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