“At first glance of Apostate Viaticum’s debut, Before the Gates of Gomorrah there’s not much that indicates if a diamond has been pried free from the earth or it’s just another lump of coal. Time to dust off the jeweler’s loupe to see if we have something that glitters.” Death metal does not favor the shiny.
“We know that art is often wrought in the forge of circumstance but beyond the personal biases, trials and tribulations of everyday life can the very climate we live in serve as a catalytic muse? Louisiana’s turgid humidity spawned swampy sludge metal and the pallid, frozen wastes of Scandinavia formed the backdrop against which black metal performs its danse macabre. It’s the latter’s frigid fingers that grip Magna Adversia, the latest release by Patria. But rather than hailing from Norway or Sweden, the band inhabits the mountainous south of Brazil.” Brazil is not a frostbitten kingdom.
“Motörhead may no longer be around to kill your lawn but, in their wake, churn flotsam and jetsam inspired to take up the axe and split our eardrums asunder. The aptly titled Born Again proffer to raise a pint to the metal gods of yore with their debut Strike with Power in the hopes of rekindling the embers left by Lemmy, et al. The danger in carrying the flame left by music’s Übermensch is that it can be difficult to escape their long shadow and the line between homage and second-rate irrelevancy is thin.” We miss Lemmy.
“Treacly melodies, sub-dermal hooks and pop-infused synths, Ember Falls are gunning for stardom by way of your mental taste buds with their debut, Welcome to Ember Falls. Fame is an elusive, fickle beast and Ember Falls is but another band hoping to stand out amongst a deluge of delicacies jostling to whet our collective appetite. It remains to be seen whether Welcome to Ember Falls sluices down an eager gullet, hitting the bliss point like an Olympic sharpshooter or is instead a bitter pill to swallow.” Take your black medicine!
“KforKill is either one of the most on-the-nose monikers for a death metal band you’ve ever seen or a segment on Sesame Street devised by a writer trying desperately to get fired. In this case it’s the former and as a mechanism for establishing listener expectations it does an effective job of priming you for what’s to come. It did get me thinking: can this rudimentary but direct approach to band names be applied to other styles? Black metal? CforCorpsepaint. Speed? BforBulletbelts. Power metal? DforDon’tbotherwastingyourtime.” That’s cold, man.
“The monkey’s paw is gripped tightly in your hands, a mangy curio purchased on your recent travel abroad. The wizened fakir that sold it to you promised it could fulfill any wish, an absurd statement but here in the stillness of your room curiosity has sunk its claws deep into you and a whispered plea escapes your lips: ;I wish for an album that can recapture the sound of early Machine Head.'” If wishes were Machine Heads, Rob Flynn would abide.
“‘May you dream of the devil and wake in fright.’ This old curse serves as the inspiration for the novel and later film adaptation Wake in Fright, a harrowing descent into madness that tells the tale of an English school teacher in a remote Australian town who wrestles with conformity, misery and the innate self-destruction that clings to man like a shadow.” To sleep, per-chase to scream.
“I like doom, it’s a genre replete with crushing riffs, evocative themes (doom spelled backward is “mood,” after all) and one of the best examples to turn to when you need something spine-crushingly heavy. What it doesn’t do is respect your time.” Time waits for no band.
“Physicists have long grappled with the enigma that is time travel and while jaunting to the future remains plausible, going the other way is all but an impossible dream. Pfffff, impossible to a lab coat-wearing egghead, maybe, but not to Finland’s Rivette, who have stuck two fingers up the nose of relativity with their debut EP, In Vertigo.” Up yours, Einstein!
“When faced with a work of art that purports to be avant-garde, invariably a question must be asked: is the all-but-total abandonment of classical song structure and melody a hallmark of innovation and a refutation of the musical establishment or is it merely the flotsam-and-jetsam of musicians lacking the skills to write a decent song in the first place?” Challenging.
