“Looking back at what I wrote about Ektomorf’s Aggressor in 2015, I was clearly exasperated; Ektomorf seemed to lack some complexity or authenticity I was searching for in metal. Reviews reflect not just where the author was but what he thinks and why, if written successfully. On Fury, Ektomorf have predictably remained the same.” A foolish consistency is the hobgoblin of little bands.
“I guess it’s only fitting that I’d follow up a review of the newest Machine Head record with another long-lost thrash band. This time, it’s a German outfit that hit the scene in 1986 and has more thrash metal cred than the thrash/groove/rap-metal outfit from Oakland, CA. Even if no one has any idea who they are. Accuser’s first two records, 1987’s The Conviction and 1989’s Who Dominates Who?, are underrated thrash metal classics. The latter, in particular, is a thrashpiece that combines the technicality of Testament and Annihilator with Kreator, Metallica, and Destruction. But after 1987, the band swan-dived straight into the groove-metal pavement for the next four releases. With this nightmarish Pantera-like tailspin finally coming to a halt after Taken by the Throat. And, to no one’s surprise, the band was no more.” Thrash through the ages.
“Machine Head was with me during some dark times and I was there for them. So, to say I’m a fan—or to say that they changed my life—is an understatement. But, now, 2018’s Catharsis is upon us. And, honestly, I’m so fucking confused, depressed, and speechless that all I can do is sit here quietly, wondering how much longer I can go on supporting my beloved Machine Head.” Gaskets blown here.
“Five years ago, another metal blog referred to As I Lay Dying’s Awakened as “the world’s first retro-metalcore album.” While that same not-to-be-named blog was also recently guilty of authoring one of the most idiotic self-serving shitposts I’ve ever read, in the case of Awakened they were actually right. With its melodic Gothenburg riffs, gang vocals, soaring clean choruses, and pummeling breakdowns, the record hearkened back to mid-00s metalcore at a time when the rest of the scene was too busy being balls deep in whatever Periphery was doing.” Old core, new core. At this point, what does it matter?
“Addition, subtraction, so much of metal involves the bolting-on and prying-off of countless sub-genres. Musicians and critics often fall into the trap of viewing music less as an expression of fertile creativity and more like a chest of drawers awaiting assembly. Start with a death metal base, insert black metal vocals into socket B, affix progressive chords perpendicular to the shelves… wait, we’re missing two slats and I’ve stripped a screw. Billed as a melding of tech death, black, and thrash, Omnipotence – The Infinite Darkness by Toronto natives Astaroth Incarnate had the cynic in me guessing the end-result without listening to a single note.” Maths are hard.
“It’s strangely liberating to write about a high profile record after its official release when, presumably, all those interested in hearing it have done so and made their decisions on its merits or lack thereof. Such is the case with The Haunted’s new record, Strength in Numbers. Those who are longtime fans will already be enjoying their disc or LP, and those on the fence will likely not be swayed in their opinion by the prose of a halfway decent writer on the internet, but instead by another run-through on Spotify.” Revisiting old haunts.
“Firsts. Life’s full of ’em. Some are wonderful, such as the proverbial first kiss, or the first time you heard (or wrote about!) heavy metal. Some are horrible, such as the Drew Music-al first kiss, or the first time you heard Good Charlotte. A band’s first album can fall anywhere within this spectrum, and with their future depending on that first impression, the importance of debut albums cannot be overstated. This being said, let me prepare your future selves to remember the first time you ever heard Nostoc.” First shot at glory.
“The Cicada Tree finds the DIY experts on a major label, joining the Metal Blade juggernaut, and embracing their progressive tendencies more than ever before. Hints of their prominent influences, including nods to Pantera, Testament and Meshuggah, are still present, but as usual Byzantine discover innovative ways to transcend their influences into a crackling melting pot of creativity and powerhouse hooks.” Bitten by the prog bug.
“Tommy Victor’s Prong have been cranking out music at a furious rate lately, with 4 studio albums in the past 5 years. While this work ethic is admirable (and rivaled only by Creedence Clearwater Revival circa 1969-70), we all know quantity does not always equal quality.” Assembly line metal?
“There’s album artwork and then there’s album artwork. The latter is the kind that speaks to you the moment you pick it up. It’s the kind that—in conjunction with the album title—conveys every hidden detail beyond its glossy surface. Beyond the praying hands to my left—forced together in the most submissive way—is post-Vitek Decapitated. A band I’ve had a hard time understanding since Vitek passed in 2007.” Decapitation, love and understanding.
