Review: Reissued by The Flenser, known for their penchant for avantgarde "weirdo" metal acts such as Chat Pile, Mamaleek and Have A Nice Life, this 2011 demo from "funeral doom" post-metal duo Bell Witch would serve as the clarion call for their burgeoning future as standouts in the US doom scene. Clocking in at a beastly 37 minutes spread out over just four tracks, with two ('Beneath The Mask', 'I Wait') re-appearing as cuts on their 2012 debut full-length Longing, the pair's mercurial, slow-paced, depressively trudging drone metal approach was already on such potent display from the outset that it almost seems disingenuous or indicative of their humble nature to refer to this project as merely a demo. Presented with an updated layout, the release still bears the original artwork designed by founding drummer Adrian Guerra who tragically passed away in 2015 following the release of their sophomore effort Four Phantoms.
Review: With their 2022 debut LP God's Country, the herald of the true face and voice for modern middle-American malaise came in the form of noise-rock/sludge metal purveyors Chat Pile. Broadcasting from their muted home of Oklahoma City, their deformed sonic mutations pulled equally from The Jesus Lizard, Acid Bath and Korn, while vocalist Raygun Busch (that is his credited moniker) appalled and harrowed with his spoken-word nightmare poetics touching on everything from homelessness and the opioid crisis, to real-life recounts of botched robberies and first-person narratives from horror film characters such as the mother of Jason Voorhees from Friday the 13th. Expanding their scope both conceptually and compositionally, Cool World takes aim at the entire planet with classism, the horrors of war and genocide, the very real potential for abuse stemming from toxic masculinity, capitalist lies and the nihility of existence all as topics of discussion, while still making time for backwoods journeys into serial killer's isolated farm homes. Musically continuing to pummel with industrial abrasion and hypnotic groove, sonically the band have begun to embrace their sludge-core tendencies while channelling nuanced elements of alternative metal and goth rock, offering new painstaking modes of vulnerability to drive home their despair-laden character studies. Mark our words, there isn't one single other metal/punk/alternative album in 2024 that slaps this hard while instilling such a cold feeling of visceral dread and fear for our ever-despondent cool world.
Review: Self-described "putrid, drug-fueled gutter rock from the filthy streets of NYC", Couch Slut deal in ugliness, and boy is business a-boomin'! Meshing the most challenging facets of grindcore, hardcore punk, noise rock and black metal, the resulting cacophony is as unpleasant as it is impenetrable, yet the commanding presence of vocalist and primary songwriter Megan Osztrosits demands you suffer the audible torment while she details harrowing depictions of sexual violence, drug abuse and more singular inner-city horrors through subversive, vitriolic and grimly humoured phrases. Working with industrial hardcore manglers Uniform's Ben Greenberg (with previous production credits for Drab Majesty, Portrayal of Guilt, Metz), You Could Do It Tonight marks the fourth overall full-length from the group, and utterly refuses to dilute or smoothen their ethos of audibly healing through pain, or just pain for the fuck of it.
Review: Filmed over two nights at LA's Kia Forum, boasting Tobias Forge's charismatic stage presence and a setlist dominated by recent hits, this is a great example for how powerful the band is overall. Tracks like 'Kaisarion' and 'Watcher in the Sky' shine, especially with powerful choral backing and the haunting saxophone solo in 'Miasma.' The show balances theatrical spectacle and genuine warmth, with Forge's message of kindness resonating amid the glitz. While the setlist focuses on newer material, omitting earlier cult classics from Opus Eponymous and Infestissumam, Rite Here Rite Now still delivers a full-bodied, exhilarating experience. New track 'The Future Is a Foreign Land' closes the album on a high, blending retro vibes with catchy melodies and reinforcing Ghost's evolution toward melodic accessibility. A perfect blend of their recent material and their talent at performing them live with a great production.
Review: Filmed over two nights at LA's Kia Forum, boasting Tobias Forge's charismatic stage presence and a setlist dominated by recent hits, this is a great example for how powerful the band is overall. Tracks like 'Kaisarion' and 'Watcher in the Sky' shine, especially with powerful choral backing and the haunting saxophone solo in 'Miasma.' The show balances theatrical spectacle and genuine warmth, with Forge's message of kindness resonating amid the glitz. While the setlist focuses on newer material, omitting earlier cult classics from Opus Eponymous and Infestissumam, Rite Here Rite Now still delivers a full-bodied, exhilarating experience. New track 'The Future Is a Foreign Land' closes the album on a high, blending retro vibes with catchy melodies and reinforcing Ghost's evolution toward melodic accessibility. A perfect blend of their recent material and their talent at performing them live with a great production.
Review: Filmed over two nights at LA's Kia Forum, boasting Tobias Forge's charismatic stage presence and a setlist dominated by recent hits, this is a great example for how powerful the band is overall. Tracks like 'Kaisarion' and 'Watcher in the Sky' shine, especially with powerful choral backing and the haunting saxophone solo in 'Miasma.' The show balances theatrical spectacle and genuine warmth, with Forge's message of kindness resonating amid the glitz. While the setlist focuses on newer material, omitting earlier cult classics from Opus Eponymous and Infestissumam, Rite Here Rite Now still delivers a full-bodied, exhilarating experience. New track 'The Future Is a Foreign Land' closes the album on a high, blending retro vibes with catchy melodies and reinforcing Ghost's evolution toward melodic accessibility. A perfect blend of their recent material and their talent at performing them live with a great production.
Review: 1990s nu-metallurgists Godsmack caused a stir when they released their major label debut in '98, thanks to its fervent overuse of occult imagery and references to "Salem witches", coupled with its conspicuous lack of a parental advisory sticker on the physical release. It's a shame that do-good parents of the world can't see past the irony of such publicity grabs and lighten up a little; as Godsmack is a great, guttural, cathartic studio debut, which we see as no coincidence ended up being the project to cement their name, after the less patrimonial projects to precede it. A staple of the vocally lower-registered ends of the genre, which nonetheless indulge a screamier side, highlights on our end have to include 'Immune' and 'Stress', which more than justify this double LP reissue.
Review: Erosion/Avulsion has been described elsewhere as a "grower", presumably rather than a "shower". We'd say it really depends on definitions of those labels. There are tracks on this eight-song gem that run screaming from the hellfire, committed to converting or killing anything that stands in their way. But then, admittedly, there are also more than a few moments that take the intensity and tempo way, way down, captivating with quiet rather than walls of monumental sound. Nevertheless, even these are incredibly powerful and add to the sense this is metal with proper depth and scope of vision. There's an appreciation of the impact that comes from difference and contrast, perhaps even a determination to prove that. Without overstepping the mark and careering into overuse territory. Overall, though, it's the noise you'll remember most, which comes in thick layers of aggressive, abrasive and, ultimately, infectiously rhythmic waves.
Review: Ville Valo and the HIM crew made a triumphant return with, Love Metal in 2003. This album, anticipated as the pinnacle of gothic rock for that year, has certainly lived up to its high expectations looking back. The production quality is impeccable, with every note sharp and pristine. The band had clearly invested a significant amount of effort into this album, evident in the intricate overdubs, synth patterns, and layered samples. HIM has never sounded better. This album strikes a balance between being radio-friendly and staying true to its metal roots. Tracks like 'Circle of Fear' evoke the style of The Sisters of Mercy, while 'Endless Dark' features a catchy melody that makes it perfect for radio play. Despite its accessibility, the album retains a haunting quality, with sounds that linger and resonate. 'Buried Alive by Love' is the standout track, delivering a powerful metal riff that will satisfy hardcore fans. 'The Sacrament' begins with a beautiful piano intro, transitioning into an acoustic guitar duet, showing the band's versatility. 'Beyond Redemption' and 'Soul on Fire' maintain a strong metal presence with faster tempos and guitar-driven riffs, proving that HIM can still rock with the best. 'The Funeral of Hearts' is a nod to HIM's earlier sound and it's no surprise that it's currently a top track in Finland. The mood of Love Metal is notably more upbeat than previous albums, offering a refreshing contrast to the typical Finnish melancholy. Fans of the genre will appreciate this evolution. Now reissued on clear vinyl, Love Metal is ready for a new generation to enjoy.
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