Goddag music soldiers. Oxide Tones opened its castle window and a fresh wind from the north of Sweden arrived bringing a wave of energy: let’s say hello to Sey Hollo, the one man band that is giving a great contribution to the Swedish musical scene. Sey Hollo is Sebastian Larsson and the main tag applied to his music is post-rock but I think that he goes farther exploring the land of post metal and progressive rock. Sey Hollo is really an open-minded rock band.

Sey Hollo’s first album was released in 2010 and in the two years since Larsson has put out 2 further digital releases. Kombinat is the new album and a mother of pearl in the instrumental rock scene.

In his project Larsson combines elements of post-rock and metal influences exploring the realm of the sound he has crafted over these years and conjures an album that will appease long time fans and newcomers alike. Kombinat is aligned with the previous album and fans of Sey Hollo will recognize the vocal samples that the Swedish artist used to put in his songs.

The new album is a show of musical strength, effort, feeling and solidity that goes through 6 catchy tunes in about 50 minutes – the shortest track being 5 minutes long.

The opening ‘Bunker of Bare Life’ is a sample of the album as a whole. It contains all the elements we’ll find throughout our northern journey. The song induces a tremendous vertigo with its bouncing, serpentine guitar lines that dominate the main rhythm of this track. And the second half of this tune has a rhythm that doesn’t allow you to rest: it keeps your heart beating together with the drums and the psychedelic loop that Sebastian created.

If you are thinking of having a break ‘Haraka Haraka Haina Baraka’ will betray your expectations. It begins with a growing bass drum pattern accompanied by an oscillating synthesis and echoing tremolo picked guitar lines. An 8 minute song in total and, after the first 3 that are mainly metal, the rhythm changes completely like a crack in a wall and the beauty that follows will let you flying away and develop an emotional resonance you wouldn't expect. The light flows high through the hole and the darkness of the intro disappear, however towards the end of ‘Haraka Haraka Haina Baraka’ darkness comes back again. This mix of edges and sonorities is wonderful.

‘Terroture’ is epic! This song moves and you can't avoid coming along for the ride. There's something irresistible in it. A dark tune dressed with a memorable melodic sauce with a continuous crescendo. 7 minutes closing with vocals, the oldest music instrument. This song is a work of art and definitely my favorite song from this album.

‘Lusaka Funeral Association’ is built around two dangerous riffs, the second more progressively shattering than the first one. Listening to this song has the effect of suffocating: you are in a room and the air is slowly ripped from your lungs but few seconds before the total darkness prevails an unknown force pulls you upward to a mysterious haven where you can breathe again in the presence of something eternal. The eternal space is offered by ‘Crowds at The End of The World’, the longest track on Kombinat. The two songs together are a mix of loud and soft contrasts characterized by playing lingering, drifting notes and heavy riffs.

The closing ‘Jimmy’s’ starts with vocals talking about our everyday sharing of knowledge, experiences and ideas. Only Jimmy doesn’t want to do it! This track is dominated by a memorable piano that makes you stop and saying ‘‘hey, what is this?’’.

‘Jimmy’s’ is out of the chorus, it’s another album, another world or the celebration of an end. It’s full of light after an intense journey through darkness and lightness alternation. It’s the wonderful conclusion of a great music show.
I listened to this album again and again and I’m impressed by its beauty. Kombinat is intense, dark and mysterious but also full of hope. I really love it.

Of Martyr’s Agony and Hate is the second album from five-piece, Spanish, brutal, tech/ death metal band Scent of Death (currently signed to Bloody Productions). Formed in 1998 Scent of Death, have seen several changes in line-up, and waited six years between releasing their first 2005 album, Woven In The Book of Hate (that I’ve not been able to get my hands on) and the recording of this follow-up album in 2011.

After completing the mastering of the album in 2012, Of Martyrs's Agony and Hate was released through Pathologically Explicit Recordings this year. Consisting of nine, dark and grisly tracks that are hard, fast and frantically complex, ultimately defining that in short, it is quality and not quantity that takes precedence in relation to the direction Scent of Death have been travelling in over the last fourteen years, and the level of blood, sweat and nightmares that presumably - if this album is anything to go by - have gone into their recording process.

The album begins with ‘Awakening Of The Liar’ which as far as its intro goes may as well be the noise you’d expect to hear when you’re screeching open the gates of hell. As the unpleasant ghosts and ghouls of the past are fully awoken and unleashed, I’d suggest you run for your puny insignificant lives ahead of tightly wound brutal tech that will pummel the fu(ck) out of you if you stand still too long. Then there’s ‘The Enemy of my Enemy’ with creepy, sinister growls, and impressive blast beats and shredding it’s kind of like inviting a sped up version of Cradle of Filth and DragonForce to a party and having them endure a heated argument with one another via the medium of sound. Or to be less imaginative, think in the “eat your heart out and devour it” style of Morbid Angel.

Even the slower paced tracks on the album hold no mercy being just as impressively stifling and intoxicating still holding the tenacity to evoke the anti-Christ. Look out for ‘A Simple Twist of Faith’ for a daily dose of “this is what happens when you wake up a raging beast.” and the very much needed interlude “The Sleeper Must Awake” for melodic instrumentation that goes to show however brutal/technical/outrageous these guys are, they are so much more than growls and beatdowns. Fans of Immolation, Morbid Angel, Cannibal Corpse, come out of your caves and grab a copy, this album’s for you. Finishing thought: If this is what hell on earth sounds like…I kinda like it.

Here we go again. Canada brings in another blistering slab of metal, albeit black metal. Gevurah claim to uphold the true values of black metal, praises to Satan with intellectual thought into their music and lyrics. I myself am no professional on the fallen angel myself; I’d say they’re doing a good job though.

‘The Essence Unbound’ is slow lighting of the candles before the attack of blast beats and tremolo picked guitars begin to dominate your ears. The vocals are clean in a sense that you can make out the lyrics, but make no mistake, they are spitting evil. The occasional Tom G. Warrior “UGH!” is thrown in as well, much appreciated. At one point the drums lead out and you think the song is over, but it’s simply opening up for an eerie guitar passage and incantations for the damned. ‘Flesh Bounds Desecrated’ is a straight shot of evil all the way through, sometimes pushing the vocals into the background and the bass forward in the mix, making the vocals more of an instrument for atmosphere. It adds an all around evil to the song that sounds perfect.

‘The Throne of Lucifer’ stays a slower pace with a great set of guitar riffs all over the song and a steady, slow and strong beat. Occasional speeds in the drums do occur, but this song is all burning hellfire and devoting. Vocals are mixed between yells and chants (and one more UGH! for good measure). ‘Divine Ignition’ is the mass at its highest moments. A mixed-bag as far as tempos and volumes, but make no mistake, this is a dynamic ritual being performed. The last track, a cover of Malign’s ‘Entering Timeless Halls’ rounds out this Ep nicely.

A fine EP of black metal: end of story. If you like the genre you’d be a fool not to pick this up. Black metal for the black mass. May 28th through Profound Lore Records, mark your calendars. Pick up this brief sermon and enjoy.

HAIL!!!!!

A ghastly feeling immediately takes hold upon introduction to the Black Testament. As the pages turn, the body is slowly sucked in and encapsulated in darkness. Rigidity is felt in the hands and the stomach as the sounds begin contracting their heavy grip around the intestines. All of a sudden a cold chill and a familiar transfixing energy are felt.  The dynamism of obscurity and decay, the recollection of life lost.

As one song bends to the next, the progression follows a journey heavy with rapacious vocals that ignite a fear that’s both disquieting and apocalyptic. As 'Carving A Temple' progresses, so begins a walk down a spiral staircase of unimaginable expanse. This descent is both dark and dreary alike, reminiscent of something unknown and unsettling. The drums create a storm and the guitars weep, the atmosphere grows darker and darker.

‘Eyes of the Earth’ strikes with an eeriness that feels as though you’re being watched from afar, like an ominous being is burning a hole in your back. With a guitar sound that almost screams, a grimacing scene is painted. The album closes with ‘Black Testament,’ a song that winds and weaves in haunting tempos that guide the listener to the end, unleashing the hammering that closes the book.

This album as a whole will delight the tastes of someone with a thirst for Dissection (only more raw), Watain, Sorhin, or Craft. Hailing from Sweden, this is the bands 7th full length in follow-up to their last release, Wrath Upon the Earth. Svartsyn is a Swedish word for “pessimism,” and the gloom and blackened ghastliness of this album holds true to that meaning.

With their full-length debut album, The Only Truth Is Music, 6-piece His Name is Codeine present a subtle blend of mixed-up Americana fuzz and reverb heavy punk and psyche-rock. The band are clearly influenced by The Velvet Underground (VU), Spiritualized, The Black Angels and The Jesus and Mary Chain and have used these groups as a springboard to create a dense, energetic and impressive record which is happy to be both seedy and, at times, extremely refined.

This is a difficult balance to achieve but when they get it right we are treated to indignant and concentrated songs which suggest that the band want to break free of the small-town of Elgin and soar much, much higher.

The LP opens with ‘My Tragic End’ which sees surges of passionate punk guitar blending with Lyn Ralphs's rumbling vocals. This is pop with a prog rock edge, all dished-up with self-assurance and vigour.

‘Before the Apple Fell’ follows, their first single, which perfectly balances arrogance with intimidation before ‘Shoot To Kill’ animates the brooding soul of Jesus and Mary Chain with a nice vocal interplay that is intensely raucous yet harmonious.

‘Not A Number’ sees the introduction of Americana and country influences. For me this was the weak point of the release, I personally just can’t stand this genre of music but fans will lap it up. Next ‘Magdalena’ sees a dizzy madrigal being offset by guitar noise and a cold, repetitive bass line before ‘Replica Gun’ switches the temperament back to pop, which is a jarring change that makes for a pleasing dynamic contrast.

‘The Measure of Your Misery’ opens with a bluesy feel which does nothing to prepare the listener for guitar bursts which abruptly attack before the sweeping melody makes a comeback. ‘I’m Not In Love (With The Way Things Are)’ starts quietly and then suddenly the listener is engulfed in rolling waves of guitar complemented by crashing drumming before returning back to the serenity of the beginning. The album closes with ‘Medal’ which sees the band back in VU mode: slide guitar glints off gleaming singing before coiling around a recurring eddy of sound and vocals.

The Only Truth Is Music may appear to be an arrogant assertion for a band's first full length release, but here it’s absolute reality.

The spoken word juxtaposed with music can be an immersive and rewarding experience, in particular powerful rumbling minor chord majesty such as found on GSYBE’s ‘Dead Flag Blues’ from their F# A# (Infinity) album, can take you to places that are hard to find.

Above all though, it has to be the music that provides the emotion and tone, and this is why I have always found Jeff Wayne’s War of the Worlds a bit clunky and obvious.  Indeed, it now seems to have found its more natural home on the theatre stage, where the drama can be played out as first intended.

So we come to a concept album by Australian artist Mark Healy released under his band name Hibernal.

The Machine is ostensibly a solo release by Mark who clearly wears his Porcupine Tree and Steven Wilson influences on his sleeve. No bad thing, in fact some of the instrumental sections are superb and have a spacy, fluidity reminiscent of the best of Lightbulb Sun, Up the Downstair and Signify. Don’t forget that Mr Wilson was heavily influenced by Pink Floyd and there is an element of Floydian dreaminess here as well.

However, the narrative sections simply don’t carry the album well enough for me. It might be my age (old !) but I’ve heard this corporate story so many times in different formats it is definitely tired now –  the cliché of the giant company taking away any individuality and replacing people, or parts of people in this case, with machines is frankly old hat.

The first time through, it’s reasonably rewarding and you find yourself wanting to see what happens but after that, it becomes a rather tiresome, am-dram affair and I really can’t imagine anyone reaching for this after more than 2 or 3 spins.

There are no individual tracks as such that you could pick out and think ‘Yeh, I fancy a bit of that again’ and it really does need a full play through for maximum effect, so this in turn limits it’s repeat playability.

There is no disputing the artistry involved here.  The recording is flawless, crisp and clear. The playing is precise and involving in certain sections and the actors perform their spoken parts with authority.

But for me, it just doesn’t work which is a shame as I really wanted to like it ……

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.