Aosoth formed in 2002 as a side project of French black metal act Antaeus. Eventually, Antaeus called
it quits altogether, allowing the members of Aosoth to focus on their brand of blackened death metal.
Focused, they have. With IV: Arrow In Heart, the band's fourth full-length album, Aosoth have
unleashed an infectious and epic new animal.

In an age when a lot of black and/or death metal bands care more for flashy technical musicianship over quality writing, it is quite refreshing to hear songs that have a bit of (black) soul; organic, layered, and ambient, as well as being crushingly brutal. Most every track on IV: Arrow In Heart is long, but never boring. Vocals atop innovative musical patterns and arrangements is the norm with Aosoth. Strong riffs and spot-on blast-beats, too. Nothing comes off as being blatantly formulaic. Nothing sounds stagnant. Songs like 'Temple of Knowledge' and 'One With The Prince With A Thousand Enemies' basically pull out a gun and force you into a long, black car, kidnapper style. Once inside, you're bludgeoned repeatedly with the butt of said gun. Yet, you enjoy the beating as well as the spooky, bleary-eyed, and bleeding ride. Destination: Hell.

For a three-piece, the band—made up of MkM, Bst, and Inrvi—sounds huge. The production strikes a
balance between lo- and hi-fi; sitting comfortably (and almost perfectly) in the middle. The cover art by
Benjamin Vierling is reminiscent of Italian Renaissance paintings and is outstanding in its own right.

Aosoth has gone on record saying making this album left some of them “physically wounded.” I can believe it. This is good, solid blackened death metal. Recommended by Satan himself. Now, get in the fucking car!

This is the second album from a band that I must confess, I know little about. A five-piece hailing from "windy Denmark", The Shaking Sensations have shared the stage with some 'glitteratti' of the post-rock genre and been around for 10 years. And I have never heard of them, or heard them. I hang my head in shame, for they are pretty good.

This album is produced by Matt Bayles (of Russian Circles & Mastodon fame), so with that kind of pedigree on board you'd expect it to be sonically impressive - and for the most part it is. What originally led me to put my hand up for this one was a synopsis that mentioned two drummers - in a five piece band I expected this to lead to some cavernous, apocalyptic drum sounds and a kick/snare combo that lifts the top of your head clean off. But for a lot of the album it's just not there, hinting in the background of what they could do as the guitar(s) chimes away in the foreground. And its two full kits as well - that much is apparent over the course of the album. So what happened? My guess is that it's two drum kits used as more than just percussion - this is two drum kits as instruments in their own right, contributing to the overall musicality of the album, not just a beat. 

The album opens with 'Rocket Summer', a fairly standard 10+ minute epic to kick things off. And it's all there - question and answer drumming, loud-quiet-loud guitars, thudding bass and restrained song writing. It's not bad, but I would've liked a little more use of the drummers, and perhaps a non-standard key change or two. It is nice however to hear two drummers in your ears panned left/right, with two separate styles that lets you know that this IS two drummers, not one drummer multi-tracked. The kits sound different, are tuned a little different (I hope - Sander, back me up here!) and have different lines. The guitars contribute well too, with some nice build ups over the course of the track.

Next is 'We Ourselves Alone', which I'll be honest is more of the same. It's not bad, it's just not memorable. I actually feel really bad for writing this because I've listened to this album at least six times now, paying my dues in the hopes that I would hear something new to make me feel like I 'get it'. The guitars on this track more than any other reminded me of so many other bands I know and love, and while that gave me instant familiarity like a warm favourite jumper, I was a little disappointed. But hey - do you like Explosions In The Sky? The End Of The Ocean? These Hands? God Is An Astronaut? Then you will dig this. Guaranteed. And the 'marching band' snare towards the end really added to it for me.

'Anchors' is next up, and the best track in my opinion. I really enjoy the guitar/drum combo here, with an excellent feeling of space and melody. The guitars soar while the drums keep you interested, letting some of the snare hits fall off the back of the bar while the bass is just there, under you. And the ubiquitous 'wall of feedback' guitar I hear you ask? Why yes, it's there, in full post rock glory, pummelling your ears as the drums build up to a big, loud crescendo. It's the shortest song on the album and I think they nail it with this one. There's no wasted space - and I'd love to hear it live.

The next great track is 'Ravelin', which while sharing a lot in common with 'Anchors' seems to extrapolate upon the theory somewhat. Even the Xmas bells sound good, and that's difficult when you brain immediately goes to jingle bells mode! More Sigur Ros-inspired guitars in the upper end of the melodic range with some heavy reverb and delay, while snappy cymbals and punchy snares force you on from behind. And I love the key change - glorious. Arms in the air kind of stuff. If you've had a shite day at work, come home and crack a snifter of your favourite tipple and put this track on. When the final guitar chord comes in and takes a bite of your eardrums while the other serpentine guitar line and the powerful drumming finish the job, it's definitely a 'it’s all going to be ok' track. In fact - hell, this is the best track on the album.

I don't think it's accidental that my favourites on this album are the two shortest - the longer tracks just seem to meander a little for me. Don't get me wrong, I love long tracks - I repeatedly cop a ribbing off mates when my song choice is 16+ minutes long but here they seem to drag a little. But it's not the musicians at all. Or the production. Maybe this album is a stepping stone: a clear indicator of where they are going, and how they are going to get there. If so, I'm along for the ride. One thing - more drumming! More!

Germany. The land of nothing I know about except for the obvious things. There must still be some pent up rage in that country though. Bands like Caliban, Heaven Shall Burn and our pick if the litter, Neaera. I'll say that I've heard all three of these bands over their careers. And as they the years have passed they have become great artists. Ours Is The Storm is Neaera's latest offering. So what do you say? Shall we visit the Germans for a bit? Hear what they have to say. Why not, I've always wanted to travel.

The album starts out with a building intro that erupts in to the title track, with a vocal declaration of "OURS IS THE STORM" backed with conviction. Clearly the three gears since their last release has lead to some built up tension. And we're going to hear about it.

'Through Treacherous Flames' starts simple enough with a guitar grinding away, but quickly throws in a drum fill that made me do a double-take. It happens again a few times throughout the song. Its a nice break from your regular drum patterns. The guitars mix up as well, throwing occasional effects in then diving into a sense of urgency. And the vocals stay torturous all while this assault is happening. 'Slaying The Wolf Within' doesn't live up to its name. it let's the beast run wild. And I'll leave it at that. Dang!!

The final two tracks let the storm loose. 'Back To The Soul' and 'Guardian of Ashes' paint pretty bleak pictures. There's a lot if frustration and desperation that runs through this album, and the end cap seals the deal. There's conviction in the feeling you hear coming out of your speakers on these tracks. The guitars racing, drums and bass pushing and the vocals hurting.

Neaera are in a league with their peers. After putting out albums year after year for awhile, they had three years to hone and perfect their craft. And time played off. Good job boys. Or should I say, Glückwünsche Jungen!

So, many people won’t know the Vasa was a 17^th century battleship that sank after sailing only two miles, we also don’t know whether this information influenced this band’s choice of name but Vasa is a lot more than that. Vasa is a young four-piece instrumental post-rock band from Glasgow, Scotland. 

Never Have Dreams is their first  EP and the name is in line with typical names used in post-rock genre.  The EP starts with a deep emotional song which is at odds with its title of “An Exercise With Unhappiness”. This contradiction between a pessimistic concept expressed by title with a joyful sound characterizes the whole EP.

As a matter of fact, sound becomes immediately dynamic and wild, as it seems to describe the wild and open fields of Scotland’s country roads. The four explosive talented guys manage the rainbow of sound with impressive confidence. Passing to ‘Cynthia’, the second track of the EP, time seems to fly as the exuberance becomes more and more invading.  The sounds seems to transform a typical Scottish Clan fest jingle in an elegant combination of ultra-modern sound.

The good mix of instruments together with a discontinuity of sounds brings you to a different level with ‘Empty Orchestra’ where you seem to reach the quintessential point of post-rock’s musical spirit. The Scottish band appears mature for managing space and time in the records they have recently produced. In the example of ‘Salamanders’ you are caught up in a ethereal atmosphere and it works perfectly as ambient and soft intro to ‘Not Now But Soon”, the last and longest track, that seems to physically transfer an entire Opera orchestra into your room.

Well done young guys, stand tall!

Wages, from Los Angeles, specialise in making the kind of music that reaches right into the part of my brain marked “favourite new bands” and launches it stereophonically to both ears. I know it’s going to be something special when on first listen I have a hungry yearning for the second listen and that feeling washes over me. Shady Chamber manages to do just that. And then some.

When you create music that echoes (my) long-time favourite acts Jane’s Addiction, Cocteau Twins and The Magnetic Fields, you’re always going to win me over. Just exactly how you get such diverse bands into one release is a feat in itself, but Wages do.

It’s the range and passion of singer/guitarist Nick Campbell’s voice replicating Perry Farrell’s haunting tones and there are also moments when I hear Liz Frazer’s arching angelic mannerisms. Nick’s voice is at times spine tingling and is expertly backed with simple but effective arrangements that rise and fall, equal parts ethereal, equal parts metallic squall. Shady Chamber reminds me in some ways, of what it was like all those years ago to hear ‘Ritual de lo Habitual’ for the first time. Hey, Wages are from L.A, so maybe they got their inspiration from just up the road.

Opening tune ‘Eternal’ is something of a red herring, there’s every chance you will listen to it and wonder what on earth I’m on about. All jangly guitars echoing the likes of Teenage Fanclub, it’s not indicative of what’s on offer with the rest of Shady Chamber and is a risk to put as the first track, in my opinion.

It’s the second tune ‘Pull Through’ that grasped my attention, the hymnal, hushed vocals and melancholic (yet uplifting) melody tugged immediately at my heartstrings, ushering in the urge for more. ‘Unity’ features one of those moments in a song where the slow build-up of the mid-section lets you know you’re about to be hit with a rush of glory. The guitars swell louder in the mix and Nick lets rip with soaring vocals. The moment is over all too briefly, but Wages are masters of writing concise pop tunes.

Reeled in by now, it’s ‘South China Sea’ next and this is the track that could have appeared on The Magnetic Field’s superb 69 Love Songs. The plucked guitar sounds really do transport you to some far-off Asian utopia and the simple melody is given loving attention by the transcendent Nick. I’ll never tire of hearing this song. Beautiful.

Step up ‘A Little Thing’, the real Jane’s moment. It could almost be Perry singing this one, the vocals being twisted and pushed further out into the limits of space (and echo). Astonishing falsetto washes over you, you begin to reach for the repeat button.

Closer ‘Cyril’ quietly ends ‘Shady Chamber’, a sad, but beautiful lament for someone somewhere, again led by a stunning vocal performance.

I didn’t even know they existed, but I want more from this band, imagine my joy to find there’s a back catalogue waiting for me on their Bandcamp page. Thank you Wages, for giving me the music, I’m more than happy to pay your way.

Rorcal are a Swiss band who I'd been listening to a lot in the build up to Világvége being released. Their previous releases were top quality heavy and slow exhibitions of doom. Sometimes like on various split releases venturing into long ambient tracks that were equally impressive and experimental

Világvége, sees them move in a more abrasive and at times faster style. It maintains the standard of before however, being an excellent addition to their catalogue.

Things start in with 'I' little more than a dense drumbeat and pulsating atmospherics, it serves as an introduction to Világvége. The second track unleashes a hellish slow and aggressive assault on the senses. Guitars heaving with desolation and tortured vocals, this is some seriously heavy shit. The pounding and sustained rhythm is unrelenting, leaving you a bit shell shocked.

'II' quickens the pace, exhibiting more of a black metal influence than before. It's still devastatingly heavy, full of bleak guitars and frantic drumming. It still manages to have this sound Rorcal create of their own. Featuring elements of hardcore and some excellent riffs and twists it’s a varied sound. Világvége continues to go back and forth from doom to more aggressive delivery, at times merging it all together. Rorcal aren't afraid to mix it up, with the variety and complexity of the music. Take the shit scary piece of Damian like classical music at the end of 'V' for instance. 'IV' is full out relentless and uncompromising, probably the fastest and most aggressive thing they've done. Elsewhere, 'VII' features more melodic guitar parts and various shifts in tempo.

It’s an excellent release, although I will take a bit of time to adjust to its more aggressive leanings. However they've provided us with plenty of slower doom releases and maybe they felt the need for the change. Világvége maintains the quality of before just now delivered with more menace and growled aggression. It should also make for an even more intense live experience.

Világvége is available now through Bandcamp here. I fully recommend collecting all their releases if you haven't already.

Say what you like about the Catholic Church, and there are many differing views, but they know how to put on a show – thousands huddled in the dank of Rome waiting for a white plume of smoke from a makeshift chimney atop the Sistine Chapel. They are masters of suspense and ceremony.  Oneida manage to pull off the same effect without a Michelangelo daubed ceiling and with only minimal props.

They, along with the Church, inhabit their own hermetically sealed universe impervious to trends and outside pressures as their long career proves. Their gig in the angular confines of Corsica Studios is long and the build of energy is both jerky and jovial. We’re treated to ninety minutes of ramshackle post-punk prog with the massively repetitive ‘Sheets of Easter’ starting us off.  Words quickly cease to mean anything and the music takes over.

After an abortive start, “we’re not sure what you’re here for is the same as what we’re here for.” Oneida get it together, “we’ve been playing the blues together for sixteen years” then manage one song before there’s another mishap: a broken snare drum. Calls go out for a replacement amid the band’s Airplane! in-jokes. A new snare is secured from somewhere and the band return to their act of alchemy. Ear prodding dub dissolves into electronic meditation and it becomes clear that Oneida’s bodies and equipment are more likely to give up before their imaginations do. 

For a working band of sixteen years, Oneida are still remarkably vital with Kid Millions leading the charge with his endlessly clattering lead drum playing.  ‘Up With People’ flaunts the bands duality: equal parts Sabbath and kosmische; they’re pagans with eyes on the cosmos, like Crazy Horse with a science degree. At times the complex jams that form the latter part of the gig lose the more distracted parts of the crowd but overall Oneida deliver their distinctive genre-trotting undulating set with aplomb and good humour. Like the masses at the Vatican, Oneida’s fans leave feeling re-energised, their faith intact.

A band consisting of former and present members of bands like of My Dying Bride, Akercocke, Dark Veil and The Order of Apollyon had a fair amount of credibility before the music was even written. But once the music was written and laid out to the masses, it was time to check out the goods, and to see if they pass. I'll admit, I had minor reservations, I like a fair amount of black metal, but not all. And although I do believe this falls in that category, it has plenty of death metal mixed in for my taste. I'm in luck...

'Dnepropetrovsk' is the title of the opening track. (I hope one of my beloved colleagues can tell me what that means because I have no idea.) Siren raining guitars and blast beats tear this track right up from the start. Only to lead into a catchy-as-all-fuck guitar melody that I will have stuck in my head for days. Then we're back to the sirens and blasts, all while vocals that sound like a tortured man screaming at god for revenge are aimed right at you. 'Unawareness Of Human Emotion' sounds just like it says. A twisted heap of charred metal is thrown atop of you and then the clean vocals come in. Sung in a choir-esque voice to taunt you, and eventually acoustic guitars lead the caravan away from your broken body. Bastards.

'This Too Shall Pass'  is somewhat experimental in its use of dissonant chords that flow right into death riffage then right into an epic, urgent guitar flight that's accompanied with cries for help from what ever the hell is devouring our lead singer. The female moans in the latter part of the song are a nice touch and fit in pretty well. Ousting track 'Endless' begins with acoustic guitars and a somber piano, only to have urgent, hopeless, panicked guitars, drums, bass and choir-ish vocals throw back at you. Maybe I'm a sap, or maybe I'm just having a bad day, but the feeling of this song just sits deep in my heart and evokes a swell of pain, near teary-eyeness out of me. And in black metal isn't that the point. To capture the savage raw human emotions? Well before I can wipe my eyes the music is brought back to the basement of torment and I'm getting my limbs lashed at. One more break to let my wounds fester then the piano and acoustic guitar come back to drive the nail in my coffin. Beautiful.

There's not much to say aside from the fact that this album is a success. I felt rage, sadness, regret, sorrow...you name it I felt it. One hour after I pushed play I'm left with a half full ashtray and a gratefulness that I don't drink. For tonight would be a cold one if I did.

Voices'  From The Human Forest Create A Fugue Of Imaginary Rain is available now via Candlelight Records. Please go pick it up and support artist you enjoy. HAIL!!!!!!

The internet age has made finding music an easy thing. I'm not that old, but I still remember having to file through rows of rows of metal CDs, looking at each one, just trying to find something to get. CD shopping used to be an hour to two hour excursion. I'm sure I had a few employees worried that I was going to steal something, but I just wanted to make sure I didn't miss something. But now, now its a few clicks away. And with the ease of finding music, came the ease of bullshit acts putting out bullshit music to try and make a dime. And a lot of them did/have/are doing so. But, thankfully, there are some genuine acts out there that know about hard work, perseverance, and embracing the new age.

Enter Nordor. A death metal band with plenty of Satan, hatred, and pure fucking strength in their music. I'm grateful I found these Athens, Greece-based veterans. Formed in 1989, they've released demos, mini-cds and a few full lengths to their scene. And I can only hope they keep on going and make it worldwide to spread these tunes of....FUCK. That's all I could think when I first heard them. So I'm going to tell you just what that "FUCK" is all about.

After the obligatory intro, Nordor busts in with 'Memories From The Future'. Groove and speed mixed well. And I cannot get over this guitar tone. I'm sure plenty of bands have done it/it's been heard before, but it's a badass tone. It's close to the classic "buzzsaw" tone, but not exactly. They keep the momentum going throughout the entire album, throwing the occasional sweet 30 second solo, until 'Vow', the forsaking of Christ and vow to Lucifer being recited between an elder man and young child. I imagine it's a movie clip, and I need to find this movie. It fits in with the evil these Greeks pound out.

After 'Vow' it seems the band are ablaze and ready to destroy everything in their way. 'Bow to Me' is a 3 minute trip through knives that ends so perfectly, with a seamless solo slid in before an anxiety inducing ending. Closing track 'Hyenas Embrace' is a short instrumental track. Completely perfect for when you have this album on repeat, like I do.

So, Nordor have been around trading tapes the CDs and now the digital age. Undeniably, people think of Rotting Christ when they hear "Metal band from Greece". But after hearing this album, I'd put Nordor in the same breath. Here's to bigger and better thing for Nordor!! Spread the word, my friends. HAIL!!!!

Nordor's Erga Omnes can be found on Deathrune Records' Bandcamp. Support music and bands you love. Go buy this album.

It’s been a while since I got taken back roughly 20 years in time when I was still listening to bands like Obituary, Bolt Thrower, Cannibal Corpse, Malevolent Creation and many many more on a regular basis. Yes, I’m talking about death metal and not the kind that has been mixed with various other metal genres, but the old school straight in your face death metal kind. Rattenfänger brings this genre back on the map with the release of their album Epistolae Obscurorum Virorum by Dark Essence Records.

This Ukrainian band is made up by members of cult acts like Drudkh, Blood of Kingu, Hate Forrest and Dark Ages, and consists of Thurios on guitars, Krechet on bass, Vlad on drums and Roman on guitars and vocals. Rattenfänger is a different beast all together and brings death metal back in its devastatingly original form, namely pitch black and bone crushingly brutal.

Epistolae Obscurorum Virorum opens with the “classic death metal” intro track named ‘Coelo Affixus Sed Terris Omnibus Sparsus’, which consists of some deep choir-like singing over dark keyboards chords and violin accents all accompanied by what can only be described as a priest or something similar preaching in Latin. It almost sounds like the soundtrack to a classic horror movie.  This goes on for nearly 2 minutes before it literally blasts off into the following track ‘Grimorium Verum’. Yes, another Latin song title. This is because Rattenfänger’s vocalist Roman grunts entirely in Latin throughout this album. And it’s not just any grunt, it’s one of the deepest and heaviest grunts I’ve heard in years, matching Bolt Throwers’ Karl Willetts quite closely.

The 3rd track ‘Victa Lacet Virtus’ kicks off with a riff and steady double bass drums, which instantly triggers my headbanging instinct. There are some nice keyboards added to the heavy death metal mix giving this track a bit more melody and atmosphere.  The outro to this track is a nice continuing from the intro track before it turns into the longest track on the album ‘Nunc Scio Tenebris Lux’, which has a more dark feeling and gives the album a bit of breathing space.

It all blasts off again with ‘Allegoria De Gula Et Luxuria’, ending again in an outro thematic to the intro track of the album. In the following track ‘Clausae Patent’ Rattenfänger demonstrates some classic trash metal influences almost reminiscent of a Testament in their older years. It’s a shame I never took the opportunity on board during my highschool years to learn Latin as the next track ‘Deest Remedii Locus, Ubi, Quae Vitia Fuerunt, Mores Fiunt’ has one of the most intriguing song titles I’ve ever seen. It’s again a bit of a slower track even adding some near acoustic elements towards to end of the song to then end in some enormous blast beats. Epistolae Obscurorum Virorum ends with the final track ‘Regno, Regnavi, Regnabo’, which is another classic death metal track, bringing this brutal album to an end.

Epistolae Obscurorum Virorum is an album full of brilliantly produced double bass drums, blast beats, heavy death metal grunts, essential keyboards elements and plenty of very heavy guitar shredding, which will please any fan of old school death metal.

2011’s The Octopus represented a huge step forward for Amplifier. After two albums of trippy heavy rock, the Manchester band embraced their prog leanings for a two hour opus. As brilliant as that album is, it can be a struggle to take in at one sitting, just logistically, never mind musically. Echo Street can be seen as their reaction to The Octopus - more concise and direct, it loses none of its predecessor’s grandeur and delivers some of their best tracks to date.

Reflected by its title, Echo Street is the sound of a band learning from its past, revisiting its origins but feeding these data into something new. Several of these songs have been modified from jams in the early ‘90s, years before they released their debut. As leading light Sel Balamir puts it, they have been “put through the Amplifier prism”. The results are mesmerising and, in some instances, surprising.

The slowburn of the opening track, ‘Matmos’, becomes a raging bonfire over its eight minute duration. Immediately this sounds like classic Amplifier but with a fire in their bellies to keep forging forward. The loose, improvised beginnings of a track like ‘Extra Vehicular’ imbue the music with an organic flow. Balamir describes it as one of the band’s “journey” tracks. Surrender to the wave and it will send you crashing and breathless onto the land with its stunning denouement. 

By contrast, the middle section of the album is dominated by more song-based material, often employing acoustic guitars. ‘Where the River Goes’ has had me reaching for the repeat button on several occasions while the cinematic ‘Paris In The Spring’ has a latter-day Marillion feel. Initially this quieter side of Amplifier was a little jarring after the bombast of The Octopus but subsequent listens have revealed the songs’ gentler charms and intricacies. Most importantly they represent a band that is self-aware enough to not retread its footsteps.

This is easily the most diverse album Amplifier have released so far. Seemingly by echo location they have probed into their history and uncovered several new and intriguing directions as a result. This will prove to be an extremely important album in their development as they have created a number of possible futures for themselves while retaining the DNA of those formative years.

Intronaut have been evolving since they began putting albums out, Valley Of Smoke for me was a high point, and Habitual Levitations reaches even further.

At times more melodic and tapping into their progressive side at will, Habitual Levitations will please old and new fans. It’s possible the nearly all clean vocal style will challenge the more cynical of listeners. For me it’s the music and balance that's more important, the style covered musically sits well with the melodic vocals. Riffs break loose on opener 'Killing Birds With Stones' before Sacha Dunable’s melodic voice asks "Does the day keep you up at night?" It’s a gentle and almost soothing start to an album, but intertwined with the riffs it shifts into more progressive territory. With Danny Walker's precise and complex drumming as always central to things, the track transforms various times. Balancing harmonic vocals with prog-tinged riffs it’s an impressive start, which never feels like the seven plus minutes running time.

'The Welding' begins with harsh guitar effects and Joe Lester's dominating bass, another glorious shape-shifting track, with some King Crimson influence notable. Intronaut have managed to create one of their most experimental yet accessible albums to date with Habitual Levitations. Tracks seem to veer off with a jam-session quality, 'The Welding' is a prime example featuring some of Habitual Levitation’s heaviest moments.

'Steps' features some glorious guitar work and frantic drumming before locking into a groove with trance inducing vocals. It has always been the case that Intronaut are hailed for their musical capabilities and technique. This could be the album to see them recognised for their song-writing equally. 'Sore Sight For Eyes' rolls out huge riffs and soaring vocals, again never adhering to formulated structures. Here again Sacha Dunable's vocals creating a mellow counter to the music’s heavy tones and complexity.

First single 'Milk Leg' is frenetic and complex with really astounding drum fills, the swinging riff, rocking back and forth as the track unfolds. It launches into instrumental progressiveness towards the end. 'Harmonomicon' is one of the more mellow tracks, but still not even straight forward. A Hawkwind like riff opens 'Eventual', building steadily before exploding into life. A heavy Baroness like vocal and snaking riffs drive this track on before an infectious melody is the songs turning point and again it veers off into another direction. 'Blood From A Stone' continues in hushed style, gentle and melancholic one of the shortest tracks on offer. Closer 'The Way Down' ends the journey with a mixture textured melody and punishing rhythms.

Intronaut have proved again why they're so highly thought of. Habitual Levitations is released on Century Media on March 18th. Pre-orders are available here.

Norse: adjective
1. of or pertaining to ancient Scandinavia, its inhabitants, or their language.
2. Norwegian

noun
1. the Norwegians especially the ancient Norwegians
2. the Northmen or ancient Scandinavians generally.
3. the Norwegian language, especially in its older forms.

So, Norse named themselves with a term holding a fair amount of heft. My only piece to say about it is that they originate from Australia. That said, many bands delve into origins that are not close to home, but close to heart. And Norse are one of those bands.

Norse consist of two members (the band uses session musicians for the studio) in Treelo on guitars and vocals, and Frog on drums. I personally enjoy albums like this. Not to dismiss full band efforts at all, I love those just as much. But for two guys to be sitting by each other, jamming songs, coming up with music; its bound to bare a personal reflection. "Yo compadré. Me compadré." Ya know what I'm saying? Its like when my brother and I used to play video games together. He would plow ahead and I would be stuck beh......OK. Bad example. (My brothers the shit though, for real).

The vocals on All Is Mist And Fog mix very well with the music, very in rhythm with one another. The lyrics of pain, loss and resentment just keep stirring the angry pot here. Opening song 'Neglect' starts with blast beats, squeals and bends that just pull you into the ensuing swarm of wretched noise. Only to break from time to time for the pitch harmonic laced with scratching screams. Very nice opening track.

'Plaguewhore' immediately caught my interest just due to the name. Don't lie to yourself as you read this. 'Plaguewhore' might be one of the best song titles of the year. But does the name back it up? Yes it does. Bringing a soundtrack to tale of anger and sadness, screamed and spoken, at times. A piano graces a portion of the end, just to help make you wallow in your self pity and heartache. (Bringing a slight set of wet eyes to this fellow). Then they bash out the last minute with a blackened chug that's bound to summon fits of rage from your heart.

Album closer/suicide watch companion 'Gravel' is nice and slow. Poking and prodding at your scars. Imagine knowing your fate, but just not the exact date and time, terrible feeling huh? Well Treelo and Frog feel it to, and want to share it with you. Nice and harrowing end to an already depraved offering.

If you need a few day to be locked away with your thoughts, I say maybe stay away from this. But if you want to just feel something, some emotion of revenge, misery, sorrow and torment and then just go on with your day, check out All Is Mist And Fog. Razorblades sold separately.

HAIL!!!

In the accompanying press release for debut album Aetherial, Houston natives Oceans of Slumber state that labeling them is "never quite as easy as one would think" and that "musical classification is of no interest to the band". Which is a bit of a bugger really as it is my job to describe to you what kind of band/album you will have on your plate once you press play. Hmmm how about this....

You know when you have a chain of thought that seems to make random leaps from one subject to another. Something like 'ooh I'm cold.... Wonder how a plane actually stays up in the air.... I could really do with a big slab of cake right now..... Hey look! A bee!.... Did I turn the gas off?..... Mmmmm cake' - those kind of thoughts. Well that's what Oceans of Slumber are like - one minute you're spiraling though a jazz odyssey the next it's all gone a bit Burzum but hold on a second where did this mellow bit come from woah hold up we're breaking out the mosh riff now.

Yes...... A bit like that.

None of this is really surprising with a drummer is from grind merchants Insect Warfare and a highly proficient jazz guitar player. Equally at home blasting you in the eardrums with a gazillion notes second as well as blissfully melodic passages that make you weep; this is truly a progressive band in the very truest sense of the word. Able to seamlessly segue from style to style without it feeling like a cut-and-paste-in-Pro-Tools exercise.

And it's not just the music that is a tour-de-force either. Singer Ronnie Allen demonstrates the unbelievable variations that the human voice is capable of from the guttural grunts from Satan's deepest bowel to a surprisingly melodic voice which at times conjures up Robb Flynn meets Mile Patton. And drummer Dobber Beverly needs to be heard to be believed. It would come as no surprise to me if I was to be shown a photo of him and he did indeed have 3 arms. Either that or Doctor Octopus has given up trying to annoy Spiderman and has taken up drumming.

I've not gone into a track by track review for good reasons. Mainly because there is not enough space on the Internet (as a whole) for me to adequately cover them in full and also this is really an album to be heard. There really is something for everyone on here (If you’re a fan of heavy music that is. If you’re looking for drum n bass-reggaeton-soul-funk you’re shit outta luck. Sorry). Not a fan of shouty vocals? Fear not, there'll be some singing coming up. Not a fan of girly melodic guitars? Stand near the bass bin then as some shards of metal are heading your way in a short moment.

Now, did someone mention cake?

'The Big Statement' seems to be the new loud in rock circles these days with Joy Formidable already this year building on the sub-Biffy Clyro riffs mixed in with emotive lyrics. The Lost Souls Club can now add their name to that “club” with this, High Noon.

At least that's the impression you get with opening track ‘Romeo’, a song designed to make all Kerrang readers go weak at the knees. An interesting Sabbath riff starts us off but we soon veer off into generic rock territory. This could all end up bad....

Then ‘Kiss Away the Sun’ begins. It is a sun drenched psychedelic tune not unlike anything Madchester around about 1992. Guitars weep in and out of the mix and vocals take on a proto-ecstasy sound. This is good and worth the admission alone.

A lot of hype surrounds this band at the moment and you can tell they are being geared up for the big time. There is a distinct lack of big rock acts and The Lost Souls Club are certainly badgering for that spot. Fourth song ‘We're All Gonna Die Anyway’ is a prime slice of big rock action and comes rushing at you in a swirl of guitars and drums. It demonstrates that there is more in store from this lot when they decide to cut loose and move away from the over emoting.

A good start then and one that's bound to win them a fair few friends. As long as they keep the hype machine at bay they have a great chance of carving out a career akin to Clyro. It’s a sticky slope though and many a band have fallen at first hurdle.