 5 guys all having that same vision. The drummer was a beast though. I just concentrated on him.

The Sitcoms were a more likely opener for Jucifer led by the fact that it was just a singer/guitar and a drummer. But it really ends there. Very artsy, in a lack of structure kind of way. I don't recall much in the way of a solid riff anywhere. I felt like I was at a coffeehouse. Again, drummer was pretty cool.

Do I really need to tell you how Jucifer was?  If you know anything about the legendary, almighty Jucifer, then no. But, (gasp) there may be some poor souls who have yet to bathe in the glory of the Amp Wall. It was a scaled down amp wall on this night but it still blew other backlines (for full bands) out of the water.  I'm not super good with gear, or inches, but I'm assuming they were all 12". 3-4 X s, 2-10 X s, and 2-8 X s cabinets. All jacked in to 1 guitar. And that's just what they could fit on the stage! I could see a pile of cabs stacked up in behind the wall. I even think they were using them.  Despite the limitations of, in Edgar's own words, "the smallest stage I've ever been on" those that turned up to risk their auditory senses were assaulted in a way only Jucifer can deliver.

As the smoke rolled across the room, the lights were aglow in crimson red. A hooded and cloaked figure revealed herself through the haze. Edgar Livengood stood sentinel clutching four drumsticks in each hand. He waited as a blast of drone and doom riffage brought forth the demons that would transform his entity and that of Gazelle Amber Valentine from mere humans into the beast known as Jucifer.  With the transformation complete, Jucifer laid waste to a multitude of senses. Auditory, visual, sixth, and common sense were obliterated. Even touch could not escape the onslaught as the space reverberated under the weight of a set heavy on material from Throned in Blood. Amber played like a woman possessed. Relentless and bent on total destruction. Edgar mercilessly beat the living shit out of his drums as if they were a dog that ate his mother.

As the last cymbal crash faded, and the low thrum of the final riff droned on into the infinite, the captive audience was relieved of their virtual hypnosis only to find themselves forever changed. And a part of their soul will remain empty until Jucifer inevitably returns.

Arch Enemy - Khaos Legions

Album after album I try to like Arch Enemy but it just doesn't happen.  Khaos Legions is no exception. I have tried, unsuccessfully, to listen to it twice now and I can't make it more than 5 or 6 tracks in.  It's just not my thing. The whole thing just sounds so clean, polished and over-produced.  I'm not some kind of DIY purist or troo kvlt Black Metal devotee but I do lean towards albums that I can at least envision outside of a studio.

No one can doubt that Mike Amott is a very talented guitarist and songwriter. And there is also no doubt Angela Gossow has a serious set of pipes. But that doesn't make the album pleasing to me. A few years ago I was more impressed with the band due to the female "death metal" vocals. But it was more of a novelty than anything. Since then, I've been introduced to a plethora of extreme female vocalists that I find much more interesting/talented (Grace Perry, Kat Katz, Amber Valentine, Laura Pleasants, etc)

I think of Arch Enemy as metal for not quite metalheads. I wouldn't expect a Nickledick fan to like it but other than Gossow there isn't really much that is all that extreme about it. Melody abounds and there is really nothing wrong with that in and of itself but the way it's packaged in Khaos Legions just doesn't do anything for me.

There is obviously a market for this because they do sell lots of records. But you could look at it this way, Arch Enemy are like supermarket vegetables. All shiny and perfect and consistent and they look good on the shelf, ready for consumption by the mindless masses. But I prefer my veggies from the roadside stand. They might not look as nice, they might have some dirt on them, but you are more engaged with the farmer (music) and they have more flavour!

(Take this review, omit Angela Gossow and Mike Amott, swap band names and bam! My review of In Flames - Sounds of a Playground Fading)

To put this in perspective, after I pushed this away, I listened to Disma - Towards the Megalith. Nothing sterile about that.

More Wasted Bandwidth

I only have a couple duds for ya this week. Mostly because either it's pretty kickass (Exhumed, Origin, Vastum) or I haven't even listened to it yet (Sepultura, Arch Enemy and a shitload more).

 

Twisted Tower Dire: WHY DID I EVEN THINK I WOULD WANT THIS!? This reeks of big hair and spandex pants. I couldn't even make it past the first track, "Mystera". That title alone is horrible. The real tragedy here is I have to wait til I sync my iPod to get this garbage off of it.

 

I'm gonna take some heat for this next one.

 

40 Watt Sun - The Inside Room: I hear a lot of critics like this but it literally put me to sleep. I zoned right the fuck out. Without an oz of booze or any other chemical not composed of corn flakes.  Zoning out in itself is not a bad thing but if I wanted to, it would be to something that sounded better than Pearl Jam tuned down half a step, in slo-mo.  Boring as all get out. I was on track 3 before I realized I was still conscious.

 

Bonus! I forgot about this one.

 

Otep - Atavist: Same rehashed, whiny rap-metal that started to get stale quick after the debut EP. Whatever her name is (Otep Shimaya, I know) should just get into film instead. (wink wink) I kid. She does have a nice growl but this whole show is getting old. What I did make it through was better than the mess that was the last two albums though. I'll give it that.

 

Hey, you may love all 3 of these but I can'tbe bothered.

Barn Burner - Bangers II: Scum of the Earth (Metal Blade)

Sometimes a band sneaks up on you. That band that didn't really get tons of press. So instead of you seeking out that band, you just happened across them.  I saw Barn Burner as an opener for Kylesa. I thought they were alright but I was really focused on Kylesa so I didn't really give them a fair shake.  When I saw that they were coming back around, opening again, I checked out the debut album. That's when it hit me. Once I was able to focus on it, The full awesome slapped me in the face. "These dudes are pretty fuckin' rad!"

Fast forward to 2011. A year or so after Bangers became the fist vinyl I ever bought. (I'm a little behind on the retro format movement) I hear Metal Blade is releasing Bangers II: Scum of the Earth. Right.Fucking.On.Dude.

Bangers II makes the sophomore jinx look like a myth. In fact, it's probably better than their debut. It's a wonder these tour monsters even found the time to write and record 42 minutes of music, let alone music this good! The 10 tracks found within follow pretty much along the same stylistic lines as their predecessor without sounding like a rehash. While there's no doubt it's Barn Burner (thanks in no small part to vocalist Kevin Keegan's unique snarl) this isn't the kind of band you can get bored with.  Bangers II serves up a veritable riff-fest of stoner-thrash jams. They draw from the galloping rhythms of thrash and the swagger of stoner metal (much like fellow Canadians, Priestess) punctuated by the energy and attitude of punk.

As ripping as the album is, with the those nimble fingers dancing over the fretboard, the groove element keeps it at a pace that'll definitely keep you movin' but won't put you in traction. I've been trying to avoid using the word, but this album is "fun". I suppose that's something that tends to be lacking from a lot of metal these days. (At least good metal)  You can take the music seriously (please do) but it doesn't have to BE serious. How serious can it be with song titles like "Keg Stand and Deliver" and "Skid Marks The Spot"? Music is entertainment and it doesn't get more entertaining than Bangers II. Well, maybe their live show. It's what you need to see! I missed them last time they were in town. That's a mistake I won't make again. Especially since they'll be playing tracks from Bangers II: Scum of the Earth.

You heard it here: Canadian Release Of The Year.

This Week In Wasted Bandwidth

I'm going to try and start a weekly column here at Kingdom of Noise featuring some albums that I've recently "acquired" that more or less amount to a waste of bandwidth. Not to mention my time. Here we go!

 

Morbid Angel - Some Latin Words: Um.........What the fuck?! I understand if Dave and Trey wanted to step outside their comfort zone (our comfort zone?) and do something different. But that's what side/solo projects are for. They shouldn't have tainted the Morbid Angel name. I'm still waiting for the press release that says "Ha ha ha. Gotcha! We were just kidding. Here's the REAL new album." But sadly, I don't think that's the case. I don't get it.

 

In Solitude - The Devil. The Somethin'. The World.: I think that's the title anyway. I couldn't care less. I don't like Ghost either. Sue me.

 

Scar Symmetry - I'm Not Even Gonna Try To Remember The Title: I tried to listen to this a couple times but I can't make it past the second track. I have almost successfully blocked all memory of it from my mind. All I can remember is I think I don't like the vocal style. I dunno. I don't have time for this. I have to go see if the new Necrophagia is any good.

 

The Gates of Slumber - The Wretch

Once upon a time I remember really diggin' TGOS. I think Conqueror may have made my Top 10 in 2008. Then came '09s Hymns of Blood and Thunder and I thought, "What the hell happened?" To say I was less than impressed would be an understatement. So when I heard the The Wretch was supposed to be a regression, if you will, back to something closer to their old style, I was quite intrigued. I've listened to it twice now and I am starting to wonder what it was about Conqueror that I liked so much.

Basically, it sounds like these gatekeepers are wandering around looking for lost Black Sabbath riffs in St. Vitus County. They must be wearing cement shoes because it doesn't sound like they're getting anywhere. I like Doom (the genre) and I understand the pacing and what-not but that's not where the problem is. It doesn't seem to have much in the way of dynamics. It's like the album exists for its own sake and its fine with that. I'm not going to go the obvious route and say that it's Wretch-ed, because it's not. But it doesn't add any value to my "metal listening life." If I want to listen to Black Sabbath or St. Vitus, I'll go to my CD cabinet and pick my poison. It also proves that my "ANYTHING stoner rock/metal/doom is awesome!!!! Fu Manchu YEAH!!!" phase is truly over. (As if that waste of time masquerading as The Atomic Bitchwax - The Local Fuzz didn't prove that already.)

GRIIIIIIIIIND!!!!!

I'm feeling sort of uninspired as far as writing goes. But it's not that I haven't been listening to anything inspiring. Maybe it's more of a writer's block thing. And also, it may be that I've been listeing to a LOT of grind/grindcore lately and I don't really know how to write about grind.

So basically I'm gonna make this post a little "What's turnin' my crank lately"

Maruta - Forward Into Regression: Love the title. Need to see a lyric sheet. Loaded with loads of fucking sick riffs.

Despise You/Agoraphobic Nosebleed - And On And On: Slap me fuckin' silly with awesome. My first experience with Despise You is a good one.

Noisear - Subvert the Dominant Paradigm: The first 29 tracks are absolutely killer but I've yet to develop the patience for the ~30 min of noise that is the final track.

Gridlink - Orphan: All bow at the altar of Jon Chang.

Magrudergrind - Crusher EP: This is far too short. It's a big tease!!

Rotten Sound - Cursed: I love that tone! Finland doesn't just have good goaltenders. And they're Veggies too!

Trap Them - Darker Handcraft:I have to stop listening to this in the car. I can't sit still! I'm gonna kill someone!

Need to hear the new Phobia. Somebody hook me up!

www.twitter.com/MetalMatt_KofN

Subrosa - No Help For The Mighty Ones

It's not often that an album hits me with the kind of force that No Help For The Might Ones did. I had never heard their previous work and decided to check them out after seeing repeated tweets concerning the release of the album from label Profound Lore. Even before I hit the one minute mark in opener "Borrowed Time, Borrowed Eyes" I knew I was in for a glorious listening experience. The remaining 58 minutes did nothing to change that impression. Subrosa deliver what is generally considered a doom record but the addition of electric violins bowed by Sarah Pendleton and Kim Pack inject an element that allows No Help to transcend the typical genre restrictions. The almost horn-like tones of the violins weave their way in and out of the mix providing added depth to the already deep doom guitars of vocalist/guitarist Rebecca Vernon and bassist Dave "The Deuce" Jones. The result is a wall of sound that wraps around the listener in multiple layers of warmth.  Ironically, this doesn't lead to claustrophobic feeling. Quite the opposite. The deep texture creates and expansiveness that feels as if it encompasses all of creation.

"Borrowed Time, Borrowed Eyes" starts with a tone and riff reminiscent of Electric Wizard until the violins start in. It holds that heavy riff but the violins up the depressive factor with sorrowful overtones. It sets the mood for the entire album. Dark and heavy, triumphant and introspective. Instruments drop in and out as necessary and build upon each other in a series of peaks and valleys. Each song has a vocal passage that grabs hold and leaves and impression that lingers on the brain. Here, it's "How long must my journey go?"

"Beneath The Crown" features mournful violins over a two note drone which falls out as the vocals drift in and builds to a thunderous roar as the the band joins back in. The skittering violins and harsh male vocals make this the most violent sounding song on the album.

"Stonecarver" is the 11+ minute centrepiece of the album. The long intro consists of a serious plodding doom riff over some foreign language spoken word and spidery picked violin work. It continues to build and build til the 4:38 mark when it bursts into the triumphant "chorus". I catch myself randomly singing the "I've separated myself from the..." mantra. Could be my favourite vocal passage of the album. Also at this mark is when you can hear the heavy Kyuss influence. The fuzz tone is spot on. The song segues back into an introspective feeling mood helped by yet more brain lingering lyrics. The song ends with a HUGE sounding, harsh, repeated "there's no help for the mighty ones, now!" aided by more male background vocals. Epic.

"The Inheritance" is the song that means most to me. It's about a concern for the environment. The mood of the song is adequately mournful. Vernon sums it up best when she sings, "We're in the shadow of a dying world." The tinkling wind-up toy outro reminds me of childhood innocence and that it is the children and grandchildren of our generation that will pay for our ignorance.

"Attack on Golden Mountain" is a srsly doomy track mixed with an orchestral angle and choral vocals. There is an Americana feel as well. The violins sound almost like a soundtrack to the main story influencing the mood. The 9 minute length allows it to build, climax and come back down not once, but twice. Who needs short songs?

"Whipporwill" is another track that reminds me of Electic Wizard. As with most of the songs on No Help, it features soaring vocal harmonies that bring a tear to my eye regardless of if the message is sorrowful or forward-thinking. Great songs can do that.

"House Carpenter" is a captivating accapella version of a traditional Celtic folk song. It's a tragic tale of morality beautifully sung.

"Dark Country" encapsulates all the elements present on the record. Huge doom riffs, haunting vocals, part skittery part mournful violins puncuated by the thunderous drums of Zachary Hatsis and droning bass.

No Help For The Mighty Ones is an epic (dare I say, post-doom?) journey to the deepest parts of the soul. The multi-textured layers carry the listener through peaks and valleys of the highest highs and the most sullen lows. Thoughtful compostition and hypnotic use of repitition mesh with the interplay of the myriad stringed instruments. All punctuated by dynamic percussion and powerful female vocals. This has created a truly unique experience. Subrosa have carved themselves their own niche in the stoner/doom universe. While not the only band to utilize female vocals and classic strings in a heavy context, they have created a sound that is incomparable. It may be early, but 2011 will have a hard time topping No Help For The Mighty Ones.

Amon Amarth - Surtur Rising

You won't have to look hard to find dozens of reviews of this album. Amon Amarth get plenty of press. I'm not going to go on and on and tell you a bunch of stuff you already know. So I will briefly summate my disappointment.

2008's Twilight of the Thunder God topped my Best Of List that year. I now believe that was at least partially due to novelty. As my musical horizons widened, I was discovering many new subgenres of metal. TOTTG was my introduction to "viking metal". It was new and exciting and I got swept off my feet. Naturally, I had high expectations for Surtur Rising.  Sadly, those expectations were not met. I can't say it's a bad album though. It's actually quite epic sounding. It's everything a viking metal album should be. The problem is, so was their last one. The novelty has worn off for me.  I don't expect a band to re-invent themselves every album but in a blind listening test, I'd be hard pressed to tell the difference between the two albums (with obvious exceptions). They taste the same. With some of my favourite bands, each album has a different flavour. I've only listened to it 4-5 times so far so maybe something will grab me yet but most of the time I don't have to wait this long. I've already heard maybe a half dozen albums from 2011 that I like better. So unless I "get it" soon, it could be lost to the winds of time. Or at least become irrelevant.

N.B. Since this original post, I've listened to it a few more times. It gets better every time but it's still not making the impact Twilight of the Thunder God did.

Inquisition - Ominous Doctrines of the Perpetual Mystical Macrocosm

Black metal can be hit or miss with me. This one is hit and miss. Stylistically, it's my kind of black metal. No keyboards. It's got nice, long, well-composed songs that don't just bury the listener in blastbeats. The songs have texture. They aren't monochromatic. They ebb and flow and breathe. As the title suggests, it's ominous and mystical. I think it's a fantastic of musicianship and songwriting ability. That's the hit part.
The miss part is the vocals. I don't know if it's all natural or computer assisted but in either case, it sounds like someone is choking a frog. Could be the strangest vocals I've ever heard. Not really my thing. However, they're not quite a dealbreaker. While they're aren't my favourite, they do fit with the music for the most part. I can't help but wonder what it would sound like with a more traditional vocal style.
Overall, it's a pretty good traditional, keyboard free, black metal album with weird vocals.

Crowbar - Sever the Wicked Hand

Sometimes it's hard for me to write a review of an album that I know I am gonna love before I even hear it. Because then when I do hear it, and I do love it, all I can think of is "It's awesome. Why do I have to convince anyone?" And in this case, it's Crowbar. Why do I have to convince anyone? I'll do my best regardless.
It's been 6 years since the last Crowbar album. 6 LONG years. But lone original member and mastermind Kirk Windstein hasn't been sitting on his duff. He's been busy with the venerable Down and Jasta colab, Kingdom of Sorrow. More recently, he's also been busy getting clean and sober. His journey through the process of getting clean and sober is the inspiration for Sever the Wicked Hand. They say the pen is mightier than the sword and the lyrics penned within are mighty indeed. It is they that sever the wicked hand. The wicked hand being that holding the blow or the drink. The beautiful and inspiring lyrics provide an interesting contrast to their delivery. Kirk's sandpaper vocals act as a physical reminder that despite the push towards positivity and the beauty of clean living, the battle is a harsh one. It's a battle I can relate to. I've struggled with alcoholism for years. It's a battle I'm still fighting and I have scars that will take a long time to heal. But Sever's lyrics about healing and cleansing and taking back control of your life have inspired me to push harder. Addiction is a very personal road to travel, and to be able to draw inspiration from someone that I look up to is pretty special. It makes the road a little less lonely.
Let's not forget the backdrop for all this traveling. In a Decibel interview, Kirk described Crowbar as a mix of Carnivore and the Melvins. Ashamedly, my experience with Carnivore is non-existent and with the Melvins it's limited. So in my mind, it sounds like Crowbar. I'll hear other bands with that NOLA sludge groove touched by some hardcore influence and think they are trying to sound like Crowbar. TRYING. The Crowbar sound is signature. Whether the tempo is fast or achingly slow, Sever the Wicked Hand delivers an aural beating. When Kirk and co. put the pedal down it's like being hit with large bore automatic gunfire at close range and when the pace slows to a plod, each note is like a concussion grenade right to the chest. This is powerful stuff. The memorable riffs and sonic beatdown come courtesy of a bottom end that'll shake your house off its foundations and muted notes that sound like chainmail being scraped across sheet metal. And the drums pound with the force of a crumbling sky. In other words, it's classic Crowbar. You have to remember, this is the band that made "Dream Weaver" sound heavy. (That Inhale 4:20: The Stoner Rock Compilation was badass!)
6 years is a long time between albums. But as the saying goes, good things come to those who wait. The patient have certainly reaped the rewards of their steadfastness with Sever the Wicked Hand. A demon is slain on the Adam D. designed cover and inner demons are slain on the masterpiece found within. Not only will this album stand up as one of Crowbar's best ever, but I think it's an early favourite for 2011 Album of the Year.
Crowbar rules!

Abysmal Dawn - Leveling the Plane of Existence

Sometimes I can't understand myself. Sometimes within the same sub-genre I will like one band and not like another. For example, I like Origin. I don't like Obscura. or Cynic. But I do like Abysmal Dawn. If you haven't guessed, I'm talking about technical death metal. (ok, maybe Cynic doesn't fit in there) I can't really explain why I like certain bands over others. But I'll try and explain why I like Abysmal Dawn.

First of all, for the most part, the lyrics are discernible. This isn't a big sticking point with me but it helps. If I couldn't make out any words, I'd dismiss it outright only because the music makes up for any vocal shortcomings. Don't think the vocals aren't brutal though. They are. Very much so. But they are very well done and far from repetitive grunting. Also, they aren't everywhere. There is a good balance between the vocals and the music.

I can appreciate musical ability. Mainly because I have very little. I try but... So when I hear a band play with the immensity of talent that the dudes in AD have, it blows my mind. Now, just being able to play very well doesn't mean you can write. I can play softball. Doesn't mean I can coach. That's what appeals to me about Abysmal Dawn. They have serious chops but they are able to turn that into songs. Pretty complex songs at that. They can bring the muscle and power of traditional death metal and meld that with blissful solos and untraditional song structures. They can be technical without shoving it down your throat or being overly arty. I don't think they'll be the band that swings me over to the uber-tech/prog side of  the fence but if I want to feel inadequate, I'll put on Leveling the Plane of Existence.
I'd really like to say more about this but I'm getting a case of writer's block.

www.twitter.com/MetalMatt_KofN

Scale the Summit - The Collective

I'm not huge on most instrumetal. More or less because not much happens. And when something does happen, I've waited so long for it that it's always disappointing. Maybe I don't listen to the right stuff. Anyway, I don't not like The Collective. I don't necessarily yearn for it either. (It's better than what I am listening to right now though.) The Collective is the kind of album that I can put on and not frighten people. It's full of sweeping melodies and just enough punch to make it palatable for someone like me who likes the more aggressive stuff. It actually reminds me a lot of that G3 album with Vai, Satriani and Johnson. It also brings to mind Marc Rizzo's solo work. I have a hard time saying very much about it because I feel like it's just kind of "there". I know plenty of people love this stuff and that's good for them. It's great background music and I'll likely listen to it plenty more time before the year is out.
Elevator music for metalheads.

www.twitter.com/MetalMatt_KofN

Battle of the Trad Metal Bands: Holy Grail vs. Cauldron

When I originally thought up the concept for this post, I had only listened to each album once. (Crisis in Utopia and Burning Fortune, respectively) The more I heard each one, the more the comparison fell apart. But by this point, I had already tweeted that I was gonna do this. As a man of my word, I will continue. Fair warning: this won't be very good.

Album Cover

Holy Grail - Crisis in Utopia: Demonic pterodactyl-like creature screaming into the night. Standing on a corpse on a plateau littered with bones outside a city.

Cauldron - Burning Fortune: Vampire-like woman in a white dress getting out of the backseat of a car. Her high-heeled shoes are on fire.

The point goes to: Cauldron. If we look at it from a Trad point of view and in keeping with the vibe of the album, women and cars win. Besides, dinosaurs don't find jean jackets sexy.

Lyrics

HG: While not as epic as say, Iron Maiden, they have the same fantastical feeling. Maybe even touching power metal type themes. Valhalla, etc

C: More personal and "real life" than HG but still with quite the cheese-factor. Good use of repetition.

The point goes to: I'll give this one to Cauldron. The lyrics seem more Trad. HG's lyrics seems a little more modern. Or at least more bands now follow that style whereas Cauldron's have a much more retro feel.

Vocals

 HG: Clean. The occasional growl. Good tone and seems versatile.

C: Um, I'm sure the band is cool with the vocals but I don't think they are very good. Backyard picnic quality. Some parts are hard to listen to. But hey, maybe that's what they were going for?

The point goes to: Holy Grail. This was a no-brainer.

Guitars

HG: These dudes can shred!! Serious shred. Megadeth speed, Dragonforce virtuosity and a modern edge not unlike Trivium. Sweet.

C: Just as catchy as HG but nowhere near the note count. The solos aren't too bad but the feel is different than HG. Moodier.

The point goes to: Holy Grail. They win just because I prefer that style and they are more diverse.

Drums

HG: To keep up with those guitars, you have to be good. Really good feet.

C: Well, with this style, the drummer is really more of a time keeper.  Good at what he does though!

The point goes to: Holy Grail.

Final score: 3-2 in favour of Holy Grail.

It should be obvious how this comparison fell apart. While both lean on a retro style, the period and feel are way different. Holy Grail sounds like it comes from a more speed metal place whereas Cauldron feel more late '70s/early hair metal. It's not really a fair comparison. Apples and oranges. Both are quite catchy, "heavy metal" and I'm sure passionate about their music. If you like speed and epicness, go with Holy Grail. If you like white jean jackets and Trans Ams, go for Cauldron. (After wracking my brains on who Cauldron remind me of, I figured it out. The Scorpions.)

www.twitter.com/metalmatthinch

Full Blown Chaos - Full Blown Chaos

New York's Full Blown Chaos have started the 2011 listening season off
on a good foot. Their self-titled follow up to '07s Heavy Lies The
Crown is more or less what you would expect from FBC but that's not a
bad thing. While the NY tough style metallic hardcore scene could
easily get over saturated (see anything -core), the cream would rise to
the top. Part of the cream would be FBC. When trying to describe the
album I'm drawn to comparisons to similar but maybe more well known
acts like Hatebreed and Sick Of It All. But FBC is their own animal. A
little more hardcore than (modern day) SOIA and a little more metal
than Hatebreed. There is still plenty of breakdowns to be found. But
in comparison to other bands that (over)use them (Read:
metalcore/deathcore), their presence makes sense. It's not a gimmick.
FBC are not followers, they are leaders. Besides, FBC are able to
build around the breakdowns in such a way that they don't become the
focal point of the music. For me, the focal point is Ray Mazzola's
vocals. If anything, I think they are what separate FBC from some of
their contemporaries. They seem deeper. It's a more death metal
flavour on a traditional hardcore style. Definitely commanding in its
essence. Under his command, with the chest-thumping vibe of the band
behind him, Mazzola could whip a pit into a frenetic whirlpool faster
than you could gang-shout "Go!"
I think what draws me to FBC and bands of this style (when I'm not
knee-deep in Sludge, drowning in Black Metal or being bludgeoned by
Death Metal) is the positivity in it. That never-back-down, stand up
for yourself vibe. It's nice to hear something personal and "real"
without it being whiny or depressing. It's an album that will make you
feel good, make you lift your head up high and maybe even make you
stomp around the kitchen waving your fist and doing air-breakdowns
while making supper. Not that I...ever...do that...or anything.
www.twitter.com/metalmatthinch

2010 Record Label of the Year

Based on the record labels of the bands that made my Top 40 Albums of the Year for 2010, I am pleased to announce the first annual Kingdom of Noise Record Label of the Year. Two labels finished with five bands represented. But one label had two bands in the Top 5. So the winner is.....

 

Relapse Records!!! (confetti explosion and thunderous applause)

 

2nd Place: Nuclear Blast

3rd Place: Season of Mist (4 bands)

T-4th Place: Metal Blade and Profound Lore (3 bands each)

5th Place: Prosthetic (2 bands)

 

Thank you, thank you, thank you for release such great music.

 

Kingdom of Noise would also like to thank: E1, Rise Above,Deep Six, Init, Unique Leader, Distort, Housecore, Nomadic Fortress, Indie, Kemado, Candlelight, Warner, Razor & Tie, Byelobog, Southern Lord, Dark Balance, EMI, and The End.

 

www.twitter.com/metalmatthinch

Top 40 AOTY 2010 Recap!

40. haarp - The Filth

39. Cancer Bats  - Bears, Mayors, Scraps & Bones (Most Fuct Up Hair)

38. Hour of Penance - Paradogma

37. Melechesh - The Epigenesis

36. Wolvhammer - Black Marketeers of WW III

35. Kataklysm - Heaven's Venom

34. Immolation - Majesty and Decay

33. D.I.S. - Critical Failure

32. The Sword - Warp Riders

31. The Dillinger Escape Plan - Option Paralysis

30. Misery Index - Heirs to Thievery

29. Early Man - Death Potion

28. Exhale - Blind (Most Like My Mind)

27. Black Breath - Heavy Breathing

26. Exodus - Exhibit B: The Human Condition (Thrashterpiece of the Year)

25. Kingdom of Sorrow - Behind the Blackest Tears

24. Hail of Bullets - On Divine Winds

23. Malevolent Creation - Invidious Dominion

22. Aeon - Path of Fire (Death Metal Track of the Year)

21. Rotting Christ - Aealo (Song Most Likely To Frighten Children)

20. Iron Maiden - The Final Frontier (Only One To Win A Grammy This Year)

19. Unearthly Trance - V

18. Ludicra - The Tenant (Sickest Riff of the Year)

17. Watain - Lawless Darkness

16. Salome - Terminal (Vocal Performance of the Year)

15. Hooded Menace - Never Cross the Dead

14. Jucifer - Throned in Blood

13. Kvelertak - Kvelertak (Rookie of the Year)

12. Burzum - Belus (Most troo/kvlt)

11. Norma Jean - Meridional

10. Landmine Marathon - Sovereign Descent (Scream Along Album of the Year)

9. Kylesa - Spiral Shadow

8. Deftones - Diamond Eyes

7. Electric Wizard - Black Masses

6. High on Fire - Snakes for the Divine (Live Performance of the Year)

5. Fear Factory - Mechanize (Comeback Album of the Year)

4. Black Anvil - Triumvirate

3. Howl - Full of Hell (Album Cover of the Year)

2. Bison b.c. - Dark Ages (Canadian Album of the Year)

1. Wihered - Dualitas (Vinyl Version of the Year)

0. Soulfly - Omen (overbiased in favour of band)

--
http://matthinch.blogspot.com/
www.kingdomofnoise.blogspot.com
www.twitter.com/metalmatthinch

Damn it!

Remember what I said about having internet access at work? Well, cancel that. They just locked it out again. It was nice while it lasted. I will still try and post more reviews anyway. But for now, all you need to know is, Crowbar rules. And I still have Twitter!

www.twitter.com/metalmatthinch

My 40 Favourite Albums of 2010: TOP 10! (+1)

*DISCLAIMER! All rankings are based on 3 major factors. 1. I actually have to like the album. Nothing is included because it's on everyone else's list or because I think it would make my list look better. 2. I can listen to it no matter what I am in the mood for. 3. Overall play count/I actually paid money for it.  Remember, this is my opinion. It's not overly analytical. Most, if not all, rankings are VERY fluid. Don't get your panties in a bunch because your favourite band is lower than "that fucking piece of shit band!"*

 

I am perpetually broke so if I throw down my hard earned money on something, it better be fuckin' good. With that being so, if I bought a physical copy of something, it's almost guaranteed to land in my Top 10. Keep in mind that on any given day, any one of these albums could be considered #1. So without further adieu, My Top 10 Favourite Albums of 2010.

 

#10.  Landmine Marathon - Sovereign Descent (USA, Prosthetic):  Last year, my I-just-need-to-fucking-scream album was Grand Feast for Vultures by Blood Tsunami. Hop in the car, crank it up and fucking scream like there's no tomorrow. This year, that album is Sovereign Descent. I'd say 99% of the time I'm not singing the right words (or words at all) but it does the trick. This is one of the most aggressive releases I heard last year. I think one the things that makes it like that is because it feels so raw while still maintaining good production. It feels very organic as well. Like the process of making this death/doom/grind hybrid was totally natural. Nothing forced. Just the obvious result of 5 souls coming together as music. I had the pleasure of meeting the band at one of their shows (I have a signed LP to prove it). You couldn't ask for a more relaxed, down to earth, unassuming bunch of people. But on stage they are a tour de force. Especially Grace Perry. One of THE nicest people I've ever met, but she threw me around like a ragdoll and literally ripped another guy's shirt off his back. (She gave him a new one) On top of that, I don't think she's sung a clean note in her life. A beast of a vocalist. 5 stars. Perfect 10. 4 horns up. Fuck yeah. Standout track: "Steadfast Hate" (shoutouts Ryan, Dylan, Andy, Grace and Matt! Come back to Kingston!)

 

#9. Kylesa - Spiral Shadow (USA, Season of Mist):  Following on the heels of 2009's amaaaazing Static Tensions, (2009 KoN AOTY) mighty Georgians Kylesa brought us another masterpiece in Spiral Shadow. This record is the next step in the evolution of Kylesa. They keep moving forward with each release. They keep growing and maturing as a band. Spiral Shadow fits the mood of its content perfectly. It's very textured with light and shade. But with an overall positive vibe. It swirls in an almost psychedelic fashion. Together, it makes me picture a luminous orb emitting music and colour creating a spiral shadow as reality rotates around it. I've yet to listen to it blitzed but it's an amazing headphone record. Production wise, the job was handled again by guitarist/vocalist Phillip Cope, It differed slightly from Static Tensions in that I didn't notice as much panning of the two (dynamically talented) drummers. Still an amazing job. A Phillip Cope production has been at or near the top of my AOTY list 4 years running, including this one. I think it's fair to say I'm a big fan of his work. Also, I feel it differs in that there are more songs dominated by either Phillip or Laura, rather than Phillip and Laura. Could just be me. Whatever the case, the teamwork between them (and the rest of the band) pays off in spades. I was looking forward to seeing them play in Kingston last month but I missed it. Sorry guys! But I had a brand spankin' new baby at home. I'll do my best to raise her as a Kylesa fan. Standout track: "Don't Look Back"

 

#8.  Deftones - Diamond Eyes (USA, Warner):  Diamond Eyes is the first album in the (hopefully temporary) post-Chi Cheng era. I think the idea to forge ahead for Chi was a very good one. It's their best album in a long, long time. Their best since White Pony and maybe even their best since Around The Fur.  Speaking of old school Deftones, that's what this album reminds me of. They've brought back that really aggressive side without losing that inner sensitivity that the ladies seem to like. (I once knew a girl who was totally in love with Chino.)  You really have to admire what Deftones have done here. The bands they came up with (Korn, Limp Bizkit, etc) are jokes now. Totally useless. (Mudvayne and Slipknot too basically) Yet, Deftones created this fantastic album. It's still Deftones too. They haven't changed styles or catered to outside pressures. Sure, it's not Adrenaline but it's still Deftones. Diamond Eyes is who they are. If you've been paying any attention to what kind of vocals I like, you wouldn't think I'd be game for the soft vocals on this. They're soft. I don't have a problem with clean vocals but soft? But, I sing right along! Loud sometimes. But hey, when you're Deftones and Chino Moreno, I cut a lot of slack. Standout track: "Rocket Skates"

 

#7. Electric Wizard - Black Masses (ENG, Rise Above):  This is the lowest I have ever ranked an Electric Wizard album. I feel kinda bad about it. Trouble is, it didn't come out til November so I haven't had that much time with it. I listened to it last night/this morning and it blew my mind. Again. It does that every time. It's fucking Electric Wizard, man! I bow at the altar of Jus Oborn. Black Masses is a beast of an album. The latest chapter in the EW stoner/doom legacy. The heaviness can't be described in the English language. It's so heavy, that despite the deep sense of foreboding that cuts through the dense fog of (that sweet, sweet) pot smoke, I think my heart actually slows down. It's so heavy, it doesn't just crush bones, or pulverize bones, it vaporizes bones.  I'm actually afraid to get high before listening to this. It might put me into a coma. In the decade plus that I've been listening to Electric Wizard (Dopethrone was my intro. I own them all now) I've always said I don't need drugs to listen to EW. Electric Wizard IS a drug. The incredible tone and hypnotic nature of the music takes me to place other bands can't. One of my favourite bands of all time. Standout track: "Scorpio Curse"

 

#6. High on Fire - Snakes for the Divine (USA, E1):  Like I said for Electric Wizard, it's fucking High on Fire, man! High.On.Fire. I don't need to say more but I will. You and I both know that guitarist/vocalist Matt Pike is a god-like creature. This much is obvious. So I am gonna run with that. The three members of HoF are the three most powerful gods in Greek Mythology. Zeus, Poseidon and Hades. Zeus, the most powerful and the god of the sky and lightning is Matt Pike. His fingers and his guitar make up his lightning rods. Destroying all who dare to question his authority as a guitar god and genius. Poseidon, god of water, is bassist Jeff Matz. His  basslines weave their way into the cracks and crevices of the album like water, giving it depth. And Hades, the god of the underworld, is drummer Des Kensel. His unrelenting drumming pounds humanity into submission and unleashes an earthquake of awesome on every track. Together, they form the near perfection that is High on Fire. Simply divine. And as if the album wasn't great enough, the live show blows that out of the water, earth and sky. Standout track: "Holy Flames of the Firespitter"

 

#5. Fear Factory - Mechanize (USA, Candlelight):  At the beginning of Part 3 (#20-11) I mentioned comeback/return to form albums. I was specifically referring to Deftones and Fear Factory. Mechanize is a comeback and a return to form. FF was never the same without Dino. Honestly, Archetype and Transgression, for lack of a better word, sucked. The story of how this iteration of Fear Factory came about is a long (and bitter) one but basically Dino's back, (yay!) Ray is out (boo) and Christian is out (yay! I blame him for the suckage.) And in their place are none other than Byron Stroud (!) and the venerable (We're not worthy!) Gene Hoglan. Can't do much better than that. Together, they've made FF into the band I fell in love with back in 1995 again. (Thank you, Mortal Kombat soundtrack.) No seriously. This may even be better than Obsolete. Despite being released early in the year, Mechanize hasn't been overshadowed by later releases or suffered from being overplayed. Stylistically, and thematically, it's classic FF. Machinegun riffing, unreal drumming and Burton's mix of harsh/clean vocals (please don't say good cop/bad cop) are all present. I did notice a little less emphasis on keyboards and synths this go around. That's fine with me. It still kicks ass. They may sing about the future, but this feels like a blast from the past. Fear Factory's back, baby! Standout track: "Christploitaion"

 

#4. Black Anvil - Triumvirate (USA, Relapse): Wait. Wait. Wait. Is this the same Black Anvil that released Time Insults the Mind? What a leap forward! Where Time Insults the Mind, if memory serves me, was pretty much a blackened thrash affair, (albeit a pretty good one) Triumvirate has turned the corner and presented itself as more of a thrashened black beast. I had some high hopes for certain albums in 2010 and was severely disappointed (eg Atheist. Meh, not my thing.) Quite the opposite was the case with Black Anvil. I had little to no expectations whatsoever for Triumvirate but from the moment I heard vocalist/bassist Paul Delaney (with Raeph Glicken - Drums and Gary Bennett - Guitar) scream "What is life, if not now!" on the opening track of the same name, I was abso-fucking-lutely floored. I knew instantly it was Top 5. The vocals on this album are more than adequately "black" yet are coherent enough that had I the time, I could actually make out what he's saying. I just don't the luxury of "music only" time. Always reading or making lunches or whatever. What I would know is that this isn't some caveman sentence fragment repetition bullshit. This is some upper level shit. It's the poetry that music, as an art form, should have. Ya know, that, and huge riffs. breakneck drumming and the Holy Metal Triumvirate of Black, Death and Thrash. Standout track: "Angels to Dust"

 

#3. Howl - Full of Hell (USA, Relapse):  I'm going to copy an earlier post about this album. Not because I'm lazy. Just because I did a really good job expressing how I feel about the album. And I'm lazy. "Quite often, a great album will conjure images in your mind regardless of lyrical content.  Full of Hell does that very, very well. The following is what my mind sees. The band are actually Cyclopean giants. They are performing the album in a natural amphitheater/cave opening at the top of a flaming mountain range. This provides the soundtrack to an army of beasts laying waste to civilization below. Now that may not sound like Harvard stuff  but I have a feeling if I got my hands on a lyric sheet, there would be some upper-level intelligence going on. (Somewhat unrelated but, RIP Buried Inside) See, to the best of my knowledge the members of Howl are vegan.  And not to stereotype, but I don't know any meathead vegetarians. (See what I did there?) Adjective time: thick, huge, warm, deep, resonant, frightening, destructive, desolate, and as the Cyclops' last notes echo across the mountains, mournful." I've never heard anything quite like it. It steamrolls the eardrums. In a good way. Standout track: "A Day of Rest"

 

#2. Bison b.c. - Dark Ages (CAN, Metal Blade):  Vancouver's Bison b.c. are quickly making themselves the best metal band in Canada. On Dark Ages, their third album and second for Metal Blade, they've raised the bar yet again. In fact, they are making enough of a name for themselves that a) they should be able to drop the b.c. part now. Everyone knows them and b) They don't need to be referred as "featuring former members of S.T.R.E.E.T.S. I'll never forget the time I missed the chance to see Bison play in Kingston. It was my 30th birthday and they were playing in a converted living room. Can you imagine how insane that was?!  (Stupid surprise party!) This was just after Quiet Earth came out. Their shows have only gotten more legendary and Dark Ages is even better.  Being Canadian, I give Bison a bit of a home court advantage but I really don't have to. Dark Ages is a finely crafted album that would be just as good no matter where they were from. At only 7 songs, that means (to me) that every song is there for a reason. No filler. All killer. From opener "Stressed Elephant" to closer "Wendigo Part 3 (Let Him Burn)" is 46:47 of just plain awesome. It's a different breed of sludge. Sludgecore if you will. Because they bring the urgency and energy of hardcore and punk over to the tone and heft of sludge. What results is every song is an epic. Not IS epic, is AN epic. Such incredible songwriting. And not just for the sake of writing great songs, these are party songs too!! Get your booze on and crank it up! Standout track: "Fear Cave"

 

#1. Withered -Dualitas (USA, Prosthetic):  Now, it's been a while since I've heard Memento Mori or Folie Circulaire but I get a different feeling from Dualitas. It could just be my horrible memory, but it seems more spacious than previous releases. While the oppressive parts are just as oppressive, they are interspersed with more, shall we say, reflective passages. After I actually get a chance to read the lyric sheet I may be able to confirm my theory that the theme of this album is duality. Not in a split-personality sense or "good and evil exist in all of us" way, but more of a two sides to every story idea. For example, some parts are loud and fast and powerful and make me think of war and destruction and all the adrenaline and hot blood that goes with that. That will then fall into a slower, more pensive sounding passage which brings to mind the other side of war. The loss and the sadness. But as I think about it more, the mournful side could be the reflection of the "victors" (no one wins in war). The part where the triumphant survey the destruction they have wrought and think, "What have we done?" "What have we become?" Every time I've listened to Dualitas I can't help but think about the two emotions that rise in my heart, triumph and sorrow. The driving black metal aspect conjuring images of militaristic conquest and victory and the slower, doomier aspect revealing the bloody aftermath and an overwhelming sense of loss. "Interlude" is one of the saddest sounding pieces of music I have ever heard while other parts of the record would flay the skin from your bones and laugh with terrible glee.
Withered have really outdone themselves in creating such an enjoyable yet emotionally draining album. Powerful, cerebral music with a soul. I've never listened to an album that has made me feel the way Dualitas does. I feel absorbed by it. It becomes a part of you. Congratulations Withered. You have a created something truly special and I thank you. *most of this is borrowed from an earlier review I wrote.

 

+1. Now, because I am mentally unable to remove an extreme bias in favour of a couple of my favourite bands I have to mention any albums by those bands separately. I can't possibly place them in the list and be able to find a good spot. The first of those bands is Clutch. They didn't release an album this year. The other bands is...

 

Soulfly - Omen (USA, Roadrunner):  The last 2 Soulfly albums have been great. They are far different than the nu-metal that Max and crew released back in '98. They still have guests on the album but now they are much better than Fred Durst. Tommy Victor (Prong) and Greg Puciato (DEP) lend their vocals talents to Omen. This album is far thrashier than most of Soulfly's work. Also, they have brought elements of hardcore on board to really diversify. This may be their fastest album yet. I think what really helps is that Max is surrounded by somewhat of a stable lineup now. Super-guitarist Marc Rizzo, drummer Joe Nunez and bassist Bobby Burns are now fairly entrenched as members of the band instead of glorified session musicians. I was a big Sepultura fan before Max left and I kinda followed him. I think it's partly due to his vocals. I don't know what it is but I can get into them alot. Maybe it's because when I scream, it sounds similar so I feel more connected to it. Whatever the case may be, I love Soulfly. And I probably always will. They are finally creating albums that should have the critics more on their side. I don't see that yet but people have long memories and they just can't get over the nu-metal association. I think they forget that when nu-metal was new, they didn't hate it the way they do now. I guess if I have a beef with Omen it's "Soulfly VII". It's a good song, don't get me wrong but it sounds more like a Marc Rizzo solo song than a Soulfly song. Still good, but it doesn't fit the way it should. Standout track: really hard decision but, "Rise of the Fallen"

 

And so concludes the long and arduous process of naming my Favourite Albums of the Year. But for the last few weeks, all I've listened to are the above 41 amazing albums. Can't knock that. And now I get to dig into 2011!  First up, CROWBAR!!!!!!!!!!!!! And now that I have internet access at work, you can look forward to more posts, and better posts, from Kingdom of Noise.

www.twitter.com/metalmatthinch

My 40 Favourite Albums of 2010: 20-11

*DISCLAIMER! All rankings are based on 3 major factors. 1. I actually have to like the album. Nothing is included because it's on everyone else's list or because I think it would make my list look better. 2. I can listen to it no matter what I am in the mood for. 3. Overall play count/I actually paid money for it.  Remember, this is my opinion. It's not overly analytical. Most, if not all, rankings are VERY fluid. Don't get your panties in a bunch because your favourite band is lower than "that fucking piece of shit band!"*

As I get in to the Top 20, the reasoning changes slightly. There is usually some element that vaults the album in to this higher ranking. It could be that it's just really, really, really good, or a leap forward, or a comeback/return to form, or there is just something really unique about it. Enjoy the best of 2010.

#20.  Iron Maiden - The Final Frontier (ENG, EMI):  I got in to Iron Maiden in a weird way. It was A Matter of Life and Death that made me appreciate them. Before that, Dickinson's vocal style didn't appeal to me. I had a copy of Number Of The Beast back in high school (got it in a Columbia House metal grab bag with some weird Hendrix disc, The Best of Slaughter, a Varga (!) CD and something else) and sold it to a pawn shop. Then I got a used copy of Piece of Mind on cassette back in '09 and I was hooked. The Final Frontier may not be an all time Maiden classic but it's damn close. Dickinson, Steve Harris and the boys sure know how to write epic songs! There isn't a dud to be found here. I may have listened to this album more than any other last year. Thanks in large part to the fact that I could play it anywhere, in any company and it wouldn't scare anyone. (Unlike #19) It amazes me that a band can still be this good over 30 years into their career. Standout track "Where the Wild Wind Blows"

#19. Unearthly Trance - V (USA, Relapse):  For some reason I had Unearthly Trance confused as far as what style of metal they were. I thought they were operatic like Katatonia or Dark Tranquility or some other band I haven't given the time of day to. Or even the My Dying Bride kind of doom. I don't know where I got that idea from but motherfucker was I wrong! This is fucking DOOOOOOOOM! From the pits of Hell, the world is ending, beasts unleashed upon creation, fucking DOOM! I made a comment before and referred to V as "bowel evacuatingly heavy". I stand by that. They put the power in power trio with their earthquake inducing, thunderous riffs. At times, guitarist/vocalist Ryan Lypinsky reminds me of Floater vocalist Robert Wynia (Glyph remains one of my all time favourite albums). But most of the time his unearthly (hehe) screams sound like his voice is made of pure disgust for the human race. Vocals can make or break an album for me and these beastly bellows are a big reason V landed in my Top 20. Standout track: "Into a Chasm"

#18.  Ludicra - The Tenant (USA, Profound Lore):  This year's list has more black metal on it than ever before. Part of my growing interest in BM is due in large part to Ludicra, among others (as you will see). They opened my eyes to a bigger part of what black metal could be. Before listening to The Tenant I thought all black metal was bleak, monotonous, lo-fi Norwegian BM or keyboard laden, symphonic BM like Dimmu or CoF. (Neither of which you will find on this list) What's more, vocalist
Laurie Sue Shanaman made me reconsider what female vocals in metal were all about. ( I just thought Angela Gossow was a freak) Where traditional black metal (to me) feels like it's being bombarded by the wind, and is forced to endure it, Ludicra embrace the wind and use it to soar above the world full of sorrow and ugliness. The Tenant is an incredibly dynamic album that can go from beautiful to downright nasty on a dime. It earns #18 based largely on The Sickest Riff Of The Year on standout track "In Stable".

My 40 Favourite Albums of 2010: 30-21

*DISCLAIMER! All rankings are based on 3 major factors. 1. I actually have to like the album. Nothing is included because it's on everyone else's list or because I think it would make my list look better. 2. I can listen to it no matter what I am in the mood for. 3. Overall play count/I actually paid money for it.  Remember, this is my opinion. It's not overly analytical. Most, if not all, rankings are VERY fluid. Don't get your panties in a bunch because your favourite band is lower than "that fucking piece of shit band!"*

#30.  Misery Index - Heirs to Thievery (USA, Relapse): It's kind of hard to describe Misery Index other than to say it's high-fucking-quality deathgrind. It's a vicious, high intensity aural assault. Wikipedia says "Misery Index's lyrical subject matter is left-wing, often coinciding with radical and anarchic aesthetics and focusing mostly on the ills of modern society." So basically, while having your eardrums pounded with a hammerdrill, the barely intelligible lyrics might actually make you think. How often does that happen? Standout track: "A Carrion Call"

#29.  Early Man - Death Potion (USA, The End): From the moment I heard Early Man back in early '06 I knew I loved this band. They became part of the upper echelon (IMO) of the thrash revival with '05s Closing In. The Beware the Circling Fin EP was a bit disappointing but Death Potion more than makes up for it. It's got loads of catchy riffs, Mike Conte's unique vocal delivery and speed to spare. I'd recommend it for a great driving record but it's way too easy to get really caught up in it and that could be dangerous. It could also make it..... (Standout track) "Someone Else's Nightmare"

#28. Exhale - Blind (SWE, Dark Balance): This Swedish grind outfit is vicious, vicious, vicious! It's like getting peppered with machine gun fire. But it feels good. Every year there is an album that I describe as "sounding like what happens in my head". Usually it's something like Gridlink (New album 2011!) or ASRA. This year it's Exhale. I'm in a massively different head space this past year than I have been in a long time but I still love a record that sounds like all the pent up rage inside me just explodes for about a half hour or less.  Don't forget to Exhale. Standout track: "Sick Addiction"

#27.  Black Breath - Heavy Breathing (USA, Southern Lord):  Southern Lord seems like an odd label for Black Breath to be on. I associate Southern Lord more with stoner/doom bands than bands like Black Breath. What are they like? Well, would D-beat Swe-death Thrashcore be an accurate descriptor?  Hardcore style vocals, thrash speed, D-beat groove, and Swedish Death Metal buzzsaw guitars. If that doesn't sound like a recipe for awesome, nothing does. I think what I like best about Heavy Breathing is that it's intense, high energy and serious fun. Not goofy fun. It's the kind of album that makes me want to stomp around my living room moshing with an imaginary pit. A real pit would be great too but this way I keep all my teeth.  Standout track: "Virus"

#26.  Exodus - Exhibit B: The Human Condition (USA, Nuclear Blast):  Bay Area thrashers Exodus have shown me that I missed a LOT of great music in the last 30 years. My thrash world consisted of the Big 4 and that's it. If any of Exodus' previous 8 albums were any bit as good as 9th effort Exhibit B: The Human Condition, I really missed out. This follow-up to 2007's The Atrocity Exhibition: Exhibit A is so good that it made me question my very existence. Just kidding. But it did reaffirm my conviction that the best music is not always (barely ever) the most popular music. Modern day Metallica and Anthrax have nothing on what I consider 2010's Thrashterpiece. I wonder how many times Kirk Hammet thinks "Would they have taken me back after Metallica?" (as he rolls in money) Standout track: "Beyond the Pale"

My 40 Favourite Albums of 2010: 40-31

*DISCLAIMER! All rankings are based on 3 major factors. 1. I actually have to like the album. Nothing is included because it's on everyone else's list or because I think it would make my list look better. 2. I
can listen to it no matter what I am in the mood for. 3. Overall play count/I actually paid money for it. Remember, this is my opinion. It's not overly analytical. Most, if not all, rankings are VERY fluid.
Don't get your panties in a bunch because your favourite band is lower than "that fucking piece of shit band!"*


#40: haarp - The Filth (USA, Housecore): Filthy, slow and heavy as shit.  A grizzly bear is dragged out of hibernation and forced against his will to  party like Marilyn Manson at Mardi Gras. *The Filth* sounds like the morning  after. The production could use some work but the album leaves me feeling  exhausted and relieved. Just listening to it gets out all the anger and  tension. It very cathartic. Standout track: "Plurimus Humilus, Ciacco"

#39. Cancer Bats - Bears, Mayors, Scraps & Bones (CAN, Distort): The first  Canadian act on the list. These Torontonians continue to deliver their own flavour of Southern-fried hardcore. It's not much different (or better) than previous effort, Hail, Destroyer but why ruin a good thing? B,M,S & B is  loaded with catchy riffs and scream/sing along vocals. This is tonnes of fun to listen to and vocalist Liam Cormier might have the most fuct-up  hair in metal.  Standout track: "Dead Wrong"

#38. Hour of Penance - Paradogma (ITA, Unique Leader): Italy's Hour of  Penance shatter any preconception you may have had that Rome is a nice place. Nice places don't breed the kind of brutality on display here. Thisis fucking death metal the way I like it. Fast, brutal, and played with the kind of skill that lets you know these dudes are pro without being a total wankfest. (I'm looking at you Sumerian Records) If I'm in the right mood, this could rank Top 20 easy. I hear HoP just signed to Prosthetic. Hopefully
that means more people will be exposed to this wicked band. Standout track: "A Thousand Christs"

#37. Melechesh - The Epigenesis (NED, Nuclear Blast): Originally from Israel, Melechesh relocated to the Netherlands and I think the move had some influence on the record. Maybe being in Europe pushed them into a more straight ahead black metal album than Emissaries. Yet it still maintains plenty of Middle Eastern influence. Most notably in the cadence and instrumentation. This album could easily rank much higher but I
haven't had much time with it. Standout track: "Defeating the Giants"