Going from a full band to a two man project can be a daunting task at times. Sea Of Disorder’s Robert Czeko and Christian Hubmann were more than happy to take on the task, though. In November of 2011 they decided to jump ship together and flesh out some of their own music together. And as a result we have some nice songs to listen to.

Opening up with ‘Chapter I ~ Frozen Tide’, you’ll see that Sea Of Disorder are more than capable players with a knack for building tension within their music, and exposing their love for groove. The type of groove that make you can tap your feet to, bob your head even. While the guitar tones are familiar, I will forgive them simply due to my love of those guitar tones. You’d find these guys on a playlist mix with ‘Celestial’-era ISIS and earlier The Ocean as sandwiching layers. ‘Wor~ship’, to me, is an entirely unnecessary track. Its two minutes are distracting from the flow of the album, not really needed.

Loïc Rossetti from The Ocean provides guest vocals on Chapters II & III, cementing my earlier, but complimentary, assessment of their sound. His vocals are a nice mix into the gorgeous echoes that are ‘Chapter II – And From The Deep Gloom Came The Stillness Before The Storm To Crush Upon The Sea And To Awake The Secluded Conqueror’ A steady and droning sound on this track, but still very full of life and exploration.

On ‘Chapter III – Reinvigoration/ Thalassophobia’ (A phobia of the sea, for those keeping score) is a 13 minute affair with occasional “catch-me-if-you-can” drum beats, gorgeous guitar and effects sounds and Loïc’s vocals. The music is very good at keeping with the title of the song, as I found myself moderately anxious at a few spots. For those of you expecting a quarter hour of song that is up and down lie the churning of the sea, you found your whale here. The song even closes out with a nice drum jam and guitars full of sludge. Well done.

Sea Of Disorder has put plenty of time and effort into this album, even paying for it all on their own. Their style may touch the two bands I mentioned earlier, but all can be forgiven, as I enjoy this sound. And who knows, The Ocean may need a little disorder in their ranks one day.

Sea Of Disorder’s self-titled EP is available in digipack form through Le Crépuscule du Soir productions or on the bands own bandcamp. Support artist you love and enjoy, go buy their record.

HAIL!!

Formed in 2002, New Jersey’s Post-hardcore favourites Senses Fail have spent the past decade making records that, in the least patronizing way, have fallen under the ‘same-old same-old’ criteria. I mean why wouldn’t they? With the success of their 2004 debut album Let It Enfold You, it’s so easy to continue along the tried and tested, if it ain't broke don’t fix it route giving their fans the top high quality popular Screamo that they have grown accustomed to.

Surprisingly, their fifth and most recent 12-track LP, Renacer, is completely renovated sonically, thematically and lyrically. The album title, translating from Spanish means “to be reborn” and Senses Fail have bravely shed the skin of their former sound and are coming at us essentially with the creativity and freedom of a brand new band who have dispelled of all boundaries to embrace a much heavier and darker musical experience.

Wasting no time whatsoever in alerting the listener to what the album stands for, it kicks off with the title track that just seconds in fans of Senses Fail will either be dying of excitement at the change of direction or crying into their pillows at the loss of slower, emo ridden angst. Substituting former melodic, predictable hooks, with raw aggression, fast paced pummeling beat-downs, spluttering downpicking guitar riffs, monotonous yet growling screams, the lyrics are also different; being a much more personal and profound shared coping experience. “The gate you're afraid to enter holds the treasures you seek.” Begins 'Renacer', a quote by American Author Joseph Campbell, that lead singer Buddy Nielsen explains; “I think it embodies the journey that I’ve been on personally… the best things I found about myself in the worst places within myself” thus, setting the theme for the rest of the album.

Tracks to look out for, 'Mi Armor', their first official single composed of lyrics sung most predominately in Spanish. For those that don’t speak Spanish, the catchy overtly poppish chorus breaks up the heavier, chaotic Spanish Hardcore is in English; “You are the ocean and you are the moon. I'll follow you until the waves come through” reminds us that it is actually a love song and its components are intended to challenge people, exposing them to something new. This is the most self-confessed “marmite” track of the album, but highlights how much Senses Fail have matured musically.

'Closure/Rebirth' is the last “Frankensteined” feel good song they wrote but interestingly, despite its name, is placed as the fourth track instead of an album closure. From time to time I like a bit of a good back story and this track goes as follows: Having had a fair amount of trouble recording this single due to Hurricane Sandy causing flood damage to the ground floor of the building the band were working in preventing them access (luckily the studio was on the second floor and suffered no damage) they then wrote two songs “one really fast that got really heavy and the other one was sort of upbeat but then got really spacey so… we took the parts we liked from each song and made this song 'Closure/Rebirth'. This song again serves an example of the bands embracing new challenges. There are certain parts of the track that embody familiar melodies from previous tracks and the lyrics roar repetitive positive messages asking us to “let ittt goooo”.

Lastly, the inspirational closing track 'Between The Mountains And The Sea' mirrors older Senses Fail and could easily fit in on a typical Taking Back Sunday or Brand New album. Slower, spacious, yet definitely not duller the track opens with sparse, echoing, haunting guitar riffs closely followed by the standard lightly heavier but melodic and monumental choruses Nielsen’s fans have previously grown accustomed to. Poignantly ending with the lyrics “don’t fear the unknown road, what is diamond was once coal” the album wraps up nicely exuberating the continuous theme of not being afraid of what’s to come, discovering yourself, and remembering that “everything that’s good comes out of a struggle.”

With a change in line-up, (original member and key songwriter Garrett Zablocki (guitars) was replaced by Strike Anywhere guitarist Matt Smith and guitarist Zack Roach) a change in producer (Senses Fail went with Shaun Lopez of Deftones, Crosses, VersaEmerge instead of using longtime collaborator Brian McTernan) and a change in the way the band perceive the world, progression, growth and such an extreme change in sound has completely worked in their favour. Whether or not this will be the general consensus is yet to be seen, but it’s always a pleasure to see a band who are true to themselves and their creativity, even at the expense of knowing fully well people might not like it. An impressive effort. Respect!

Well, we here at Ech(((o))es and Dust do things a little backwards it would seem. But, not quite, my friends. After reviewing Abyssal’s second album Novit Enim Dominus Qui Sunt Eius we received word that Hellthrasher Productions would be reissuing their self-released debut, Denouement. So now we get to hear the darkness that in Abyssal, in their earlier form.

Instantly ‘The Moss Upon Our Ruins’ begins with cold winter winds then an intro with evil intent. The drums at times sound a bit too mechanical for my liking, but I’ll get over it. Also noticeable right off the bat is the mix on the album. Where Novit Enim Dominus Qui Sunt Eius is claustrophobic and devouring, the mix on Denouement has a little more breathing room. Everything is quite a bit clearer, minus the vocals at certain parts, a minor complaint.

The mix I talked about being so clear is somewhat all drowned together by the time we hit ‘Detritivore’. Not entirely, but its getting there. The menacing drums still higher than vocal parts (and in full assault mode I may add). The guitars seesaw with ease and an appropriate buzzing. This is the Abyssal I found first, on their second album. Final song and album closer ‘Swansong of a Dying Race’ finds Abyssal on all cylinders and bringing the menacing, evil sound that they are known for. The song packs plenty of sorrow as well, something any Abyssal track needs.

If you haven’t heard or don’t own Abyssal’s debut album, I suggest you pick up Denouement as soon as you can. Hellthrasher Productions has this available right now, and I believe Abyssal deserve your support. So that we may continue to receive the black mass they have crafted and evolved. Support the bands and artists you love.

HAIL!!!!!!!!!!!!!!!1

Earlier this year, Tactile Tracks ran a fantastic article about the struggles faced by artists, poets, and musicians in Chile during the reign of dictator Augusto Pinochet. Following the coup d’état that ousted Socialist leader Salvador Allende and placed Pinochet in power, the military regime tortured and killed folk musician/political activist Victor Jara, forcing many artists, writers, poets, and musicians to flee the country. The psychedelic rock scene in Chile was booming in the 1970's before Pinochet came into power, with acts like Los Jaivas (the most popular of Chilean psych groups) breaking boundaries with their free-flowing compositions and spacey atmosphere; Pinochet's rise essentially halted any and all artistic progress within the country.

While Chile’s music scene rebounded almost immediately following the fall of Pinochet, it is only now beginning to make a worldwide impact, and Föllakzoid, featured prominently in that Tactile Tracks article, are one of the best neopsych acts to come out of any country in recent years. Their second album II is an absolute trip, filled with spacey textures and trance-inducing Neu!-inspired grooves that will project you to the outer reaches of the universe.

As with any space rock album, the most important aspect is the atmosphere, and if you couldn’t tell from the previous paragraph, II has atmosphere in droves. Drummer Diego lays down the repetitive, hypnotic rhythms upon which synth player Alfredo and guitarist Domingo are able to trade places developing the textures and playing the lead melodies. Bassist Juan Pablo is felt throughout the whole record, binding everything together with a constant low-end glue and contributing a distinct hazy earthiness to the spaciness of the album that is most noticeable on 'Rivers' and present (to a lesser degree) in '99' as well. (There are sparsely-placed vocals throughout the album, but I can barely find lineup information on the band as-is so I have no idea who does them.)

However, despite that earthiness, II generally takes you way out into the furthest galactic reaches. '9' and 'Pulsar' each make you feel like you’re floating through multi-colored nebulae, and the faster-paced middle track 'Trees' feels like a high-intensity 12-parsec trip through the Kessel Run. And while the spacey atmosphere is no surprise – the genre is called “space rock,” after all – Föllakzoid’s execution of it is spectacular.

Föllakzoid have put together something brilliant, and if you enjoy modern psychedelic rock, II will be one of the best albums you hear in any genre. I can think of no better “fuck you” to an arts-crushing autocrat than for a universally-acclaimed album to come from the country he once ruled, and Föllakzoid may have just pulled that off.

This release will no doubt see the dreaded "supergroup" term banded about as did Shrinebuilder. Okay so the members include Scott Kelly, Bruce Lamont, Mike IX Williams and Sanford Parker,but can we just call them a band or project. Like Shrinebuilder, Corrections House differ to other so called supergroups by actually being brilliant and relevant.

The music created here is different to what most members have done previously anywhere else. Industrial like rhythms pound the senses and a highly experimental and electronic tinged sound dominates. First track 'Grin with a Purpose' features spoken word vocals over harsh industrial textures. It's difficult to classify but there are elements of all the member's influences apparent. 'Hoax the System' is more immediate and relentless in delivery. Rhythms combine to form a hypnotic  sound of impending doom. It's punishing and infectious and leaves you craving more. 

Hopefully this is the start of more to come from Corrections House  as the world needs to hear more from what these four combined can produce. This release will be issued in Europe by Burning World records and War Crime records in the US and it is available here.

You know you're in for some serious music when your album begins with what can only be described as a mood piece. A piece of music of no consequence at all that lulls you into what is to follow. A cursory glance over the song titles confers this as we see a pattern emerging. 'Military Wive', 'The Battle of the Sinkhole'...these are not love songs. Even the name Bovine conjures up images of meat racks.

So it is with second song 'Ghost Chair', Bovine set out their stall. All pummelling riffs and vocals lifted straight out of a Deftones songs this is emotional metal of a different ilk to the panda eyed hordes. Shades of nu-metal are abound but there is also a technical ability which always seemed amiss among the majority of that scene.

The main issue is that there are too many ideas, snatches of disembodied voices drift out of the mix whilst the vocals strain to be heard over the music. Thankfully this changes with 'Thank Fuck I Ain't You' being a welcome breather. That's not to say things have calmed down, its just that the music has more chance to breathe.

This is where Bovine's power really shows, on songs such as the superb title track and the aforementioned 'The Battle of the Sinkhole', they stretch out and let the gaps in the music do the talking. Sometimes it isn't about filling in every space possible and a pause can say a million words.

Lyrically its difficult to discern what is going on. One can imagine visions of war and possibly some sort of analogy with a dying British Empire but this is lost in the tumult of music. Not a bad thing by any means as this is more than enough to keep you going.

After a while it tends to get a bit similar but ultimately it is a very satisfying album. Yes, there are moments where the band get over excited and a tad too serious but given time and experience they should be able to iron these out. When Bovine are good, they are up there with the great bands of whatever scene this may be. At the end of the day its metal, its loud and technically its very astute. A welcome addition.

Rotting Christ has been making music in some way, shape or form since 1987. 1987, I was turning one that year. Some of you may not have even been born yet. Crazy isn’t it? Since the incarnation, the Tolis brothers have been the only consistent. Themis on drums and Sakis on vocals and guitar (bass as well for recording, they use touring live musicians on the road). So when time came to write the follow-up to 2010’s Aealo, brother Sakis did soul searching to really lay it all on the line. And as a result we are presented with Kata Ton Daimona Eaytoy (in English it is translated to “Do What Thou Wilt”, a phrase of Aleister Crowley fame.). You want to know what nearly 30 years of Greek domination sounds like? Let me tell you.

‘In Yumen – Xibalba’ opens this ritual as a slow sacrifice, chants, standard tempo guitars, and vocals being sung/chanted in a language I do not understand. At first it was off putting, but after a few listens it really wasn’t an issue. I found everything fit together well enough that it crossed vocal limitations for me. Anyway, after chants be done, a solo guitar riff preps us for blast beats and evil. Yes, blast beats and evil. Standing behind that is a wall of great chants and echoes if you listen close enough. Minor orchestrations as well, an opener of epic proportions.

The series of tracks ‘Grandis Spiritus Diavolos’, ‘Kataton Demona Eaftou’ and ‘Cine Iubeste Si Lasa’ really flowed well and stood out in my mind. They were the three tracks I went to the most. The first being a prep for war, shields and swords are being sheathed. ‘Kata Ton…’ being the ride into battle. Limbs torn, bodies flayed, bodies decapitated, all while the King yelled his orders and oversaw the blood bath. Drums keeping the pace of horses, guitars the heartbeat of warriors and the choir the spirit of the slaying. ‘Cine Iubeste Si Lasa’ is what’s left of the battle. A piano accompanying a soprano (I’m probably wrong) vocal performance full of mourn, but strength. No soldier lost without a reason. Eventually the band kicks in and the troops left standing continue their travels. One fight behind them, cleaning the blood from their weapons and armor, they keep forward.

The rest of the album continues its ups and downs until the final two songs, ‘Ahura Mazda Anra Mainiuu’ and ‘Χ Ξ Σ (666)’. ‘Ahura...’ is the final battle cry, taking over the kingdom, paving a path for a new reign. A dark King wishes his throne, and his warriors are gaining every inch of ground they can grasp. No stopping these wild men, not with a soundtrack like this.. This war is and was, theirs in the first place. They just wanted to get their armor broken in…a little blood on their blades. ‘Χ Ξ Σ’ has the king taking his new throne. Marching riffs and drums leading a ceremony of victory and darkness; the dark lord now looks over the land he now calls his own.

In the distance the drums ech(((o))), and the king now tells his men to prepare for battle. And Rotting Christ will be there, ready and waiting, a new anthem of mayhem in their souls. Be sure to go out and grab this album from Season of Mist, once you’ve wiped the blood off your boots...

HAIL!!!!!!! HAIL!!!!!! HAIL!!!!!!!!

There are hundreds—if not thousands—of Black Metal bands in this cold, dark world of ours. Of those thousands, possibly a few hundred are considered to be quite good. Of that few hundred, maybe 75 to 90 are thought to be pretty great. And a handful of those “greats” happen to be the best the genre has to offer (and can be different as night and, well... darker night). There is no sun in this scenario. No brightness. No day. No light. That's the way it should be, anyway.

With Baphometic Chaosium, Los Angeles-based Black Metal band Lightning Swords Of Death have made a record that easily fits into the “quite good” category. It might even qualify as “pretty great” depending on the listener's preference. Historically, Black Metal's production has been low-fi, with more of an emphasis on capturing the raw and icy feeling of the music, rather than making sure the recording is perfect and/or as clean as possible. This is not always the case, as on Baphometic Chaosium. These days bands (or their engineers/producers) prefer to beef-up the production of Black Metal, resulting in a very crisp, in-your-face sound. Think modern day Behemoth. To be honest, either is fine by me. The music is what matters here. And Lightning Swords Of Death make good music.

Songs like 'Oaken Chrysalis', 'Acid Gate', and the title track are not only filled with speedy, blackened blast-beats, and catchy, yes, catchy, dark riffs, they are also successfully cohesive on the record. These songs—this record—rocks in a way that is different from most Black Metal. Maybe it's the L.A. connection, or maybe it's just a coincidence. Either way, it is quite good. Not terribly long, and not annoyingly short. Maybe it is pretty great; not just quite good. One of the best the genre has to offer? I guess time will tell. Pick it up and decide for yourself. Baphometic Chaosium is out now through Metal Blade Records.

Reading the bio of Masaki Hosotani the first evident thing coming up is his passion for music. He is, for the uninitiated, a rather special composer. Just to mention something: main member of the band Miso Soup, music composer with commissions for international famous brands, soundtracks for TV programs, advertising, art exhibitions and several other commercial projects, and music producer with the project Just Becoming. I suppose this is enough to agree with me and I do believe he will put his hands on other music projects in the future.

Breakfast At The Twilight is Masaki Hosotani's debut album as solo artist and it is going to be released next April 19th, by Post Rock label Oxide Tones.

'Breakfast at the Twilight', as the album title, is the first of the 9 tracks on this album. The song starts with soft guitars, clusters of notes gradually coalesce and dissolve around a dominant sound that slowly moves into a Japanese sound.

If u are Japanese (as Masaki Hosotani) it is not difficult to think about this kind of sound but for sure realizing it in this terrific way is not so easy! Within a few seconds the listener finds himself in one of the most beautiful prints of Hiroshige. He is now along a route experiencing the beauty of cherry blossoms in a landscape full of colors with a dominant one: 'Pink Sky Light'. This is the second track and also my favorite where guitar-driven melodies, delays and reverbs give an atmospheric sound and a really original rhythm that characterizes the entire album. And 'Sketch of Dream Shadow vers. 1' seems a continuum of the second track.

Each song of Hosotani starts slow blossoming then into an extraordinary piece: 'A Smaller Letter With Her Favorite Tin Can' in particular is hypnotic, spacey, deep, rich, emotive with significant ambient qualities. Spring arrives with 'Flower, Mirror, Puddle, Sunshine' where a gentle guitar dance gently evaporates into a simply amazing track, and perfectly named.

The two-minutes guitar joke of the 'Sketch of Dream Shadow vers. 2' lead intoone of the last tracks, named 'In One Colour', that sits comfortably on appoint where ambient, electronic sounds and guitars notes gently merge 'In One Colour' that is the colour of the 'Pink Sky Light'!

It’s been said many times before by myself, and possibly a few others, that in order to stay fresh you have to step out of you element. Well here I have Nubilum, the solo project of Michele Ferretti also of Eleleth and Gottesmorder. Tsantsa isn’t a minor EP, but a journey of soundscapes. I know what you’re thinking “Come on Ryan, you do this all the time.” Deal with it. Don’t like it, I’m positive one of my usual tales of violent death metal and blast beats will be back soon. Sit back and enjoy this, maybe you expand your horizon.

‘Migration Divides’ is a heartbeat pulsing. The sounds of air echoes through halls. The occasional high-hat snaps. I'm in a dark room with no lights. I am everything and nothing all in one. My surroundings unknown, but uncared for. I drift alone. I heart the pacing of wild animals in the distance. But I am still in this dark room. All my fears are gone. And yet they surround me. My eyes are closed but I can see everything. The darkness is neither friend nor foe. It just is. Here and now, I am. All is quiet, but my heart still pulses.

‘Kelp Forest District’ Who are you, what do you speak? I can hear the voice but cannot find it. The static is growing. I can’t breath. The ringing in my ears, make it stop. I feel it pass, and the beautiful seas have taken me. I am but adrift in the ocean. My movements clear and weightless, I am here and now.

‘Wetland Disease’ I open my eyes and I'm in front of a forest. Many fear but I proceed. My heart racing. My body aching. My heart racing. My eyes burning. My heart beats unsteady. I can hear the fires in the distance. I can hear the skies screaming down upon me. In this night glow I am still, but I cannot stop moving. Where I am going, towards the calling. My heartbeat grows stronger the closer I get. To what I do not know, but I continue. I see a clearing in the thick of the forest. A fire burns before me, yet no one is here. But the fire speaks to me. What I have been through, what I have seen, has led me here. My heartbeat fades. I can rest now. I am one with the flames. Here and now.

Three soundscapes. 17 minutes. If you need to get away and have 20 minutes to spare, your answer is right here. You’d be doing yourself and Nubilum a favor if you pick this EP up from Tulip Records right now, today. You deserve to get away now and then. Nubilum want to help you do so, and open your eyes in the process.

(((O)))

I love most music. Light music, 70s singer songwriter, thrash metal, some hardcore, death metal, older country music…I could keep going. So when fellow writer Mr. Sludge and editor Mr. Van den Boom asked me if I wanted to review this album by Hierophant, I got the hint. But I was reluctant. Metallic Hardcore or whatever the hell you want to call Great Mother : Holy Monster isn’t my normal type of heavy. That isn’t to say this album is bad. Quite the opposite: this album is one heavy sonofabitch!

Great Mother : Holy Monster starts with ‘Son of the New Faith’, a total ugly beginning (compliment boys) just gets me body moving. The drums are forever at 11, and the guitars are played as if life only has an hour left, so they better hurry. In the vocal department it’s not regular hardcore vocals, nor is it metal screams. Its a good mixture of the two, an ugly step-child flipping you off. (Compliment, again.) At just over two minutes, Hierophant waste no time getting things on the road. ‘Son of the Tongue’s Prison’ (all song are “Song of…’ something. They just forgot ‘Son of A Bitch Gunna Leave You Hurtin’) opens wild out of the gate as well. Hits of feedback on the guitars and a HUGE string slide that left me with a grin on my face. I imagine this one gets the crowds involved even more, as I myself wanted to shout along to the chorus and throw this computer at the wall. But I have more to say. Moving on…

‘Son of the Four-Hands Way’ slows things down a tad. A back and forth song filled with feedback and bass shattering waves. When the song hits in the later half I wanted to put a hole in the wall next to me, but I don’t want to have to fix it. ‘Song of Egotistic Love’ is probably my favorite song on this album. Starting out as a building with guitars and a wall of strummed bass mixed with drums…fuck it. It sounds like complete and total destruction. Guitars, drums, bass, vocals, all of them not being played to me but at me. This is an album you put on when the day just didn’t go well or you need to run a mile in under 4 minutes.

‘Son of the Cathartic Cave’ is just a monster. Building with tension all over the guitars and drums then the vocals come in and its just a massive chug and headbang session. Not unlike some Converge songs, really (That’s a big compliment, guys). The bass gets a true spotlight in this song as well, its just so heavy!! Its all you hear at the end of the song with some guitar feedback. Then the closing track ‘Son of the Black Mirror’ opens up with a minute long speaker rumbling drone. And when the song does kick in, the seven songs before this one seem all the more important. It took a lot to get to this song, this building of emotion just pouring out of these guys. This song is just lie getting your ass handed to you, getting up, doing it again and again and again. And eventually winning and walking away while the guitars fade out and the bass just rumbles.

I'm going to go for a walk now for the sake of any household fixtures and because my wife is sleeping and I don’t want to wake her. You, you go buy this album from Bridge Nine Records. You cough up the $10 this album will cost you and you have a nice fucking day. I don’t care what genre you want to call this. Its good. That simple. Ill see you guys later you have a good day ok!!!!

HAIL!!!!!!!!

About this time last year, skip back a month earlier perhaps, New Heavy Sounds came at us with a band that set the tone for the rest of the year: Black Moth. The riff-strong debut album of the Leeds colossus proved in one listen that New Heavy Sounds were onto something good and it seems they've done it again. Enter the sharp-toothed Cut Yourself In Half, with their debut: Mekkanizm - a fast moving, hard hitting powerhouse that will fight you.

Roaring into gear, the first thing that springs to mind is just how LOUD Mekkanizm is; not just musically, but also just LOUD. Compared to any other CD this thing is insane - like a plane taking off overhead (turn the speakers down before playing, kids!). The opening track 'Little Misadventure' not only sets the loudness standard for the record, but also introduces you to the group's sound in a nutshell: imagine Six Shooter from Queens of The Stone Age's opus Songs for The Deaf if it were played in a concrete chamber and you've got Mekkanizm. The song is powerful, with dirty crunched guitars, distorted yet melodic vocals and a sluggish stoner sway. Next up is dance-friendly 'The Song Remains Unnamed', a rapid jam ripe with vocal hooks and 'Comatosed' with the first of many many truly incredible guitar solos on the record.

One thing refreshing about Mekkanizm is its relentless nature and the band's refusal to keep pace. Fans of stoner rock across the globe herald the likes of QOTSA and Sleep as their gods, yet Cut Yourself In Half seem to take influence equally from this and more modern rock-infused groups such as Red Fang or label-mates Black Moth. There are also sonic similarities to Black Moths' The Killing Jar (produced by Dave Sanderson - engineer for Black Moth's debut) in the grit and ballsiness that the record throws around, though it has to be said that the magic touch of [Grinderman's] Jim Sclavunos is not present this time and all the spooky weirdness in The Killing Jar is replaced with Sanderson's klangy dissonance. It does compliment the Bradford 4-piece extremely well, though.

There are further moments of variety to be found on Mekkanizm including the fierce 'Viracocha', which actually sounds a little like a Marilyn Manson song if it didn't have all that glam and diva splutter smeared over everything. So, cool, basically. There are many moments across the record that seem to carry some of that Melvins grunt everybody likes so much and one can only hope that one day these guys get enough attention to convince King Buzzo to sing along - Ipecac would be a good home for the guys alongside the likes of Fantômas and Tomahawk. A particularly enjoyable track that shows off the band's more left-field wandering is 'Spider Legs' - a creepy bit with astounding riffs and numerous motions through behaviours, all of which enjoyable. 'LGRD' follows an equal level of spook and monstrosity that explodes into a grand cacophonous finale that makes it quite clear that we're dealing with a force to be reckoned with here.

Mekkanizm is without a doubt a strong debut if nothing else. Cut Yourself In Half seem to have a knack for grabbing attention by encapsulating all that they are sonically, lyrically and in the namesake of their unit and their music. This record carries ferocity in one hand and melody in the other whilst juggling the two with hooks, riffs, beats and licks. Above all else the group has power and individuality - two things that are often unconvincing or just unattained (especially in new kids). New Heavy Sounds has done it once again by doing what a good label should: they've found an emerging talent and used themselves and their already fine roster as a platform for showcasing the world another rabble of riffmonsters with a huge amount of potential, and I'm excited.

I’m not going to get started on the whole ‘motorik’ versus ‘krautrock’ debate, nor am I going into Phil Manley’s background of bands. If you know the name, you’ll know his history. What I will do is give you a quick synopsis of his new album/project – Life Coach. So – if you like Neu!, CAN and associated acts, read on!

So this album is all one big cliché – but in a good way. There are only so many different ways you can do a 4/4 beat with fuzzy guitars and ‘driving’ drumming but I’ve now listened to this a few times and it manages to skirt right on the edge of boring without falling into the chasm… mostly. The ethnic touches save it a little as the guitar can be a touch same-same in places, but overall it’s solid.

My standout tracks were ‘Alphawaves’ and ‘Mind’s Eye’ – both good efforts with some nice layered guitar, sharp, snappy drumming and some excellent mixing and ethereal effects. It is worth noting that a lot of press for this album mentions it being a ‘seamless whole’, designed to be played from start to finish, not piecemeal. However, while the album opens and closes with the same ethnic chiming bell, calling this a seamless whole seems a bit of a stretch. Take for example the track ‘Into The Unknown’ – a 5 minute 13 second track right smack bang in the middle of the album which ends with a fadeout. And you know what? You can hear that the track isn’t over. There’s a new drumbeat kicking in as it fades out. And then ‘Fireball’ starts up, with a riff and key signature that has really not much in common with the track before – and certainly has precious little to do with the beat your ears had just heard. 

This is an ok album – it’s not quite the “less serious, melancholic version of Mogwai” that some press releases I’ve read extoll, but it’s not bad. Good guitar work, some great drumming in places and if you can look past the vocals (which are blessedly few but when there sound exceptionally cheesy) then it definitely has a reason to exist. And that reason is to rock you… slowly and thoughtfully. With perhaps a gluten free beer, a button down shirt and some thongs.

However, the cover makes me want to cry.

Around 20 years ago I was a budding metalhead, mainly listening to the “big 4” in thrash metal, and a bunch of related bands. I had a friend who was different. He was listening to black metal. Now, this was some time before music was available through the World Wide Web and my friend often showed me letters he exchanged with fellow black metal fans from Scandinavia, Eastern Europe and South America. All the releases he bought were tapes and 7” vinyls. He always wore black t-shirts with bandnames I couldn’t read, how hard I tried. I was intrigued. There was a small but growing global underground black metal community out there and I was impressed by this. My friend ended up in his own one-man black metal band sending his letters and tapes to various parts of the world as he was part of this underground network. I remember taking his band photos on a crappy old camera in the middle of the night in a park somewhere whilst he had his face painted in the now well-known corpse painted black metal tradition and he was holding a sword in one hand and a flail-like weapon in the other. There were 2 lighted candles on sticks to provide some light and create sinister effects. The photos ended up looking very badly but my friend loved them. They covered the inside sleeve of his demo tape and I got credited.

I think that Barshasketh could have started like this, but fast forward roughly 20 years in time from when my friend was making his music back in the days. In 2007 guitarist/vocalist Krigeist started Barshasketh as a one-man band in New Zealand in 2009 he started releasing a couple of demo tapes, which were no doubt sent to Scandinavian, Eastern European and South American black metal fans. In 2010 the first full-length release Defying the Bonds of Cosmic Thraldom was released on tape and Krigeist then moved to Edinburgh, Scotland where he recruited more musicians (GM on guitar/vocals, BH on drums and Σao on bass). In this line-up the band now released their second full-length Sitra Achra on the underground black metal label Todestrieb Records.

I’ve listened to quite a bit of black metal over the last year or so, but these releases were mostly from the atmospheric “post” black metal kind. This release is slightly different. On Sitra Achra we are treated to 7 tracks of the “old-school” or perhaps “traditional” Scandinavian black metal sound. The guitars shred away in that typical treble distorted black metal sound and the drums pound along varying from slower parts to full-speed blast beats. The vocals sound mostly traditionally high shrieking screaming, but at parts lower grunts can be heard. Production wise it still sounds a bit like a demo recording, but this is most likely meant to be as it is basically the traditional black metal sound. However, I think the bass could have been put more forward in the mix a bit more and the drums at times fall behind the wall of guitar sound as well.

Overall, there is plenty of melody as well on this release and plenty of tempo changes, making Sitra Achra a well-achieved release, which should no doubt be greatly received in the underground black metal community. I lost contact with my old friend, but he would have no doubt bought this instantly if this was released 20 years ago.

Sitra Achra is available on CD alone or in a pretty affordable t-shirt + CD combo through the band’s Bigcartel page for only 10 GBP, which is something you don’t see much these days anymore. Support local music and get yourself this amazing combo deal!  

C R O W N are a duo from France who I first heard of last year when the released the excellent The One EP. They've recently signed with Candlelight Records to release their debut full length.

So here it is Psychurgy, ten tracks of intense industrial tinged sludge. And its a gargantuan release. Building on what they've done on The One and a split with STValley, C R O W N make an impression with their debut. Their sound is hard to pin down, but elements of Godflesh and even ISIS merge with more sludge infested metal. It makes for a thick enveloping sound that invites you to listen without distraction. From the opening ambience and abrasive soundscape of 'Kynesyk I' you know this will be a journey. First proper song 'Abyss' combines industrial rhythm with shimmering electronics and dark toned vocals. A looping riff echoes around the track until it shifts into heavier territory.

C R O W N possess a habit of finding a rhythm and synch into it. There's a lot going on at times but seemingly all with the purpose of flooring you with power. 'Blood Runs' is a glorious 8 minutes work out with riffs oozing out over the programmed drum patterns. With more ambient textures and shifts in dynamics its one of many highlights on Pyschurgy. The overpowering guitars around three minutes in are awe inspiring stuff, and again it locks into a tight groove.

I have to say in general I'm not a huge fan normally of groups who don't have a "live drummer". Of course it's not always the case and is possibly short sighted to even highlight it. However C R O W N, create such emotional and captivating music it actually adds to the appeal. Countering the sludge filled riffs and at times harsh vocals, the military-like press ion of the rhythm helps with the overall feel.

Psychurgy is an album to lose yourself in, with tracks at times running to 8 plus minutes. There is plenty of variation as well, from the bass driven 'Empress_Hierophant' to the fury and relentlessness of the opening of 'Alpha_Omega' which spirals out as the album closes.

At times oppressive, with thick riffs, there's also an element of experimental unpredictability. C R O W N have created an album that will ensure their name is one we will be hearing much more of.