Category: Music Reviews

I have so many friends who love Dance Gavin Dance, which I always was able to appreciate and understand, but I could not sink my teeth into their material. Afterburner is the first album I had heard front to back. While it has some heavy hitters in the first half, and widely dispersed in the second half, it mostly runs together in a blend that cannot be distinguished from one song or another.

The heart starts to beat for the record with the pulsing instrumentation of Prisoner. It soon flips between heavy and melodic realms. The hard turns between hard-driving and a floating melody complement one another nicely.

Lyrics Lie is undoubtedly a lie in a good way as it starts off soothing, then next thing I know, I got a punch to the gut from screams and heavier instrumentals. The smooth, clean singing soon keeps up with the speed of the harsher vocals while bringing in some of the catchiest choruses I will hear all year.

Calentamiento Global really shines how awesome Matt Mingus is as a drummer as he takes charge of a majority of the track. Slowly everyone comes together for a homogenous sound. It layers in a hefty dose of a fun, catchy melody that does not stick in my head as much as Lyrics Lie, but it is still irresistible.

I have torn feelings on Three Wishes. The chemistry between the screaming and clean vocals mix so much better than Calentamiento Global, but it feels way too formulaic with its structure and overall sound. That said, it ends on a high note as it kicks up the power.

One in a Million brings in some pop influences that are happily welcomed to the mix. It manages to fit next to the heavy segments due to some stellar transitions from the group’s bass, guitar, and drum work. It all comes crashing together for one crazy conclusion, making this one of the best songs of the album.

Parody Catharsis comes in rather thin with a single guitar to follow behind the clean singing. It unexpectedly explodes and throws in plenty of other surprises throughout with its electric melody and headbanging moments.

On paper, Strawberry’s Wake follows everything that has been done right with the formulaic material found on Afterburner, but being seven songs in, I am starting to get pretty bored. It has the catchiness and melody but cannot stick the landing.

At least I got some caffeinated energy from Born To Fail. The cool and heat bang together then end up going into an intense descend that makes for a sweet highlight that makes up for some of the hiccups found before it.

Parallels is aggressively trying to beat out Lyrics Lie with its catchiness, to the point where the screams match the angelic singing. It manages to do this well by an impressive execution.

For the shortest track, Night Sway does not feel too condensed. It takes all that I know and puts it together in a nice, tight package. If it were to be any longer, then it would be too boring to handle.

The heaviest song is ironically one of the nicest titles, Say Hi. It surely says hi with some mean riffs and percussive power that can knock you on your ass. Even when the clean vocals get introduced after some aggressive screams, it does not let up off the pedal.

Nothing Shameful is quite shameful with its first collaborator on the album, Andrew Wells, who does not add anything to the song at all. The same goes for the actual band in this run of the mill filler track.

Thankfully we end on a high note in this weird hip-hop-inspired DGD sounding finale with Into The Sunset. Featuring ex-Attack Attack member Johnny Franck AKA Bilmuri, as he is in his side project that helped out the California based rockers. The chemistry is there, and the surprises do not let up throughout the album’s closer.

Afterburner has its problems, even with some strong songs have hiccups. The guitar work impresses early on but soon melds together, same with the vocal performances. Lyrically well written with some instrumental and vocal high points to make up for the lows.

Score: 7/10

Image via Rise Records

 

The latest I Am Abomination record, Passion of the Heist II, shows that progressive metal can rise above the jokes thrown at it due to generic bands who use the term djent too frequently. It is equally beautifully melodic while having some head pounding riffs and breakdowns to satisfy hardened metalheads like myself.

Decimation is a slow burn with light guitar action and a radio broadcast playing in the forefront. Soon enough, the build pays off as the instrumentation blows up. It dies down and transitions fluidly into Judas. I have a pet peeve of these interludes not flowing into the next song, and thankfully this is as smooth as butter.

Breakdowns rarely get my attention, but the tasteful execution with Judas makes it a headbanging worthy track. It weirdly suites Phil Druyor’s angelic voice. Throughout the first full songs relentless with minor tweaks in the guitar riffs to give it life and not sound the same.

Coming in with hefty contrast, Ultraterrestrial has an explosive introduction of heavy riffs and aggressive drumming. Then everything seeps into the darkness for an atmospheric spotlight on the singing. I thought I knew what I was getting here, I got smacked with delightful hard-driving segments that swap back and forth with the more moody tone.

I knew Ben Duerr of Shadow of Intent appears later on, which made me beyond happy and I will go on about my love for him and Shadow, but I had my breath taken away from me when I saw Jesse Cash and JT Cavey of Erra popped up on Way of Sorrows. They fit almost too well, as it shows how much Erra and IAA sound similar. Once I got past it, I could appreciate the incredible vocal chemistry between the three singers while they all had time to shine on their own without feeling cramped.

While taking a step down in heaviness without Cavey’s screams, Lamb to the Slaughter brings in thicker bass lines, more substantial percussive power, and breakdowns that will surely break my neck. Although the solo was a highlight, it did showcase how it sounded too similar to some of the melodic riffs that have been featured so far in the album.

Second Death lays out some nasty bass lines with some slick guitar riffs. It cleans up afterward to match the cleaner vocal delivery. I wish it stuck with the initial direction, but it is still a worthy entry on the record.

Another satisfying transition as Second Death slides into The Greatest Sin. The chaotic one on PotH with a more powerful vocal performance compared to the previous tracks while still sticking to the same delicious formula.

Slowly coming from the underworld, Arcadia rises into a brief headbanging introduction before dying down to shine a spotlight on the singing. Even with the changing direction, it is relentlessly rhythmic.

Polyphia members Tim Henson and Scott LePage come in to lend a hand in the instrumentation of Heir to the Throne. Admittedly, I was worried as this is the longest song, which is not even that long, as it may overstay its welcome. Instead, I was greeted with a beautiful piano that transforms into a grand orchestra with a choir that adds to the epic feel of this track. Eventually, it turns into a fairly standard song then ends on a high note as the whole group and their collaborators go wild.

Settling down before the brutal finale, Martyr is a moody, atmospheric track that focuses purely on Druyor’s vocals. It lends itself as a great followup to Heir to the Throne.

Deicide features one of my favorite vocalists from one of my favorite bands, Ben Duerr, from Shadow of Intent. His unbelievably brutal range weirdly compliments Druyor’s high pitched singing in this heavy conclusion.

Passion of the Heist II is 11 tracks of solid music with some that stand out more than others, mostly due to excellent collaborations that were not thrown in for a brief moment that flies by without adding any substance. While every member kills it instrumentally, some of it blends together, so more variety across the record would help. That said, it is a must-listen for metalheads.

Score: 8/10

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Image via I Am Abomination

 

 

I had no prior experience with Intronaut outside of hearing about them from a buddy. Mear seconds into the progressive band’s latest album. Fluid Existential Inversions, I was sold by their complicated song structures and various influences. I may need more listens to gather every morsel of inspiration this group gathered to create this vast soundscape.

Setting the tone in less than a minute comes Procurement of the Victuals. It delivers itself as an appetizer to foreshadow the coming tracks, at least for the instrumentation with its progressive guitar tones and mix of styles.

Cubensis offers frantic pacing with every element. Flows well with variety in tempo and tones. It keeps me on my toes for what’s to come. Melding melody with grittiness with the rock and metal influences come together delightfully.

The Cull has more control over its speed while keeping with the variations. Harsher screams that touch into more hardcore and metal vibes. Bolder performance while keeping subdued moments for room to breathe in-between parts to take the time needed.

Going into more hard-driving and relentless territory while not tapping into screams and their metal influences as much come from Contrapasso. Gets more modern hard rock with its rhymic direction.

Time to settle down a bit with Speaking of Orbs. Its chill and funky behavior meld together with a stonery atmosphere. Transitions into a heavier underworld with gritty cleans, mid-range screams, and thrashy instrumentation. That aggression plays well with the relaxed rest stops.

Not as heavy as Cubensis, but Tripolar offers mid-tempo aggression with relentless instrumentation that strays from overwhelming. Picks up speed with a longer breakdown that dies off into an eerie bridge. Flows between various stages that fit together.

Besides the intro, Check Your Misfortune is the shortest track on the album. Heavily violent instrumentation that blends well with the screams. The subdued vocals sit awkwardly against the background of fast drums and cut-throat riffs. Switches weirdly for a funkier turn that was not properly executed but makes up for it in a melodic instrumental section where clean vocals work. It eventually caps off on a beautiful atmospheric note that makes amends for some of its flaws.

Pangloss starts off with an intimidating introduction with grittier styled cleans that weave together with the hardcore screams. Powerful vocal work matches the nearly thrashy soundscape. Slowly builds into a chaotic breakdown before knowing when to sit back for a chill break and reverting back to a destructive conclusion.

The finale, Sour Everythings, holds a steady start that slithers between hard rocky and groovy. It goes in for attacks with its riffs, meaty bass, and neverending percussive power. Right when it goes for too long, it dives back on defensive positions before going back in for heavier sections. A layered, intricate finale that highlights their instrumental skill.

A sweet bonus that has become a bit of a loss art comes from the band’s album cover. An artsy, stonery look that fits well with their image.

Fluid Existential Inversions holds surprises but nothing too big to keep its smaller scope. Some transitions fall flat between segments in songs, making it feel out of place between serene soundscapes and headbanging hellscapes. Strongest with its instrumentation and song structure while the vocals tend to sound inconsistent. Long songs with intricate song structures make up for the lack of amount of tracks throughout the record, proving less is better than more.

Score: 8/10

Image via Metal Blade Records

Deathcore is a hard genre that has a stigma attached due to so many generic bands that saturate the scene. Reflections’ latest release, Willow, exemplifies this issue as it does nothing special with its positive aspects or its sins. It will make for good background music if you want something heavy without any musical substance.

Synthetics opens up the record with a spotlight on Jake Wolf’s vocals while having a distorted background. The vocals set the tone for what’s to come, but I thought throughout Willow, Wolf’s voice from his death metal-inspired screams to more metalcore sound mixes well and gives much-needed variety. The instrumentation comes in spurts with equal amounts of distortion and a load of nastiness, giving me a false positive impression before I get smacked with underwhelming followups.

Coming straight into my face with its unapologetic violence comes From Nothing. The instrumentation is more pronounced, making an even landscape between the other members and their vocalist. A prominent bass compliments the distorted guitars in the neverending breakdowns and changing tempos. The vocals continue to shine with terrifying screams and haunting moments of talking.

Things seem to keep going relatively strong with the pounding percussive power of Psychosis. Relentlessly shifts gears with its messy structure that is heard throughout. It kept me on my toes without delivering on too much depth, a running theme that’s to come.

Ominous start with quiet bass and drumming before everything jumps in for the attack. The intro goes on for a while before vocals come in with brutally low screams that initially match the bass in tone. The cord gets cut off for an eerie break for room to breath before an even heavier second act. That eeriness lurks in the background then goes back into the shadows only to come back in other parts, keeping an unpredictability to the predictability of Isolation.

Going into a more hard-driving mindset, Marionette has a nice presentation that soon runs short. The relentless speed quickly gets boring and goes dry as this track loses anything else to say.

Dismal is the official point I realized this review will be rough as I had the rest of this record to digest. Despite changes in tempo and demonic vocals, it blends together with the methods executed in all of the previous songs so far.

The highlight of the record, and arguably the only good song comes from Samsara. Distant clean vocals with guitar work looming even further along with beats that pop in and out. The cleans and screams weave together as the drums keep up, leaving the guitars and bass behind. The contrast I needed to give me a breath of fresh air I needed to take in. The melody adds beauty to the hellish landscape, along with additional emotion that started to flatten out in the last few songs.

Empathy does not keep up with that level of experimentation. Like a drug addict out of rehab, it goes straight back into the dumpster to find a dirty needle. Has some melody thrown in the backseat, gets drowned out by the rest of the generic breakdowns. This is beyond boring right here.

Seven Stages keeps together a rhythm to the breakdown that makes for a satisfying flow. The lead guitar takes ahold of the song by not following the path that has been paved across the eight other tracks. Not enough to keep my attention throughout.

Illusionist at first leaves plenty of space with breakdowns for pockets of oxygen in the suffocating environment. Gets to a point where no breathing room is left between neverending riffs that go impossibly fast or the relentless drummer.

Some more areas of emptiness between the heaviness come in with Help. It ends up going in the same direction as other tracks without any distinctive characteristics. At this point, please send me some help.

Matching its name, Ghost has an atmospheric eeriness that has the right mood for a concluding track. Goes into some of the heaviest breakdowns accompanied by gruesome vocal work. It does not transition well, but it is a much-needed turn as the introduction went on for too long. The finale slowly dies off with a beating drum replicating a heart that I want to stop to end this record.

The only positive takeaway comes from the vocals matching the emotion to the songs. Even then, a negative immediately comes due to the lack of care I have for anything here, eliminating the soul that could flourish and does not in the end.

When done right, progressive metal can have so much depth to offer with its sound and variety. Reflections do not deliver the subgenre justice as the stigma against both deathcore, metalcore, and djent all come together in this mess. Willow does not commit any crimes too severe but enough to warrant an arrest.

Score: 4/10

Image via Reflections

I have an unpopular opinion, I don’t care for Suicide Silence. Before you take your pitchforks, let me say that I highly respect what they have accomplished, and it takes great strength to continue to pursue a career in the same group when your lead vocalist dies. Sadly, Become the Hunter does not go too well as it jogs itself through each track with not much personality.

Meltdown, an instrumental introduction, slowly dips its feet in the water with an eerie beginning before diving in. Classic low tuned riffs with heavy breakdowns make for a good time to headbang. Even with that, it feels rather generic and does not set any recognizable tone for what’s to happen other than the fact that I am about to go through a lot of the same sounding riffs and breakdowns. Thankfully that ominous mood stays in the background for some flavor.

The short verses and choruses make Two Steps feel weird with its pacing on the vocal delivery, which is excellent from Eddie Hermida, who completely abandons his clean style that awkwardly occurred on the last release.  The instrumentation follows the same bland path as Meltdown with the addition of a few highlights. The bridge adds a much needed dark atmosphere while the solo that comes afterward delivers a whiny screech that gives some 80s metal vibes.

The intricacy of Feel Alive does bring this record alive to some degree. The members start to play with more complexity rather than beating me to death with overly simplified breakdowns. It mixes catchiness and brutality that has a drive, unlike the previous track.

I feel lead guitarist Mark Heylmun taking this in a different direction with Love Me to Death before everyone else jumps in to take the wheel to go back where I was in the first place. When I get back to that point, I realize that the deathcore veterans will drag me through an array of generic songs that I have heard from them before.

Some hints of rhythm creep into In Hiding, but as the shortest song next to the introduction, things quickly revert back into hammer a nail on the head without a single thought. Sprinkling in some variety from the instrumentation adds a little more depth that does not entirely save things here. Another whiny solo comes in to give me the oxygen I need to survive.

Death’s Anxiety grabs my attention with its youthful energy. Quickly I lose interest as it blends together with the last few songs. Everything is coming together more and more I get deeper into the band’s sixth release.

The screams stay while the mood changes with Skin Tight. I was shocked hearing the subtly guitar and light drum work to make for an intimate face to face with the vocalist in this weirdly intense song. It goes back and forth between heaviness and somber brutality to create the most dynamic piece across all 11 songs.

Although the members have not saved themselves yet, things start to move in a better direction as they bounce off onto The Scythe. An intense build-up with an unbelievably relentless tight riff with some percussive power booming in and out. The vocals coming in with some hardcore vibes make this song a standout hit as it dives into carnage. This is the deathcore that they should have delivered back on track one, not eight.

The acoustic introduction of Serence Obscene caught me off guard before getting smacked with a violent breakdown. The transition does go smoothly or make much sense in its context, it does weave mayhem and rhythm together in a fairly intriguing way. No clean vocals feature unlike the last record, but a monotoned monologue changes up the scenery before a melodic shift heads to the conclusion of this surprisingly good entry on the final section of the band’s latest release.

Disaster Valley plows through the walls while its punching with percussive power and slashes with its unremarkable riffs. It goes with the trend that has been set with everything else here, breakdown first, think later. After underutilizing the bass, some drops come in that make me actually happy, something I did not expect. Then the best solo comes in with intense melodies and its ear-piercing sound that top it all off.

Oh no, the title track ends up being one of the worst, and it is the closer, big yikes. It throws away all the progress the last few songs made with me by throwing in all the same generic sounds I heard before. To make it worse, the guitar solo is short and has no outstanding qualities.

Not even guest vocalist, Darius Tehrani of Spite could help save the finale to this bland album.

Become the Hunter is unseasoned, flavorless extreme music that shows the band has gone backward since its controversial self titled record. I don’t miss Eddie’s terrible clean vocals that weirdly tried to sound like Chino Moreno from Deftones, but I do wish they tried to fix those issues into something special. Going back to their roots shows how much they gave in into hateful fans rather than sticking to their guns for music that has substance, even if it still sucks.

Score: 4/10

Image via Nuclear Blast Records

Right when the year is about to be over, The Acacia Strain surprises the world by dropping a seven-track album that makes for a clean 30-minute experience unlike most of the material they have created throughout their long career. I always had great admiration for the band but never fell deeply into their discovery as they don’t match what I seek in what I consume; then I heard It Comes in Waves, which goes against their nature while fitting in their style that has been established over the years. It may fall short in many areas, but it certainly is a nice breath of fresh air from the metal veterans.

Starting things off comes from Our. The introduction coming together with a mix of an industrial buzz and a haunting choir sets the mood perfectly for what’s to come. It bursts open with fire and fury with a range of impressive vocal and instrumental variety that is usually not found on any TAS record. A grander production comes together nicely, but the atmospheric moodiness does get stained slightly by repetitive lyrics that the band has a tendency to do with a breakdown that overstays its welcome.

A mix of heavy and light riffs open up Only that is accompanied by a mellow, yet headbanging worthy tempo. Doom inspires much of the record, but this is the first taste with plenty of dynamic work to let the vocals and instrumentation sit back for moments then jump back in for an assault.

Sin starts off quite somber with delightful guitar work then shifts gears into pure aggression. Every song features some kind of different vocal work from Vincent Bennett, but this is the first off ICIW that took me by surprise. While the doom elements still remain, much of this has a death metal vibe that still has the TAS stamp on it.

An unholy performance and epicness come from Was. It’s mighty feel steps back with a focus on the melody with an added argument between some people in the background. This standout hit has more depth to its story due to the muffled voices that go in between Bennett along with its stance on intensity without having to go overly brutal or lightning fast.

On the flip side, Giving goes into a more violent direction. It has a long, ominous introduction before diving into a complete bloodbath. Its steady pace makes up for the too long of an introduction, which took up too much time out of the two minutes and 55 seconds that lays out this song.

The closest to their signature sound comes in from the shortest track, Them.  It has that relentless aggression but feels more hollow compared to the other more dynamic entries.

The longest and most dangerous sounding concludes the record. Names deceivingly set up a peaceful mood then sets that meadow into flames once the action starts. Consistent changes in performances from every member kept me on my toes for what’s to come next. It builds up to a climax that ends up dying softly before taking a few more breaths of air until it fades away, ending the band’s latest release.

The most impressive aspect is less about the band’s experimentation but more on how everything flows together. Each song stands on its own while sounding like one 30 minute rollercoaster of doom and death.

While I find problems with Bennett’s lyrics, I think this is him at his most poignant. The emotion can be felt here without some goofy line that takes away the meaning like much of their older material. On top of that, it is his best vocal performance as he dives into various styles alongside his signature sound.

I appreciate the change in style across the board from The Acacia Strain. It has the same issues I have always had from the band when it comes to simplicity, especially with the lyrics and parts of the instrumentation. Still, it is a great improvement as the group wants to expand upon their identity in the metal scene.

They have another album recorded entirely, which is supposed to launch next year, so keep an eye out as It Comes in Waves is just the beginning of a new era.

Score: 7/10

Image via Closed Casket Activities

Cattle Decapitation has been slaughtering the planet for over 20 years and somehow increased in skill across the last decade to be one of the dominant forces in extreme metal. The bar was raised to seemingly impossible heights on their 2015 record, yet Death Atlas manages to touch those levels and in some areas, surpass them.

Rather than going head first, an introduction with Anthropogenic: End of Transmission sends a signal with a dark background, a piano to set the mood and a radio message about humanity’s impending doom. Now, this is a way to send chills down my spine before the first official song on the ninth release by these experts of heavy music.

The Geocide throws out that methodical opening by exploding with lightning speed. While the band is testing the limits of how fast a human being can play the guitar, bass, and drum set, some variation gets mixed in changing tempos to make this already deadly track even more dangerous, I needed to keep on my toes for this one. Along with the fierce instrumentation comes one of the most memorable choruses with Travis Ryan’s disturbingly melodic shrieks.

Keeping up with the fast craftmanship of brutal riffs and bone-breaking percussive power, Be Still Our Bleeding Hearts blends in more rhythm into the madness. As things progress, more melody follows into the apocalyptic backdrop. This is classic Cattle with their current path of advancing the style that has been established over their years in the studio.

The first two follow a traditional song structure with verses, pre-choruses, and choruses. Vulturous is headed for mayhem with its chaotic nature that ignores that form of music-making. This is one of the least forgiving pieces on the album as it goes for constant brutality.

The Great Dying, Pt. 1, gave me a break from low tuned guitars, gutturals, and a relentless bludgeoning. This transmission discusses the latest extinction the world is facing. Similar to End of Transmission, it does not follow well into the next song, making it awkward to walk from one to the other.

Matching the openers along with the classic sound that I have grown to love, One Day Closer to the End of the World, has a reason it was released as the first single. This is the best of both worlds, the familiarity of the band’s style and the progression that has occurred with this album. Nothing beats spidery riffs, never-ending shaking, and ridiculous screams that no human should be able to make naturally.

Bring Back the Plague is a monstrous assault as the instrumentation flows together for a beating that holds back and comes in for more constantly. A switch towards the end, making more an adrenaline-pumping rhythm with seemingly impossible gutturals. This level of heaviness will give me an aneurysm, which I wholeheartedly welcome.

Crafting new ways for melodies while keeping their destructive nature, Absolute Destitute ravages through everything in its path. A rhythmic ride with melodic riffs sitting right behind makes this one fit in a spot that feels both different and similar to the rest.

The Great Dying Pt. 2 has the same flaw when it goes into Finish Them. The second part has a more eerie tone with a quiet background, focusing more on the monotoned voice speaking. Like the previous intermission and the introduction, for what it lacks, it does serve a purpose. It is a vital aspect of the overall message, so the wild screams and riff action don’t take away from the commentary of the state of our planet.

A short bludgeoning with a rhythmic force that might actually finish someone before listening to the rest of the album, it is that dangerous. While the music fits every song title, Finish Them feels even more suitable as it leads into a slaughterhouse. Headbanging worthy material throughout, but this is going to break my neck.

Shrieking and rocket speed that is the name of the game for With All Disrespect. During this storm of hellfire, there is a methodical approach to the madness, like all of the band’s celebrated, less constructed songs. The right moments are slowed down to not overpower with insanity but still manages to never stop going to the most extreme depths that the California natives can go.

The second-longest track, Time’s Cruel Curtain, has a different perspective lyrically and musically. A heavy yet somber beginning contradicts one another while having a pounding impact. This leads to a desolate landscape that returns to destruction. “We know that we’re wrong / We know what we’ve done / Yet we still carry on / The curtain has burned / No lessons are learned,” left me with hopelessness rather than anger, a trend that circles Death Atlas, unlike the band’s past furious nature.

The first smooth transition from the 12 track that goes straight into a depressing and blunt message. The Unerasable Past drapes itself in haunting sounds, a voice hidden in the background, and accompanied by a piano. This emotional pre-game before the finale pulls on my heartstrings with what it says and by the surprising low clean vocals that appear.

It seems Cattle concludes with another fierce attack to wipe out humanity, but this 9-minute title track has a trick up its sleeve. After preparation for the end of the world, a deep cut flexes the band’s creative muscles with those clean vocals combining with Ryan’s melodic screams and an atmospheric, moody end to this thought-provoking record.

Ryan proves himself to be my new favorite vocalist in extreme metal. He goes above and beyond what he has done before to deliver new horrifying animalistic noises that can only come from the deepest darkest places in his creative psyche.

The band’s position has always been about climate change while throwing in a song or two that tackles other subjects. This matches the last release, The Anthropocene Extinction when it comes to intelligent commentary on climate change maturely and violently. The eighth album rises to be the most hopeless in its perspective as we continue to spiral down to annihilation, which is so metal.

Death Atlas, at its high point, is superb heavy music that is both worthy of mosh pits and headbanging while taking the time to say something profoundly important. However, it underutilized its experimentation, wasting its full potential. That said, the mistakes made only knock off brief moments in this masterpiece.

Score: 9/10

Image via Metal Blade Records