You like metal, bro? More importantly, you like bro metal? Boy, have I got the thing for you. Chicago quintet Harm’s Way, a band that makes the last Dyscarnate album look like fucking Modest Mouse.” What are your bench press stats, brah?
Pantera
Accuser – The Mastery Review
“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.
The Modern Age Slavery – Stygian Review
“There’s nothing wrong with modern death metal, and The Modern Age Slavery make no attempt to rebel against the status quo. Formed in 2007, this Italian quintet released debut Damned to Blindness in 2008 but didn’t catch my attention until follow-up Requiem for Us All received some surprisingly enthusiastic praise upon its release in 2013. While I didn’t share the same excitement as other critics, overall Requiem fit nicely alongside the Hour of Penances and Man Must Dies of the world as a sharp, loud, and fast half-hour of socially-conscious death metal.” Sounds preachy.
Ketha – Zero Hours Starlight Review
“It takes something else to make music that, even if it has obvious roots, seems to have been produced entirely out of these normal cycles. Such was the case with #!%16.7, the last release from Krakow’s oddball djent group Ketha. It had everything you’d never expect; grind-length grooves, a horn section, and even that Casio patch that’s just a dude grunting. Zero Hours Starlight is a wholly more conventional effort, but it still refuses easy categorization.” There’s a mole in my pigeonhole!
Spirit Adrift – Curse of Conception Review
“Arizona’s Spirit Adrift, a one-man doom machine featuring the talented voice, musicianship, and songwriting of one Nate Garrett, dropped a promising debut last year with Chained to Oblivion. Just a hair over a year later, Garrett returns with a fully fleshed-out band, a slightly altered sound, and a new album in Curse of Conception.” Those adrift are not always lost.
Cripper – Follow Me: Kill! Review
“Kill! is most largely occupied by thrash influences but splices in death growls, hardcore sneers and the occasional slower, dirgier riff. The staccato style of djent also features, particularly in the introductory riffs to a number of tracks. The two bands I hear most are Kreator and Meshuggah, rendering it established in the modern day but definitely facing backwards.” Crippers and blood.
Silius – Hell Awakening Review
“This site has no shortage of writers that enjoy a good face-peel, so thrash albums typically fly off the shelves. Add a cute little “groove/” tag to the front and suddenly you can’t move that shit for a ticket to one of Doc Grier’s famous tea parties. But not all groove is equal, as the entirely serious Silius wants us to remember.” Groove is in the heart.
Byzantine – The Cicada Tree Review
“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.
Decapitated – Anticult Review
“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.
Seer – Vol. III & IV: Cult of the Void Review
“Vancouver’s Seer entered my life at the start of 2016 with their consolidated release of 2 EPs: Vol. 1 & 2. It was a charming, if heavily flawed, release which showed glimmers of talent. Vol. III & IV: Cult of the Void represents the speedily recorded and released sequel, still dominated by stoner riffs and heavy atmosphere. I made some substantial criticisms of the former and as such began my time with the latter intrigued to hear if these had been addressed; I must confess that my expectations weren’t set too high.” Cult bait or cut bait?
