John Robb is undoubtedly a smart guy, perhaps better known these days for his polemics on the music industry via the site Louder Than War and as an author of a number of books, he also has another life as the frontman of Goldblade. On this, their new album, Robb uses the stage as his own state of the nation address in what is a raucous and scathing attack on modern life.

That he uses punk rock as the voice to do this is even cleverer. Not the first punk band to do this by a long mile, Robb and co present an album which is equal parts retro and contemporary. Punk has hardly evolved since those heady days of 1977 but it hasn't needed to. The raw energy and tendency to drift into uncharted territory such as ska has made it the ideal template for speaking to the youth.

Kicking off with ‘This is War’, it is immediately obvious that nothing has changed for this music. Loud, trashy and anthemic, it takes you by the gut and raises you up. This continues for the next couple of songs with the Sham like ‘Psycho Takes a Holiday’ upping the ante for dumb choruses.

Musically this is up there with the best of punk with ‘Serious Business’ really proving the point by taking a side step into dub soundsystem territory. It's a shame there isn't more like this on the album as it gives a welcome breather from the norm.

That's all beside the point though as the terrace anthem of ‘We're All In It Together’ with its blatant political meaning gathers up the rest of the album for a one stop blast of rhetoric. It could all get too much with songs starting to sound the same but justice prevails and authority crumbles with a fantastic ‘They Kiss Like Humans, Act Like Machines’ being a highlight

Most impressive is the title track which turns into an industrial stomp which gives the album its focus. Spread out over eight minutes which must be almost unheard of in punk circles, it wraps itself around your brain with its robotic rhythm and clanking machines. It truly is a terrifying experience and one which raises Goldblade above their peers.

Punk may still have its beating heart and god knows we need it but it also has the habit of falling into the same traps. The Terror of Modern Life breathes new life to the scene though and brings a certain respect and intelligence with it. 

Dark Tranquillity, along with At The Gates and In Flames, helped rush in the Gothenburg sound of metal. Melodic yet powerful, and guitar tones with bite, among other things. And while one of those bands split back in the day only to re-unite in 2008 for live shows (I’m ok with it) and the other hasn’t put out an album I’ve enjoyed since 2002, Dark Tranquillity is still here, churning out noteworthy material.

I myself am a fan of the fast and aggressive sound that Dark Tranquillity brings. And on the opening track ‘For Broken Words’ they do indeed bring that sound, albeit mixed with their calm, brooding verses. Follow up track ‘The Science of Noise’ brings the same aggression, only without any soft moments. In a perfect world (mine anyway) Dark Tranquillity would stay the course and pack the rest of the album with rippers and barn-burners. But this world is not perfect as we all know. Tracks such as ‘The Silence In Between’ or ‘What Only You Know’ will be eaten up by those who enjoy the more melodic side Dark Tranquillity have been known for. It’s not to say those songs are completely soft, but they pale in the heaviness factor when compared to a track such as ‘Endtime Hearts’. Even though that track does pack melodies and keys as the norm, it’s a higher speed and packs a solo that left me satisfied.

The album follows suit, a back and forth mix, from this point onward until the final track ‘None Becoming’, a slow churner that will fit nice mid-set if played live. It closes out the album well, and on a particular dark note. I only hope they pick up where they left off when they write the follow up. If you manage to snag the US version, you’ll get two bonus tracks. One full track ‘Immemorial’, which I honestly should have been left on the regular version and used as a closer, and the instrumental ‘Photon Dreams’. Both good tracks, but I still stand by my statement on ‘Immemorial’.  Either way, if you’re a Dark Tranquillity fan you’d be right to purchase this album. And if you’re not, well I don’t know if I see it winning you over, but you have to start somewhere!

You can purchase Construct now through Century Media Records. Support artists and music you love, go buy this album.

HAIL!!!

When we slow sound down, what happens? 

Well, we know it lowers the pitch of the sound, we also know that it dulls the tone and timbre, as it's operating in a totally different frequency range than originally. This often imbues music with a totally different quality than previously: bright and upbeat music becomes prosaic, melancholy and otherworldly. 

This was an area explored by composers who used tape-manipulation and, later, samplers to exploit the changes which time and pitch exerts on sound.

Rather than make this technique the whole of their music, Cyberchump have utilised bespoke software to re-pitch and stretch their own tracks from the past, to create backings for new compositions. 

Just so you know, Cyberchump are Mark G. Eberhage and Jim Skeel. They work apart, only meeting up to mix and finalise their music. On their website, I count 10 previous releases, not including Flutter & Flow. So, quite prolific, then. They're experimental, conceptual and, as it turns out, compulsively listenable.

Ok, so what about the music? Well, several boxes are ticked. This is a duo whose influences aren't necessarily apparent, but I'd guess they're pretty eclectic and esoteric. There are touches of Another Green World-era Eno in places on 'Sign By Night', but this is fairly fleeting as deep Cooder-esque blues guitar and mellow mid-pitch bass punctuate the emerging soundscape. This is 'ambient', but not in a new-agey, self-indulgent and inwardly reflective way. It is ambient in that it's relatively sedate music which conjures some mildly dark and cinematic imagery. Picture music, in fact.

Later, in 'Neon', we get treated to some odd little timbres and dissonance. Dark and gradually escalating space-rock that broods and flows (and occasionally flutters).

There is a danger that the music becomes unfocused and lacking in structure with this type of project however, it is eminently melodic also. Little tuneful sequences and riffs pop in and out of the noise, tying the tracks together. In possibly the darkest and seemingly most formless track on the album, 'Dark Machine Language', a beatless drone and machine noises bring to mind sci-fi scenarios, as well as Martin Hannett's 'Lift Recordings' for Joy Division's Unknown Pleasures sessions.

The album concludes with the euphoric pads of 'When Time Was No Time', made more foreboding-sounding by an eastern bass melody and slowly opening filters. It develops into an awesome swathe of chiming guitar and deep drone.

A simple conclusion for you, dear reader: How to summarise this album? Dark, melodic, contemplative, cinematic, experimental, headphone-filling. Therefore, it pushes all my buttons.

When I got first introduced to Leah Kardos’ music, I was about to review her debut album Feather Hammer, sold to me as “something weird and tricky”. I immediately fell in love. The follow up, Machines, has been stealing my heart ever since it entered my world. Again there’s a strong concept behind it, very consistent throughout the record - it’s a song cycle around the theme of technology.

What makes Machines instantly unique and captivating, is the soprano of Laura Wolk-Lewanowicz, an Australian opera singer. The angelic voice, teamed with the theme of the album, create a very touching commentary on the current human condition. It sounds like a lot of big words, however the lyrics have been composed using the cut-out technique and the material Leah used to cut them out of was nothing else but her spam folder (I highly recommend having a look at the actual lyrics sheet with the original spam messages on Leah’s blog). The combination is striking: automatically generated spam messages, evoking the loneliness and hollowness of cyberspace, sung by a classically trained opera singer to the sound of Leah’s electronic soundscapes.

The album opens with ‘Incantation’, a song that could fool you into thinking that it’s just classical singing to electronic music, until you listen to the lyrics: "Perfection not faultlessness / All the software you need". The chorus of the following ‘Credo Deus’ (in English - ‘To believe God’) "You can reach me, you can read me" again strikes as existential until you realise that the rest of the song is based on an email we all received at least once: "I wish to notify you again / A deceased client of mine / That shares you (sic) name / Whose tragic heart condition / Was due to the death (sic) of his family in the / Tsunami in Sumatra". There’s ironic beauty in the contrast between deep and meaningful phrases and the generic junk they get lost between. As the record progresses, the soprano gets more and more electronic alterations, like in ‘Radiate Heat Into Space’, where the automated message is spoken by an equally automated voice - "Is there a you for you to take?".

My personal favourite on the album is ‘Sexy Monday’, a song that pops up in my head every time I think of the three reasons why I hate my job (sexy Monday isn’t one of them, I wish I had a sexy Monday to moan about). It opens classically and gets into a very synthpopy zone - if you can imagine synthpop with a soprano that is, before it bears cabaret references. To me this is the peak of the record - everything comes together: the soprano climbing the highest of heights, the spam message so relevant to our everyday problems ("why do you hate your life?"), yet so mechanical, the synths and the beats sounding oh so happy-go-lucky... If someone asked me to explain post-modernism with a piece of music, I’d just play them this song, it really embraces it to the fullest. ‘Highly Active Girls’ are the perfect complement - "Highly active girls craving for you / We have the medical cure / Stop leaving your partner dissatisfied" - a machine voice on a cloud of electronic music offering solutions to the most intimate of human problems in the most robotic and inhuman way.

Machines is the perfect follow up to Feather Hammer - Leah Kardos isn’t scared to experiment and doesn’t fail to surprise. Her debut was focused on music and celebrated the piano, while creating escapist soundscapes. This time she takes a step forward and uses lyrics to engage a discussion. The concept of this album is more than relevant to all the issues we face while living in an online community. Musically it’s beautifully understated and once you get past the lyrical level, you’ll discover Leah’s virtuosity. It’s an absolutely stunning and unique piece of work. It makes me completely clueless as to where Leah’s heading next, but I already can’t wait to find out.

I first encountered Dublin post-metalers Refraction a few years ago when they approached me with a view to supporting them in their home city. The rest of the bill was made up of some fairly heavy acts and I politely declined to do the show, in other words I chickened out fearing my act would be a little 'light' for proceedings. Refraction might well make heavy music, but it's also incredibly melodic. When stripped away of the obvious loudness, the Helixian EP features a dexterity of guitar playing that I think could even be played acoustically. They list influences such as Neurosis and Isis, but I'm surprised they don't mention Pelican, who I recognise most clearly from the four tracks on offer. Two feature (some) vocals '(T)hymine' and '(G)uanine', but largely it's instrumental rock goodness. I have to admit here that it's really the music that I enjoy from this whole genre, the growled vocals of many of today's metal acts never seem to appeal to me.

Refraction are clearly a very tight unit, they need to be, as the intertwining guitars, alternatively plucked melody lines and crushing slow chords work so well together. The dynamics within each track shift constantly and with consummate ease, all underpinned by some unobtrusive and unfussy drum patterns. If there's one minor issue I have with the EP, it's the production of the drum sound, can't put my finger on it, but I think a little more depth would enhance the massive sound the guitars create. The interplay between the guitars, shows a tremendous amount of soul, rather than just bludgeoning instruments for the sake of it. The restraint shown in the quieter melodic sections allows the dynamic of the tracks to falter, but still maintain a fierce and forceful impact. There are moments of sheer beauty throughout when the melodic guitars arch upwards, transcending and reaching that little bit further making Refraction stand out from an ever growing legion of metal bands roaming around this genre.

Obviously they're managing to stand out as there have been some notable support slots for the band along the way. Going to have to go back and get me a copy of their debut album now, should have done this before. I should also have had the balls to go play that show with them in Dublin.

Refraction. Immense riffs. Immensely enjoyable.

With a title as sinister as Murderpolis, there’s an assumption that Sparrow and the Workshop’s proclivity for dark, brooding folky-Americana has continued on their third album. And it has, but with a new found confidence that brings an added energy and intensity to the Glasgow-based band. The dark narrative of love’s hold that forms the thematic core of Murderopolis is in sharp focus, and there’s a rockier sound backing songwriter Jill O’Sullivan’s voice, which itself is a thing of absolute wonder.

Murderopolis begins with ‘Valley of Death’, which kicks off with a rhythm not too removed from Jack White’s songbook, before opening up into an enchanting lament. The past tense of opening line “When love was the greatest thing” sets the album’s theme out with a delicacy far removed from the thundering bassline that precedes it.

There’s a gothic charm that heaves in time with the album, one which in places evokes another Scottish name that has embraced Americana, namely Isobel Campbell’s work with Mark Lanegan. Lyrically, Chicago native O’Sullivan is on a par with Campbell - wonderfully poetic throughout with verve and menace in equal measure: “If I had a dime for every time you lied, I’d gather all my change and throw it in your face” from ‘The Faster You Spin’ being just one example.

‘Darkness’ is all thrashed drums and heavy guitar, while the opening vocal and piano section to the stunning ‘Odessa’ enchants. The guitar part sounds like something Arab Strap could have used on an early release, giving much room for O’Sullivan’s silken voice to dominate, haunting like the ghost of a country star. “Odessa, am I asking more than I should know, or am I getting warm” she asks before Nick Parker’s guitar explodes with a heavy rumble.

In a way, the album feels like it is breathing life into death, with rolling basslines and pop melodies warming a foreboding setting; credit to Chvrches’ Iain Cook and Chemikal Underground stalwart Paul Savages’ joint production in that regard. The album feels polished, but with enough grime to keep things on the verge of being sinister. Intensely dirty guitar riffs like on ‘Shock Shock’ or the seemingly effortless power of O’Sullivan on ‘Water Won’t Fall,’ gives Murderopolis a threatening edge and as it progresses the intensity doesn’t give an inch, from the title track’s almost theatrical melody, to the anger of ‘Fame Whore’.

You get the feeling death is never far away from the album, which is why the move to a more positive note in the last couple of tracks provides a huge satisfaction. ‘The Glue That Binds Us’ is uplifting despite the chorus of “I don’t like you anyway, I don’t need you in my life” It’s as if O’Sullivan has broken free from whatever or whoever was trapping her.

Closer ‘Autumn to Winter’ does likewise, the vocal wistful before swelling into a climax, where she’s joined by the rest of the band in a gloriously harmonic final stand before leaving us with a line that reminds us everything is cyclical, that we must rise above what tests us, but be prepared for its return: “When the winter kicks me in, I’ll close my eyes and there you’ll be again”.

An assured album then, and one that sees Sparrow and the Workshop fulfil the potential that was shown on Crystals Fall and Spitting Daggers.

When Decibel Magazine announced the 2nd incarnation of their now annual tour, I hopped on the horn and made sure I would be able to cover it. No chance in hell would I be missing Immolation, Napalm Death, and Cannibal Corpse all on the same bill. No way no how. So on Sunday, May 26th, my wife and I jumped into her small but gas efficient Saturn Ion, and made the hour and twenty minute drive to pay only $7 for parking (great deal, seriously) and see this monster of a tour. Aside from wanting to see this show, this was my chance to finally convert my wife to death metal. So two birds with one stone, it was a no-brainer.

Immolation took the stage a little early, well a lot early, due to scheduled regional openers Beyond Creation having visa issue and not being able to cross into the US. So what does that mean? It means 15 more minutes of Immo-fucking-lation! Starting out with tracks from their recently released Kingdom of Conspiracy, the band was on fire and their sound was perfect. I even said to hell with it and took my earplugs out for the first three songs while up front taking a few photos. I could just feel the intensity they were putting out. The crowd was moderate, as they started a bit early, but those who were there ate up every fucking note. Drummer Steve Shalaty was like a machine in the back, precision and barely breaking a sweat, the guy looks comfortable and natural. Amazing for the beats and speed he plays. Vocalist/bassist Ross Dolan moved back and forth while not singing, swinging his damn near knee length hair around like a man on fire. You couldn’t even see his face most of the time unless he was torching the crowd with his vocals. Guitarists Bill Taylor and Robert “Bob” Vigna were spot on. Not missing a single note from newer songs and even dipping back to the title track from first album Dawn of Possession. The band even played a personal favorite ‘Father, You’re Not A Father’ (from 2000s criminally underrated Close To A World Below) to fill some of the extra time they were allowed. Taylor’s hands moved at speed so fast his hands looked like a blur. And Vigna played his guitar like no other musician I’ve seen. Wielding it like an extension of his body and commanding the attention of everyone in the building. All in all, Immolation does not fuck around when it comes to playing live. Be sure to get to the shows early to catch them, and if they are ever touring near your town, go fucking see them. You won’t be disappointed.

                                                                       Ross Dolan, Me, Bob Vigna

After a round of merch purchases, smokes, and a piss, Napalm Death was on stage and ready to roll. There were a few sound issues throughout their set. Drums and/or vocals not high enough in the monitors, but they still played like the impenetrable Napalm Death everyone knows. Drummer Danny Herrera had a few issues with his sound, but sat back like a vet nonetheless. Bassist Shane Embury, well the guy needs no explanation. He plays bass in a few different bands, and the dude plays like it ain’t shit. Mitch Harris didn’t miss a note on songs like ‘The Wolf I Feed’ (from their most recent release Utilitarian), ‘If The Truth Be Known’ (from Harmony Corruption) and the classics from the 1987 album that started it all, Scum like the title track and ‘Control’. Frontman Barney Greenway, well, if you were deaf and watching a Napalm Death show you would still enjoy it simply because that motherfucker moves all over the stage like a man 20 years younger than he. The punk spirit is not lost in any members of Napalm Death, and I don’t see the grind machine slowing down anytime soon.

                                                               Napalm Death’s Mitch Harris

Round of smokes, running into a few acquaintances, some chitchat, pictures and autographs with Ross and Bob from Immolation, a piss and then it was Cannibal Corpse time. The crowd was fairly packed, and for the third time of the night some girl dressed in a corset with a tutu on the bottom (my wife kindly called it “A vagina tutu”) just happen to mosey on through past my wife. By then she’d had enough and got a nice spot on the side of the stage while I got ready to snap a few photos. Lights go dark, and the crowd roared. It was pretty easy to tell who everyone was there to see. Fans old and young love their Cannibal Corpse, and they made it obvious. Culling tracks from their entire discography, the Corpse had fans eating out of their hands. Lead singer George “Corpsegrinder” Fisher even gave the crowd a laugh or two, asking them if they knew what his favorite thing in the world was. While most of the crowd yelled “sausage” (and I mean most) George politely reminded us that it was the female reproductive organ that he was most fond of, then the band dove right into track ‘Addicted To Vaginal Skin’ (from Tomb of the Mutilated). The standout track for me had to be ‘Scourge of Iron’ from their most recently released album Torture. A mid-pace chugger of a death metal tune; Cannibal Corpse were in total sync. Alex Webster on bass and Paul Mazurkiewicz on drums kept in total sync. Rob Barrett and Pat O’Brien were just flawless in there guitar decimation. And the solo, oh fuck me running, the solo Pat O’Brien played flawlessly was enough to make my wife look at me in sheer confusion as to what she just saw. “His hands were a blur”, was all she had to say, not only about Pat, but every guitarist that graced the stage throughout the night.

                                                                         Cannibal Corpse

Decibel Magazine has put together a package of veteran bands (over 75 years experience combined) for their 2nd annual tour. And it’s a total success. There are still plenty of dates left, so be sure to go out and catch this show. Definitely a lineup that delivers and is worth you time and hard earned money. Go out, buy a shirt, a drink or two and bang your fucking head.

A special thanks to the following:

Decibel Magazine

Charles at Nuclear Blast USA

Holly at Nuclear Blast Europe

Dave & Liz at EarSplit PR

Vince & Kelli at Metal Blade

And the fine staff at Mill City Nights for hosting the show.

This new EP from Death Rattle accompanied my thirsty ears while sitting on the balcony in the summer heat the other day. The contrast between the warmth in the air and the chilly atmosphere of Death Rattle's dramatic electro-pop couldn't have been more apparent.

My first encounter with the London-based duo Death Rattle was their intruiging single 'The Blows' which was released earlier this year and served as a warm-up to Fortress. The energetic pace of 'The Blows' immediately catched my attention, so my expectations for their second EP, their followup to last years He & I, were high.

Similar to the Swedish electro-pop queen Fever Ray; the darkness is where Death Rattle most often seems to dwell. There is a very distinct haunting mood to these four tracks, feeding my mind with dystopian-looking visions and constantly painting dark landscapes behind my closed eyes. I'm getting a strong sense of a person walking on a long journey through a dark world where dangers seem to lurk behind every corner; it's as if every sound adds to an inwards-looking-outwards perspective. Both the lyrics and song titles also seem to be contribute to my visionary fantasy world. A fortress being built, ropes tied around arms and a person's fear of being taken away are some of the things going on in these songs. All of this makes the fantasy theme even clearer and the epic highlight 'Fortress' draws all of these elements into a dramatic climax.

Unfortunately though, EPs are what they are; short. Sweet, but short. Just like a short film, Fortress EP only presents a limited narrative. The only way for them now to give me full satisfaction is to continue on their fascinating dark journey with a full length where I hope to hear even more of their potential which is apparent from start to end on this EP. In the meantime I'll be eagerly waiting for them to fully bloom in their darkness.

Leicestershire definitely has a lively music scene. After spending some days listening to Dark Dark Horse and Maybeshewill, the turn of Kyte confirmed this idea.

The first time I heard about Kyte, by the way, wasn’t so long ago when by chance I listened to a really awesome song titled ‘September 5th’. That was my first date with Kyte’s music even if lately I discovered that my beloved song ‘Boundaries’ used in the tv series The Sopranos was made by them. So, our real first appointment dates back to some time!

For the uninitiated Kyte is a three piece Leicestershire-based band composed by Nick Moon (vocals), Tom Lowe (guitars and keyboards) and Scott Hislop (drums and percussion). Their debut album was released in 2008 and after that they produced two other albums till the last one, Dead Waves, that received a high acclaim establishing themselves in the music world.

Kyte’s music style, at least in the debut, was considered as shoegaze and post-rock but with the subsequent works they moved toward a sound more influenced by electronic and pop music. And it’s really a good sign when a band shows willingness to evolve and expand their sound and is able to get results out of doing so. The proof is offered by the long awaited new album Love to be Lost that will be out on June 17th via Eastworld Recordings.

Opening track ‘Breaking Bones’ is a gorgeous introduction to the record’s charms. Ethereal strings and echoing vocals characterize this tune that pick up gentle momentum with drums before easing out on soft electronic beats and introducing the listeners to the eclectic world of Kyte.

‘Scratches’ is an atmospheric song that could also be perfect for dancing. The following song, ‘You & I’, is a mix of pop music and sweet melody. This track is dominated by the warm voice of Nick Moon together with a memorable chorus. It’s a great electronic masterpiece even if we can find several music styles in each of the 14 songs of the EP. The first time I listened to Love to be Lost I did it from the first track to the last one with no pause. I realized than to be in front of so many styles: shoegaze, pop and post-rock with the typical beat of electronic in the background.

Delicate guitars dominate ‘Almost Life’, one of my favorite tracks of the album. There's reverb on the drums and a beautifully layered approach to the instrumentation.

The electronic beginning of ‘Over, After’ gives way to a very pretty riff. This tune has plenty of rhythm, going up and down and the vocals work as moderator. It’s a joyful and really alive song able to put everybody in a great mood in contrast with the melancholy that generally characterizes the band’s sound. And we find this melancholy in the following ‘Every Nightmare’ where it is demonstrated that, despite the melancholic tone, Kyte never abandon the pop rhythm and this contrast gives to the song an ethereal atmosphere.

‘September 5th’ is where beauty is. This track is far away my favorite from this album and it’s a lovely listen. All of you that are into post rock music will understand me and maybe we’ll agree with me. ‘September 5th’ is the demonstration of Kyte‘s total control of their instruments and musical direction. This masterpiece starts with a cyclical piano chord progression but it changes soon its rhythm maintaining a high tension throughout the whole track. It’s the longest tune of the album but 6 minutes and a half are not enough for such beauty and it’s also the only full instrumental song. With ‘September 5th’ Kyte achieved the heights in this album. It really deserves your attention.

A noticeable example of the Leicestershire based band to mix different music styles is given by ‘Love to be Lost’, the song that gives the name to the album. This track opens with gentle twinkling keys under the faintest buzz, before ratchet glitches and spare drums give way to strings and distant field-recorded voices.

The music travels through the last three songs at a graceful speed: each song inspires hope, brings you to wonderful landscapes and into a dreaming dimension. There’s emotive quality in the vocals gently accompanied by inseparable electronic beats. In some parts of ‘Blood Anger’ I recognized the sound of The Album Leaf.

‘Salt in The Water’ is particularly joyful and has the right rhythm to travel. At first listening of it I thought that it’s perfect soundtrack to a holiday on the road. Just jump into your car and put on this music, possibly with the touch of the wind and a straight road ahead.

The concluding ‘Sickly Words of Wisdom’ is softer and a bit melancholic but, as we now have learned from Kyte’s tendency to mix effects, the electronic beat in the background mitigates the whole tone. I love that bunch of seconds where the vocals is alone with no sound and after that it starts again with the same rhythm of before stopping suddenly like a decisive closure of the curtain on a stage.

Confucius wrote that if we want really get to know a place we have to listen to the music played there. Well, listening to the music from Leicestershire we just have to go and enjoy its amazing music scene.

Not Mathematics is the debut EP from Bristol four-piece Casimir, who on their Facebook page uniquely describe their sound as, “music for giants”. Whether or not this is just a successful attempt at debuting their talent for wit as well as musicians, or an effort at avoiding the sometimes painstaking cliché of having to pigeon-hole themselves into a genre I don’t know - but I do feel this 5-track EP does cater for man and giant alike.

Opening track ‘Balancing Act’ begins with slightly unsettling, ringing, reverby, guitar loops which then blows up into big anthemic vocals, attacking drum beats that are supportive of the statement lead singer Mark Juggins … is trying to get across as he takes on an in your face war like cry of, “No I can’t be done, I’ve only just begun.” Not a song for the defeatist.

‘Lucid’ follows, with an electro/ spacey intro, with softer and almost sparkling guitars,  classic British Indie Rock wailing versus’ (the English version of Idlewild) springs to mind that then  heats up for a clattery, super screamy, chorus.

But without a doubt ‘Like Whistles’ is the strongest and most refreshing of the EP. The use of guitar in the first 6 seconds of the intro are reminiscent of lostprophets ‘last train home’ and continues with a similar haunting, imploring sadness but is more experimental rock than post hardcore with the most epic of instrumentals mid-song.

What else can I say from a band whose bio reads, “Post-olympics jaw dropping heart wrenchers.”. They’re here, they’re queer (in the older sense, pre-insult) they’re Casimir!

There is a comfort in knowing that sometimes change isn’t always good. Sometimes the status quo can allow one to be comfortable with what they know and one does not have to challenge themselves with trying to keep up with what is new. It is a comfort, like when you go to your closet and pull out your favorite, worn-in, barley hanging on by a thread band t-shirt. You just know that it is perfect and there is no good reason to change it. Recently there has been a surplus of bands reuniting to either celebrate an anniversary of an album that they had released decades ago or to create new music as is the case with the new incarnation of Black Sabbath. Although in the case of Black Sabbath it is not really a true reunion is it? But I digress, Sacred Oath, the American power metal / speed metal band from Connecticut has assembled it’s original line up and recorded and are ready to release their sixth full length studio album Fallen on May 28th.

As I stated above change isn’t always good and Sacred Oath have not really change anything in their delivery of music since their inception and that is no different with the new album Fallen and I for one am grateful for that! Sacred Oath stay true to their American power metal meets speed metal roots and have created an album worthy of the Sacred Oath catalogue. Fallen is a Master's course in how to take a chance, reuniting the original lineup, (whose break-up was anything but amicable ) and still stay true to the sound and strengths that have identified the band for the past 25 years. From the opening song 'King of Your World' through the final beats of the title track, Sacred Oath take you for a powerful yet scary ride of the challenges and nightmares of the human psyche. This is a dark album that is orchestrated solidly and aggressively. With the power of the music behind it and the incredible vocals of Rob Thorne the listener becomes so immerged in the songs that you almost start to identify with the monsters within and those in the world around us, there is a feeling of pure evil that emanates from this album that is palpable and that is a credit to Sacred Oath’s songwriting and musicianship. Songs like 'Misery Loves Company', 'Death Knell' and 'Lurking Fear' take the listener on a dark, dark ride through the darkest side of humanity and Sacred Oath perform this with an appreciation for what they are playing that one can’t help but listen over and over again.

Change is good, a band should grow but if you do what Sacred Oath does so well, and especially on Fallen then change may not be for the better. I have been a fan of this band for a long time and I was worried that they would not be able to beat their self-titled album or the equally fantastic Darkness Visible but they have certainly done so on this album. This isn’t an album for the faint of heart or those who are looking for a sunny power metal album; this is a dark journey. A haunted house ride of the mind delivered through music, a vision of evil with a soundtrack that challenges you to willingly come back for more.

Until Later, Peace!

Let’s pretend that Nachtmystium, Hate Meditation founder Blake Judd’s other band, never happened. Let wipe the slate clean, no assumptions, no preconceived notions, unbiased in full. Hate Meditation’s Scars is black metal in its blast beat, haunting guitars, venomous vocal, synth laced glory. Wait…synths?

Don’t worry too much about the synths, they’re only there to add an atmosphere to terrorize you and make you lock the door at night. After chant echoed opener ‘Prelude to Apocalypse (Intro)' has you prepped and ready for some psychedelia, ‘The Deceiver and The Believer’ slaps you across the face with a blackened crooked cross. Blake delivers a necro-infused vocal roar, along with his ever distorted guitar tone that pays tribute to the early 90s era black metal scene. Drummer Sam Shroyer breaks free from the usual blasting in spots on tracks like ‘The Genocide’ and ‘End Times”, allowing the music to open up a little bit more, making room for a wider range of despair and disgust.

Wrest (Leviathan, Twilight) handles bass on this album, and fuck me running I can hear it! I’ll take it. Not a whole lot more need be said. It’s played solid and sounds great (especially so on ‘The Genocide March’ and ‘Impure Rage 4. End Times’).  Job Bos’ synths on the album, they’re good and add to the atmosphere. All the elements of this album come together for an all out onslaught of depression and suffering and rage on the title track and ‘Shadow World (Outro)’. The tempos are up and down through these songs, and the music becomes more drastic and slit-wrist inducing by the moment. Good stuff right here.

Wave aside the pedigree of the musicians involved in this album, and you are still left with one hell of an experience. No need to buy it out of loyalty to certain people playing on it (if that’s your thing, then fine), it’s just worthy due to the icy grip it will put on your soul. Be sure to grab this album now through Indie Recordings.

HAIL!!!!!!

Listen To My Nerves Hum is a body of music so intimate and hushed that you can almost hear the microphones breathing.

Composer, electronic music producer, DJ, photographer and filmmaker. Benjamin Finger uses several ways to express his sense of art. Listen To My Nerves Hum is the new album from the Oslo-based artist after the debut album Woods of Broccoli released in 2009 by the label How Is Annie Records. I carefully listened to his music several times and what impressed me most about his style is the way he is capable of layering sounds. Listen To My Nerves Hum is approximately a 35 minutes album including 11 tracks that at first listening seem one song only but, even if they are so similar, like if one is the expansion of the previous one, each song has its own character thanks to the details that the Norwegian musician never neglects. He creates small, noticeable details in otherwise large, fairly monolithic compositions and this wonderful attention to details is often missing with artists of a similar nature.

The new album is characterized by melancholic piano music built around the repetition of chords and phrases.

With his new album Benjamin Finger does something unique. He creates an entire album of simplistic, beautiful, sad piano pieces. Soothing pauses. Beautiful interludes. I could define it as a mood album.

The opening three songs are perfect. The first chord of ‘Birthslides’ begins and you suddenly feel somewhat reflective and intense. It’s a slow start to a slow album and this is not a bad thing! Some echoing vocals emerge giving an original touch to this kind of music and that vocals remind me of the vocals by one of my favorite bands, A Silver Mt. Zion. There are continuous ups and downs in the tone that gives movement to the song. This track is 5 minutes and 6 seconds of sheer beauty

Following the opening track, ‘Consonance Of Fear’ is one of the most beautiful tracks of the album. It starts with a fast piano and I don’t know which could be your reaction but it put me in a restless state maybe due to the absolutely beautiful hushed feminine vocals that seems to reply or react to the piano. It’s really a moving song.

The following ‘Bogatynia In Mother’ is like the day after the night where the night is the previous song. The lovely birds and their happy singing create a joyful and hopeful mood that is opposite to the melancholic piano.

‘Das Paris des Second Empire’ is a wonderful track and there is no better song on the album. This sound brings you in a bar in the first morning of a rainy day and whilst you are drinking your coffee with soft lights you can hear the news from a radio. It’s so intimate and simple. It can make you happy or sad. I really love it. The only shame is that it’s the shortest track of the album.

In ‘Road to Salema’ the mood is not lost. In fact, there is absolutely no better way to proceed ‘Das Paris des Second Empire’. The piano dominates this melancholic song that is perfect with the view of the rain falling on the window. The soft feminine vocals towards the end give an ethereal dimension to the song. It seems that you are not alive and that the scene of you in the bar is only in your mind like a memory of what have been.

‘Sevilla on Tape’ is an example of an excellent field recording. Benjamin recorded the voices coming from a street in Sevilla including also the sound of a klaxon with a fast piano in the background. The track changes completely in its middle: the voice of a singer dominates the scene. It’s a craving, moving and incredibly beautiful singing. The song finishes with the hand clapping of the people that appreciated the musical show. We cannot forget that Benjamin Finger is also a photographer and a picture is not only a piece of paper with an image impressed on it. He wrote his picture of Sevilla through its sound and therefore created a multi-sensorial experience to the observant listeners. It’s really a work of art!

Towards the end Benjamin Finger goes back to the first tune with ‘Returning To Birthslides’. Repetition is the right word to describe this song, emphasizing the nervous tension as the piano flees across the music. This song is the right music for a nocturnal meditation and a solitary contemplation. It’s intense, somewhere melancholic, somewhere else frightening. It’s a matter of interpretation because this song is your personal experience with yourself.

‘Ode To Blissa’ is the concluding song of Listen To My Nerves Hum and it’s the further experiment of Benjamin Finger. It starts with a joyful piano announcing a celebration day but soon the mood and the rhythm change. From the street comes the sound of the drums of an orchestra and all the people is celebrating. It’s like having two levels: one occupied by the street with the sounds of the drum rolls and the echo of the people voice, and the other one, at superior level; the piano with its detailed sound.  It’s another picture, it’s something more than just a simple song.

With Listen To My Nerves Hum Benjamin Finger achieves something very grand. It maintains eclecticism between tracks and every one of them has something unique.

Listen To My Nerves Hum will be available in a vinyl edition through Time Released Sound label from the 15th of June in a run of 300 copies and I hope to get my own copy.

Finland is, in my very humble opinion, better than every other country at making death metal. Whether it’s the twisted, alien riffs of Demilich and Adramelech or the dirty, dark doominess of Rippikoulu and Convulse, the Finns like their death metal ugly and they succeed at making it so. And death metal is at its best when it is ugly.

When I was introduced to Lantern’s 2011 EP Subterranean Effulgence, I was told, despite their Finnish origin, to expect neither twisted, alien riffs nor dirty, dark doominess. Rather, it was a blackened, vicious, ritualistic mass of Satanic evil – it did happen to be dirty and dark, but not doomy. However, in typical Finnish fashion, it was ugly, making it death metal done right in my book. (It is arguable whether Lantern are more death metal or black metal, but we’ll leave that issue aside).

Below is the first full-length from the filthy Finnish occult black/death outfit, and it is a monster. Full of horrifying riffs and shrieking guitar leads, Below is a crawling black mass of impure, soul-sucking malevolence. It is cold, grotesque, and depraved, and I would have it no other way. If you want an idea of what that sounds like, just look at the cover art.

Lantern is the two-man assault of vocalist Necrophilos and guitarist/bassist/drummer Cruciatus. Cruciatus is the mastermind behind the project and it is his performances on the album that make Below such a fantastic example of black/death metal. That is certainly not a slight against Necrophilos; his throaty, harsh, almost hollow growl works perfectly with Lantern’s atmosphere. But death metal is, has, and always will be about riffs, and Below has plenty of those.

The lead guitar is stellar as well. The howling, banshee-like melodies in ‘Revenant’ and ‘Manifesting Shambolic Aura’ are truly terrifying, which is rare to hear even from some of the most legendary of extreme metal bands. It adds much to the evil, ritualistic atmosphere of the album.

And really, that atmosphere is what makes the album stand out. Below may be riffy, but it captures the black metal sense of cold, terrible evil perfectly – not the generic “frozen northern tundra” cold, but a cavernous, massive, almost Lovecraftian unsettling cold. Nowhere is this more apparent than in the monolithic album closer ‘From the Ruins,’ but the entire albums feels this way and it is absolutely glorious. Most of my favorite death metal albums have atmosphere – the extraterrestrial feel of Nespithe, the gritty sludginess of World Without God, the massive, dissonant insanity of Close to a World Below, etc. – and Below does itself a lot of favors by not forgetting that aspect of extreme metal.

Lantern capture what is best about the Finnish death metal scene and morph it, twist it, and desecrate it into their own form. Death metal should be evil and uncompromising, and Below is unapologetically both.

In Norse mythology, Slidr is a river in Hel, the land of the dead. Glaciers pour into it from the freezing well of Hvergelmir, and swords turn beneath its waters. Well, when Gast (bass, guitars, vocals) started Slidhr, he may have added an “h” in the word, but he stayed true to the legends. On debut full-length Deluge he and fellow drummer B. Einarsson dip into the river of Hel(l) and embrace the freezing waters full of swords. This album is a cry and hell and the afterlife. And I’m loving every minute of it.

The theme through out is a cold, stark blast in the face of twisted guitars, tremolo picking, blast beat drums, and painful, tortured lyrics. But one this Slidhr do now and then, and do well I may add, is pull the reigns back and use quiet parts as a piece in the arsenal. While I have no lyrics sheet, the words I can make out on ‘Wielding Daggers’ aren’t very damn happy, hating a good chuck of the world from what I can make out. On ‘Hex’ you’ll find ups and downs of slow chugged guitars being surrounded in an unholy sermon followed by a howling atmospheric sound that can only be describes as the siren before the end. ‘Symbols Obscuring’ has a mid section of subdued guitars, simple drum beats, and hazy fog rolling. On the bookends of it though, are onslaughts of the demon leaving and then coming back for his prey. You are fucked.

‘Unseen’ is a track that is most straightforward in its delivery. That’s not to say is a basic boring track. Quite the contrary; the song is just a mid-pace tumble drum affair. The guitars are hectic and loaded with heresy, but the real high light are the vocals. Agonizing, for fucks sake and it is glorious. The sheer demonic sounds that Gast can emit are in line with many other black metal bands, but they’re still impressive. I tip my hat to any man that can put himself behind a microphone and bare the insides of his hatred onto tape, and do it with such malice. Closing track ‘Rays Like Blades’ is a final gallop to the edge of the lost souls trying to escape the fiery below, and Gast is behind the podium canonizing the black mass. When the speech is over and the barrage of Slidhr has said their piece, you’re left with slight chills from what you’ve just heard, and a sick feeling that you want to hear it again.

If you’re a black metal fan and would like something that isn’t over-polished like a lot of stuff that’s out there, there should be no question about picking this album up. Deluge will be available on May 24th in the UK and on the 28th in the US through Debemur Morti Productions.

Support those spreading the good word and keeping metal alive.

HAIL!!!!