“Drawing from a variety of influences such as math-metal, metalcore, industrial, prog and even pop, The Hirsch Effekt aren’t afraid to challenge convention, but in doing so, they run the risk of being swallowed by their own ambition. The inclusion of a bold language like German could prove to be a volatile addition to an already fractious mix or it could be the epoxy that holds everything together. A salivating proposition.” Die Bart die.
“Dead Cross is a supergroup, of sorts, playing a style of music close to each member’s angry heart. All the Patton-isms are featured here: the nonsense lyrics, the gibberish sounds, the medley of singing styles. Lombardo, too, sounds like he’s back in the 80s, playing with joyous urgency. Supergroups are destined to fail though, right? Just like Fantomas sucked, right? Are we about to take a trip into the rotten realms of half-arsed nostalgia, or have Dead Cross constructed something freshly re-invigorating?” Right cross from dead field.
“Listening to this debut release from Zedi Forder makes me think of a rephrasing of a now-famous commercial: I don’t always review radio-friendly alt-metal, but when I do I review good radio-friendly alt-metal. My selections (read: offal) this month have ranged from bad to worse, but I’ve been granted respite with the debut album from this British trio.” Zedi or not, here they come.
“We’ve reached the end of 2015 and this year I’m personally editing these Top Ten lists. For the first time (ever) I am reading the production of the different writers we’ve assembled over the last few years. I am shocked. I am dismayed. I feel angry, offended, galled. But I am not surprised. Under Steel Druhm and Madam X‘s indulgent care and averted gaze the young Angry Metal Staffers have run amok. Alas, after having actually consumed of the words these gentlemen produce, I’m firing them all. It’s back to the drawing board: me, Steel Druhm, and as much metalcore as you can eat!”
“Since we’re all adults, I’ll spare you the long intro. You know why you’re here. Be warned that this reviewer’s opinions are colored by 23 years of Faith No More fandom, as well as witnessing the band’s recent performance at Chicago’s Concord Hall.” For an album as eagerly awaited as Sol Invictus, we needed a double fanboy slobber-fest. Put on your bibs and prepare for foaming.
“Avant-garde metal as a subgenre nowadays is really devoid of meaning. Nothing more than an umbrella term to include all those bands that don’t fit neatly onto well-established shelves of “traditional” metal styles. In other words, it has become shorthand for “this is weird.”” The weird don’t need to fit in, but they should expect some wedgies nonetheless.
“Here’s a free top tip for all you kids looking to break into the music business: name your band something easily googleable. Distance have been kicking around for almost ten years now – forming in 2005, releasing a demo in 2006 and several singles at the end of the last decade – but presumably escaped any significant interest because no-one could bloody find them.” Marketing is for the market wonks, but you have to give them a little help.
“Anyone who read my review of Annihilator’s malformed 2010 outing knows I’ve met my fair share of frustration and disappointment at their diabolical hands. For those who missed that ill-tempered screed, I lamented how they’ve made a career out of underperforming and steadfastly refusing to live up to the potential promised by their Alice in Hell debut. Hell, you can’t even look to them to turn out consistently decent albums, as more than a few have been bad. The thing that galls me most, is that almost every album has one or two tracks that hint at what founder/guitar-wizard Jeff Waters is capable of.” Can these once ragin’ Canadian thrashers finally get things back on track with Feast? If so, Steel Druhm’s Annihilator abuse may finally come to a middle.
Of all Mike Patton’s project, Tomahawk is the one I appreciate the least. Let’s be unprofessionally honest from the start: I can’t be impartial when it comes to judging the work of the genius from Eureka, CA because, yes, I am one of those pedantic nerds who can talk about him for hours at bus stops and grocery stores. Pranzo Oltranzista is in my opinion: “a postmodern monument to deconstructivism and a wordless essay on the very meaning of semiotics from a non-Kojevian perspective”. Or “it fucking rules”: you decide. And don’t get me started on the tragedy behind Fantomas or Mr Bungle’s sardonic stance on the morals of our times because I may end up comparing Patton’s vocal chromaticism to the continuous dichotomy between techne and episteme. Or “both bands fucking rule”: you’re an agent with free will, so you can decide for yourself.
Members of Enslaved and Sahg don’t always do hard rock side projects, but when they do, it fucking kills! Norwegian rock hasn’t sounded this good since….well, ever. Audrey Horne is the real deal and Steel Druhm is here to give you the spiel.
