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

I'm Alive!!

so, yeah. almost forgot I had this thing. Where have I been? Workin on getting a home studio going. I'm about 500 dollars in, and things are finally coming together. But, I've been missing writing these reviews, and analyzing the music I listen to. So, these next few posts may just kind of be vomited out of my mind.

Also, here's one of my songs: (shameless self-promotion, I know)



Enjoy, and get ready to read.

After the Burial, In Dreams REVIEW

Let me just say: I'm a huge fan of the oft-hated Sumeriancore trend. So what if most of the more techy, talented bands in modern metal have congregated at one label? Obviously Sumerian and Sumerian Entertainment (the management side of the label) are doing something right when it comes to their family of artists. Moving on:

I picked up the original Berzerker track around 2008, loved it, lost it, then forgot who played it. In 2009 I found the remastered version of Rareform, and loved it even more. Anthony Notarmaso's (lets be honest,) better vocals gave a whole new feel to this incredible album. I was eagerly waiting for the release of In Dreams more than most...and while I wasn't disappointed, I was, well, surprised by the content of the album. Some songs are classic After the Burial (with riffs that require the quadratic formula to decipher) while others seem to fall more into the All That Remains category (and not the good, All That Remains, the cheesy All That Remains that have evolved a little too much for my taste - but thats for another review, right?).

I'm not saying this album didn't blow me away, I just wasn't prepared for the drastic changes this Twin Cities band had ready for the me and the rest of the fans. The addition of clean singing was unexpected, contrversial, and more than anything, a damned good idea. It refreshed the entire band, it seems like. My one gripe? Next album, lets shoot for ten tracks guys. Eight is not enough!! Anyway. I'm gonna start with the vocals: Anthony is incredible. After years of singing someone else's lyrics, he can finally come shrieking out of the shackles of the previous vocalist's inventions and come into his own as the frontman of this band. His range is seemingly limitless; ridiculous lows, high screams that make my throat hurt in sympathy, and mids that are instantly distinctive and understandable. He took his first chance to write his won parts in this band and completely nailed it. Anthony's work on this album sets a standard for modern metal screamers out there, without question.

Trent Hafdahl and Justin Lowe...whats there to say that hasn't already been said about this two? This team of guitar virtuoso's let loose all of their creative ideas on this album, and I do mean ALL of them. The acoustic playing and the clean riffs to complement the more melodic, mature side to the band were delivered flawlessly. The masterful collaboration between these two guitarists is virtually unmatched in today's metal scene. As for Lerichard "Lee" Foral...wow. For a bassist rooted in punk music (which, aside from Rancid, NoFx, and Antiflag usually doesn't showcase bass skill) he fits into this album perfectly. He plays with machine-like precision and definitely found more inspiration on this album; not to mention, the producer (Will Putney - talented dude right there) engineered an album where his bass riffs actually reverberate and stand out. And last but certainly not least is Dan Carle, he of apparently never-tiring limbs. The chug patterns on this album make me both pity and idolize him; honestly, how do guys like him keep their timing straight? Skill. And years upon years of practice.

The vocals, the guitar, the bass and drums, even the engineering just set this album up to start a new chapter in the history of After the Burial. The epic sweeping/shredding/tapping solos, the bowel-loosening dissonant chords and mind-numbing chug patterns all make for an incredible cd. With every listen I find a new way to appreciate this offering. This album may take a few listens to fully enjoy it, but its definitely worth the listen. Extended range guitar lovers, metalheads and ballad-rockers unite: this is the album for you.

Tracklisting:

1. My Frailty
2. Your Troubles Will Cease and Fortune Will Smile Upon You
3. Pendulum
4. Bread Crumbs and White Stones
5. To Carry You Away
6. Sleeper
7. PromisesKept
8. Encased in Ice

For Today, Breaker REVIEW

It's been a stupid amount of time since I was regular with my blogs, so lets not waste any time, eh?

Facedown Records is one of my all time favorite record labels. Not because of the guitar I won from them (via my Plea for Purging preorder) or their apparent love for dogs (who roam their offices freely) but simply because of their incredible family of artists who share the same (or similar ) religious beliefs, yet retain a singular sound. Impending Doom sounds nothing like A Plea for Purging, who sounds nothing like the subject of this album review, For Today.

And speaking of Breaker? I loved it. The thought-provoking spoken word interludes between the brutal, technical and uplifting tracks that include the best syncopated combination hardcore, shred and punk metal. Mattie (vocals) holds nothing back with his lyrics, which unabashedly call for the listener to do more than just follow the words of God, but to open their own mind, listen to the teachings and act accordingly. His screams are passionate, but delivered in such a way that one can actually understand whats being said. The clean singing (gang vocals and otherwise) are as beautifully layered as always. The stringsmen (Ryan Leitru and Mike Reynolds) of this band constructed some jaw-dropping licks and scalar runs on this album. These impressive chops are married to some chug-heavy breakdowns that still manage to be fresh and interesting amidst a scene where palm muting open chords has become the rule, rather than a creative expression.

Lets not forget the drums and bass. As my three readers may have noticed (I have three, right? I don't wanna sound cocky when I really have two.) I usually hold a special love for the rhythm section of the more technical bands I listen to, and this album was no different for me. David Morrison is a professional drummer at his best on this offering; his work here could stand out on its own. Its heavy, its fast and a perfect complement to the technical brand of metal his counterparts have written. The accents, the bell hits, everything just bleeds pure rhythm and groove, which is a welcome change from the current scene trend of abusing the bass drum for ten tracks. Bassist Brandon Leitru deserves special mention here as well: even on the previous album, Portraits, his tracks were mixed to where the listener could pick him out and enjoy a master at work. On Breaker he gets a little more melodic, especially on the interlude The Breaker's Encounter, which features a beautiful little bass lick.

Whether you share the faith of this talented quintet or not, this is music you simply can not afford to miss out on. Fans of any kind of metal can get into this album, period. Put away any close minded ideals and just jam to this; I did, and it led me to some of the best music 2010 had to offer.

Tracklisting:

1. The Breaker's Origin
2. Devastator
3. The Advocate
4. The Breaker's Valley
5. Seraphim
6. Arm the Masses
7. White Flag
8. The Breaker's Encounter
9. Phoenix
10. Psalm of the Son
11. King
12. The Breaker's Commission

Videos

so ive been doing nothing but posting videos like these. promise to start reviewing albums again soon. thanks for reading!


my channel: here

Woe, Is Me - Number(s) REVIEW

Damn...I'm getting rusty at this whole posting thing. I've gotten WAY too much new music lately, but since finals are over WOOOOOOT its time to get back to studying for the LSAT by day and blogging by night. Ok, intro over. Go time.

When I heard Woe Is Me, I had to do a double take when I found out they were on Rise Records. Nothing against the Rise family, but when three or four of your artists sound almost exactly the same...yknow? Anyway, Woe Is Me still has alot of electronica elements like many of their Rise brethren, but the technicality, competent lyrics, talented singing and overall sound set them apart from the roster.

This album plays like a book reads; every song leads in to the other, and feeds off of the one before it. Its a seamless experience, and right from the getgo the production quality jumps out at you and doesn't let go (courtesy of Chango studios, based in Orlando.). The first few bars of music on this album include some basic chug patterns, quick drum fills and a pretty intense breakdown to give you a feel for the rest of the album. This song (On Veiled Men) dissolves right into (&)Delinquents, which wastes no time in introducing you to the advanced drumming and incredible vocal abilities of clean singer Tyler C. Definitely an album that grabs you from the get-go.

Now, as for overall sound? It's had to peg these guys. The guitarists can do the usual de-tuned chugging that comes with the metal territory these days, but can also move into huge, melodic choruses and smooth tapping licks. The drummer and bassist make one hell of a rhythm section, moving between driving beats and staccato patterns. The tandem vocalist team reminds me of the Aaron-Spencer era of Underoath, in that the startlingly opposed vocal styles play off of each other to perfection. But the real draw for me here (and the thing that makes Woe is Me so different from the rest of the scene) isn't the keyboardist, but the way he uses the effects at his disposal. Ben (keys, vocals) and Austin (drums, programming) keep the computer-driven components of the album in the mix at all times without repeating themselves or overdoing it. This synth-heavy kind of style is seen in excess; but to do it so well? Thats definitely a rare sight.

I still have not been able to really process this whole album; I got about 6 other albums at the same time as this one, but it's fast becoming the most-played item in my library. Turn up the bass in your speakers, stretch in preparation for all the air-drumming thats about to happen, and spread the word about this brutal, techy, keyboard-laden monster of an album.

Tracklisting:

1. On Veiled Men
2. (&) Delinquents 
3. Mannequin Religion
4. Keep Your Enemies Close
5. Hell, or High Water
6. For the Likes of You
7. I
8. Our Number(s)
9. If Not, For Ourselves
10. Desolate (The Conductor)

Oceano - Contagion REVIEW

It begins with a myriad of sound effects...a chilling, disturbing collection of seemingly random noises that eventually become the epic opening chords to the first song, Precursor to Enslavement. Right out of the gates, this album puts any and all doubts about the new lineup to rest. This Oceano barely resembles the band that created the "Depths" album. The skull-crushing heaviness is there, to be sure. But the speed, intensity and technical aspect of "Contagion" is a testament to the maturity of the band members as individuals and to the new cohesiveness brought about by the departure of Andrew M. and the addition of guitarists Nick Conser and Devin Shidaker. Was it the new blood that made this album so much better? Or maybe the fact the Oceano boys teamed up with the legendary Zeuss (responsible for releasing the latest Acacia Strain upon the world)? Whatever the reason, the metal community will never be the same after this.

Whether you hate them or love them, Oceano has completely changed as a band, and its for the better. Adam Warren's vocal style retains alot of the cookie-monster, bowel-loosening lows and punishing, driving mids from "Depths," while pushing his highs to new...well...highs.Warrens seems to have to have taken the time in between albums to perfect his vocals. His lows are guttural, seeming to change from a sound a human could produce to some incredible synthesized abomination of human vocal cords. His mids are in the same range sound-wise, but he's become much more distinguishable in this range than he was on "Depths."  The high seem to tear themselves out of his mouth at just the right times to add more intensity and feeling to the bottom-heavy riffs he's screaming over.

Nick and Devin are another huge part of why this album is as good as it is. Nick had a little more time to write material and get the overall feel of the band before the addition of Devin, but they've both shined on this record. The riffs are much more diverse. These two apparently aren't afraid to venture into that scary land above the first three frets that eludes most other death metal/hardcore bands into this scene. Their riffs are faster, more complex, more unpredictable, and (dare I say it??) heavier than anything found on "Depths." Since both of them can play lead and write these soul-withering riffs (not to mention Devin's soloing ability) the member change seems to be one of the best things to ever happen to the band. **I'm in no way digging at Andrew in saying that, either. Every now and again a band needs new blood to mix it up a little.**

Maybe it was fate, or some other divine power, but Jason Jones' bass malfunctioning and his having to use the bass of none other than Jack Strong (Acacia Strain) brought a whole new level to this album. Zeuss has created a new standard for bass engineering in metal with this production. Finally, Jason's tracks cut through the mix, adding their own chilling effect to the songs (see Viral re-Animation: tell me that song could have done with just the everyday muddled metal bass tracking.) And finally, one thing that has stood out to all listeners of this album: Danny Terchin on the drums. "Depths" offered us a glimpse of a talented, precise player; but "Contagion" beats all the speculation right out of you. His timing, speed, fills, and overall originality on the drums make this album stand out in the saturated deathcore scene. he mixes elements from punk/hardcore, pure death metal and hardcore to make his own blend of punishing percussion that makes want to mosh, headbang, and air drum along all at the same time.

"Contagion" is something any "deathcore" fan has to have. Period. Put this in your playlist with Whitechapel, Suicide Silence, The Acacia Strain, and others like them. Zeuss has pushed Oceano to some of their best material to date, and his influence shines through on every song. Buy this album for the conceptualized lyrics that tell of a a man-made apocalypse. Buy it for the new crushing, epic wall of sound that is Jason, Nick and Devin. Buy it for drumming that will make you want to practice or play drums until you're half as good as Danny Terchin. And did I mention the guest vocals from Alex Erian and Steve Marois (Despised Icon) and Nick Arthur (Molotov Solution)?

Epic.

Tracklisting:

1. Precursor to Enslavement
2. Viral Re-Animation (feat. Alex Erian and Steve Marois)
3. Regulated Disposal of Life
4. Quarantine
5. The Contmainated
6. Exist in Confinement
7. Persuasive Oppression (feat. Nick Arthur)
8. Weaponized
9. Sadistic Experiments
10. Remnants Aflame
11. Ending Intellect

Coming Soon??

So I've been waiting on some new albums to come into my possession to review some newer, relevant stuff more often. Today, I'll be picking up the new Oceano and Woe, Is Me albums, along with a few other offerings I've decided I have to have.

Stay tuned.

Animals as Leaders - Animals as leaders Review

Damn, its November already? Where'd this year go? Have I been that drunk this whole time? Will I keep asking rhetorical questions to myself?

Anyway.

Lets get the month started off right: with a review of one of the first true guitar gods to come out of this generation. Animals as Leaders (at the time of this epic release) was a one man project by the legendary Tosin Abasi, with the seemingly omnipresent Misha Monsoor taking the helm as engineer. This album, while instrumental, has everything. The sheer musicianship on this album will be enough to put you in a semi-meditative state. You'll be helpless to do anything but listen with an awestruck look on your face as you listen to Tosin do things to a guitar that will make any shredder, jazz guitarist or any self-proclaimed badass player want to set fire to his instruments. The drums, programmed by the aforementioned Bulb (Misha) will give any djent-head more than enough to process. These aren't just syncopated, basic polyrhythms. Nothing on this album is basic, actually. Lets dive a bit deeper.


Lets start with the guitars. Tosin Abasi (aptly-named xnextgtrgodx on YouTube) is on a level all own on this offering. His furious speed, otherwordly chord progressions, nimble-fingered tapping runs and incredible jazz solos all make for an incredibly addicting album. "Tempting Time," the album opener, provides a perfect example of what this album has to offer: ridiculously speedy shredding, tapping riffs that make you wonder just how many hands Tosin really has, and smooth (sometimes jazzy) chording. To top it all off, the song has a great melodic break towards the end that provides a perfect counterpoint to the frenetic fret-abuse that takes place in the earlier minutes. From all-clean breaks to whole-tone solo sections, this is a virtuoso you just cannot afford to miss hearing at least once.

Now, for drums...I can't decide whats more impressive. The sheer complexity of the programmed drums, of the fact theres an actual human out there (Navene Koperweis, to be exact) who can play them live and even extrapolate on them. Check him out here, playing the aforementioned Tempting Time. But, for the purpose of this review, lets stick to whats on the album. In a word? The drums are brilliant. The way they complement Tosin's playing makes the avid listener think that surely Misha captured most, if not all of what the mastermind behind this project wanted from the rhythm section. While able to keep up with the guitars, they often become more organic and seem to develop a mind of their own. The same could be said for the bass parts, although they're admittedly hard to distinguish form the bottom two strings of Tosin's 8-stringed monster. however, when the bass does definitively cut though the mix, it manages to be both driving and easygoing all at the same time.

Look, I can't say enough good things about this album. It's an instrumental testament to the fact that there IS still talent left out there in the modern musical universe. Come to this album with an open mind; you can't possibly knows whats coming around the corner. It's got progressive elements, its got metal, its got rock and jazz and ambient qualities. Its got everything for the guitar nerds out there, the drum heads, and (as always) for anyone like me that just loves music in all of its forms. Buy this album, listen to it, fall in love, and then find yourself inspired by the prowess showcased on it. 

Tracklisting:

1. Tempting Time
2. Soraya
3. Thoroughly at Home
4. On Impulse
5. Tessitura
6. Behaving Badly
7. The Price of Everything and the Value of Nothing
8. CAFO
9. Inamorata
10. Point to Point
11. Modern Meat
12. Song of Solomon 

I Am Abomination- To Our Forefathers REVIEW

So. I gotta admit, I'm a music nerd through and through. I love bands that entertain, with a balance of talent, showmanship, pride and prowess. I Am Abomination gives me all of that in spades. People may want to throw the metalcore tag at them, but that'd be a big mistake. Beautiful vocal passages, virtuoso-level guitar solos and an overall professional attitude sets these guys way above the standard for whats called music these days. Everything about this band is something you should get into. Whether you're a singer looking for a new idol or a music lover looking for a new album to wear out in your car, you need to hear these dudes.

I have an obsession with bands that can bring everything to the table; I love hearing the rhythm section, the singing and the solos/harmonies blow my mind. I Am Abomination packs intelligent lyrics in a package that not only pleases the ears- the singing on this cd will reassert your belief in melody in metal, period. The bass is a monster all its own, aware and organic, successfully declaring its identity as a thundering, complex addition to this convention of skilled artists. The drummer seems to be an all-knowing, all-powerful force that can groove over complex rhythms and heavy riffs alike without a second thought.

But the guitars...oh, the guitars. Shredding, tapping, sweeping, dive-bombs and pinch harmonics are everywhere on this album, keeping the listener guessing and engaged throughout the entire cd. This is a band that puts thought into every song; one note chugfests aren't welcome here. nor are cheesy, thrown-together-at-the-last-minute riffs. Every song has its own feel and theme, which is a quality rarely seen these days. These guys can do it all, from ballady solos to balls-out shredding and everything in between. The playing on this album even inspired me to attempt a cover, which can be seen here. I got as far as the solo in Rock N' No Soul before I realized...I'm completely out of my league.

Bottom line: driving choruses, face-melting guitar and vocal acrobatics that will make you try (and them immediately stop trying), thundering and yet somehow nimble bass playing all on top of the most fluid, talented drummer modern metal has to offer makes this a must-buy album. Finally, a band without a song about a mean ex-girlfriend or unnecessary pig squeals (did I mention the only screaming on this album is from Dave Stephens of We Came As Romans fame???) and some damned deep lyrics. This cd changes the game, people. Look out for more from this powerhouse of a band. I know I am.

Tracklisting:

1. Since 1776
2. Thoughtcrime is Death
3. Cataclysm
4. The Deceiver 
5. Rock n' No Soul
6. Invisible Titans
7. Greeting From Easter Island
8. Art Attack
9. Creatures of the Night
10. Element 151

Acacia Strain - Wormwood Review

The Acacia Strain should be on your "Murder" playlist, if you have one. That's the most apt way to describe this Massachusetts-based assault on your eardrums. Their previous album, Continent, opened my eyes to music that wasn't deathcore, hardcore, or any other kind of -core metal, but just plain punch-you-in-the-balls heavy. Not just the detuned guitars, or the furious vocals, but the overall sound of the album and how heavy it was just blew me away.

Enter Wormwood.

With their guitarist DL making the change from 6 string, Drop A tuning to an 8 string, Drop F tuning, the entire feel of the album changes drastically. Its immense, crushing, epic, and heavy enough to make Oceano look like the Backstreet Boys. I could spend an entire day talking about the guitar tone; about the ridiculously low tuning and all the simple ways its utilized to the utmost. For instance, the mix of quick, staccato palm muting, sinister chords that ring for what feels like an eternity and bowel-loosening low open notes all add up to the heaviest album you've ever heard. But it's not just the guitar that makes this album; Vincent's lyrics are darker, meaner and more unforgiving and unapologetic than ever. From "I hate everything you love" to "...Mary, the virgin whore," everything negative and pissed off is bared on this album.

Now, for the rhythm section. Jack Strong and Kevin Boutot  (bass and drums, respectively) are the chains that hold this wrecking ball of an album together. Jack's bass tone is surprisingly clean and clear. For a bass tuned to Drop F (I'm assuming, since that's what the guitar tuning is) there's no rattling or anything else that would take away from his sound, which is definitely a result of working with Zeuss in the studio. Combine that with his skillful, almost conservative style of bass playing, and you've got the makings for one hell of a heavy album. The drums are one of the things I was most impressed with on this album. Kevin seemed to bring the best elements of his playing from the Continent album, like his punk/hardcore style providing a break for slow, easy beats to compliment DL's riffs. But on this album, he strayed even further from his typical style to incorporate more rolls, more rhythmic fills, a nice bit of syncopation. His skill is apparent on this album for sure, and I can;t wait to hear what hes got up his sleeve next.

Bottom line: from the first eerie, spine-tingling sustained harmonics and disquieting spoken word intro to the last bottom-heavy, skull-rattling note of the ridiculously heavy ending track, this will be the heaviest album you've ever heard. It's the angriest, most skilled assault on your ears you can get from the Acacia Strain. Fans of the band, or heavy music at all, or even just people who want to scare their neighbors away need to buy this album.

Tracklisting:

1. The Beast
2. The Hills Have Eyes
3. BTM FDR
4. Ramirez
5. Terminated 
6. Nightman
7. The Impaler
8. Jonestown
9. Bay of Pigs
10. The Carpathian
11. Unabomber
12. Tactical Nuke 

Darkest Hour - the Eternal Return Review

Perfection. Metal. Shredding. These are the words that fill my mind whenever a song form this album comes on. Thrash/punk/metal/awesome legends Darkest Hour's 2009 Eternal Return album sheds some of the epic, melodic qualities shown on Deliver Us (2007) in favor of a raw, modern thrash metal sound that establishes this band as metal gods of this generation. Driving riffs, flawless punk-infused drums and unrestrained vocals delivering passionate lyrics are just a few of the things that make this album addictive on the first listen.

The Eternal Return showcases some of this D.C. quintet's heaviest material to date, but don't think for a second the Darkest Hour crew lost even one step on talent in this process. The loss of Kris Norris looked at first like an insurmountable defeat, but Mike "Lonestar" Carrigan takes the reigns with a professional, balls-to-the-wall attitude that demands respect and awe. I've found his riffs and solos to be much more interesting and raw than Norris', but I'm definitely not knocking the chording ability and overall prowess of Kris. Deliver Us still stands as a testament to metal guitar; kids everywhere have established covering a Kris Norris song as an accomplishment. But Carrigan is no slouch; his leads are unpredictable, fast and precise. Despite Lonestar's manic ability, the riffs machine known as Mike Schleibaum is what makes this album; his riffs and solos provide an opposing voice to Carrigan's, as they're infused with more emotion and manage to be much more diverse than Lonestar's. Every song is a fist-pumping, moshing, headbanging sign that modern metal has so much more to offer than v-neck shirts and songs about girls.

Rounding out this legendary offering is Ryan Parrish on drums and Paul Burnette on bass. To put it bluntly, this is a rhythm section not to be fucked with. Parrish never lets up, and I mourn for that snare drum but damn does he sound good. He's fast for sure, but he always makes sure to work in some rhythm to every song, which is a glaring sign that says "this dude's talented." Paul's thundering bass tone is crucial and very much the antithesis of most metal bassists, in that he actually cuts through the mix with more than an assortment of root notes. John Henry delivers an aural assault fueled by political and (anti) religious ideals. Thrash fans, metalheads, gear nerds and shred-addicts alike should get into these dudes. They've been around for over a decade for a reason: they fucking rule.

Tracklisting:

1. Devolution of Flesh
2. Death Worship
3. The Tides
4. No God
5. Bitter
6. Blessed Infection
7. Transcendence 
8. A Distorted Utopia
9. Black Sun
10. Into the Grey

Periphery- Periphery Review

So, Periphery is perfect. Really. This band (featuring prog genius Misha "Bulb" Monsoor) never fails, ever, at anything. I promise. Buy this album for your love of prog music. Buy it for your love of melody, ambient sounds and amazing vocal passages. Buy it because you love guitar music and need inspiration to learn some insane new techniques. Buy it for these and many other reasons, as long as you hear this assortment of djent, shred, jazz, metal and Jeff Loomis.

Yes, I said Jeff Loomis. Of Nevermore fame. Read on.

Look, the whole prog/metal scene, like every other vein of metal, has been saturated and overrun by posers and pretenders. Periphery instantly stands out, from the first minute of Insomnia straight through til the last second of the epic Racecar. Most prog heads know and love Bulb (Misha, guitars), but he's just the beginning of what this band has to offer the world. The other two axemen in this sextet are perfect complements to Misha's writing style; also, the triple guitarist setup is used in perfect form here, as Periphery capitalizes on the ability to both harmonize and add another lead or keep the rhythm going. This way, they lose much less of their sound live than bands with two guitarists...at least, thats how I understand it. Any way you look at it, Jake Bowen and Alex Bois never simply follow Misha's playing; instead, they highlight it, underline it, and make the overall sound of the album fuller. Chording, clean playing, solos and lead tracks are layered expertly on this album.

Not sold on the whole "three talented guitarists" thing? Fine, lets talk vocals. I've mentioned Tommy Rogers of BTBAM before, simply because his style is one completely his own. Spencer Sotelo shares this quality of distinction and talent, as any second of this album could tell you. I've never heard someones down-n-dirty growls and screams share the same minute of music as such...well, angelic vocals. His clean singing is superb; I was impressed with the simple range he has (it sounds like he can sing in at least 3-4 octaves? someone help me figure that out lol.). Highs, lows, harmonies, no matter WHAT he sings you can be assured Spencer's experience and skill will shine though.

This is where I complain about the drummer and bassist, right? Talk about how basic they are when seen in the same band as such talent as Misha, Jake, Alex and Spencer? Sorry to let you down, but Tom Murphy and Matt Halpern are the backbone of this incredible display of musical skill. Tom's bass playing seems to be where steady, rhythms are provided, while Halpern complements the bass and rhythm guitar with his own incredible poly-rhythms and patterns. I mean, Halpern was tasked with the impossible: replacing the octopus known as Travis Orbin (of Sky Eats Airplane), so you know the guys amazing. And he doesn't disappoint. His fills are smooth, his rhythms are tight and precise, and no matter what the mood of the song, he always seems to have the perfect part written for it. Tom keeps his parts simple, not too many solos or insane technical flourishes to be found on the lower end of the spectrum. But don't let that take away from the fact that this is what prog bassist forget to be: dependable, fast, creative and above all else, complementary to the rhythm instead of trying to stand out too much from it.

This was a long post. Lemme give you the concentrated version: Periphery = talent + awesome + melody + heaviness + this is a band you need to hear.

Tracklisting:

1. Insomnia
2. The Walk
3. Letter Experiment
4. Jetpacks Was Yes
5. Light
6. All New Materials
7. Buttersnips
8. Icarus Lives
9. Totla Mad
10. Ow My Feelings
11. Zyglrox
12. Racecar

The Contortionist: Exoplanet REVIEW

So, by way of friends loaning me albums and me celebrating my new employment, I picked up a few new cd's to jam to this past week. My favorite of which so far is definitely the Contortionist's new album, Exoplanet. I've been on this huge Periphery/Veil of Maya kick lately, so I figured some new prog in my life couldn't hurt.

One problem.

These dudes don't fall as readily into comparisons with Periphery or any other artist I can think of. They're obviously talented, but don't spend all their time shredding their way into carpal tunnel syndrome. The songs reach these points of immense, Acacia Strain-esque dissonance and bottom heavy chording, but they don't write songs that consist entirely of breakdowns. They're melodic, but not completely poppy; they're rhythmically proficient to be sure, but don't let the songs dissolve into 5 minutes of indecipherable djent. Honestly, this album is an eclectic, frenzied, ethereal, melodic, brutal experience.

Every member of this band is completely mastered at their respective instruments. The drums are the embodiment of progressive music; layered, fast, matching the guitars note for note at some points, and backing off to bring in polyrhythms and syncopation at others. The bass doesn't just stick solely to root notes, even during the break(beat?)downs; he stands apart during every second of the album, thundering and distinct. The guitarists don't rely solely on distortion; clean, reverberated parts as well as acoustic breaks shine through. Tapping, shedding, chording, structured dissonance (if there is such a thing, it exists here) and intense palm muted riffs are all incorporated and used to their fullest potential on this album. The vocalist reminds me of Tommy Rogers of BTBAM fame; Johnathan Carpenter has a raw, unique quality to his growls and screams but his clean vocals are always polished and note-perfect.

This is a band at the top of their game, and anyone who appreciates melody, prog metal, death metal, or just musicianship in general needs to get into these dudes.

Tracklisting:

1. Primal Directive
2. Flourish
3. Expire
4. Contact
5. Advent
6. Vessel
7. Oscillator 
8. Axiom
9. Exoplanet I: Egress
10. Exoplanet II: Void
11. Exoplanet III: Light