It's no secret that doom metal has exploded in popularity in recent years. It can clearly be seen on the national scale, and depending on your location, you might notice it locally as well. Living in Massachusetts, where the doom scene is thriving (Magic Circle's debut is making waves, and the doom world has responded well to past offerings from Elder and Black Pyramid), I often worry about becoming overexposed to the genre and getting sick of it - but then, I find another fantastic doom album and those fears go away.

Shinin' Shade hail from Parma, Italy, and their second full-length album Sat-Urn is one such album. Telling the story of a burial procession headed towards the desert of Wiriguta - which, if my research is correct, is a sacred site of the Wixarrica Huichol Indians in central Mexico - Sat-Urn is a dark, psychedelic adventure that will certainly please fans of Blood Ceremony, Jess and the Ancient Ones, and other occult-themed psychedelic bands. Shinin' Shade, however, are much more focused on big, heavy doom riffs than many of their contemporaries, putting them more in a category somewhere between Ancestors and Witch Mountain; not as keyboard-heavy or blatantly psychedelic as Ancestors, but less massive and crushing as Witch Mountain.

It is very, very easy to point out the influences on this album. The very first riff on album opener 'Our Time and Space' owes much to Sleep, Trouble, and Candlemass, and many of the heavy riffs play with the ratio of bluesy-heavy-stoner-doom vs. melodic-NWOBHM-doom. And then there are the proggier moments, which bear distinct resemblances to King Crimson, Pink Floyd, and Black Widow, with the really spacey moments bearing a slight krautrock tinge.

However, simply naming influences doesn't really do the style here justice. Despite bearing obvious similarities to many other bands, Sat-Urn is able to occupy a somewhat unique niche. The prog and psych influences might have been too much to call this a straight-up doom metal album - except that those proggy, psychedelic, spacey moments are just so dark that it reinforces the doomy nature of the music rather than projecting it into other musical territory. When you see psychedelia mixed with doom, it's typically the fuzzed-out bluesy style of Cream or Dead Meadow, as spacey psychedelic rock is typically flowy and lighter even when it's on the darker side. So when a band is able to take the spacier side of psychedelia and make it bleak and funereal - and then mix it with badass stoner doom riffs - it's bound to catch my interest.

And so I will be paying very close attention to Shinin' Shade's career. While they don't yet have a sound they can call completely their own, they've been able to combine their numerous influences in a way that I haven't heard done before, which puts them ahead of many of their peers. Sat-Urn should impress any doom fan enough to get them immediately on the Shinin' Shade bandwagon, as some very interesting things could be coming from them in future.

Kicking off with a synth beat intro you’d be forgiven for thinking Cine Privê was going to be a cut of pure synth-pop. This feeling vanishes in seconds when Domenico Lancellotti’s smooth Portuguese vocal kicks in and a bossa nova drumbeat gets busy in the background.

This opener has the sort of rhythm you’d expect from a man based in Brazillian (on this occasion with Italian heritage). Behind this and the tracks that fill the album there is a consistent sound that carries elements of folk and Latin percussion, along with a heavy focus on electronics, with embellishments to every track that heap on layers of sound, creating a mesmerising effect. Domenico is a multi-instrumentalist and that’s evident throughout with soundscapes created using a wide variety of guitars, keyboards – and that all powerful percussion.

The melodies are consistently upbeat – giving the tracks a strength that allows Domenico to experiment without detraction. As the album progresses more of a jazz influence comes along and when combined with the Portuguese-language vocals, the effect can be beguiling.

‘Receita’ is the most commercially acceptable track on the album where female vocals wrangle with Domenico’s as wah-wah guitar, brushed cymbals and bongos dash in and out of the track. The chorus could slot into a million quirky adverts (think convertible cars and summer fashion) – and don’t be surprised if it does.

There are areas where the experimentation goes too far – ‘Pedra e Areia’ begins with something approaching Parisian busking and ends up with a grinding that sounds as though Domenico has captured the essence of a London building site in full sway.

One minor fault in a 10 track album says more than the fault itself though. This is glorious stuff, relaxing and offering a slice of world music that has found plenty of influence in electronica and folk music. Spring’s coming, apparently, so if you’re planning on spending some time in the back garden with a beer, this could be your soundtrack.

When switching labels, bands need something to fill the gap. An EP, a repress of an album you already own, or in Misery Index's case, a live album (recorded while on tour with Cannibal Corpse and Behemoth). The former Relapse deathgrinders signed to Season of Mist last year, and while writing the new album (and lead singer/bassist Jason Netherton getting his PhD) they want fans to know they're still here. Still ready to grind the day away. Or the night, I should say.

Starting with Heirs to Thievery's  'Sleeping Giants', Misery Index are proficient and firing on all gears. A tight unit that has their craft in sync. Most of (almost all actually) this set is from their most recent release, the previously mentioned Heirs to Thievery. I personally don't mind at all, as that album was a great album. Well written and played.

The stage banter is left to a fair minimum of a couple of "Fuck yeah" and "Are you having a good night?". And one "Light guy, kill that fucking smoke machine!" . Misery Index were one of the openers on this tour, but they could have just as well been a headliner. The pure energy conveyed on live renditions of 'You Lose' and the closer 'Traitors' (off of the album of the same name) is immense and shows why Misery Index are, and will be, players in this era of death metal/grind. They don't bring any bullshit. They have one mission: GRIND

There's also a bonus remix of 'Siberian' at the tail end of the album that does a great job improving on the original.

Live albums are very hit or miss. And in this day and age, some would argue, pointless. But this one is definitely worth its weight in sweat, amps, drum pedals and guitar cases. A band that goes uncredited in my book, for their continuance to push further, push harder. I hope the ensuing album truly gives them the spotlight they deserve.

This album is available on limited vinyl only through Season of Mist. Last I checked, their were some left, so get off your ass and buy some grind to keep you company through your day. To Misery Index. GRIND!!!!!

So, there is this band called Grisly Amputation, apparently. I had the privilege to review their latest album. The band started off in February of 2010 and released their first album this year titled Cannibalistic Tendencies, which sounds pretty gory in all honesty, but that is how we death metal nuts like it, right?

The band seems to make use of some really awesome sound clips as interludes to their tracks, which is winning in my book. The real kicker is that it isn’t some pretentious technical death metal bullshit that tries really hard to sell you their records with labels such a “brutal death metal” and the like. So it’s slow and heavy as fuck. Going back to the roots of what death metal is supposed to be all about. These lads from Pittsburg know how to make crushing death metal, which seems to be a lost art these days when you look at all the mediocre shit being released.

The record is fucking relentless. If I had to explain it, it would be similar to a massive meat grinder annihilating the human race suburb by suburb. It really does destroy. To some it might seem a bit one-dimensional, but I seem to like that they stick to a formula and just go with it.

It really is an enjoyable record by all accounts, even if it does remind me of Cannibal Corpse, whom I am not particularly fond of in all honesty. However, they do add a bit in the department of killer breakdowns you can really lose your shit to in the pit. The riffs speak for themselves and the record seems to get better and better with each listen. I thoroughly enjoyed it and would highly recommend it to lovers of death metal. It is a bit ordinary, nothing overly exciting in terms of being evolutionary. In short Cannibalistic Tendencies is a straight up, solid death metal record. Enough said, go have a listen.

Before you read any further, find the title track to this album. YouTube, Spotify, Pandora, iTunes what the hell ever you have to do. Listen a few times. Then, if you couldn't make them out, Google the lyrics. Read them well. Really well. Got it? Good.

In the chorus Neil Fallon sings "If you're gonna do it, do it live on the stage, or don't do it at all". This is why Clutch have lasted so damn long. On Earth Rocker they amp up the boogie that may have been absent on previous album Strange Cousins From The West. Not to down that album at all either, Clutch are one if the few bands that have not put out a bad album.

Anyone who's a fan of good tunes won't be able to keep their hips from swinging and feet tapping to 'D.C. Sound Attack!'. 'Gone Cold' has Clutch going all Tom Waits on us. And fuck you if you don't like it. You'll have to excuse my vulgarity. Music emits emotion from people, if it's good music that is. As I've already stated, you can't listen to a Clutch song and not move some part of your body. Over the years they've managed to perfect and hone their craft into a machine of fuzzed out guitars, plodding bass, jam time drums and the sweet lines of Neil Fallon's voice. Give 'Oh, Isabella' a listen and try not to air guitar even just the tiniest bit. Not possible. Just ask my wife, she tells me I look stupid every time I do so. 🙂

Closer 'The Wolf Man Kindly Requests...' is a night cap. But it still manages to make you want to boogie woogie, yes, boogie woogie. Blues licks building tension to the chorus, and just setting the damn house on fire. A seamless transition from moderate rock to full on ripping rock and roll topped with a solo that'll make your hair move. Then they bring out the fuzz and the band sounds like a machine ready to tear the roof off. Then its "Good night ladies and gentleman".

Not to sound arrogant, but out of all the bands I listen to, Clutch is one that garners a blind purchase. They've done nothing but have a good time making good tunes. Tunes that everyone needs to hear. So go out and grab Earth Rocker right now, available from the bands own Weathermaker Records. And while you're at it, grab any other album baring their name, you'll have yourself a good ol' time if you do.

HAIL!!!!!!!!

I'll be honest, I turned this album off halfway through opening track 'Work In The Morning', which at only 1 min 34s long was something of a personal record. The lo-fi production and somewhat unique vocal stylings made me think this was one of those pretentious records made by middle class sixth formers with first world problems who really need to keep their "poetic art" to themselves. Safe to say I wasn't a fan of Melbourne-ites Lower Plenty

About a week or so later (because I stupidly offered to write the review) I pressed play again and braced myself whilst also cursing the editors of this site for allowing me to do this. So, expecting the worst what I got was, for lack of a better descriptive sentence, a bloody lovely record actually.

Hard Rubbish has a sound to it that is frighteningly intimate, almost like you are listening into whispered conversation held in a dark corner of a room. Recorded on an 8 track reel-to-reel machine (digital? PAH!), this is an album that eschews the clinical studio sound for a warmer more organic atmosphere. Intakes of breath before lines, the rattle of a snare, the scratch of guitar strings are all part of the ambience. That's not to say that the band ignores technology all together, 'Dirty Flowers' has what sounds like a distorted wind howling through it. Eerie. It’s even more compelling an album when you know that the whole record was done in one take…..

Even before you hit play, you can certainly get a gist of the contents from the visuals used. The cover shows a backyard strewn with detritus; beer bottles, bags, chairs, a battered sofa an upturned crate. I suspect that the choice of that photo for the cover was deliberate as it replicates the sparseness of the music within; perfectly mirroring the earthiness of the playing and the vocals.

All in all this is a release worth persevering with, it doesn’t reveal its delights initially you have to go digging for them. You have to let it wash over you. Let it get under your skin.

“After a few months spent raising the kids, earning real money, finding a reliable second guitar guy and writing new music, Kruger are finally back with new material…” reads the press release coming with this 10” vinyl release 333 by Swiss post-metal sludge noise makers Kruger.

We have to go back to 2010 for Kruger’s last full-length release For Death, Glory and the End of the World, which was a fantastic album,so it’s about bloody we’re getting to hear some new stuff. And they have given us 2 tracks on this release, namely ‘The Wild Brunch’ and ‘Herbivores’.

First Track ‘The Wild Brunch’ instantly starts very metal, very sludge, with very intricate tempo changes from the first second onwards. Drummer Raph is a drummer I admire on this and the previous track. For who doesn’t know this, I am a drummer myself, so I firstly tend to zoom in on the drums when I listen to music. Anyway, don’t just think Kruger is all about being heavy sludge metal. My first impression was the slight change in sound compared to the previous work with this addition of more melody. In fact, this track in particular has one of the best melodic parts I’ve heard in any type of heavy music.

But it’s the second track ‘Herbivores’ that is the real beast on this 2-track release, which with nearly 7 minutes provides a great lengthy piece of music, jumping from heavy riffing to very catchy melodies. Singer Renaud starts with the opening line “Look at all those hipsters, eating right from the trees”, and as far as lyrics go (I’m not a lyrics person generally), they had me hooked instantly. Just listen to that guitar riff rhythmically playing away over similar rhythmic drumming, whilst the distorted bass sludges the whole thing into a mix of heavy melodic eargasm. This track jumps around slightly different rhythms and tempo changes, providing plenty of changes to keep these 7 minutes very interesting.  ‘Herbivores’ continuously builds upon a wall of sound, even when they take a slight step back after the first couple of minutes. There are moments when everything tends to turn into pure noise chaos, but the band always gets things back on track, partly due to the clearly understandable vocals by Renaud.

Both tracks are brilliant, and especially the chorus in ‘The Wild Brunch’ will hunt you for a long time, it will be stuck in your head and you just find yourself coming back to this release and hoping for much more to come from this band.

Obviously the dayjob and raising these kids did the band good as they’ve found a new edge to their blend of heavy post-metal/sludge. I sincerely hope these 2 new tracks are just the start of more great things to come from Kruger. I want another full-length album now.

A small word of advice, don’t listen to this release on public transport on a Monday morning on your commute to work. You’ll no doubt start air drumming wildly whilst banging your head frantically, causing strange looks from the average looking suits around you.

333 will be released on a limited, hand-numbered edition of 333 copies of coloured vinyl or digital download, both available through here.

A few years back I read an article from somewhere that had Alex Webster (Cannibal Corpse) saying he felt Aeon were his favorite death metal band at the time. This high praise lead me to seek out any music by them I could find. And I'll admit, it didn't do anything for me. Not quite sure why, just didn't. But, that was a few years ago. Things have changed. I'm balder, beardy-er and in general, even more red than I have ever been. (This is a reference to the color of my hair....and maybe my semi-Irish temperament). Anyway, back on track here. Aeon's newest album Aeons Blac" popped up on our promo list recently. I stared at it a few times, debating. But as usual: Fuck It. Let the death metal pounding begin.

Lead off track 'Still They Pray' is an anti-religious affair. Vocals backed up with a blistering backdrop of savage death metal. And lyrics bashing Christianity, OK, I'm in. (The lyrical content of the album follows this context plus death, revenge, murder, ya know, all the good stuff kids are brought up on these days). The guitar tone is somewhat familiar, but I'll let it go because its a tone I do rather enjoy. We'll just say that maybe Aeon caught wind of Mr.Webster's kind words.

'I Wish You Death' and the title track are two of my personal favorites in the mix of this album. The former bringing some really nice guitars with squeals thrown in the mix. And the solo is a building block of nice playing that leads to what I feel is the only appropriate way to perform a "breakdown" in death metal. And it doesn't overstay its welcome. Plus 10 points to Aeon for that. The title track starts out dragging bones to the cadence of "Where's your savior. Where's your God". It's a rather blunt message, but it comes across with conviction. The tempo stays in the mid-range. A nice chugging pace that will have the crowds throwing horns, head banging, and allowing them to scream the gospel along with the band.

'Maze of the Damned' could almost be taken as a Cannibal Corpse track. But, again, this isn't a gripe as Aeon throw enough of themselves into the song to make it enough of their own. Finally, 'Die By My Hands' rounds out this album of blasphemy and destruction just right. Those loving their death metal epics as a full onslaught should be sure to listen to this song. Scorching vocals, blast beats galore, winding guitars and even a tinged choir in the mix: all there to close this album in true fashion. And the lyrics may make you feel somewhat better about the shitty day you had at work. I myself need that every now and then, so I don't doubt you do too.

So, what exactly does Aeons Black accomplish? Why should you check it out? It's a modern day death metal album that would fit right in in the 90s. Its a middle finger to today's "pretty boy in a white shirt with nice hair, playing only breakdowns and chugging one string on his guitar" trends. It's what death metal needs to stay healthy and alive. Webster knew what he was talking about; Aeon wave the flag into battle and bring is back bloodstained for all to see. A death metal album, no more, no less. Nowadays its what we need.  HAIL!!

Be sure to pick up Aeons Black, available now through Metal Blade Records.

Beastwars hail from New Zealand, and after missing out when they released their debut I got onboard just in time for this new album. Luckily now music is truly global I'd heard a few rumblings from New Zealand about Beastwars. First thing that struck me was the stunning album artwork on both the debut and Blood Becomes Fire. Not worth much though if the music doesn't live up to the impressive packaging. Thankfully Beastwars do this and more, in truth the art and music go hand in hand portraying a dystiopian world of desoltion and war.

Lyrically Blood Becomes Fire is a concept album worthy of prog rock standards but musically Beastwars simply rock. Bringing to mind but never copying High on Fire, Motorhead, and even early Clutch, Beastwars are diesel drinking riff lords. "Obey the Riff" is displayed on their t-shirts and there's plenty to bow down to here.

Featuring the gruff tones of singer Matt Hyde, Beastwars don't waste any time getting down to business on 'Dune', providing a thick pummelling drive to get things started. Beastwars click as a band with Clayton Anderson providing meaty riffs and James Woods/Nathan Hickey handling the rhythm. 'Imperium' gets its hooks into you with some memorable riffs and melodies, one of many examples why Blood Becomes Fire rises above the pack.

'Tower Of Skulls' is one of my favourite songs by anyone around at the minute. Its catchy hypnotising rhythm grabs you from the beginning with Matt Hyde really excelling yelling "Come Join Us Here, Join Us Forever", it’s inviting and spellbinding. At times bringing Kyuss to mind this is a must have album for fans of sludge and stoner rock. 'Rivermen' is another highlight with its snaking rhythm wrapping its way around you. 'Ruins' is another full throttle rocker that carries more stomp than a herd of elephants. 'Caul of Time' is more subtle but is another that sticks in your head hours after listening with its infectious chorus. The album closes with the slow burning 'The Sleeper' displaying Beastwars ability to not just rock but pen damn good songs.

Blood Becomes Fire is the sound of a band hitting their stride and could make Beastwars your new favourite band. Available on vinyl and limited CD from April 19th and it’s available here.

And now for something slightly different: a renowned dabbler in experimental electronic minimalism has recently released a solo acoustic album. His instrument? A vibraphone. Masayoshi Fujita, best known under his alias el fog and for his collaborative work with Jan Jelinek (their first album Bird, Lake, Objects was released in 2010), is a Berlin-based musician "determined," in the words of Jelinek, "not to stick to traditional vibraphone styles or techniques" (whatever they might be; as a not-yet-century-old instrument, vibraphone history seems to be rather fraught with self-taught jazz mavericks).

The album unfolds just as the title promises: eight self-contained tracks dwelling (or rather: telling) on a theme. Almost haiku-like in their simplicity, these one-man tone poems summon some natural entity - think 'Snowstorm' or 'Story of Waterfall I & II' - circle around it, tease out a few perspectives, then drop it gently like a leaf falling, forgotten, from between your fingers. It's a familiar approach - reflection and containment lie close to the heart of much of Fujita's work. With one key difference: where el fog is a study in stillness, allowing vibraphone chimes to ring and sustain across loops and glitchy soundscapes, Stories must rely on different, purely acoustic means.

Here we find some of Fujita's signature touches, or 'preparations': strings of beads, metal or tinfoil laid across the bars, or bowing instead of striking the instrument. It's a vaguely unconventional approach, and on the whole he uses it well. 'River' sports a halo of tinny fuzz reminiscent of the skip and fizz of a lively watercourse. 'Clouds' is similarly evocative, with the breathy bowed bars building towers of harmonics, cumulus-like, above the anchoring bass notes, transforming the instrument in the ears of the listener to something akin to a shakuhachi wedded with a Tibetan prayer bell. In by far the most effective track of the album, 'Swan and Morning Dews,' he elicits from horsehair the far-off cawing of waterbirds. Here and there he adds a cello or viola counterpoint for tonal variation (so, not entirely a solo album... but no need to be picky).

As a whole, Stories is pattering, mellifluous, achieving an overarching serenity from lots of notes dropped quickly into a small space. Fujita plays with dynamics and decay to amass shimmering stacks of sound, sustaining them bar after bar before knocking them down in a single breath. As I said, he uses his instrument well - but that's hardly the sole requirement of a successful album.

Perhaps it's just me, but there's something about a vibraphone that suggests a dainty-footed creature trying not to get its toes wet in the middle of a swamp. Preparations or no preparations, as with any solo instrumental album it's difficult to carry a listener's attention through fifty minutes or so of the same voice. Without the timbral and textural possibilities afforded by other musicians or electronics, the emphasis falls squarely back on the compositions themselves - and it's here you get the sense that Fujita is struggling a little to find that finely-turned unity of vision he achieves elsewhere. For all its dynamic and harmonic lushness, the album sags a bit for want of musical ideas, and here and there it tends a little too far towards banality. Some of the tracks - most notably the first - can only really withstand one or two listens (especially if your boyfriend hears it and spends the next week singing it back at you, but that's another story). That said, there are moments in the opposite direction too: 'Clouds' and the aforementioned 'Swan' are standout (and stand-alone!) tracks that show Fujita at his best.

The album comes with a recommendation to listen to it late at night, in bed, with the lights dimmed. I would suggest instead a daylit snowstorm, on the couch, with the curtains open, because that more or less sums up the sound of Stories in a nutshell. It's one of those albums that demands a specific time and place of its own - and if you’re happy to provide it, you'll both have a lovely time together.

When I was given the chance to review the new album from a French heavy groovy stoner band I was intrigued. Groovy in the same sentence as heavy and stoner is a new one to me but don't panic this is not a new Austin powers soundtrack. This is Loading Data, a French heavy groove stoner band.

They are a three piece band that originated in France and have been on the music scene since 1999. In that time they moved to America done a extensive tour and worked with some very impressive people. Double Disco Animal Style is their third album.

This is an album full of great guitar riffs that even Tony Iommi would be proud of and some well written songs. There is also a guest appearance from the legendary Nick Oliveri. That in mind there is no denying the very similar sound to Queens of the Stone Age.

When I first listened to this album I was surprised by the very distinctive vocals. This was not the voice I had expected to hear but it became evident that this guy can sing. In fact Loading Data are a very polished band that will have your feet tapping and if you still have that tennis racket around I feel it may become the imaginary guitar from your childhood.

There are 15 tracks on Double Disco Animal Style and even though the opening track 'Double Disco Animal Style' will get your attention. I want to draw your attention to a select few that really stand out.

'Butterfly Shelf', this song offers a steady beat with a hypnotic keyboard that really drives this track along. All the instruments and vocals blend well. This is when the album really starts. Play it next to 'Midnight Situation', which makes a nice combo.

The track 'Gift' is similar to the Classic TV show the Munsters but when you hear the lyrics you quickly realize that this is not about family entertainment. Just play it loud!

If you want a couple of songs that offer a touch of Marilyn Manson, Queens of the Stone Age but still distinctively Loading Data then 'Alright' and 'Armageddon' will keep you happy.

My last track I want to point out is 'Hanging Low'. I love this track. The vocals work brilliant together. Nice heavy guitar and flowing drums and bass. Oh did I mention the lyrics? Very classy!

Double Disco Animal Style really grew on me, there are some great and quirky song on this album. I feel it will do really well.

I remember her, stepping, slowly, from the jagged frame. Her skin white, her eyes cold, her thoughts eternal. She never spoke again. 

But when surrounded by the dark, she carved colours with her shrieks. 

“But I don’t want to go among mad people," 
"Oh, you can’t help that, we’re all mad here. I’m mad. You’re mad." 
"How do you know I’m mad?” 
"You must be, or you wouldn’t have come here.” 

Embraced by pine and storms, we sunk her through the looking-glass, a vision of slow, harsh realities. Her journey ended, or never quite begun. All we have left are the shards. 

At least she got somewhere. 

The above writings accompany this split between Persistence in Mourning and Pentadrvg. The former being a band effort and the latter being a solo artist. On this cassette we have one track from each and a full collaboration on another track. The all around feeling if this music is eerie, drab-soaked, deathlike. Both artists are mourning Alice in their own ways, and then together.

I can't lie and say this was an easy album to review. At times writers run out of words or don't use words in fear of becoming stale, redundant and/or repetitive. So, sometimes we as writers must take a new way to explore music. To let it engulf us, to feel it. So what you're about to read may be words, but they are also images, sights and sounds.

Persistence in Mourning & Pentadrvg - 'A Funeral For Alice'
The echoes through these halls sound of death. The air is bleak, and soiled. The coffin being carried away, the loss of a life held within. The priest gives his speech, a speech of sorrow. Eyes are wet all around as the casket is set to be lowered. His chants and ruminating strikes terror in us. We did not wish this. Our faults and sin, Alice has paid a price. As the priest continues, the skies become black, blacker than the insides of Alice's resting place. They seem to scream at all of us. And we weep. We weep as the rain continues. I, I can hear a beating in my body as she is lowered. Flowers and goodbyes as everyone begins to leave. But I, this beating. I no longer know if it is within me of from elsewhere. Have I gone mad. This beating, its coming from behind me. I look and see nothing but a graveyard now empty of people. But the beating continues. I walk to the site of our beloved Alice and the noise, the noise is so intense. Have I gone mad. For days she has been gone. This isn't possible. I gather myself to my feet. This beating continues but I must not stay. I must not think such things. As I walk away I still hear it. I know now. Alice's life may have ended, but her journey, just begun.

Persistence in Mourning - 'Ceremonial Suffering'
"This is your fault. You're alive and she's not. You're the one, you. She'd still be here if you had watched her. We can't bring her back now! You. You. Why."

The nightmares continue every day. I don't eat or even leave the house. My Alice, I'm so sorry. This is my fault. I can't bare this pain. I no linger wish this burden. I want to leave this life. Alice. I will be joining you soon.

Pentadrvg - 'Cold Boiling'

I can see you. I missed you so. Come here Alice. Alice, why do you walk away. Alice, stop. Come here. Alice. Don't walk away Alice. Alice. Alice. Alice.

Persistence in Mourning and Pentadrvg have made a harrowing musical experience together. And, solo I might add. All three tracks fitting together as a package. As a story. One that may drive you mad...

Alice will be let out of her tomb and available through the always experimental Tartarus Records. Be sure to swing by their site and maybe even grab a shirt while you're there. (And maybe one for me as well. I wear a size large).

Support music and art that you love and enjoy.

Sometimes in life you find yourself yearning for a band who are going to take you on that dark ride of life where the whiskey flows freely and the devil and women go hand in hand. Italian band Tombstone Highway would like very much to be that band and if you listen to this album you will most definitely visit the aforementioned parts.

Soaked in a stew of Southern rock, Doom and Blues, Ruralizer is like the carnivorous half brother of all those 1970's bands who explored the highways and by-ways of the lost night. Relentless yet melodic, it is a blast of fresh air from all the seriousness of a metal scene which seems to have lost its sense of fun.

Things get off to a rollicking start with opener 'Old Blood'. With a riff lifted straight from a Cathedral song it gallops along at a fair old pace. A strange realisation that you are listening to a banjo in the background adds to this sense of being on the devils highway where deliverance may very well be around the corner.

'Acid Overlord' and 'Hellfire Rodeo' stand out from the first part of the album although you would be hard pushed to find anything wrong with the rest of the songs. There may seem to be no let up at times but this is alleviated by moments of melodic interchange which keep things interesting.

This perhaps highlighted by the epic 'At the Bitter End' with a middle eight which completely changes the pace of the song. This is then carried on with a solo worthy of the ubiquitous Southern Rock song Freebird and then to finish it all off, a nice bit of Hammond organ. Truly epic.

Perhaps the only bad point to Ruralizer is that it does get heavy going at times. Without a slower song of sorts to give you a breather, this is one for that car journey. Saying that, there is always the funky Mountain cover 'Mississippi Queen' or the introduction of cowbells on 'Bite The Dust'. Who needs ballads when you got a dirtiest rock and roll this side of AC/DC. Why can't all music be like this?

Writing a follow up to an album that held the return of a lead songwriter/guitarist, without said songwriter/guitarist because he left again, can be rather daunting. Take a minute and let that sentence sink in. Even I'm moderately confused by it but take a moment................ OK. We're on the same page.

Soilwork's primary songwriter Peter Winchers left (for the second time) during the touring cycle for the previous, and excellent, The Panic Broadcast. The band soldiered on and remained relatively quiet for awhile. Then at the beginning of last year we got wind of songwriting taking place. Now I'll be honest, no Winchers left me somewhat uncertain of Soilwork's ability to keep the music up to par with their previous output. Their other Wincher-less album Sworn To A Great Divide was OK, but lacked the hooks and strength I was used to. So, now that Peter is gone, we have a Soilwork with something to prove. And instead of one album for the naysayers, they decided to make a double album. These boys must have balls made of steel, bold move. So, let's look at what we've been given, and see if it's packing the fortitude.

Disc 1: 'Spectrum of Eternity' starts with a quick piano then an all out onslaught of blasts guitars and screams. And I cannot overstate the drums. Dick Verbeuren plays like a man with 8 arms and machine guns for feet. With a foundation like that you've got plenty of room to work with. Guitarists Sylvain Coudret and David Andersson move swift and clean around the fretboard, not letting up and moving riff after riff. Bjorn "Speed" Strid sounds in top form and one has to wonder how he sings so fast at times. Explains the name Speed.

'The Living Infinite I' shows the lighter side of the band to starts. Acoustic guitar leading into Sven Karlsson's keyboards, which he flourishes throughout. The bass of veteran Ola Fink is also felt throughout this song (and album as well). He's a solid player and songwriter. The solo on this song sweeps in ever so beautifully with a gorgeous tone, and doesn't overstay its welcome. 'Vesta' is a personal tune, one that spits it the face of the intended. An ace track. But the big winner of disc one is 'The Windswept Mercy' featuring vocals from Justin Sullivan of New Model Army. I'll say I didn't think much of his input at first. But after a few extra listens, it really sunk in, and I found the sound rather touching. And again, the solo...  Soilwork's doing OK without Winchers in the guitar department, no worries there.

Disc 2 (never thought I'd be saying that): Starting with 'Entering Aeons' with some slow drum beats and dirge fill guitar, this ones a chugger. A slow build to make sure you're ready for disk 2 (still can't believe I'm saying that). Then the guitars turn to some eerie picking patterns and move into track two, 'Long Live The Misanthrope' and it lives up to its title. Lyrics of anger and control and plenty of speedy guitars and drumming to accompany. Again, I cannot overstate drummer Verbeuren. His fellow band mates are no slouches either, but this guy would be forced to test for performance enhancing drugs if the metal league did that. He is just insane.

'The Living Infinite II' starts out much like its other half and then seems to bust out into a little more groove. A very head bobbing and foot tapping song with a beautiful bridge leading into the end. Worth a few extra listens from me. 'Parasite Blues' has a desperate feeling  that eventually deals like Speed is screaming at the sky and ripping his chest open to end whatever the hell is bothering him. He wants the world to hear him and what he has to say, all while using his semi-scream-sing voice. A trademark of his I've always admired. And don't forget the rest of the band. Guitar lines so smooth that turn at one point on the drop of a dime. I honestly thought my mp3 was messed up, but then they come back really quick and end on an echoey passage.

Disc 2 and entire double(!!) album closer 'Owls Predict, Oracles Stand Guard' is a simple chugging tune to start. All instruments locked in a simple beat with the vocals in line as well. As the entire album had music and vocals synced, parts of this song sound like Speed just screaming his piece over his band mates, and I mean that in a good way. It suits the music well. The lyrics "Three choices - Escape, Stand Guard or Give In" in this song seem to be a statement. The band could have easily just dropped off after past events, but they chose to stand guard. To hold onto the legacy they have made and will continue to build upon. And then the song keeps going as the volume fades out. No sudden ending. These guys aren't done, and with The Living Infinite as proof, not done by a long shot.

I'll be completely honest. I've loved Soilwork since I first heard them. Myself and a few friend bonded over our love of the Swedish Death Metal scene, and Soilwork was the favorite. So, the uncertainty of what this album was going to be was somewhat a shot at home. They were a pivotal band in the listening habits I have now. And while they may not be as heavy as some, they at least didn't take the route a few of their peers did. From Steelbath Suicide to The Living Infinite, they never hopped trends. And that shows the level of integrity Soilwork still hold. Now let's just hope the next albums not a double for those of us who still have CD players in their cars!!!

Catch Soilwork on tour in the US starting in April and continuing worldwide through the summer. The Living Infinite is available now through Nuclear Blast Records. Support the bands you love, and go buy their albums.

HAIL!!!!!

Brujas Del Sol are a four piece who hail from Columbus, Ohio but on the strength of the music offered here they could very well have come from outer space. Not the space of some futuristic Iain M. Banks novel though, but more akin to a 1950's B movie. At once retro and outer reach, Brujas Del Sol take you on a journey the likes of which haven't been seen since mid period Pink Floyd.

That era of Ummagumma and the ilk is probably the best touchstone for what,s on offer here. Brujas Del Sol deliver up a melting pot of “songs” which spread their wings and take flight just when you least expect them to. They sneak up on you and before you know it you are transported to a dust plain or a battle worn castle.

By expanding on a simple melody, each track takes its time to envelop you in its goodness. Opener 'Ships in the Distance' may sound like Primal Scream at their most baggy but this is soon put to rest as the guitars kick in.

'Satanic Surf Girls Love to Dance' follows with not only the best song title ever but a keen motorik beat to boot. It trundles along like a ramshackle train evoking images of surf boards from hell. This is the Beach Boys on a bad trip and its good.

The album does sag under the length of the tracks on offer with 'Noon on the Moon' just outstaying its welcome. This is alleviated by the excellent 'Baba Yaga' with its endless guitar solo. Reference points may very well be Floyd at Pompeii but there is also an intelligence here which demonstrates the talent behind this band.

Lengthy instrumentals may not be everybody's thing and it does mean you have to take time out to really listen but then that is what all great music demands. There is nothing groundbreaking here but it is well worth the adventure. Sit back and enjoy the trip, they don't make them quite like this anymore.