Review: The Faceless - Autotheism

Band: The Faceless
Album: Autotheism
Year: 2012
Country: USA
Genre: Technical/Progressive Death Metal

When I read the The Faceless used to be a deathcore band I almost didn’t believe it. Autotheism is the only album I have heard of theirs (and I only listened based on the praise it had gotten) and at this moment it is quite easily my favorite modern progressive death metal album. This is a long ways from anything deathcore. In addition to being progressive, Autotheism is also quite technical as well and for me this is like killing two birds with one stone. Autotheism is actually a concept of sorts, telling the story as the name suggests of a man who forsakes traditional religion and believes himself to be god.

The albums first 3 tracks are actually one long song separated into movements. This is one of my favorite parts about progressive music and the band successfully pulls off repeating themes from earlier in the song at different points. The guitarists start Create off at a slow almost alternative metal like sound, and yet as soon as that song is over Emancipate kicks in and so does the shred. Michael Keene and Wes Hauch show their skills throughout the album with noodling guitar solos and extremely fast riffing. The best part is that it totally fits, all of it. It doesn’t feel like they are using guitar wankery in a masturbatory manner and it comes off as solely for the benefit of the music and story being told. So while the wank is there it isn’t done in a shameful way.

Lyle Cooper’s drumming is just as insane as the guitar parts. He keeps up and when the guitars shred he shoots off at a frenetic yet composed pace. Yet when the band slows down (which they do a number of times like in Create,  Deconsecrate, and 10 Billion Years) he can slow down as well though sometimes he will still let loose with double bass which seems at odds with the slower guitars and snare. The bass is the least interesting part of the album though. It mostly sticks to mimicking the guitar riffs but hey at least you can hear Evan Brewer’s contribution.

There are both clean and harsh vocals on Autotheism.  While Geoffrey Ficco does the harsh vocals using deep death growls Michael Keene does the cleans. I find Keene’s clean singing to be a bit more interesting than Ficco’s death growls. His singing sounds a lot like Jeffrey Nothing from Mushroomhead, except he sounds a lot better and less cartoonish.

There are a lot of interesting elements on the album that keep it in stark contrast to most regular death metal albums. The acoustic intro to In Solitude and the saxophone on Deconsecrate are especially nice touches. There are also a decent amount of keys throughout that sometimes take precedence and provide a lot of atmosphere.  Especially the very church like keys at the start of Deconsecrate, how very appropriate!

Autotheism has a lot going for it. There is enough progressive elements to make it stand apart from just being another generic death metal album and the technical musicianship only adds to that. Keene has a great singing voice as well and each song is memorable and  has things that make them stand apart from each other, even the first 3 tracks that are actually movements of one song. I actually feel like they are kind of doing a more streamlined version of what Between the Buried and Me do but in a death metal fashion. I really can’t find any fault with what The Faceless have put forth here and commend them for also including an interesting lyrical concept to go along with the interesting music, and making them fit. I would recommend Autotheism to anyone who likes progressive type metal or those willing to have a try for something that’s a bit off the beaten path.

Score: 9/10

Standout Tracks: Create, Deconsecrate, In Solitude

Review: Killswitch Engage - Disarm the Descent

Band: Killswitch Engage
Album: Disarm the Descent
Year: 2013
Country: USA
Genre: Metalcore

Here we have the much anticipated (for me and many others) return of Jesse Leach to Killswitch Engage. After Adam D. and Jesse collaborated together in Times of Grace I figured that was the closest we would ever get to a Leach fronted Killswitch, so I was ecstatic when it was announced he was rejoining the band. On Disarm the Descent it's easy to see the band went for a rawer and more in your face approach trying to capture the energy they had on Alive or Just Breathing and which had been missing for the last few albums.

After giving the whole album a good listen the first thing you notice besides the change in vocals from Howard Jones to Leach is the faster pace and heaviness of the guitars. I think its safe to say these are the fastest riffs Adam D. and Joel Stroetzel have played in their careers with KsE. A number of tracks on DtD are relatively fast paced for the band, in particular A Tribute to the Fallen, The Call, and All That We Have. And aside from the poppy melody ridden choruses most of the riffs are filled with aggression that the band hasn't expressed in their music for some time. Another thing is the quantity of solos on the album were quite a treat considering it's something that is sparse in their back catalog. I also have really dug the emphasis on harmonized leads especially on No End In Site, and New Awakening which reminds me heavily of the Swedish melodic death metal bands of the 90s.

To go along with the speedy guitar riffs the drumming of Justin Foley is far more frenzied than ever before. There are blasts all over the album and it just adds to the punishing nature of the guitars when Foley is thrashing the drums like a madman. Mike D'Antonio's bass is also noticeably present throughout the album which is great since they had been a little more subdued over the last couple releases.

And then we come to the vocals. Over time Jesse Leach has had to change his vocal style in order to keep from injuring his vocal chords. Yet it seems literally with every release since his return to metal has sounded just a bit different, going from The Empire Shall Fall, to Times of Grace, and now to Killswitch Engage each time refining his technique. By now he really doesn't sound much like he did back in the early 00s. His clean vocals are given more time on this album than his previous time in the band but there is still plenty of harsh throat ripping growls, most times layered just underneath his clean singing as well to add to the raw feel of the album. Adam D. is also present here as well lending his deep death growls here and there on a few songs. Leach's lyrics are the same as they have been lately, mostly dealing with perseverance, redemption, and positivity.

I'll be honest I was extremely nervous about how Disarm the Descent would turn out. I figure it would go either one of two ways, either it would is a total mess and not live up to the expectations in my mind as a fanboy of early Killswitch Engage, or it would be a great album that destroyed any reservations I may have had. I'm glad to say the latter is what came to be true. If I had to give a short description to someone of the album I would say it's like Alive or Just Breathing married with their modern sound. Yet there is something else there, an urgency that wasn't previously in their other albums. Here is to hoping this is a direction the band continues to explore in the future!

Score: 9.5/10
Standout Tracks: Beyond the Flames, In Due Time, You Don't Bleed For Me

Review: Mutiny Within - Synchronicity

Band: Mutiny Within

Album: Synchronicity

Year: 2013

Country: USA

Genre: Melodic Death Metal

While I personally enjoyed Mutiny Within’s self titled first album apparently they didn’t sell very well and broke up. Now a few years later they reformed for a second go around with Synchronicity. The band is still playing its semi-technical/progressive melodic death metal and if you enjoyed their first release then you are going to be very pleased here.

The vocals Chris Clancy put out on Synchronicity are just as powerful as they were on the S/T. The guy has just got a great singing voice very akin to what you might normally hear in a power metal band. Yet at the same time he also has a decent growl as well. The growling ranges from high pitched to a more common “normal” type of growl. Clancy’s singing though is really where he shines.

If you are familiar with the band’s last album then you won’t be surprised that this one is chock full of melodic riffing. The majority of the riffs are uplifting and while any normal person would think they were really quite heavy those who are accustomed to listening to metal would probably say it’s a little weak. And they wouldn’t be wrong, though I highly doubt being heavy or aggressive is anywhere in the band’s mission statement.  Still there are moments in Machine and the bridge of In My Veins where the band noticeably cranks things up.

I really enjoy the drumming of Bill Fore as its more technical and energetic than that of many drummers in the genre they play in. Yet the drumming isnt overly technical and doesn’t become pretentious wankery. And Fore seems to know very well when its appropriate to go full blast and when to slow down.  Now apparently Andrew Jacobs played bass on this album but I didn’t hear it at all. Chock it up to the usual mixing of the bass out of the music and not enough breathing room between the guitars and bass to make it audible.

When it comes down to it Synchronicity is very much the predecessor to Mutiny Within and it wouldn’t be wrong to say this is like the second part of that album. Here we have heaps of melody, a great vocalist, riffs, and superb drumming.  And for me it’s Embers, In My Veins, and Falls to Pieces that really blew me away though there isn’t a filler track on the album.

Score: 9/10

Standout Tracks: Embers, In My Veins, Falls to Pieces

Review: MyChildren MyBride - MyChildren MyBride

Band: MyChildren MyBride
Album: MyChildren MyBride
Year: 2012
Country: USA
Genre: Metalcore

The metalcore movement has become so tired and overrun with so many bands ripping each other off it has become quite off putting. Sure there are still a few bands doing it the right way but they are few and far in between. MyChildren MyBride (from here on out MCMB) are not one of these bands. In fact they epitomize everything that is wrong with the genre. But at least they have there moment.

One of the only times the band seem to do anything interesting and "good" is when they speed things up. For example there are parts on Anathema, Samcro, and Hell or High Water where they produce some decent "fast" paced stuff. But these are unfortunately not numerous enough to change the fact that the album is mired in slow paced start stop riffing and plagued with breakdown after breakdown. I mean sure throw a breakdown in a song but MCMB consistently over do it and frankly it just becomes aggravating. No I'm not even kidding, I literally became annoyed in the process of listening to this album over a few times because the breakdowns bog everything down and sound like garbage.

Vocalist Matt Hastings has an average run of the mill metalcore scream. He is for sure nothing to write home about. There are parts on God of Nothing and Dreamcatchers where he does spoken parts and actually sounds strangely similar to Jonathan Davis from Korn. I thought they may have gotten his to guest on these parts and had to check out the liner notes. Practically all of the lyrics are also done by Hastings and they are truly at an elementary level. Most of the lyrical content is painfully simple and sometimes written and performed in ways which do not flow well with the music. And I'm still confused, is No One Listens, No One Cares supposed to be anti-industry or anti-fan? Listening to the words its difficult to tell which group he is showing disdain for, maybe both?

Mathis Arnell seems to be the only real talented one in the band. His drumming is actually pretty good considering the type of music the band has chosen to play, and I can't help but feel his skills are being underutilized. He throws in nice blasts here and there and generally is a solid drummer. For whatever reason his performance clicked with me most out of the rest of the band. I couldn't hear any of the bass so no comment.

So here you have it, 40 minutes of whiny, simplistic, breakdown rape. I couldn't enjoy this album if you paid me to but surely MCMB has their fans right? They must if they are still making music. Even by metalcore standards this is really sub par stuff. The riffs are cheap and mostly replaced with start stop chugging, the vocalist sounds like any novice metalcore screamer you've heard a thousand times, and the lyrics sound like they were written by an amateur. Don't touch this with a 10 foot pole.

Score: 1.5/10
Standout Tracks: None

Review: Revocation - Teratogenesis

 
Band: Revocation
Album: Teratogenesis
Year: 2012
Country: USA
Genre: Technical Death/Thrash Metal

When I found out Revocation were doing an EP for Scion A/V I had to email them to get a physical copy for review. I had previously given their last album Chaos of Forms a few listens and maybe it was just the state of mind I was in at the time but nothing grabbed me and I never went back to it again. That usually says a lot to me, I don't especially like there being some difficulty in getting through albums, it just doesn't speak well of the music within. But here is a shorter 5 song EP that I figured would be a bit easier for me to consume and it actually was.

Firstly I don't know how to classify the band. Metal Archives does have them as Technical Death/Thrash Metal which I can sort of see. There are definitely a lot of fast paced thrash riffs throughout the album. What sticks out most to me is that the material here has a strong progressive touch to it. Some of the riffing like in the bridge of Spurn the Outstretched Hand or the second half of the last track Bound By Desire showcases this perfectly. As a fan of progressive extreme metal the fact that this album has interesting elements like this made my ears perk up and grabbed my attention. Not only that but they don't get too pretentious or too big for their britches and it is all very melodic and pleasing to the ear.

The drumming is right up my alley and something I liked quite a bit. Phil Dubois-Coyne throws blasts throughout all the songs but most heavily in Bound By Desire specifically. He also plays long strings of double bass but when necessary breaks away from that and does some less standard patterns. Brett Bamberger's bass seems to be just under the guitars in the mix but sometimes it gets the chance to shine like on Spurn the Outstretched Hand and the awesome bass break on Bound By Desire. I have to say David Davidson's vocals are passable and he is better as a guitar player than a vocalist. He has what borders on a metalcore shout/growl and Dan Gargiulo's death growls are really the superior of the two.

I also enjoyed the production on Teratogenesis as well. It does have that modern clean production but sometimes there is a little fuzziness given to the guitar tone that gives it some more life. I have been playing this cd since I received it a few weeks ago and it is probably one of my favorites of the year. Every song is catchy as hell and the progressive passages kind of blew me away and are specifically what drew me in. Since this is free by download or having a physical copy mailed to you I wouldn't miss it!

Score: 9/10
Standout Tracks: Bound By Desire, Spurn the Outstretched Hand

Review: Origin - Entity

Band: Origin
Album: Entity
Year: 2011
Country: USA
Genre: Technical Brutal Death Metal

So technical death metal for the most part isn't really my thing. Very few bands tend to catch my interest, something about the processed, robotic like execution rubs me the wrong way. Yet every once in a while a band or release strikes my fancy. I can happily say Entity is one such album in this sub-genre that does all the right things for me.

Origin produces blazing fast tech death like so many other bands. And still they create memorable riffs and melodies where so many other bands seem to have difficulty doing so. Many of the riffs have a very strong tinge of middle eastern influence to them. Tracks like Saliga and Consequence of Solution especially so. There is also of course noodling like the beginning of Expulsion of Fury, or throughout Committed. Guitarist Paul Ryan masterfully strings together some really creative stuff and his ideas make for a very interesting listen.

The drumming of John Longstreth is pretty out of this world. Listening to this album leads me to believe he may possibly have 4 arms with how all over the place he is. He's blasting, double bassing like a madman, and making great use of hit drum kit. And while the bass doesn't play a giant part in the music of Origin, but it is always there. It comes into the foreground in a few places even, like near the end of Consequence of Solution.

Both Paul Ryan and Mike Flores (bass) share vocal duties. One of them has a higher pitched scream while the other has your normal low death growl. I actually much prefer the highs to the lows and luckily they are what is used more often than not. The production on Entity is sleek and clean. But the guitars maintain their heaviness and the mixing is about perfect. Maybe I would have turned the bass up just a little bit higher.

Entity is easily one of my favorites in the technical death metal sub-genre. Origin have done a tremendous job melding melody, technicality, and aggression into one memorable package. Not only that but the album comes in at 36 minutes making this a very concisely executed release. I give Origin props for successfully bypassing the trappings that most tech death bands so often get caught up in.

Score:9.5/10
Standout Tracks: Saliga, Expulsion of Fury, Evolution of Extinction

Review: World Under Blood - Tactical

Band: World Under Blood
Album: Tactical
Year: 2011
Country: USA
Genre: Melodic Death Metal

World Under Blood is the brainchild of CKY front man Deron Miller. While I do enjoy a few songs by that band, I wouldn't say I'm overall a fan of theirs. Still, when I heard Miller had begun a metal project I have to admit I was intrigued. It seems you rarely hear of mainstream musicians jumping into the metal genre. What did he come up with?

WUB play what I guess you could call melodic death metal. The strange thing about it is that their music is both more technical and aggressive than your average run of the mill melodeath band. The guitars are played fast, sometimes at breakneck speeds for this sub-genre. I mean just check out A God Among the Waste or Into the Arms of Cruelty and the shredding that goes on there. The soloing is also intricate and pretty much integral to each song. There is even a nice little acoustic intro to Revere's Tears that slows things down a little.

The Drumming by Tim Yeung is really top notch stuff. The guy has got serious skills. There is a lot of blasting on the album and it stays just this side of being excessive. And the drumming is just as important as the guitar work on Tactical. I can't really speak for the bass as I don't especially remember hearing it. I'm guessing between the focus of the guitars and drum work it was kind of drowned out.

Miller turns out to have a really great voice whether it be for his cleans or or growls. Clean singing is pretty prominent and usually done during the chorus of a song. Though many times it is also layered over or under death growls. His growling ranges from a proper guttural death metal growl which is peppered throughout the album to his higher pitched more throaty scream which takes the forefront.

In my eyes Tactical is a success and something Derin Miller can be proud of. The band blends extreme metal and melody expertly and its a winning strategy. In fact I ended up listening to the album far more than I had to for the mere fact that I enjoyed it so much. It also helped that the band kept it to a respectable 33 minutes and 8 songs. I very much approve of their fewer songs but more quality.

Score: 8.5/10
Standout Tracks: A God Among  the Waste, Into the Arms of Cruelty, Pyro-Compulsive, Under the Autumn Low

Review: As I Lay Dying - Awakened

Band: As I Lay Dying
Album: Awakened
Year: 2012
Country: USA
Genre: Metalcore

I have listened to Awakened 4 or 5 times through and this is a difficult review to write. Not because the album is complex and difficult to explain, no its much worse than that. As I Lay Dying's album Awakened just...isn't that good. As a big fan of this band it is just hard to admit, but there it is. Awakened isn't by any means a bad album but the band made what I would say are a few mistakes in the process of its creation and they stick out like a sore thumb.

On a review I read of the album on another site someone mentioned how AILD has created the first "retro metalcore" album. I think that description is apt, and I also believe that is what takes this from what could be a great album, to just ok. The riffing is a lot more choppy reminiscent of your generic metalcore band. It contains a lot of the stop start guitar parts which sap the riffs of their strength and just makes thing a tad boring. Still the fellas can still shred and Wasted Words is a thrashy tune for the most part. Another track that stands out and being good is A Greater Foundation which has probably the most memorable chorus of the album.

Vocally Tim Lambesis even sounds like he kind of phoned it in this time around. His performance on Awakened almost reminds me of the vocalist for another christian metalcore band, Mychildren Mybride. In fact the album holds more than that in common with said band. And you know, Josh Gilbert's clean vocals never really bothered me too much. But on Awakened they annoy the living hell out of me. I'm not sure if he sings more on this album than the previous two or what. But it seems to rub me the wrong way, like how when he sings it just pops out above everything else.

One of the highlights of the album has to be listening to Jordan Mancino's drumming. It's always a treat to hear him behind the kit. The album seems to even be pretty much driven by the drumming, perhaps a little higher in the mix than the other instruments. Mr. Gilbert's Bass is of course back in the mix, its there but barely discernible. The production is well done at least. Its clear and clean without any noticeable sonic blemishes.

On Awakened AILD have seemed to of mixed their style on An Ocean Between Us and the Powerless Rise with their older more generic metalcore style. This hurts the album. As soon as I heard the breakdown on Cauterize I knew something strange was up. Like I said before, Awakened is not bad by any means but it is not up to par with the last two albums. There is too much whiny singing, and the riffing at times can be a pain. Musically this album may have more melodies, but it is somehow less memorable overall. If you are a diehard AILD fan you may be on the fence about this album like me, otherwise if you are new to the band just pick up The Powerless Rise or the seminal An Ocean Between Us. Hopefully Awakened is a grower.

Score: 7/10
Standout Tracks: A Greater Foundation

Review: Dying Fetus - Reign Supreme

Band: Dying Fetus
Album: Reign Supereme
Year: 2012
Genre Death Metal
Country: USA

Never really listened to a Dying Fetus album before. I'll be honest for a while I found the name to be quite disgusting and that alone quashed any interest in the band I had. But of course we should never judge a book by its cover now, should we? Reign Supreme is actually a pretty decent album, although for me it does have a few noticeable flaws.

I really like the guitar play on this album. It is mostly mid paced groovy death metal, that infectious kind that is just fun as hell to listen to. There are also some noodly moments here and there but it doesn't go into the tech death wankery thank god. At times the speed does pick up, even if briefly, which can be a welcomed change of pace. But overall its the groove that really owns this album and makes it something that kept me from being bored of listening to it.

One of the flaws with Reign Supreme is the drumming. To be more specific the sound of the snare drum. The drumming itself is actually really good and I enjoyed it. But the snare sounds so processed and fake like. And with the amount of blast beating that goes on it just kind of sucks the life from what could be a really great part of the album. And the Bass seems to be quite lost in the mix.

I do like the vocals. Its a deep death growl that almost borders on pig squeals at times. Though it is usually quite difficult to understand a word Sean Beasley is saying! Oh well I enjoyed his performance anyways, its a very primal and brutal growl that definitely gets the job done. The production is pretty solid for the album. Besides the bass being almost non-existent. Its clean and crisp and the guitars have just the right bite to them.

So Dying Fetus have produced a pretty brutal album with heaps of groove. Its the riffs that are the key to the success here I believe. I mean sure the vocals are extreme and the production is strong but the riffing elevates RS to being more than just another run of the mill death metal album. Still, while Reign Supreme is a good listen it also doesn't do a whole lot more than any other band does. Its not progressive in any way, but they seem to have embraced their niche and are making the best of it. As long as the quality holds up the way it has on RS, I'm fine with that.

Score: 7.5/10
Standout Tracks: Invert the Idols, In the Trenches

Review: Cannibal Corpse - Torture

Band: Cannibal Corpse
Album: Torture
Year: 2012
Country: USA
Genre: Death Metal

Here it is, my first venture into modern Cannibal Corpse. I'll be honest in saying that Eaten Back To Life is my only exposure to CC. That was a long time ago and I have heard a lot about CC from both their fans and detractors over the years but never really paid much attention. So it's with Torture that I take my first leap into the band's modern era.

Torture is unfortunately fraught with issues. One of them stands out above the others, and in fact might be the only unforgettable problem with this album. This is completely forgettable. Everything is just so bland and none of it really sticks in your mind. In listening to this album I have not once said, "Hey I'm going to give this song another listen!". As background music it does nicely. It is something to headbang to while you do some monotonous task. But I could not sit down and just listen to Torture with it in the forefront of my mind.

I cannot say the musicianship is bad either. I mean the fellas are obviously proficient at playing their instruments. But it is probably more so the fact that none of the music is interesting. I had a hard enough time paying attention to the music and many times I was unsure whether the same song was playing or if the next one was on. They just all sound the same and when they aren't very creative it makes listening to the whole album a real challenge.

Torture is extremely mediocre. It's like the band didn't care to create anything beyond what was expected which is a shame because this is rather stagnant. Even vocally it is the same unchanging death growl throughout the entire album. Some vocalists can actually pull this off but it just doesn't work here. This review was difficult to even write because Torture is just so bland. I'm not sure whats worse, writing a bad album, or writing something that is uninspired and forgettable.

Score: 3/10
Standout Tracks: None, if you really must listen to this album throw it on for background noise.

Review: Shadows Fall - Fire From the Sky

Band: Shadows Fall
Album: Fire From the Sky
Year: 2012
Genre: Melodic Death/Thrash Metal
Country: USA

I have followed the career of Shadows Fall since I first heard The Art of Balance. I then went back and listened to their first two albums which were far more in the realm of melodic death metal and went forwards into the more melodic death and thrash/groove albums. While I wasn't too impressed with The War Within and hardly even touched Threads of Life, Retribution had everything I loved about the band in it. I am happy to say that SF continue in the direction of Retribution with Fire From the Sky.

One of the first big things I noticed was the improvement in use of clean vocals. The majority of the time Matthew Bachand and Jonathan Danais provide the cleans and do a fantastic job. In fact they seem to be given the main focus when it comes to actual singing which I am perfectly ok with. Listen to the strong choruses offered by The Unknown or Save Your Soul. Brian Fair provides his one of a kind hardcore like shouts with the same ferocity that he did on Retribution. Some people seem to not like Brian's style but I quite enjoy it. Its like a brand, as soon as you hear his screams you know exactly who you are listening to.

The guitar duo of Bachand and Donais is just as strong ever. FFtS contains really strong riffing like most of the band's back catalog. Its kind of hard to place the style the band plays based on the guitar riffs played. There are the groovy thrash riffs that are almost always present but the killer guitar harmonies used by most melodic death bands is also heavily used. Its safe to say the guitar parts straddle the line between melodic death and mid paced thrash which makes for a very melody driven sound. The solos are pretty great too. They carry a very 80s type of style to them, they are pretty showy at times though I wouldn't say they go into wank territory.

I love the drumming of Jason Bittner. Listen to the first 20 seconds of Fire From the Sky, or the blasts on Weight of the World. The guy knows what he is doing and the drumming is just as fun to listen to as the riffing. Unfortunately I cannot hear the bass of Paul Romanko. It seems like the bass has sort of been buried somewhere in the mix. As always it would be so much better if it played a stronger part in the music than it usually does.

Fire From the Sky successfully replicates the heaviness of Retribution while including a little more melody than that album. Any fan of the band should be happy with what FFtS offers. There are strong melodies, great soloing, and the cleans sound even better than they have in the past. I've easily given this album more listens than I usually do for a review and its simply because its all around just a really great release.

Score: 9/10
Standout Tracks: Save Your Soul, The Unknown, Fire From the Sky, The Wasteland

Review: Black Breath - Sentenced To Life

Band: Black Breath
Album: Sentenced To Life
Year: 2012
Genre: Death Metal/Hardcore Punk
Country: USA

In 2010 Black Breath released Heavy Breathing, and album that to this day is still kicking my ass. I heard a track on a best of 2010 podcast by the Requiem Metal Podcast fellas and sought out this band. Once I got my hands on that album it quickly became my favorite release of the year. Well the guys (who happen to be from my neck of the woods) are back with their new release, Sentenced To Life.

What do we get with Sentenced To Life? BB follows the the same template laid down by Heavy Breathing, with a tweak or two that come off as positives. The band still plays a genre bending form of death metal and hardcore punk. Make no mistake, this is NOT deathcore as you know it. This is old school swedish death with a punky/hardcore edge to it and a bit of thrash for good measure.

The guitars have that warm fuzzy chainsaw guitar tone so well known as a staple of the Stockholm bands. This continues to be one of the best imitations of the Sunlight Studios guitar tone I have heard. The production works in synergy to create a very heavy sound that compliments the death metal style the band plays in. Its crunchy, fuzzy, and just plain nasty sounding.

One of the tweaks I mentioned before was an improvement in the drumming. Check out Of Flesh for some sweet blast beats, which I don't believe were very present in the last album. Even still a further improvement would be to add more blast beats. But definitely keep it in moderation, too many bands these days abuse the hell out of blasts. I have no complaints about the drumming overall, the snare has a nice bite to it and the double bass thumps along perfectly. And as for vocals? Neil McAdams kills it again with his hardcore screams. These aren't your wussy hardcore vocals you would expect these days, these are throat shredding screams.

What I love most is the length of the songs. BB seems to have found the perfect general length for songs. Over half of the songs on the album don't make it past the 3 minute mark. These are short bursts of aggression that are headbangable to the max. I mean they are so catchy its almost sickening. Another note would be the placement of a couple songs. Endless Corpse is a much slower song than most on the album and for much of the track it stays in the realm of doom. Following that as almost a brutal contrast is the blistering Mother Abyss that just rockets away with its incredible riffs.


I'm so pleased with Sentenced To Life and Black Breath should give themselves a pat on the back for another job well done. Two incredible albums in a row, no sophomore slump for them. STL has aggression, the catchy factor, the heavy production, and is actually fun to listen to. If this band didn't catch your attention with Heavy Breathing then Sentenced To Life should be front and center for any fans of old school death metal. They have found their niche and continue to perfect their sound.

Score: 9/10
Standout Tracks: Feast of the Damned, Home of the Grave, Mother Abyss

Review: Ghoul - Transmission Zero

Band: Ghoul
Album: Transmission Zero
Year: 2011
Genre: Death/Thrash Metal
Country: USA

I became a fan of Ghoul after first being introduced to Impaled. My first taste of these chums from Creepsylvania was through their third album Splatterthrash. What really caught my attention was how the band was obviously having fun both lyrically and musically. I mean dressing up as monsters and writing songs that could easily made into campy horror films, whats not fun about that? Another thing was this sort of surfer sounding type of music they liked to add to their songs. It was refreshing for me at the time. Transmission Zero tries to play at the same gimmicks Ghoul are known for, but this time it just doesn't seem to work, at least not fully.

The core elements of what makes Ghoul an enjoyable band to listen to are still there. You have the fun gang shouts in Off With Their Heads and Brain Jerk, the thrashy goodness of Bloodfeast, and the surfer themes of Death In the Swamp. But they feel kind of tired. Perhaps the gimmick is all used up, but it no longer has the same effect that it first did. In fact it might be that they have stuck so closely to the formula they laid out previously that TZ lacks anything real interesting or exciting.

Outside of that the production just bugs the hell out of me. The guitars sound very thin and have no bite to them. The solos are actually pretty vibrant (listen to The Mask of Voodoo), so there are no complaints there. But there is no heavy feeling in the guitars. In fact for the most part I want to say it sounds as if the band recorded the album in a cardboard box. It just sounds muddy and this emasculated of any strength.

I am still a fan of the vocals. There are two styles used the majority of the time. One is a higher pitched gravely snarl that is very reminiscent of Jeff Walker from Carcass. The other is a lower death growl that is around the norm for the genre. The gang shouts are sort of a highlight, they are fun and really compliment the bouncy melody driven style the band seems to have been going for. Then there are the vocals that seem to be driven through effects programs to give them an even further garbled deeper tone that pepper the album throughout.

Like I said before most of the material is melody driven. The album is great if you want short catchy bursts of music you can play in the background and bob your head to. In fact I've used it for background music while playing video games a few times and it seems that's when its at its best. Well the songs are short with the exception of Morning of the Mezmetron. This one comes in out of left field at a bit over 8 minutes long and has a much slower doomy pace to it. Its kind of different and seems to be more about telling a story lyrically then being very musically interesting.

I was looking forwards to the next release by Ghoul but have to say Transmission Zero didnt quite live up to my expectations. The band offers short mid-paced death/thrash with heaps of melody. But it comes of as tired and gives me the "been there done that" mentality while giving it a listen. Still it is a half decent album and if you enjoy what Ghoul has had to offer in the past its likely you might enjoy TZ. But I think I will stick to Splatterthrash, and would suggest that to anyone who is looking for fun catchy death/thrash.

Score: 6/10
Standout Tracks: Off With Their Heads, Blood Feast

Review: The Empire Shall Fall - Volume One: Solar Plexus

Band: The Empire Shall Fall
Album: Volume One: Solar Plexus
Year: 2011
Genre: Progressive Metal/Core
Country: USA

As some may know I am a big fan of Alive or Just Breathing era Killswitch Engage. While the music is great my interest in KsE waned after Jesse Leach left the band. It waned even further as the band became what I can only describe as a satire of itself with its last few releases. But I continued to follow Mr. Leach into his new metal project The Empire Shall Fall. Their first album, Awaken, is easily one of my favorite metal/core albums. So I was pleased to find out the band was going to release 3 EPs to create a concept piece of sorts. Well the first of these EPs is here, Volume One: Solar Plexus easily rivals Awake.

Let me stop gushing over the vocalist to say how much I LOVE the guitar duo of Jake Davenport and Marcus de Lisle. You can tell they incorporate elements that range from bluesy to progressive metal to hardcore. It's almost like a less schizoid version of Between the Buried and Me in some ways, though I will admit a bit less technical. But still there are a lot of interesting song structures that aren't exactly the norm. I especially enjoy the solos, they aren't wanky or go into noodling territory but are very soulful. And the riffs are monstrous. The amount of melody in some of the riffs is incredible while still allowing for a heavy headbanging experience.

The drumming of Jeff Pitts fits the progressive and aggressive nature of the music. I don't know how they got that heavy thumping bassy sound for the bass drums in Awaken but its back and its one of my favorite features. Outside of that the other parts of the drumming are not your average boring metalcore drumming style and its a treat to listen to. To be honest I cant really hear the bass guitar through some of the EP. Dubrise specifically has a sort of reggae feeling which lends to the bass being more audible. It might be because I'm listening mostly from my computer speakers but the bass drum adds more bottom end it seems.

Jesse Leach continues with his good streak of good performances over the last few years. His harsh vox consistently stays at a higher pitch than what we had heard on AoJB. Its both very emotionally charged but not whiny and you can tell he is passionate about what he writes about. There is still a lot of clean singing as well. Usually too much clean singing can ruin an album for me but, and I hate to use the word again here, a very soulful voice. While Howard is (was) singing about how bad his relationship is Jesse is discussing the problems of society and how we could/should fix them. The message is very positive and something I enjoy.

There are 4 proper songs on Solar Plexus and each can stand on its own as a great song. But As the City Sleeps takes the cake for me. There is a great saxophone piece thrown into the bridge which is a standout on the album. I also enjoy the what is I guess you could call gang shouts during the chorus of the song. Every song here is good though, even the 3 tracks in between the full length ones that act as interludes are aurally pleasing. The Martyr's Song is short but I like the Post-Rock sound it conveys.

If you haven't listened to Awaken you HAVE to listen to Volume One. Especially those people inclined to listening to progressive metal, though I can see how hardcore fans would enjoy it just as much. While I liked Awaken this is a step more into the experimental side the band had explored a little on that album. Its safe to say TESF know exactly what they are doing and want to accomplish. For thought provoking, melodic ridden heavy music I can't think of anything better to listen to.

Score: 9/10
Standout Tracks: As the City Sleeps, The First Redemption, The Genesis of These Scars, Narrow, The Path I Walk Part II

Review: Jungle Rot - Kill On Command

Band: Jungle Rot
Album: Kill On Command
Year: 2011
Country: USA
Genre: Death Metal

Well this is a treat! I am so happy I finally decided to look into Jungle Rot, and especially that Kill On Command was my first experience with them. This is pure face smashing death metal. Do you know how people mention the boneheaded chest beating neanderthal death metal some people talk about? Yeah that is what this is, but its actually really great stuff.

What's quite intriguing about the music you hear on KOC is that there is a certain element of hardcore to it. No no no not the deathcore type but actual genuine death metal with proper hardcore influences. You can especially hear it in the breakdowns. We have all heard our fair share of breakdowns but Jungle Rot doesn't go overboard throwing too many into one song. In fact the breakdowns that are there (No Mercy, and Push Comes To Shove for example) are interesting because the fellas decided to actually add something to them and play different riffs over them or throw in guitar solos so that they aren't the borefest we are all used to. Not only that but there is an actual style of riffing that sounds very punk/hardcore like in tracks like Born of Contagion, and I Predict A Riot. This is actually refreshing since I have found so few bands who successfully combine elements of hardcore with death metal while still maintaining a proper death metal sound. Not to mention Rise Up and Revolt has a killer intro!

The vocals are a deep throaty sort but not so dissonant that you cant understand what is being said. I'm not sure if there are effects done to them in the studio but they sound good, and sort of different. Whether it was added or natural I like it. The bass seems to be a little buried in the mix but if you pay attention you will notice it there. It mostly just goes along with the guitars though. The drumming is solid, and pretty conservative with the blasts. No constant blasting here but it is peppered through the album here and there. One thing that is a little annoying, and this will be different for everyone, is the sound of the bass drum. It sounds a little odd and I don't especially like it especially during the double bass parts.

So chalk this up as a win for Jungle Rot. This is really good mid paced death metal with a good amount of groove to it and a dash of hardcore thrown in for good measure. All the songs are generally sounding the same but I could equate them to Bolt Thrower, it may sound similar but it sounds good. There is the cruddy sounding bass drum but its not at all a deal breaker. Cheers to JR for successfully melding bits of hardcore (awesome breakdowns, hardcore like riffs, and gang shouts) with death metal without it sounding like garbage.

Score: 8.5/10
Standout Tracks: Blood Ties, Rise Up and Revolt, Push Comes to Shove, Born of Contagion

Review: Morbid Angel - Illud Divinum Insanus

Band: Morbid Angel
Album: Illud Diviunum Insanus
Year: 2011
Country: USA
Genre: Death Metal

I had briefly sampled a few of the songs off of IDI back when the album had first come out. I felt almost embarrassed at the time. As someone who follows numerous metal blog and forum sites, experiencing people's shock and disgust over Morbid Angel's Illud Divinum Insanus was like watching a train crash. You knew something awful was happening but it's just too difficult to take your eyes off of it. So lets get this out of the way, all the negative things you have heard about this album are true.

MA fans seemed to be really excited about the I album. Maybe it was because it had been 8 years since the last album, maybe it was because David Vincent was back, but they couldn't have been expecting this. You can easily split the album into two forms of music. There are the proper death metal songs like Beauty Meets Beast, Nevermore, Blades of Baal, and Existo Vulgore. Then you have the techno/industrial saturated tracks with hints of death metal like Too Extreme!, Radikult, Destructos Vs the Earth, and I Am Morbid.

First I will get into the pure death metal tracks. They are really lame. Alright, Beauty Meets Beast is actually a good song, in fact the only one on the album. Nevermore is just ok. I mean Nevermore/Blades of Baal/Existo Vulgore are just pretty mediocre death metal with some groove in them. But compared to the other tracks on the album these shine, but they still aren't all that good. Thing of a generic by the numbers death metal song and any of these three would probably sound pretty similar to that.

This album has become so infamous that its spawned its own memes within the metal community. Who hasn't seen/heard someone randomly shout or type Too Extreme! or Killa Cop? Those memes alone made those songs difficult to listen to. Once the instrumental Omni Potens finished and the awful electronic drum beat started for Too Extreme! I knew this was going to be a chore. The first time David Vincent screamed "Too Extreme!" I couldn't help but chuckle. That happens a lot on this album. Those electronic drums also sound downright dreadful, like this was some sort of Ministry joke track. The album ends almost as badly as it starts with Radikult being the second to last track. MA completely ape Marilyn Manson and you can't help but think they were listening to The Beautiful People way too much as they were writing this track. This one also got some laughs from me, listen yourself and tell me how this can be taken seriously.

Lyrically Illud is just as comedic as the music. It's mostly tough guy bullshit or some weird shallow science fiction crap. The tough guy songs are even worse because the band seems to have a complete hard on for themselves. Too Extreme, and I Am Morbid seem to be about how super duper awesome the band are. I'm glad they are here to tell us these things, how ironic. To put it simply, there is just no substance here.

David Vincent's vocals are really nothing special here. He gives your run of the mill performance that fails to impress. Maybe hes just getting old, but its not super bad. Just a bit boring. Then there is the bass, or is there? You could have fooled me cause I didn't hear any. The production is a minor annoyance since the vocals soar over everything else, which sucks cause they aren't much to write home about. The drumming sounds kind of fake, especially the double bass. Some parts seem programed which sounds like trash and the real drumming isn't the least bit interesting.

The major reason this album fails isn't because of the electronic parts, but because the electronic parts just aren't done well. It comes off sounding like some awful joke/satire of 90s industrial metal. And not only do the industrial songs sound like shit but they are some of the longest on the album and get most of the time. I just can't see how the members of Morbid Angel thought they could get away with this and not be the laughing stock of the metal scene. Even the straight up death metal tracks are bad with the exception of Beauty Meets Beast. And now there is news of a Remix album? I guess here goes round 2.

Score: 2.5/10
Standout Track: Beauty Meets Beast

Review: All Shall Perish - This Is Where It Ends

Band: All Shall Perish
Album: This Is Where It Ends
Year: 2011
Country: USA
Genre: Melodic Deathcore

Awaken the Dreamers is where I first got into All Shall Perish, but only after discovering the band Gunmetal Grey which Hernan Hermida fronted for their one and only release. I really have enjoyed the blend of melodic death metal and deathcore ASP are so good at and they have really perfected it on TIWIE.

Hernan's vocals are pretty unique, at least I haven't really come upon anyone else who sounds like him. He has a gravely high pitched growl he uses the majority of the time. He can actually get pretty high with it too and its impressive. There is also a lower death growl he throws in from time to time as well. I like that when you hear him you instantly know what band is playing and who is fronting it.

There are some really good melodic heavy riffs on the album too. While you have the more melodic tracks like There Is Nothing Left, Procession of Ashes, and The Past Will Haunt Us Both, there are heavier songs as well like My Retaliation, The Death Plague, and Royalty Into Exile. The Past Will Haunt Us Both is this album's Never Again..., its soft but aggressive at the time and full of emotion. The harmonies are excellent and there are plenty in every song.

While the drumming is nothing special its rather solid. Adam Pierce throws in lots of double bass which is pretty standard. The bass can be heard which is nice as well. I really like the production here too, its crisp, clear, and clean in all the right ways. Its clean but not overproduced like many modern bands often are. Everything seems to be mixed properly and nothing is too high or low in the mix.

This Is Where It Ends is another good release by All Shall Perish and is another bright spot in the melodic deathcore scene. With its mix melody and brutality ASP are on the right track here. There is really not much to dislike about TIWIE, my copy even had a Spanish version of Royalty In Exile which is pretty awesome little addition! Get this if you like All Shall Perish, Deathcore, melodic deathcore, or just really good extreme metal.

Score: 9/10
Standout Track: The Past Will Haunt Us Both, There Is Nothing Left, Royalty Into Exile

Review: Suicide Silence - The Black Crown

Band: Suicide Silence
Album: The Black Crown
Year: 2011
Country: USA
Genre: Deathcore

I noticed Suicide Silence isn't on the Metal Archives and after listening to The Black Crown a few times I can understand. I suppose you can say that this band is deathcore but far more on the core side of things. There are a couple of alright songs here but for the most part its boring breakdown heavy deathCORE.

I don't actually mind one or two breakdowns a song, I'm a fan of deathcore and metalcore and even some hardcore so it's something that never bothered me. Except when a band goes way over the top with it. The Black Crown starts with Slaves to Substance and you automatically known there are going to be way too many breakdowns on this album. The chorus of the album is almost a borderline breakdown itself.

Then there is an almost Korn/nu metal sort of vibe to the music and structures (outside of the breakdowns...for the most part). O.C.D. is like a tribute to Korn the chorus reminds me of something that band would have written in the mid 90s. In fact take Korn's first self titled album throw death growls over it and add breakdowns and more double bass and it would probably sound something like this. Even the lyrics and song titles scream 90s nu metal angst with a track even called "Fuck Everything".

To round out the nu metal inspiration Jonathan Davis from Korn even does guest vocals on the song Witness the Addiction. This whole album is rather boring, there are just too many breakdowns! And what few riffs that are here between breakdowns aren't very imaginative or memorable. The vocals were probably the best part about The Black Crown for me. Cancerous Skies is a pretty decent song but it doesn't make up for a whole messy album.

I would suggest only listening to this if you don't mind breakdowns and/or already enjoy Suicide Silence.

Score: 3.5/10
Standout Track: Cancerous Skies

Review: Exhumed - All Guts, No Glory

Band: Exhumed
Album: All Guts, No Glory
Year: 2011
Country: USA
Genre: Death Metal

Imagine if Carcass had decided to make an album while they were transitioning from the gore drenched death metal of Necroticism to the melody ridden Heartwork. A best of both worlds if you will. I imagine it would sound something like what Exhumed have brought us with AGNG. Being a Carcass clone doesn't mean you can't still make great music (i.e. Impaled), and if there is one release that proves that its this one.

Now the really deep gutturals are here like you would expect, but they are just an addition (though a good one) to the main vocal style of Matt Harvey. These are much higher but not in the same way Jeff Walker does it. Walker does more of a snarl while Harvey sounds similar to Tomas Lindberg if a little lower pitched. At first this kind of annoyed me but after too long I noticed there is something endearing about Mett's screams.

There is a pretty good dose of melody in this album but one thing it doesn't lack is savagery. You can actually draw quite a few parallels to Heartwork here. There is the melodic soloing on As Hammer To Anvil, Through Cadaver Eyes and most other songs along with the harmonies of Your Funeral, My Feast, I Rot Within, and Through Cadaver Eyes. But there is the furious no nonsense aggression from Necroticism on Death Knell, and Necrotized. Now most songs actually contain all these elements and use them to great affect no less. I need to give special to mention to the album closer So Let It Be Rotten...So Let It Be Done. This song is probably the most fun to listen to for the catchy chorus alone.

There is lots of blasting on this album and the drumming is very tight. The drummer keeps up well with the usually speedy approach used by the guitars. The bass is back there somewhere and occasionally makes it known there is even a bassist but it seems to mostly just follow the guitars note for note which is a little boring. The production is really solid for this album as well. All Guts, No Glory is pretty clean sounding, the guitars are thick the drums are pronounced and the vocals aren't buried in between them.

So with a mix of the melodic and energetic this album gives all you could ask for in a Carcass clone but so much more. An amalgam of Heartwork and Necroticism that we didn't get to experience with that band. This makes All Guts, No Glory sort of a unique clone, which I know hardly makes any sense, but in the end it really does. Exhumed deliver the goods and give us everything we need to thrash away.

Score: 8.5/10
Standout Tracks: So Let it Be Rotten...So Let It Be Done, Your Funeral, My Feast, Through Cadaver Eyes

Review: Bleeding Through - Bleeding Through

Band: Bleeding Through
Album: Bleeding Through
Year: 2010
Country: USA
Genre: Metalcore

Metalcore gets a pretty bad rap at times but there are a few bands who stand out above all others. Bleeding Through happens to be among the elite of the metalcore scene. It mostly has to do with the fact that they meet an almost perfect blend of both metal and hardcore. Where most metalcore bands play plain boring and ultimately simple (beyond belief at times) hardcore with some metal elements thrown in.

First I need to mention I have The Truth and This Is Love, This Is Murderous but skipped over Declaration. If you've heard anything before Declaration you know BT is basically a mix of At the Gates styled melodic death metal, Hardcore, and some regular ole death metal.

But here you can tell the band are taking a heavier influence from black metal these days. A big reason is the keyboards and their role in the music. They provide a lot of atmosphere and a little melody like you would expect from some black metal bands. But it is also in the riffs. Most songs have hyper fast riffing that could be mistaken for something a proper black metal group would play mixed among the breakdowns and thrash riffs. Anti-Hero has a few instances of this, the tremolo riffs and they are sprinkled in different spots on the album. And the soloing is more fleshed out than on previous albums. They are both more numerous and interesting to listen to. Just take a listen to the solo in Divide the Armies.

Brian seems to have almost completely abandoned his lower growls for a higher pitched scream. I've never had a problem with his style and actually enjoyed his lows so I have to admit the higher sounding growls he uses here grate a little with me. They aren't a deal breaker and not even necessarily that bad its just a little high for my taste at times. The cleans are hardly there anymore as well. On Salvation Never Found, Divide the Armies, Light My Eyes, and Distortion Devotion they pop up but for the most part sparingly. I enjoy what they did here, only using cleans when they make the music better rather than going the formulaic route of just stuffing them in during the chorus.

The drumming is also really good too. There is a lot of blasting throughout the album but it isn't overkill, there is just enough. The bass is no where to be found of course but oh well.

With their sixth album Bleeding Through have created a heaping mass of aggressive, angry, and well put together metalcore. They've put together a number of different genres successfully and pretty seamlessly at that. While there are only a few tracks that stand out based on the style most of the album follows (Light My Eyes, Distortion, Devotion) they are just as good as anything else here and don't suffer for it. On their self titled the band has solidified their position as belonging to the small number of metalcore bands that you can be proud to listen to.

Score: 8.5/10
Standout Tracks: Light My Fire, Anti-Hero, Salvation Never Found