I Am Abomination - Passion of the Heist EP (REVIEW)

Epic vocals, shredding to make Steve Vai blush and the overall talent displayed on this album will make you set your guitars on fire and go back to college upon the realization that you will never be this good.

Above: Critics reaction

Nick S. and Phil D., the dynamic duo behind the musically stunning  To Our Forefathers album have risen above contract disputes and lineup issues to craft this eloquent teaser of an EP (letting all of us know that a full-length is not too far behind this release). Even with only 5 tracks (the opener, Vilification, is an instrumental) this album packs more balls than the World Cup. Having done their own recording mixing and mastering, the IAA dudes have crafted an aggressive uppercut of an album that's complete with all the fretboard fireworks and vocal acrobats that only these guys can deliver.

I love this band because they've refused to bend to the scene around them. Any and all vestiges of any -core music are absent from their music. This album further showcases the duo's talent for dark, flawless rock and roll/progressive shred/metal.

The EP is centered around the concept of extraterrestrial life capturing, studying, manipulating and finally invading and eradicating the human race here on Earth. The often lighthearted tone of the music acts as an interesting counterpoint to Phil's dark storytelling. "Examination," the story of the unfortunate subject of the aliens first experiments sounds (lyrically) like a horror novel turned into a short poem; the music, while heavy, never tries too hard to match the themes being sung. Rather, it demands that we give this EP more than just a few casual glances; I've started to notice that the music does evoke some otherworldly tones that add to the consistent darkness of the lyrics.

The last song, "Invasion," is a perfect example of IAA using absolutely everything at their musical disposal to craft the perfect song. Orchestral/choral parts give way to dark, garbled alien speech, then slams right back into a slower, wardum-like onslaught of guitars and drums. You can almost see the ships sinking down from the clouds, mercilessly razing our planet until nothing is left...

AIEEEEE!!!

"Examination" is another favorite of mine. The music by itself would drive any crowd to a fist pumping euphoria, but the unrelenting seriousness of the lyrics (an undying man describing his body being torn apart and pored through as an experiment begins) paints a stark image in your mind that elicits a deeper appreciation of just how "metal" IAA can really be.

IAA is time and again a departure from whatever you're currently listening to, because they don't sound like anything that has come before them. At least, nothing the current music industry can typecast. Amidst a sea of bands all sticking to the once-new formulas of yesterday, I Am Abomination is the soundtrack to any of those who question the accepted order.

Also, this band is tits.

Tracklisting:

1. Vivification
2. Abduction
3. Examination
4. Transformation
5. Ascension (Feat. Caleb Shomo)
6. Invasion

Suicide Silence- The Black Crown REVIEW

I've written in the past that Acacia Strain's Wormwood punches you in the dick with heaviness. This latest Suicide Silence album goes a step further by dicking you in the punch. 

This quintet has always been intense, provocative and overall, heavy. The Cleansing introduced them to the world as a deathcore band, but there was the underlying promise of so much more. No Time to Bleed introduced a new bassist in Dan Kenny, new solos from Mark H. and some beautiful riffage from Chris Garza all atop the always brutal Alex Lopez.  

The Black Crown shows us an almost entirely new group of musicians at work. "You Only Live Once" begins with a spoken word intro that showcases a new direction for the band; instead of shrieking his way across the new album, Mitch Lucker seems to have taken his time writing his vocal parts on this offering. "Witness the Addiction," aside from giving us the orgasmic collaboration of Jonathan Davis (you may have heard of him) and Mitch L., this song build on the instrumental track preceding it to stand out as one of the heaviest songs SS has ever written, despite the clean vocals.

"Human Violence" is a return to some of the SS we've come to love. Its more of a thrashy, four-on-the-floor type of song that gives way to a sinister, primal breakdown towards the end of the song. "Fuck Everything" is a sludgy, powerful assault of a song that pounds Mitch's message home. Lyrically The Black Crown  seems to have a little carry over from "No Time to Bleed" in that it has an overall "fuck it, lets live life" message that anyone can get behind. The rest of the album varies between an explanation of Mitch's disdain for religion (Witness the Addiction), disgust for drug abusers (Slaves to Substance - a little autobiographical of the band, perhaps?) and the capacity we as a race have for violence (Human Violence).

The Black Crown is heavy, its fast, its precise and polished; but above all, it is the album Siocide Silence will be judged by forever. The riffs are more technical, the rhythms are groovier, and the breakdowns are breakdown-ier. The use of effects on this album (much like Emmure's slightly updated sound on Children of Cybertron) lends a whole new feel to this band. The clean vocals, the new speed and technicality and the overall growth this band has made has forged an insane album. Get it. Blast it.


Tracklisting:

1. Slaves to Substance
2. O.C.D.
3. Human Violence 
4. You Only Live Once
5. Fuck Everything
6. March to the Black Crown
7. Witness the Addiction (Feat. Jonathan Davis)
8. Cross-Eyed Catastrophe (Feat. Alexia Rodriguez)
9. Smashed (Feat. Frank Mullen)
10. The Only Thing That Sets Us Apart
11. Cancerous Skies

New Writers & Posts??

So. This blog has been way too neglected lately. But, good news: I may have convinced another music nerd friend of mine to start writing for MetalHead_Inc!

I've just been stupid busy lately, but I've still been out buying cds and blasting some new metal to start reviewing. My friend Tyler has different metal tastes than me, so he can bring a fresh new light to this page.

Stoked.

Emmure - Speaker of the Dead REVIEW

When I heard Joey Sturgis (Miss May I, Attack Attack!, the entire hardcore scene, and Oceano) was producing the new Emmure record...I lost it. The man's a genius for drum tone, effects and overall production value, so I knew Emmure was in good hands. I got ready for some nasty riffing and crushing breakdowns...but nothing could prepare me for this album.

Speaker of the Dead gave me new appreciation for Frankie Palmeri's vocals. Not only because I learned he does the overwhelming majority of them in one take (no matter what genre, that's a serious damned accomplishment), or because he was able make me take the line "I stay banging, I stay strapped" seriously, but because they were finally more distinguishable. Foundation Studios understands that vox men (and women) shouldn't have to coherent words for brutal tone, and I felt like this was the clearest Palmeri had ever been. The lyrics were mostly more of the usual: Fuck My Ex, Everyone Who Didn't Believe In Me Can Suck It, and others. But there are a few newer messages on this offering, especially in Demons With Ryu and My Name is Thanos; Palmeri finally seems to be straying out of his lyrical comfort zone. 






When you tune as low as Jesse Ketive, Mark Davis and Mike Mulholand (they got down into the G's this go round) tone is usually something impossible to retain. Not so on this album; the slight muddiness of the past few albums is gone; again, clarity is the rule rather than the exception. This new clarity finally gives light to the writing ability of Emmure. The isolated oases of melodic sections rise from the rabble of unique chug patterns and skull-crushing low notes. The riffs on this album seem more inspired, more mature and overall more interesting than the last couple of albums. Again, a good 70% of this album is more of the Emmure style; chug, let ring, bass drop. That being said, the other 30% is made up of a newer writing approach that called for a heavier use of atmospheric noises and shrill effects that add a new kind of intensity to these tracks. The new fx, the better production quality and the more solid, technical writing give this album just enough edge to outshine the rest of the Emmure discography.

Mike Kaabe gives new life to Emmure drumming on this album. When I first heard his playing, it struck me how similar his style was to former drummer Joe Lionetti. On Speaker of the Dead, Kaabe not only shows he came from the same school as Lionetti, but expands on his playing. He creates a kind of counterpoint to the guitar and bass rhythms; rather than directly contrasting from them or playing in a completely independent state, he seems to weave in and out of the song. At some points in the album (Dogs Get Put Down, Solar Flare Homicide) he seems to be the driving force of the track, and on others he seems to play as more of a traditional backbone to the song (Drug Dealer Friend and intro track Children of Cybertron.) This is an album of both understated and powerful drum playing.

As a huge Emmure fan (I have everything they've ever written except the two demos....working on it) I have to say I actually enjoyed this album. Someone who just got into them after hearing a track here and there of the last few albums may cry "repetitive!" and "nothing new!" I feel like taking Emmure's entire discography into account really brings this album into its own. As with every album they've ever put out, Speaker of the Dead not only picks up where Felony and the albums before it left off, but builds and improves on it in every way. The incredible production value of this record (thanks again to Joey Sturgis) and the overall musicianship shown by Emmure makes this album epic. Get it, let it grow on you.

Tracklisting:

1. Children of Cybertron
2. Area 64-66
3. Digs Get Put Down
4. Demons With Ryu
5. Solar Flare Homicide
6. Eulogy of Giants
7. Bohemian Grove
8. 4 Poisons 3 Words
9. Cries of Credo
10. Last Words to Rose
11. A Voice From Below
12. Drug Dealer Friend
13. My Name is Thanos
14. Lights Bring Salvation
15. Word of Intulo 

Stoked! (also, gear list)

I'm just happy about life right now, in this moment. I've got some of the best equipment I've ever had either in hand or on the way. and I'm finally learning how to use it. New songs are coming along great, and as weird as it is to say, I work better alone than I ever did with most (MOST) people. My drumming is getting better, recording is not only fun as hell but it's a learning experience. I want to produce the best music possible from my bedroom; that's my mission, dammit. I'm a long way from there, but its gonna happen. Anyway, heres what I have:

SOFTWARE:
Cakewalk SONAR Home Studio 7
HARDWARE:
Toshiba Satellite L305
550G External Memory
INTERFACE:
Lexicon Alpha
MIXER:
Peavey PV6
MICS:
Sennheiser e609
Nady DM70
(2) RadioShack Omnidirectional Mics
on the way: (2) CAD CM217
AMPS:
Randall 120 RHS
GUITARS/BASS:
Ibanez RG350M
ESP/LTD H-250 (discontinued 2007 model)
ESP/LTD MH-53
Schecter Omen 6
Fender Starcaster
ESP/LTD F-104 (bass)
DRUMS:
DDrum Diablo 5-pc
14 in. snare
12 in. rack tom
14 in. floor tom
16 in. floor tom
22 x 20 bass drum
Tama Iron Cobra Jr's pedals
Gibraltar Hardware
Zildjian 18 in. rock crash (2)
Zildjian 14 in. crash
Zildjian 14 in. hi-hats
Sabian 10 in. splash
Wuhan 16 in. China

This or the Apocalypse - Haunt What's Left REVIEW

Ok, yes: I'm unforgivably late to the TOTA party. How did I not buy this album when it came out last year? Beautiful melodic sections and acoustic breaks coupled with pure thrash riffing and syncopated, staccato muted breakdowns? This band is like if August Burns Red and As I Lay Dying had a musical baby. So, you know, its truly breathtaking in its brutal perfection.

The lyrics have to be what catch me about this band the most. They tell some pretty vivid, haunting metaphorical tales delivered by passionate and honest screams and singing. What surprised me was how unorthodox an approach to writing TOTA took in creating this album. Gone are the obvious breakdown buildups, or the predictable solos or patterns; the super catchy and memorable choruses seem to sneak up on the listener.

The guitars and bass seem to all be the same person; by that I mean that they work better as a unit than most any other string units in metal music today. Be it an anthem (Lamnidae), a driving, percussive beast (Charmer) or a more ethereal, epic song (Hellish, my personal favorite), this unit of stringsmen never fails to deliver catchy, stuck-in-my-head-all-day riffs. The lead guitar weaves in and out of the mix with riffs and solos that seem to be classical and modern all at the same time. The rhythm guitar and bass connect every unit of every song with fluid, expert playing that makes for an album that can progress logically from note to note, on every song of this album. The guitar playing on this album is pretty much what inspired me to start playing for real again; its the kind of playing that makes you want to listen to nothing but this album for weeks at a time, which is far from common in modern metal music.

And, as usual, I save the drumming section for last. This whole review I've been secretly trying to find words to describe Grant Mcfarland's playing...I got nothing. Here, you try:



...exactly. It's exactly what this band needed: driving, intense precision-driven rhythm that never lets up. He doesn't beat eardrums to death with an over-abundance of bass beats, nor does he spend the whole song using about 1/3 of his drumset, as is the case with most metal drummers. No, Grant gets the full use out of every cymbal/drum/effect in his arsenal, and makes a a four-piece set sound like it take up an entire building. Flawless. 

I hate that I was so behind on finding this gem of a hardcore album. August Burns Red fanboys like myself will tell you: this is something a metal fan must have in their collection. The riffs, the songwriting, the level of musicianship...pick your reason, but whatever you do, buy this album.

Tracklisting:

1. Charmer
2. Subverse
3. The Incoherent
4. Lamnidae
5. Hellish
6. Toro
7. Backlit
8. Hayseed
9. Deadringer
10. Revenant

The Human Abstract - Digital Veil REVIEW

Figured I'd restart things with a brand-new record, and Digital Veil seemed pretty perfect. I've been blasting it for the entire 30 minutes I've owned it, and it's playing right now.And it may be all I listen to for the rest of the year.

This album...wait a minute. Let me build this up a bit: I happened across Vela, Together We Await the Storm a few years back and it just...it was incredible. It still is. I bought shirts, I went to shows, I became an ardent fan. Then AJ left....and my world seemed to end. Midheaven came out, and confirmed AJ's departure was the worst thing that could have ever happened. I loved Tapley as a dude, and a player, but...AJ just couldn't be replaced.

2010: AJ's is announced as returning to THA, along with a new vocalist (thank God) being added to the lineup. My heart skips a beat, and I start creepin on THA in forums and on websites again, salivating at the promise of a new album.

And the reborn California quintet delivered. Will Putney and AJ engineered this beast of an album to perfection. The bass and drums are eloquently layered with the guitars and vocals to create an audio-based sex sandwich for your ears. Richter's vocals bring an entire new form to THA; his range, his delivery, his ability to stay distinguishable, all make for an unparalleled vocal performance in modern metal. His screams are everything a metal vocalist (should) aspire to be, and his clean singing rivals that of just about any other vocalist working right now, in my opinion. The lyrics he delivers seem to match the music and overall mood more so than Nathan Ells' ever did; THA could not have picked a better frontman to replace him, honestly.

Guitars: yes. Thats all that needs to be said. Just...yes. Dean and AJ, reunited, tearing shit up like the good ole days...oh wait, except they aren't. Forget comparing this to Nocturne; it just isn't possible. Dean's flawless riffing builds the foundation for AJ's new masterclass level of soloing and lead playing. Minette and THA reached (maybe even surpassed?) Matthew Bellamy-esque levels of song composition on this album. Dean and bassist Henry Selva are, as always, at the top of their game in terms of playing on this offering. The precision and fluid grace which accompany every note of their playing makes the album just as much as AJ's godlike playing.

And Brett Powell. Good lord, Brett Powell. Under appreciated though he may be (at least to me), his playing impressed me most of all. He is a machine, the eye of a hurricane made of thundering fills and machine gun bass. He is what I and any drummer that has heard his playing want to be when we grow up. From the band's inception to now, Powell has proven his undeniable skill time and again, and Digital Veil is no different. 


After all the rumors, waiting and lineup changes (one can't help but wonder what a Tapley/Minette/Herrera beast would have sounded like) Digital Veil is the only proof anyone has that patience pays off. Ever. Make no mistake, ladies and gentlemen: this album wasn't the work of mere musicians, but virtuosos. Buy this album. Download it. Listen to it.


Tracklisting:

1. Elegaic
2. Complex Terms
3. Digital Veil
4. Faust
5. Antebellum
6. Holographic Sight
7. Horizon to Zenith
8. Patterns