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.
Tuesday, March 8, 2011
Tuesday, January 18, 2011
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:
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:
- My Frailty
- Your Troubles Will Cease and Fortune Will Smile Upon You
- Pendulum
- Bread Crumbs and White Stones
- To Carry You Away
- Sleeper
- PromisesKept
- Encased in Ice
Monday, January 17, 2011
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:
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:
- The Breaker's Origin
- Devastator
- The Advocate
- The Breaker's Valley
- Seraphim
- Arm the Masses
- White Flag
- The Breaker's Encounter
- Phoenix
- Psalm of the Son
- King
- The Breaker's Commission
Sunday, January 9, 2011
Monday, December 13, 2010
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:
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:
- On Veiled Men
- (&) Delinquents
- Mannequin Religion
- Keep Your Enemies Close
- Hell, or High Water
- For the Likes of You
- I
- Our Number(s)
- If Not, For Ourselves
- Desolate (The Conductor)
Wednesday, November 24, 2010
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:
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:
- Precursor to Enslavement
- Viral Re-Animation (feat. Alex Erian and Steve Marois)
- Regulated Disposal of Life
- Quarantine
- The Contmainated
- Exist in Confinement
- Persuasive Oppression (feat. Nick Arthur)
- Weaponized
- Sadistic Experiments
- Remnants Aflame
- Ending Intellect
Tuesday, November 16, 2010
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.
Stay tuned.
Subscribe to:
Posts (Atom)