“Till the Dirt is comprised of Atheist members Shaefer, guitarist Jerry Witunsky, and bassist Yoav Ruiz-Feingold, as well as Soreption guitarist Ian Waye and Fermentor drummer Dylan Marks. With an Atheist-heavy lineup, what can we expect from Till the Dirt? Well, death metal with nu-metal was not on my Bingo card.” Things that should stay buried.
“I felt awful foolish choosing Skindred’s promo when no one else did. My brain was adequately pummeled by single “Gimme That Boom,” complete with its curb-stomping riffs, plodding drums, and Benji Webbe’s formidable vocals and memorable one-liners, providing a perfect soundtrack for the NFL intro to Thursday Night Football. While grooving, I kinda forgot about the fact that the Welsh quartet was a force to be reckoned with in the late 2000s and early 2010s.” Skin in the game.
“What is cyber metal? That’s the question that I got stuck on as I was snorkeling through the dregs of the promo bin and came across A Dark Halo’s sophomore album, Omnibus One. I had never heard of this band (billed as cyber metal) before but maybe they were all robots or some sick shit like that. A quick scan of the liner notes further whetted my curiosity with mention of “a fierce display of ludicrously heavy guitars.” Since I love anything that’s ludicrous and I love heavy guitar, it seemed like I had found a golden nugget in a sea of turds.” Cyber warriors.
“We’ve all said, done, and worn things we aren’t necessarily proud of. Pants with legs that can hold a family of five comfortably? Yepper! Wallets with chains longer than an average CVS receipt? Been there, done that, got stuck on way too many things walking by. What I’m saying is that… well, in all of our lives, some cringe has happened. It’s unavoidable, yes, but we’ve moved on. Or at least some of us have. That leads us to the self-titled debut from masked Montreal “funeral doom” duo, Kapnas. All we are is dust on the weed.
“Nostalgia is one hell of a drug, but as a creative tool, it can offer us the ability to look at the past to dig through elements that shine rose-tint or otherwise—or at least cover them with a modern spit polish. Not far removed from the idea of Brents’ chiptune grind explorations with Gonemage, Memorrhage explores the br-deng grumblings of Mudvayne, the hazy aggro-interventions of Deftones, and the stop-start core-isms of Zao.” Nu hage music.
“Pupil Slicer really shook things up in 2021. While undeniably a slab of Converge-meets-Dillinger core with a nice dose of Botch, the trio’s debut Mirrors was a tour-de-force of grindy intensity, a neat balance between heart and callousness, and a marvel of songwriting. Songs like “Husk,” “Collective Unconscious,” and “Wounds Upon My Skin” still get regular plays in the Hollow household, with mad mastermind Kate Davies’ frantic vocals, insane axework, and boundary-pushing ideas taking center stage.” Eye on the prize.
“Artificial Sun is a quartet from Athens, Greece, picking up where its previous short-lived incarnation Trigger left off, sporting a fusion of groove and metalcore with their debut The Giants Collapse. Expect bouncy riffs, technical leads, energetic drumming, vitriolic and soothing vocals, and nice moments of experimentation to go down slow.” Fake sun and old djent.
“Sunbeam Overdrive as a name conjures the gaudy—a would-be leisure suit-wearing hotshot cruising down the coastal highway, top-down, sunglasses on, radio cranked. But the 90’s California kid in me hears this modern style of progressive metal that borrows more from aged successful radio-friendly acts like A Perfect Circle and Sevendust than anyone who plays in the more expected noodling and tricky rhythm definitions of the genre.” Sun’s out, prog’s out.
“Why do we find ourselves in the midst of a nu renaissance where bands like The Offering throw down like it’s ’03 and genres like slam can shamelessly quote groove under the guise of gore? Well, it seems that some also grew up to incorporate their first loves into their art. Elyose, an act of that breed, urges you to embrace your inner jumpdafuckup with a French language tour-de-force of alt-rock meets gothy vibes with nu and industrial accouterments on Déviante.” What’s olde is nu.
“Three years ago, I covered Home, the debut full-length from Boston-based multi-genre masters The Offering. I loved Home at the time, but the intervening period has seen the record’s shadow grow even larger over me; it’s simply one of the most unique and mind-blowing albums I’ve ever heard. The album made my Top 5 of 2019 (and probably would move up at least one spot were I making that list today), so its follow-up comes with the highest of expectations.” You can’t go Home again.
