NEW SHIT TODAY:
AFTER THE FUCKING BURIAL-- IN DREAMS
BURNING THE FUCKING MASSES-- OFFSPRING OF TIME
GET THEM.
20101104
BENEATH THE SURFACE: Abriosis
Beneath the Surface serves to put the spotlight specifically on underground, unsigned, emergering and generally unheard of bands. Check out their myspace, go see 'em at a show, and buy some merch!
from myspace.com/abriosis
Abriosis. Not a real word. Sounds intense though. Read on.
You know the genre tags on a band's MySpace? i.e. metal/hardcore/death metal... well these guys describe themselves as "Dissonant/Disgusting/Death Metal." If that appeals to you, you will like them-- read no further, just go listen to them. If that is not appealing to you, WAIT! Don't sign them off just yet! (Unr.-- they're unsigned!! :P)
Abriosis are pure brutal tech-death. That is what should be in the MySpace genre description. They are also pure awesomeness. And I don't use that term lightly.
Ok so enough about their name and their MySpace... in terms of sound, think Necrophagist and Origin as primary inspiration. Supplemented by Deeds of Flesh and maybe some Spawn of Possession.
The riffs display boatloads of chops, combining machine-gun speed and precision with robotically-articulated sweeps and arps. Hence the Origin and Necrophagist inspiration. This is an excellent foundation for their songs, which across their 5-song EP, combine the cold, crushing, calculated mechanality of, say, Beneath the Massacre/Brain Drill (loosely) skillfully woven with myriad classical textures in the same vein as Suicmez's solos and leads. The guitars alternate between rapid-fire weedily passages and concrete-smashing staccato. The vocals are standard tech-death fare, done exceptionally well, and they complement the overall sound quite well. The instrumentation and vocals take turns playing lead and support: select segments feature percussive riffs to bolster low grunts and growls, while others allow extended screams/roars to spotlight a colorful lick's soaring flare. Certain scream/riff combos are quite reminiscent of Diskreet, if you happen to be familiar with them. Unfortunately, the drums and bass are a bit under-utilized. The drumming provides excellent foundational support for the hard-hitting slams, but does little to differentiate itself. And of course the bass is barely audible. Frown.
Overall these Canadians know how to rip it up. Their music combines the best aspects found in the technical death metal spectrum into a "dissonant, disgusting" (AKA KICK-ASS) sonic assault. They avoid common pitfalls such as feelingless guitarplaying, over-repetition, and self-indulgent wankery.
There's a quote from Decibel on their myspace page that says something to the tune of "potency of an area's weed is directly proportional to the quality of their metal." Translation, Vancouver has great bud. I MEAN, FUCKING LISTEN TO THIS BAND.
http://www.myspace.com/abriosis
-L. U'cut
from myspace.com/abriosis
Abriosis. Not a real word. Sounds intense though. Read on.
You know the genre tags on a band's MySpace? i.e. metal/hardcore/death metal... well these guys describe themselves as "Dissonant/Disgusting/Death Metal." If that appeals to you, you will like them-- read no further, just go listen to them. If that is not appealing to you, WAIT! Don't sign them off just yet! (Unr.-- they're unsigned!! :P)
Abriosis are pure brutal tech-death. That is what should be in the MySpace genre description. They are also pure awesomeness. And I don't use that term lightly.
Ok so enough about their name and their MySpace... in terms of sound, think Necrophagist and Origin as primary inspiration. Supplemented by Deeds of Flesh and maybe some Spawn of Possession.
The riffs display boatloads of chops, combining machine-gun speed and precision with robotically-articulated sweeps and arps. Hence the Origin and Necrophagist inspiration. This is an excellent foundation for their songs, which across their 5-song EP, combine the cold, crushing, calculated mechanality of, say, Beneath the Massacre/Brain Drill (loosely) skillfully woven with myriad classical textures in the same vein as Suicmez's solos and leads. The guitars alternate between rapid-fire weedily passages and concrete-smashing staccato. The vocals are standard tech-death fare, done exceptionally well, and they complement the overall sound quite well. The instrumentation and vocals take turns playing lead and support: select segments feature percussive riffs to bolster low grunts and growls, while others allow extended screams/roars to spotlight a colorful lick's soaring flare. Certain scream/riff combos are quite reminiscent of Diskreet, if you happen to be familiar with them. Unfortunately, the drums and bass are a bit under-utilized. The drumming provides excellent foundational support for the hard-hitting slams, but does little to differentiate itself. And of course the bass is barely audible. Frown.
Overall these Canadians know how to rip it up. Their music combines the best aspects found in the technical death metal spectrum into a "dissonant, disgusting" (AKA KICK-ASS) sonic assault. They avoid common pitfalls such as feelingless guitarplaying, over-repetition, and self-indulgent wankery.
There's a quote from Decibel on their myspace page that says something to the tune of "potency of an area's weed is directly proportional to the quality of their metal." Translation, Vancouver has great bud. I MEAN, FUCKING LISTEN TO THIS BAND.
http://www.myspace.com/abriosis
-L. U'cut
20101026
20100928
REVIEW: IT HAS SOLOS!!
Ok first off, this is a review of Within the Ruins' new disc, "Invade."
If you know the band already and/or are a fan, the above headline is all you need to see. It's better, and it has solos.
SO, for the rest of y'all: WtR is a prog/tech/melo/death(-core) band on Victory Records. Their first album, "Creature" was a fun romp through colorful two-step passages and blazing yet off-kilter mini-shreds. Yes. You read that right. It was one hell of a unique beast.
Anywayz, their newest wankfest, "Invade," comes with a new guitarist and new vocalist, but there's a whole lot more to it. This band has a pretty straightforward MO: show off their guitar playing chops. They do this by putting on clinics on myriad techniques, and composing intriguing passages and song structures that will snap your neck if you lose focus for just a second.
They improve upon their previous formula of riff A --> riff B --> breakdown --> riff C --> ... end. Their new songs have much less of a strict formula. THERE ARE INDEED SOLOS. The first album was lacking this often taken-for-granted feature. With such shred, you'd think they'd be eager to launch into a solo as often as possible. On Invade, Joe Cocchi and Jay Van Schelt pepper their riffs and solos with essentially every technique in the book, while emphasizing those that keep their sound so unique: drop-G# tuning (OUCH!), plentiful dive-bombs, whammy squeals, staccato flurries, polyrhythmic breakdowns, and a strong balance of emphasis and rest. Overall very fun, very entertaining, and unlike any other.
So yes, there are solos. There are 2 (legit) instrumental tracks (the intro track doesn't really count as anything) that provide colorful progressive journeys. "Ataxia" is the pinnacle of what WtR can accomplish; I say this not in a limit or peak way, but in a triumphant way. The solos are quite enjoyable, for they use an even more over-produced sound, which equates them to delicious garnishes to the entree songs.
If you thought the vocals were dumb until previous vocalist Joe Grande, just wait until you hear the work of Tim Goergen. "If god is real then he's an evil motherf*cker." Solid stuff, really. Quite excellent. His work is my biggest concern, by far, on this album. He does indeed break from his heavy, raspy monotone, but many of the more intelligible parts are quite blunt and don't match the intricacy of the instrumental work. "Faith is a crutch/You fear what you don't understand." Really?
I played this album about 8 times in first 24 hours I owned it, and I will keep playing it in the foreseeable future. It's fast, it's fun, it's like nothing you've ever heard, and it shreds.
Highly recommended.
-L. U'cut
If you know the band already and/or are a fan, the above headline is all you need to see. It's better, and it has solos.
SO, for the rest of y'all: WtR is a prog/tech/melo/death(-core) band on Victory Records. Their first album, "Creature" was a fun romp through colorful two-step passages and blazing yet off-kilter mini-shreds. Yes. You read that right. It was one hell of a unique beast.
Anywayz, their newest wankfest, "Invade," comes with a new guitarist and new vocalist, but there's a whole lot more to it. This band has a pretty straightforward MO: show off their guitar playing chops. They do this by putting on clinics on myriad techniques, and composing intriguing passages and song structures that will snap your neck if you lose focus for just a second.
They improve upon their previous formula of riff A --> riff B --> breakdown --> riff C --> ... end. Their new songs have much less of a strict formula. THERE ARE INDEED SOLOS. The first album was lacking this often taken-for-granted feature. With such shred, you'd think they'd be eager to launch into a solo as often as possible. On Invade, Joe Cocchi and Jay Van Schelt pepper their riffs and solos with essentially every technique in the book, while emphasizing those that keep their sound so unique: drop-G# tuning (OUCH!), plentiful dive-bombs, whammy squeals, staccato flurries, polyrhythmic breakdowns, and a strong balance of emphasis and rest. Overall very fun, very entertaining, and unlike any other.
So yes, there are solos. There are 2 (legit) instrumental tracks (the intro track doesn't really count as anything) that provide colorful progressive journeys. "Ataxia" is the pinnacle of what WtR can accomplish; I say this not in a limit or peak way, but in a triumphant way. The solos are quite enjoyable, for they use an even more over-produced sound, which equates them to delicious garnishes to the entree songs.
If you thought the vocals were dumb until previous vocalist Joe Grande, just wait until you hear the work of Tim Goergen. "If god is real then he's an evil motherf*cker." Solid stuff, really. Quite excellent. His work is my biggest concern, by far, on this album. He does indeed break from his heavy, raspy monotone, but many of the more intelligible parts are quite blunt and don't match the intricacy of the instrumental work. "Faith is a crutch/You fear what you don't understand." Really?
I played this album about 8 times in first 24 hours I owned it, and I will keep playing it in the foreseeable future. It's fast, it's fun, it's like nothing you've ever heard, and it shreds.
Highly recommended.
-L. U'cut
20100920
EDITORIAL: Bands that Only Have One Speed-- Fast
Brain Drill
The epitome of weedily-weedily tech-death. But holyshit if it isn't fun as hell. Honestly their albums are so short because they have no filler. Their most recent, Quantum Catastrophe garnered poor reviews from butt-hurt elitists who were truthfully just disappointed because Rathjen and co. are so many lightyears ahead in talent that every one else who plays guitar, and they should just quit. The song "Bludgeoned to Death" has a 2 second silence before the song starts-- I think that's the closest thing to a respite that one will find on this album.
---
BENEATH THE MASSACRE
A bit less weedily, more tremolo and chug-y. Also the vox from Monsieur Desgagnes are pure rapid-fire barking. Quite intense, but quite enjoyable-- their latest, Dystopia even has some real groove to it. Standard lyrics about the evils of man, etc. are paired well with robotic (think evil robots, á la The Matrix) drumming and riffs that were most likely designed by a supercomputer fueled by blood. NOTE: The slow, one-note breakdown that takes up 40% of the song Never More does not count, for it is just stupid.
-L.U'cut.
EDITORIAL: A European Death Triangle
Natch, every one knows Behemoth. Again, our thoughts and prayers are with Mr. Nergal and any one suffering from his condition, which his celebrité has brought to light.
Anyways, hopefully some of you know Fleshgod Apocalypse-- an awesome technical death metal band from Italy. They have a subtle classical influence that sets them apart from the pack, which manifests itself in melodic interludes, intros and outros.
The third leg of this triangle is Hour of Penance. These guys are very straightforward in their technical death metal crush. They have one speed: 110%. Their latest, Paradogma is an enjoyable display of what they're all about.
So what is this triangle, you ask? It is this simple blogger's observation that these bands are inextricably linked in style and composition.
Behemoth is indeed a bit slower and more atmospheric, but Nergal's vocal style is clearly a huge influence on these two others.
Behemoth is clearly the top end of the triangle-- the other two bands are the legs that are the off-shoots. FA and HoP both take the Behemoth tremolo and chug sound, and speed it up about 10x.
Overall it's very cool stuff. Be sure to lend an ear.
-L.U'cut.
Anyways, hopefully some of you know Fleshgod Apocalypse-- an awesome technical death metal band from Italy. They have a subtle classical influence that sets them apart from the pack, which manifests itself in melodic interludes, intros and outros.
The third leg of this triangle is Hour of Penance. These guys are very straightforward in their technical death metal crush. They have one speed: 110%. Their latest, Paradogma is an enjoyable display of what they're all about.
So what is this triangle, you ask? It is this simple blogger's observation that these bands are inextricably linked in style and composition.
Behemoth is indeed a bit slower and more atmospheric, but Nergal's vocal style is clearly a huge influence on these two others.
Behemoth is clearly the top end of the triangle-- the other two bands are the legs that are the off-shoots. FA and HoP both take the Behemoth tremolo and chug sound, and speed it up about 10x.
Overall it's very cool stuff. Be sure to lend an ear.
-L.U'cut.
20100408
NEW STUFF: Welcome to the Family, Indeed
Upon A Burning Body (TX)
"The World is Ours" aka "Al Pacino the Album"
Sumerian Records
The intro track "Showtime" features audio samples about some secret D.C. organization known as "The Family." The only vocals in this short track are lead singer Danny Leal yelling "Welcome to the fam-i-lay!"
A worthy introduction, indeed. UABB bring a completely unique sound to Sumerian Records. Those who may have grown tired of this label's Meshuggah wannabees: After the Burial, Born of Osiris, Periphery, etc. will certainly find UABB refreshing.
-L.U'cut.
"The World is Ours" aka "Al Pacino the Album"
Sumerian Records
The intro track "Showtime" features audio samples about some secret D.C. organization known as "The Family." The only vocals in this short track are lead singer Danny Leal yelling "Welcome to the fam-i-lay!"
A worthy introduction, indeed. UABB bring a completely unique sound to Sumerian Records. Those who may have grown tired of this label's Meshuggah wannabees: After the Burial, Born of Osiris, Periphery, etc. will certainly find UABB refreshing.
-L.U'cut.
20091111
GENRE BENDERS: The Amenta's n0n
So I recently discovered The Amenta; don't ask how or why-- that's not important.
I was wary to approach, reading of their "black" and "industrial" influences-- two genres that have historically not been my cup of tea... But it is the crafty melting-pot style of The Amenta that really wins over listeners.
Combining elements of death (primarily) with black, industrial, and ambient metal, this Australian 5-piece has firmly established themselves as a unique force to be reckoned with for a wide swath of metal fans.
Their newest work, n0n, combines the best elements of these genres to create a very dark, moodly, vicious and slamming album filled with texture and plenty of violence. Songs feature death-esque tremolo riffs, black metal wall-of-sound blasts, and industrial start-stop jarring loops, interspersed with moments of keen eerie ambience that resoundingly seal the deal. Standouts like "Whore" and "Dirt" are incredibly efficient at making the most of the above listed metal repertoire.
The vocals are excellently paired to the music, offering plenty of energy, and feature a few hooky scream-along moments in each song. Admittedly, and probably obviously, the vocals are not the focal point of the band's sound, but they certainly do their job to keep the bar high, as set by the instrumentation.
Overall this is an excellent album that sounds like it would be incredible to hear live (note to self...). If you are a fan of any of the genres that The Amenta blend into their gritty, grimy soup, filled with chunks of evil and severed flesh, you should give this album a listen. Incredibly high-force, n0n is an air-tight addition to almost any metal fan's collection.
I was wary to approach, reading of their "black" and "industrial" influences-- two genres that have historically not been my cup of tea... But it is the crafty melting-pot style of The Amenta that really wins over listeners.
Combining elements of death (primarily) with black, industrial, and ambient metal, this Australian 5-piece has firmly established themselves as a unique force to be reckoned with for a wide swath of metal fans.
Their newest work, n0n, combines the best elements of these genres to create a very dark, moodly, vicious and slamming album filled with texture and plenty of violence. Songs feature death-esque tremolo riffs, black metal wall-of-sound blasts, and industrial start-stop jarring loops, interspersed with moments of keen eerie ambience that resoundingly seal the deal. Standouts like "Whore" and "Dirt" are incredibly efficient at making the most of the above listed metal repertoire.
The vocals are excellently paired to the music, offering plenty of energy, and feature a few hooky scream-along moments in each song. Admittedly, and probably obviously, the vocals are not the focal point of the band's sound, but they certainly do their job to keep the bar high, as set by the instrumentation.
Overall this is an excellent album that sounds like it would be incredible to hear live (note to self...). If you are a fan of any of the genres that The Amenta blend into their gritty, grimy soup, filled with chunks of evil and severed flesh, you should give this album a listen. Incredibly high-force, n0n is an air-tight addition to almost any metal fan's collection.
20091103
TECH-DEATHSPLOSION!!
Gorod- Process of a New Decline
Wow-- this is technical, progressive death metal at its finest.
Combining the beauty and intricacy of Obscura with the frenzy and heavy crush of The Faceless (two of my personal faves), this album is a stunning accomplishment that shines track-for-track, and as a whole work of art.
Album standouts like "Disavow Your God," "Programmers of Decline," and "Splinters of Life" are incredibly entertaining on all levels. As a new guitar player, I was enthused beyond belief and the axework of Mat and Arnaud, yet simultaneously so discouraged that I'd never be able to play any of their compositions. Segments range from snaking double-helix leads, blindingly bright tap solos, to heavy riffs that are as smooth as Mercury. The drums are also mind-bogglingly complex, taking advantage of more percussion instruments than you can possibly name, while laying down distractingly-groovy rhythm lines, as well as fills and solos that will make you do a quad-take (no, not a double-take, nor even a triple-take, yes, indeed, a quad-take) when you first hear them.
The musicianship on this album is noticeable from the first instant, and the listener immediately gets the impression that this French 5-set knows how to play their instruments and write songs that both show off their chops, and catch the listener's attention-- thus avoiding a common pitfall among bands in this genre.
The only drawback is that amongst all this calculating chaos, one may lose oneself and feel the songs blend together at times. Alas, this is nigh-unavoidable across a tech-death album spanning more than 10 songs, but it is present here nonetheless.
DISCLAIMER: If you're going to listen to this album-- give it your full attention. You owe it to the band, and yourself.
Wow-- this is technical, progressive death metal at its finest.
Combining the beauty and intricacy of Obscura with the frenzy and heavy crush of The Faceless (two of my personal faves), this album is a stunning accomplishment that shines track-for-track, and as a whole work of art.
Album standouts like "Disavow Your God," "Programmers of Decline," and "Splinters of Life" are incredibly entertaining on all levels. As a new guitar player, I was enthused beyond belief and the axework of Mat and Arnaud, yet simultaneously so discouraged that I'd never be able to play any of their compositions. Segments range from snaking double-helix leads, blindingly bright tap solos, to heavy riffs that are as smooth as Mercury. The drums are also mind-bogglingly complex, taking advantage of more percussion instruments than you can possibly name, while laying down distractingly-groovy rhythm lines, as well as fills and solos that will make you do a quad-take (no, not a double-take, nor even a triple-take, yes, indeed, a quad-take) when you first hear them.
The musicianship on this album is noticeable from the first instant, and the listener immediately gets the impression that this French 5-set knows how to play their instruments and write songs that both show off their chops, and catch the listener's attention-- thus avoiding a common pitfall among bands in this genre.
The only drawback is that amongst all this calculating chaos, one may lose oneself and feel the songs blend together at times. Alas, this is nigh-unavoidable across a tech-death album spanning more than 10 songs, but it is present here nonetheless.
DISCLAIMER: If you're going to listen to this album-- give it your full attention. You owe it to the band, and yourself.
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