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Saturday, December 10, 2016

Review: Car Bomb - Meta

If I were to make a list of heaviest, most mind blowing albums of the year, this one would most likely ice the cake. This is heavy music man. Definitely not for the in-experienced listener. In-depth thoughts below!

As I was saying. “Meta” is the third output of the band Car Bomb from Long Island, New York. This release is their second time putting their music out independently. Their first effort was released by record label Relapse Records.

To be really honest, before “Meta” I did not even know the band before I saw on Facebook that Gojira frontman, Joe Duplantier, was working with Car Bomb to produce their new record in the self-made, New York based studio called Silver Cord Studio. Soon after, I began following the progression between the two because I thought it was interesting. In a statement by the band it was said that Joe from Gojira would feature guest vocals on the album. That really got my attention because I am a huge Gojira fan. Along with the album details came a new single by Car Bomb and I wasn’t ready for it. I listened to it on YouTube and I just wasn’t ready. My mind was shredded to pieces.

The first thing that came to mind was, did they really just up the Meshuggah game? After hearing The Violent Sleep Of Reason, the latest effort by Meshuggah, it just sounds like Car Bomb made this album in response to Meshuggah. Like, look at us. We make music with even less logic in it than your band. Don’t get me wrong, I mean this in the best way possible. The Violent Sleep Of Reason was a great album but “Meta” upped the prog/math a notch. The rhythmic sections in the music don’t even make sense! I takes a couple of listens to the full album to really get into the vibe and still you can’t predict anything. Car Bomb made a terrific effort to write songs that are bone crushingly heavy all the while bringing in a very atmospheric vibe to it. Almost Deftones-ish.

My personal favorites on the album after countless listens are ‘Secrets Within’ and ‘The Oppressor’ Both of them have a really jumpy vibe on them and to me, these songs are the easiest to listen to. There is a sort of way to find a rhythm in these two songs.

Credits and mad respect to Car Bomb for writing music like this. It’s fresh, it’s new. It takes metal yet another step further and I applaud it very much. I will definitely be on the lookout for future shows in my country. One of the best albums in a long time and will be on repeat for a while!

For the sheer brutality, technicality and production (credits for Joe Duplantier) I rate it 9.5/10.

Written by Joost van der Leij

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Saturday, December 3, 2016

Review: Evil Invaders - In For The Kill

Today, I’m back with a new release by Belgian speed metallers Evil Invaders. So far, these guys have produced 2 EP’s and their first full-length effort ‘’Pulses of Pleasures’’, which in my opinion became an instant classic after listening to it. ‘’In for the Kill’’ includes 2 entirely new tracks, which I will elaborate on in a moment, and live recordings of ‘’Pulses of Pleasure’’ and ‘’Victim of Sacrifice’’!

If you’re new to Evil Invaders, let me introduce you to them. They are a goddamn time machine, with their sharp sound blasting straight from the 80’s heavy metal scene. High paced riffing with vocals ranging from a thrashy style to high pitched screams the likes of King Diamond. This is some mighty shit, and as if their debut hasn’t made that very clear, the first new track ‘’As Life Slowly Fades’’ is like a suckerpunch to the face. Fast, loud and fuckin’ rude, this one is a song that builds up really quick with some reaaaaaaally nice divebombs (if you don’t know the term, don’t bother looking it up and just listen to the song already!) and aggressive chord patterns, just before they go out, all guns blazin’. The entire sound is a really pleasant blast from the past, without becoming one of those cliché bands that are getting to nostalgic and bland. Amaaaazing work on the guitar solo, but this is hardly surprising if you’re already familiar with the band. ‘’Raising Hell’’ is the second new title, and it’s quite different to the first in some ways. The speed doesn’t slack, but there’s a different build up in this song. It’s a little heavier on the vocals, with a relentless onslaught of lyrics speeding like a bullet trains. In between all the heavy pounding and chord striking, this song rewards you with a little more state of the art shredding. Their live tracks sound very promising and should be kept unspoiled. Check this EP out!

All in all, great effort by a young promising band. I’m hoping this is but a glimpse of what we can expect from their next full-length! 9/10

Written by Nino Milillo

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Review: Grodek - Downfall Of Time

Grodek is a death/doom metal band hailing from Vasto, Italy formed in 2014, consisting of four musicians: Tiziano de Cristofaro on guitar, Matteo "Grind" Colantonio as vocalist and also on guitar,
Matteo Sputore on bass and Alessandro Leone on drums. The name Grodek refers to the poem written by Georg Trakl, which is about the bloody battle between the Austrian and Russian armies in the early stages of the first world war. Trakl, a medic in the Austrian army, witnessed the carnage first hand inspiring him to compose this sinister, dark piece of poetry. Trakl’s belief that continuing war will ultimately end in the demise of human kind more or less corresponds with how the band Grodek sees the world today. They see the world decay at every level, and the in their eyes only possible reaction is to convert that disaster into art, in this case music. The band is active since 2014, although the first signs of life date back from a year before. Shortly after being founded they released a demo called ‘Demon’ and now they’re back with a brand new EP titled ‘Downfall of time’, perfectly fitting the band’s view on the world.

Spanning only four songs it still has a total playing time of over 25 minutes, at least giving you plenty of bang for your buck. Opener ‘From the fog I rose’ is a typical doom metal song, a slow, lingering piece with some heavy riffage and strong, cumbersome grunting in it. Solid, but not very inventive or exciting. ‘Naiade’, the next song, brings more excitement in Grodek’s music with a bit more speed, much more predominate guitar work and a variable, at times surprising tune. The strong rhythm section gets more exposure in this one as well, which definitely adds to the intensity of the song. In ‘The pale dame’ Grodek’s death metal influences surface, with an even stronger rhythm section and characteristic grunt work. And then, just like that, it’s time for the concluding piece called ‘Time and black tides’ in which all doom metal influences have disappeared. It’s a song that keeps a pleasant pace with prog nuances here and there and which has guitar-countering drum lines. The vocals have a touch of black metal at times with the screams, the higher pitch and the whispered parts. Already being the most surprising song on this release by far, it yet has another surprise up its sleeve. Some four minutes into the song it suddenly breaks into a proggish intermezzo with a sweet bass line only to re-ignite the blackened death metal from the start into a peculiar mix towards the end of the song. An end that leaves a lot of questions.

All in all Grodek delivered a solid piece of work with ‘Downfall of time’, but it does not particularly stand out when it comes to ingenuity or originality. It’s not that you get the feeling you have heard it all before, not at all even, but I didn’t find a lot of ‘eureka’-moments either, save for ‘Time and black tides’. That one is something special with prog, black, death and more metal influences. Grodek is good at what they’re doing and it definitely is worth your attention, as long as you don’t expect a ground breaking, never-heard-before type of music, although the finale comes pretty damn’ close to just that. Fans of the genre don’t need to hesitate to get their claws on this, and if you want to get acquainted with death/doom metal Grodek is a great band to start with.

For those interested, here’s the translated poem Grodek was named after:

At evening the autumn woodlands ring
With deadly weapons. Over the golden plains
And lakes of blue, the sun
More darkly rolls. The night surrounds
Warriors dying and the wild lament
Of their fragmented mouths.
Yet silently there gather in the willow combe
Red clouds inhabited by an angry god,
Shed blood, and the chill of the moon.
All roads lead to black decay.
Under golden branching of the night and stars
A sister's shadow sways through the still grove
To greet the heroes' spirits, the bloodied heads.
And softly in the reeds Autumn's dark flutes resound.
O prouder mourning! - You brazen altars,
The spirit's hot flame is fed now by a tremendous pain:
The grandsons, unborn.

Written by Henric van Essen

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Review: Lucifer's Hammer - Beyond The Omens

Lucifer’s Hammer is a Chilean band that was created in 2013. On the same year they released a demo called “Night Sacrifice Demo MMXIII”. Their style is definitely classic heavy metal straight from the glorious 80s. Influences from Iron Maiden (Di’ Anno’s era), Dio, Black Sabbath and with tons of NWOBHM. For some unexplained reason I got a strong feeling of Cloven Hoof (another great but unfortunately underrated band from the same era). A Helloween vibe from when they were fronted by Kai Hansen was also apparent however Lucifer’s Hammer do not utilize the same uptempo as Helloween did in the so called speed metal days.

Musicianship is adequate without surprises. Various riffs color the songs and give that long lost 80s scent that’s missing from today’s bands. A good example is the instrumental track “Lucifer’s Hammer”.

Hades and Hypnos (funny nickname that means sleep in Greek language!) do a good job with their riffs and solos while drumming from Titan is on acceptable level but sadly leaves a lot to be desired since their plenty of moments where a more ferocious attack would be much appreciated.

The vocals are one of the biggest weaknesses of this band. It’s more than obvious that Hades is not a capable singer. Poor phrasing and lots of sour notes that fly all over the place. However what his voice lacks in technique he certainly makes up for pure passion. At times he brought in mind the golden days of Kai Hansen when he was singing on the absolutely phenomenal albums “Helloween” and the superb “Walls of Jericho”. However produced and mixed this album definitely had this in mind and as a result his vocals aren’t dominating the sound leaving more room for the other instruments.

Production suffers from quite a few flaws. While each instrument has its own place can be easily heard the result is poor and lacks punch. Having guitars this obscure you’d expect from unknown bands back in the mid 80s.

In conclusion I was unimpressed by “Beyond the Omens”, yes Lucifer’s Hammer got some interesting but undeveloped ideas leaving hope for a future release. But for now this album is just a result of passion and inexperience on all levels. I think that this album will appeal to people who like obscure under produced stuff like many unknown bands released 30 plus years ago.

Written by Manos Xanthakis

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Review: Eternal Champion - The Armor Of Ire

Formed just in 2012, Texas-based epic heavy metallers Eternal Champion quickly took on the tone and feel of the classic heavy metal sound from the 80s which helps to tie in their connection to Michael Moorcock's high fantasy series of the same name. With the album being the first recorded output of third guitarist Nujon Powers, the group finally prepares its debut full-length September 27, 2016 on No Remorse Records.

There’s not a whole lot about this one as immediately from the start, the band is clearly well-suited for their brand of old-school worshipping of traditionally-minded epic heavy metal. This is headed by the title track, “I Am the Hammer” and “The Cold Sword” which feature plenty of beefy, sturdy trad-influenced riff-work at play here with the swirling melodic rhythms that gallop along at quite a steady pace here with the album’s preference for the bouncy mid-tempo race. This has the effective quality of leaving it feeling warm and quite luscious which is quite a usual ploy in this genre that manages to effectively evoke the melodic aesthetics from that style as it’s so familiar for the most part that there’s little doubt about it’s influences being derived wholeheartedly along the way. That leads into the main feature problem about this one as the wholly simplistic manner of the rhythms that it makes for way too close a tie-in to the old-school scene without really giving it an identity of its own. Even stuff like “The Last King of Pictdom” and “Invoker” comes off with way too much of a close-minded feel of the 80s which is so based on this style that there’s not a whole lot of room for this to go, and while it may have quite an effective touch here this does become an issue.

Being quite a simplistic and rather one-note style of old-school attack does get this one into trouble at times, but there’s little denying the energy and enthusiasm that’s present in here which does quite a lot to overcome these flaws and makes for quite a worthwhile effort for those that aren’t hung up on these issues who are aficionados of this epic-tinged traditional metal. 8/10

Written by Don Anelli

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Review: Enemy Of Reality - Arakhne

After the success of their previous works, Greek symphonic metallers Enemy of Reality have taken the style and musings of their Greek heritage to present yet another concept album about the titular spider’s creation and carries on from what occurred in the debut. With keyboardist Marianthie being replaced by Leonidas, the groups’ second full-length effort was originally released October 23, 2016 on F.Y.B. Records.

Once again fueled by the bands’ leanings, the main focus here is once again dwelling mainly in bombastic and grandiose rhythms and melodies as befits their symphonic leanings. Efforts like “Reflected,” “Time Immemorial” and “Nouthetisis” come loaded with swirling operatic rhythms at the forefront of the music here with the main use of cinematic keyboards offering the dramatic and wholly soaring material present here which cuts through the album as a whole nicely, and fits alongside the remaining parts of the album. Featuring plenty of progressively-tinged gothic riff-work, dripping with atmospheric touches and a rather strong beefy tone it creates quite an impactful connection here which makes for a much nicer and cohesive whole here that’s given quite a wide berth over the album with the remaining sections like “Weakness Lies Within” and “Afraid No More” instead going for a more plodding operatic style that keeps this one much more in line with the simplistic side of the gothic spectrum. Combined into a cohesive whole there’s quite a lot to really like here as this one gets quite a complete sound together, though it does stand as a bit out-of-place at times when it goes for the raspy male shrieks here as the vast majority of the album is quite competent with the dual vocalists together while those other parts just stick out quite badly. It’s not nearly enough to ruin the experience but it’s distracting at times.

Despite a few minor elements where it’s not nearly as impressive as it really could’ve been, for the most part, this here is a highly enjoyable and impressive slice of gothic-infused symphonic metal that really comes off quite nicely here for hardcore fans of this style or those looking for impressive female-fronted metal acts. 8.5/10

Written by Don Anelli

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Review: Krupskaya/Foible Instinct - split

The Krupskaya/Foible Instinct split album is perhaps the worst thing I’ve heard this entire year, except for that sound of gunfire and screeching tires down the block from my place. Or was that someone’s Xbox?


I’m sure the lads of Krupskaya of Stoke-on-Trent will tell me to sod off, as I don’t have a record, but the welcome attention from my sordid review will help sell records for this Tabasco-in-the-Ear opus. That a UK band naming itself after a Russian revolutionary is kind of ….cool, the music, for me, is a turn off. Named as ‘Grindcore’, (I will rename it as Crap-Core) these 3 tracks suck in the most ultimate way.

A hodgepodge of sci fi sounding FX, recorded radio edits and lowstrung guitars makes this a fab opus for the Crap-Core genre. How can you dance to this? Where’s the melody, the riffs, the 12 minute lyrical exchanges? Oh wait, sorry…

‘In Silent Waters There Is No Light’ is a plodding piss-piece until the disjointed ‘music’ that appears at 1:40 whereupon I shat myself at the sheer ferocity of it; I should have turned the stereo down for this. Horrible.

‘Stormtroopers for Christ.’ Really? Stormtroopers For Every Soul That Has Been Taken To Hell; please re-name. This one heated my beer.

‘Order of the New Templars’ takes off where the Order of the Old Templars left off; non-existent. I made something like this in high school on tape recorders with my “band”, and it was shit too.

3/10: Only because they have a record and the stones to leave something like this in a time capsule for the aliens.


Not much better than its partner on this disc, this has some promise I suppose as I heard some vestiges of old VoiVod in there, which, I didn’t like back then anyway. Their FB says they are from Kyiv and playing grindcore since 2006 but, isn’t that just being…slave to the grind? Maybe try some folk or soul and THEN go back to playing metal.

Do you guys know what a foible is? Small eccentricity indeed…

I have ignored most of ‘Dead Children’. I hate titles and images like this, so I don’t give a toss about the music. I’m sure the rest of it sucked.

‘In Line’ OK. Moderate shit.

‘On The Other Side’ showed a smidge of promise with some actual strumming from 00:47, but again, shit.

Oh a vestige of a listenable guitar solo on ‘I Don’t Need Your World’ at 00:32! But, yes shit yet again.

The rest is barely tolerable and makes me want to take a cheese grater to my nose (it could use some shaving down, actually) and isn’t a clear representation to what grindcore is supposed to be. It’s an assault on the senses in the worst sense and horrible production work in my shatty view. Although this is possibly what this genre hoots for, it’s not proper music to me and leaves a marginal impression on the sands of time.

3/10 for no apparent reason.

Written by Alessandro

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