“For the last four years, I have been neglecting—and you have been denied my Very Important Opinion™ about—one of the most idiosyncratic voices in metal: Victor Smolski. And so, in a Swallow the Sun-sized act of hubris, I’m writing a discographic review of Victor Smolski’s Almanac.” You can’t spell “Almanac” without MAN!
Mar16
An Autumn for Crippled Children – Eternal Review
“And so we return to An Autumn for Crippled Children for their sixth full-length in as many years. I was reluctant to take Eternal, being acutely aware of the ultimatum I set following their last album: evolve or die. Their work was already stagnating, both within their discography and within the album itself for its highly consistent song structures. There is a formula for my feelings towards this successor. Take The Long Goodbye; add nearly 2 years; multiply by duller melodies.” Sleepy autumns and dimming futures.
New Keepers of the Water Towers’ – Infernal Machine Review
“Infernal Machine is a seven-part journey, creating the soundtrack to Joe Haldeman’s 1974 novel The Forever War. The story, loosely depicts Haldeman’s military service during the Vietnam War, with the account chronicled as a space opera where the military fails to see its soldiers as any more than complex and valuable machines. This seems a large musical undertaking, especially in light that Ridley Scott has had the film idea “in production” since back in 2008….” An odd prog band bringing to life a weird novel? What could go wrong?
Record(s) o’ the Month – March 2016
What’s this? Record(s) o’ the Month posted on the last day of March? This can’t last!
Ragnarok – Psychopathology Review
“There really isn’t much more to be said about Ragnarok that hasn’t already been said by our beloved Noctus and Madam X (and the rest of the black metal community). Ragnarok, like Urgehal, are one of the most underrated black metal acts on the planet. Perhaps it’s due to their consistency and unwillingness to fix-what-isn’t-broken that’s kept them from reaching black metal stardom (if “stardom” is actually attainable in this genre).” Consistency is the hobgoblin of great black metal (because it requires hobgoblins).
La Chinga – Freewheelin’ Review
“Every once in awhile it’s fun to shuffle through the promo pile in search of an album that explores the good ole days of rock—and by “good ole days,” I mean old-man Steely D days. Even when it’s done shittily, the outcome triggers special memories of sitting around listening to the godfathers of heavy metal and hard rock on shiny black “frisbees” (as we use to call them).” The olde ways are back in vogue (not vogueing though).
Metal Church – XI Review
“Way back in 1984 I was pretty much blown away by the Metal Church debut. David Wayne’s (R.I.P.) air raid demon vocals were one-of-a-kind and the slick, hooky writing and quasi-thrash energy really won me over. While their follow up The Dark was widely panned, I loved it almost as much as the debut. When Wayne packed off for greener pastures, I was loathe to accept the band without him, until they wrangled Mike Howe from Heretic and made stellar use of his leather lunged roar on the amazing Blessing in Disguise. I went on to love all the Howe era albums and struggled mightily to get into subsequent platters with Ronny Munroe standing in his stead. Now 23 years after he left, Howe is back for their 11th album, the cleverly titled XI.” Is church back in session or should you get the flock away from this thing?
King Goat – Conduit Review
“King Goat hails from the mid-sized English city Brighton, the embodied karmic inverse of the Great Storm of 1703. Conduit, the band’s debut album, is a self-released album that they call “progressive doom metal.” The record consists of 5 long songs, is 42 minutes long and marks the band’s first release since two EPs from 2013. Most readers here are aware that I am not an epic consumer of doom metal, but Conduit spoke to me immediately. This band of Britons have crafted an album which successfully blends dark atmosphere, soaring vocals, ponderous builds, and an epic feel that compels a listener forward.” Candlemass-core no more!
Rimfrost – Rimfrost Review
“Because the chances of getting another release worth a damn from Immortal are about as likely as my Writer o’ the Year award, I have no other choice but to look elsewhere for my Immortal Thirst Quencher. But where can I find that iciness that somehow defines Immortal but no one else? From whence shall I procure melodic black metal that taps into my heart and freezes my veins into blood Popsicles?” These are the kind of hard questions that get you a doctorate!
The Body & Full of Hell – One Day You Will Ache Like I Ache [Split] Review
“There are times when you don’t want music to be uplifting. When abject nihilism and despondency will match or elevate your mood and you just want to be subjected to someone else’s anger. Both Full of Hell and The Body understand that sentiment. One Day You Will Ache Like I Ache is their stark, raw scream into the abyss. It is a split born of noise, sludge and grind. It’s as unrelenting as it is devastating and those looking for ease of access need not apply.” Uncomfortable is the new comfortable.