From a high potential djent-y metalcore band, to a generic Octane-core one, Swedish band Allt have taken a considerable tumble with Ataraxia. This album is severely lacking in development of any kind. Whether it be the vocal performance which sits comfortably in a low/mid range in both the screams and clean singing. Or the guitars that have a limited role when it comes to melody since most of them are taken by some combination of a dj scratch pad or bell synth. The drums are processed into oblivion and the foundation just sounds flat. Ataraxia sounds less like an Allt album and more like a project where the band throws a bunch of ideas at a board and see what sticks. It sounds like Sleep Token if they were far less interesting while incorporating 2010s Bring Me the Horizon, early Linkin Park and doing it over a foundation that sounds like a poor mans Humanity's Last Breath. None of these influences are bad in a vacuum (except for Humanity's Last Breath obviously), but together it just sounds lifeless.

Best Songs: Nevermind, Snowblind

For Fans Of: 156/Silence, Imminence, Darko US

A supergroup that does not have Max Cavalera involved feels somewhat lacking nowadays, although having discovered the cast of metal artists that make up Sun Don’t Shine (previously Eye AM) I am just grateful that Windstein has not reunited with Jasta. Not being a fan of Type O Negative means that the involvement of Johnny and Kenny hardly set my world on fire, not on paper at least. Windstein and Strange offer more merit for me with their history in Down and Crowbar. With all that being said, the combo of artists here works well and From Birth to Death is not a straightforward album by any means; indeed, as The Gateway and The Fallen dual tags attributed to it would indicate. Whilst it may lean on the rock side of the fence on more than one occasion, the debut full length from Sun Don’t Shine has enough heavy credentials to justify its doom pigeon-holing. Often reminding me of latter-day Alice In Chains, From Birth to Death makes it clear to see the alternative side to the band’s sound also. The vocals of Kenny have the 1990’s written all over them.

Add to this the fact that in a recent interview that I saw, Windstein espoused to being more of a non-metal guy than his appearance may have you believe, and soon this album starts to make even more sense. But does that make it any good? If you are a fan of melancholic alternative rock, then I would expect you to lap up this record. Aside from it sounding like it was made thirty years ago and is perhaps guilty of going over old ground therefore, there’s plenty to enjoy here. Solid musicianship and some hooks thrown in here and there all make for a memorable affair. Shading a grungy edge on more than one occasion, the band temper this with some sorrowful solos and melodies courtesy of Kirk and Kenny, often leaving the hue of a melody sauntering through the background of a track (‘Coming Down’). Kenny’s unique vocal style adds to the immediacy of the familiarity of the album for me. After three or four listens through already, I believe any other style may have made things predictable. His nasal style is not my usual cup of tea in all honesty, but Kirk’s intrusions, with his gruffer style is a welcome contrast.

At a shade over forty-three-minutes, the album does test the patient levels a little, especially given that there is not a lot of variety here. Not that I think that the niche market fanbase of this sound is looking for oodles of pace, rhythm and tempo changes mind. I had thought if one or two tracks with Kirk singing might have helped, given my enjoyment of his solo effort from last year. Ironically, when the singing becomes cleaner (‘When It’s Time to Leave’) this is on one of the weaker tracks on the album. So maybe it is best that SDS stick to what they know. For me, the more up-tempo tracks are where the entertainment lies on this record, and whilst I cannot say that there is possibility for many revisits, this has been an interesting feature release this month, on that has kept me interested at least, which is not something I can always say about The Gateway clan nowadays.

...Okay I may have lied.

In my review of Saidan's Fangdriller: Scars Beneath Memory's Wrist, I said something along the lines of "black metal has been in a rough patch lately where I have nothing to look forward to." And I still stand by that statement, however there was one upcoming released that I totally overlooked: the new (double) album by British atmo-black group Fen, Elemental.

Fen has been at the top of my list of black metal groups for almost a decade. Their songwriting prowess is elite and they are able to make it work over such a smoky texture as this. Their newest album, Mourning Earth is the first of two albums in the Elemental series and if this first half is any indication, Fen have stepped up their writing chops here!

The bands previous two albums: The Dead Light and Monuments to Absence felt like they lost some of Fen's most pronounced features through their previous output. Songs were shorter and they took on a more progressive approach rather than crushing the listener with despair seemingly forever. With Mourning Earth, the songs get shorter again, but the dynamic approach has been restored. A song like "Massif" has a constant crescendo that leaves you begging for the release and when it does, it hits hard. And it also helps to prepare for later on in the record, such as when the thrashier riffing takes over during "Barrow".

It's hard to say at this moment in time, but Mourning Earth makes for a great addition to Fen's discography. But with it being the first half of a double album, that opinion could change with the release of part 2. As of right now, it is the most concise Fen have sounded since Winter while also growing on a progressive level. But will this momentum carry into part 2, or will it be a case of The Scars of Man on the Once Nameless Wilderness? Only time will tell.

Best Songs: Tectonic, Massif, Abyssal Plain, Barrow

For Fans of: Wolves in the Throne Room, Enslaved, Agalloch

The Polish atmospheric black metal band Zørza and their second full length studio album has a severe bloat problem. I was certainly worried at first when I picked up this record and saw Michael Kogler as a special guest vocalist. Those fears were met with a ten-plus-minute opener which has many of the same problems that Harakiri for the Sky albums have. Now to Zørza's credit, the album does get a little bit more refined after that point, but it does not pick up any momentum until about halfway through. The first three tracks are all mainly disposable and are generally forgettable. "Against Theocracy" takes me by surprise with its thrashier riffing and solid balancing between two closely related themes. 

The record ends in an odd place too as the thrash influence now becomes the forefront and "The Devil Wears Well" turns into a straight up crust punk song. I don't think the song is terrible; in fact I quite enjoyed it thanks to Zørza actually preparing it earlier on in the album. But as the closer it feels less like a definitive statement to end the album and more of a question. Questions like "What is Zørza trying to say on Twilight of the Golden Star?" or "Why is this album so painfully overbloated?" or my favourite one, "why does Zørza want to sound like Harakiri for the Sky so damn much?"

Best Songs: Against Theocracy, Stormspell

For Fans Of: Harakiri For the Sky, Groza, Hulder

With 1989’s ‘The Real Thing’, Faith No More, with new vocalist Mike Patton in tow, had discovered an unfounded fame that shouldn’t have seemed possible. With a number of hit singles, it would seem these alternative weirdo rockers were destined to be a flash-in-the-pan. But with 1992’s ‘Angel Dust’, the band would smash any critics and prove that the success they’d garnered was fully warranted

The forth studio album by Faith No More, ‘Angel Dust’ improved upon its predecessor in every way. The writing is much more polished and mature (well, as mature as these guys can get!), the production sounds fantastic and still holds up to this day, and the instrumentation and performances are remarkable. Everyone has a moment to shine, whether it’s fully embracing the spotlight, or subtle inflections in the background, everyone plays to serve the music, and the band as a whole sounds great because of it. 

Tracks like ‘Land of Sunshine’, ‘Caffeine’, ‘Everything’s Ruined’, ‘Midlife Crisis’, ‘Be Aggressive’ and ‘Crack Hitler’ show the band at their heavy, funky and energetic best, while mellower tracks such as ‘Midnight Cowboy’, ‘RV’ and a cracking cover of Lionel Ritchie’s ‘Easy’ gives the listener a chance to catch their breath. 

Overall, ‘Angel Dust’ is a fantastic album, full of absolute anthems. Easily one of Faith No More’s best, if not THE best, and essential listening for all rock and metal fans.