Daniel's Forum Threads

I don't care what people say, Def Leppard have no right to a place in metal circles in my opinion. I really enjoy some of their albums of course but the fact is that they've never produced a record that contained enough metal to qualify in my opinion so it leaves me bemused that they're generally thought to be one of the main players in the NWOBHM. There are a few tracks that crossover into metal territory included on their debut album "On Through The Night" but not nearly enough for a primary tag.

Tourniquet - "Psycho Surgery" (1991)

Unlike Believer's 1990 "Sanity Obscure" album which I reviewed a couple of days ago, I definitely know that I first discovered Los Angeles thrash metallers Tourniquet through a copy of their 1991 sophomore album "Psycho Surgery" which Ben had borrowed from one of his Christian mates who was trying to prove to him that Christians could be metal too. I think it's fair to say that I was skeptical about the whole concept initially but, by the time I'd gotten through my first spin of this high-quality thrash metal record, I had to admit to myself that I'd been converted (to Tourniquet, not to religious fairy tales). I don't think I told Ben at the time because, you know... I was a dark & evil death metal master & all... but the experience saw me secretly seeking out Tourniquet's equally impressive debut album "Stop The Bleeding" & following them on to their third record "Pathogenic Ocular Dissonance" which wasn't too bad either. I've even gone so far as to investigate a couple of their releases from the 21st Century since my return to metal in 2009 & this all stems from the impression left that day in Ben's bedroom all those years ago. I've actually returned to Tourniquet's first two albums quite often over the years but have never given any of Tourniquet's releases the dedicated attention required to justify a Metal Academy review until now & I've been interested to see how "Psycho Surgery" would stack up in the modern day.

It's always baffled me that Tourniquet didn't manage to break out of the underground a little more as they were clearly a very talented bunch of dudes & you can easily hear that on "Psycho Surgery". I can only guess that it's the religious aspect that's turned people off a bit & I can understand that as the lyrics do get a bit preachy at times. Thankfully I'm able to switch that element off because I've never been one to place too much emphasis on lyrical themes. The musicianship is the real highlight here though with the lead guitar work of Gary Lenaire being the standout performance. This dude has some major chops & knows just how to use them too. In fact, he could stand toe to toe with some of the elite performers of his craft if I'm being honest & never fails to impress me. The vocals of Guy Ritter are pretty cool too as he has quite a versatile range of tones & deliveries, sometimes sounding a fair bit like Overkill's Bobby Ellsworth & then running very close to Dave Mustaine territory during some of the spoken word-ish sections. The production job can sound a little wishy washy during some parts of the album but the instrumentation maintains a level of class throughout & never sits still for too long with Tourniquet showing off a wide array of influences.

"Psycho Surgery" kicks off in classic thrash metal form with a couple of mosh pit friendly numbers but things get a little more interesting when progressive metal outing "Viento Borrascoso (Devastating Wind)" enters the fold. It's a sound that Tourniquet do very well & would explore further on records like "Microscopic View of a Telescopic Realm" & "Antiseptic Bloodbath" later in their career. "Broken Chromosomes" also explores that more progressive direction & does a reasonable job at it too. Rap metal experiment "Spineless" is probably the track that stands out the most in the tracklisting & not in a good way either but monster doom metal closer "Officium Defunctorum" more than makes up for that creative failure & challenges the wonderfully catchy thrash metal anthem "Dysfunctional Domicile" for my favourite song on the album. The forty minute run time is well suited to Tourniquet's sound & I think the plethora of different sounds keeps things really interesting with even "Spineless" conatining a couple of great riffs.

Don't let the whole Christian thing turn you off because Tourniquet are worthy of any diehard thrasher's attention in my opinion & if you do happen to be a Christian then "Psycho Surgery" should be considered to be essential listening. I'm not across their entire back catalogue but "Psycho Surgery" is one of the better releases from the five that I've heard with all of them being at least worth a few listens. It's been a while since I heard it now but I think the debut "Stop the Bleeding" might just slightly pip "Psycho Surgery" for my favourite Tourniquet release overall but there's very little between their first three & I'm yet to experience a Tourniquet release that was likely to disappoint.

For fans of Deliverance, Believer & Megadeth.

4/5

NSW-based alt-rockers Sick Puppies have a new album coming out next year, Wave the Bull. I haven't really explored this band apart from their nu metal debut Welcome to the Real World, but when I stumbled upon their new comeback single, I gave it some listening and thought "Wow... That sounds as heavy and metallic as their debut!" If the rest of their upcoming album is like this, it might just be one f***ing h*ll of a strong comeback release.

Edge of Sanity - "Nothing But Death Remains" (1991)

Swedish melodic death metal establishment Edge of Sanity first came to my attention through metal radio programming back in the very early 1990's off the back of their 1991 debut album "Nothing But Death Remains" which is a very different prospect to the one that saw them completely blowing up off the back of their 1996 fifth album "Crimson". You see, Edge of Sanity began life in much the same way as many of their Swedish peers i.e. as a far more conventional death metal band that took its earliest steps over ground that was already well trodden. Not being much of melodeath fan myself, I have to admit that this idea holds a stronger appeal for me than it may to many others so this week's revisit of "Nothing But Death Remains" has only proven something that I already strongly suspected. Yep, I actually prefer Edge of Sanity's rawer early works over their widely celebrated mid-1990's material.

While "Nothing But Death Remains" may have a fairly tinny production job by today's standards, it wasn't anything out of the ordinary for a young band at the time & there was already a class to Edge of Sanity's compositions that defied this record's status as an early 90's debut. The boys hadn't adopted the signature BOSS HM-2 pedal driven Entombed/Dismember wall of sound as yet but they certainly sounded like they had already spent a bit of time paying their dues as the musicianship is all solid & the song-writing offers enough variation to keep me interested. The tracklisting is quite consistent with only the disappointing second track "Human Aberration" failing to meet an acceptable standard. I really enjoy the use of guitar harmonies but the Dave Vincent-ish vocals of band leader Dan Swanö are probably the highlight of the record for me personally. There's a graveyard atmosphere that Edge of Sanity rarely achieved again here &, despite the fact that "Nothing But Death Remains" is hardly essential listening for the average death metal listener, it's far from the misfire that many fans of the Swede's later material would have you believe it is.

For fans of Bloodbath, Uncanny & early Hypocrisy.

3.5/5

I just watched my 3000th movie.  I'll post a review here tomorrow out of excitement.

That reminds me, I submitted my 1,000th Metal Academy review a week ago. That seems almost impossible on paper but apparently I’ve managed to accomplish it somehow. I wonder how many of them were actually helpful or have even been read?

You've been running this site for a while now.  I'm personally surprised it's ONLY 1000.  Although I typically only read reviews for albums and movies I've already seen, so I've read quite a few of yours.

I just found this kick-A cyber metal take on a Linkin Park hit by Illidiance. RIP Chester Bennington

Believer - "Sanity Obscure" (1990)

There's a bit of a gap in my ability to remember how I first came across Pennsylvania technical thrash metallers Believer. I've always been of the belief that they were brought to my attention by my brother Ben after he borrowed a copy of Believer's 1990 sophomore album "Sanity Obscure" from one of his Christian mates but Ben has recently denied having any exposure to the band so I suspect that I might have picked up a dubbed copy from one of the kids in the year above me at school. Regardless of how it came about though, I remember being pleasantly surprised by what I heard as the idea of a Christian extreme metal band seemed like somewhat of a contradiction but Believer appeared to be a seriously capable outfit. The experience would see me going back & checking out Believer's 1989 debut album "Extraction From Mortality" & following them with interest in the future although I think that appeal tailed off a bit after their 2009 comeback album "Gabriel" failed to connect with me & I haven't as yet given their 2011 follow-up an airing. There's little doubt that "Sanity Obscure" was some of the band's best material though so please join me as I revisit it for the first time since the 1990's.

The first thing you'll notice about "Sanity Obscure" is the savage, metal-as-fuck production job which really appeals to me. I simply adore the ultra-distorted guitar tone which gives the riffs additional incisiveness & weight. It reminds me very much of Exodus & Exhorder, both whose guitar tones play a major role in their appeal for me personally. The song-writing on the early part of the album is super-complex though too, making Believer a band that's genuinely deserving of the tech thrash tag. That complexity does tail off a little as the album progresses though so I feel that a dual tag with conventional thrash metal is probably more accurate on this occasion. The vocals & instrumentation both showcase a clear Coroner influence which can't be a bad thing but the album is noticeably top-heavy so the quality level starts to become very inconsistent across the back end of the record. "Dies Irae (Day of Wrath)" sees Believer incorporating orchestral instrumentation & classical female vocals in what can only be described as a highly ambitious attempt at symphonic thrash metal. It doesn't work in my opinion which is a real shame after such a strong A side that included a genuine progressive/technical thrash classic in the brilliant "Nonpoint". Things get worse though with closing number "Like A Song" being a terribly misguided attempt at a heavy metal/US power metal anthem that sees guitarist & front man Kurt Bachman making a real meal of some more emotive vocals. These two creative failures leave an unfortunate stain on what is otherwise a very high-quality tech thrash effort.

Look, there's still a lot to like about "Sanity Obscure" & I can definitely see why I found it so appealing in the first place. It's just that it makes for a far better source for playlist inclusions than a full album as there's such a drastic disparity in quality between those two duds & the remainder of the album which is all very solid indeed. Unfortunately, "Sanity Obscure" isn't even available on Spotify so I don't even have the option to include the better songs in our playlists available to me. Sadly, I feel like this was a missed opportunity for Believer as all of the components were here to create a timeless record but they've somehow managed to let their own ambitions get the better of them. Still... anyone who harbors any doubts about the validity of the Christian metal band need only listen to a large chunk of this record & I can assure you that you'll have your position swiftly turned around. Sure... there are some preachy lyrics on offer here but I find that I can easily ignore them & get with listening to a particularly classy & technically accomplished group of young thrashers.

For fans of Coroner, Extol & Seventh Angel.

3.5/5

Skeleton of God - "Urine Garden" E.P. (1993)

Colorado four-piece Skeleton of God are another band that I sought out back in my tape trading days in my quest for ever more extreme forms of metal with their debut E.P. "Urine Garden" receiving quite a few plays back in the day. The Skeleton of God sound could be described as a quite technical, avant-garde & progressive take on the brutal death metal model although these guys were clearly still finding their sound so some tracks are definitely more unusual than others. You can't deny the ambition from such a young group of dudes but I do have to admit that I prefer the conventional material like highlight track "10 Second Infinity" over the more intentionally weird inclusions (see the opening title track for example). The way Skeleton of God construct their riffs is quite unique though & this attribute gives the band their edge, along with the gutteral vocals of guitarist Jeff Kahn which are very effective. It's a real shame that the production job isn't adequate for this type of release though as I feel it may have picked up more of an underground reputation with a cleaner & more powerful sound.

For fans of Human Remains, Wicked Innocence & Embrionic Death.

3.5/5

An instrumental standout featuring some soloing by Jeff Loomis (ex-Nevermore), reminding me of his later supergroup Conquering Dystopia:

A majestic opening standout of progressive tech-/melodeath fury:

Correct indeed! Throes of Absolution is progressive tech-/melodeath fury as it should be and a must-hear for all metalheads out there. The Infinite clan still hasn't been added to its release page though. Could you please fix that, Daniel? Thanks.

Impaled Nazarene - "Tol Cormpt Norz Norz Norz..." (1993)

The early Finnish black metal scene was a particularly dark place to be back in the early 1990's. For one reason or another they had a habit of producing some of the most raw & evil examples of the black metal type known to man at the time with artists like Beherit, Archgoat, Belial, The Lord Diabolus & Black Crucifixion all pushing a darker & more blasphemous sound than that of their neighbours. Impaled Nazarene fit into that environment very comfortably & arguably could only have come about because of the activity around them. I first picked up a copy of their debut album "Tol Cormpt Norz Norz Norz..." in a tiny record store called Rock 'n' Roll Warehouse which was located in the famous George Street Cinema complex in the Sydney CBD very shortly after it was released. I had a close relationship with the guy that worked behind the counter & he generally kept me abreast of releases that would fit my taste profile. On this occasion he implored me to purchase Impaled Nazarene's debut album, saying that it was one of the most savage example of the black metal sound he'd yet had the pleasure of hearing. I eagerly complied with his request & ran home to find that he wasn't wrong. It was hard to take the Fins seriously though as it seemed on the surface that much of their image was tongue-in-cheek & that element always saw me struggling to fully commit, despite seeing a lot of positives in the Impaled Nazarene sound. It wouldn't stop me from purchasing their next two full-lengths on release though & I've continued to keep abreast of each subsequent record over the years, if only to see my curiosity being kept in check.

The week saw me giving "Tol Cormpt Norz Norz Norz..." a few spins for the first time in years & finding that I could still recall almost the entire run time which is a strong sign that I gave it thrashing back in the day. Looking back now, I find it hard to understand why Impaled Nazarene weren't dragged in under the war metal banner that so many of their countrymen were because there's as much war metal on offer as their is genuine black metal in my opinion. You've got the gratuitous Satanic references, the grindcore influence, the death metal production... Hell, you've even got a three minute orgy of demonic bestiality & if that's not a war metal trait then I don't know what is. If you put aside the blatant attempts to stir up attention through obviously antagonistic lyrical content & imagery though, there's actually a lot to like about the band's sound. While it may be very basic, it's also super-tight with the performances all being spot on. I particularly enjoy the solid drumming of Kimmo Luttinen as they offer an impressive amount of power & control while the vocals of his brother Mika are viciously confronting.

"Tol Cormpt Norz Norz Norz..." kicks off in very strong form but unfortunately the B side sees the quality levels dropping a touch.That flaw wasn't enough to see me dropping my rating below an impressive four star rating though & I feel that the Impaled Nazarene sound is probably a little better suited to my current taste profile than it was the one I was still building as a seventeen year old when I first encountered it. This has left me wondering whether I might see some of their other early releases like "Ugra-Karma" achieving similar scores so a revisit is certainly on the cards there. If you're able to accept a black metal release that doesn't take itself overly seriously yet still manages to conjure up a bestial blasphemy of blasting blackened war metal then you may want to give "Tol Cormpt Norz Norz Norz..." a few spins. Just don't expect to find anything terribly deep as the Impaled Nazarene model is similar to the classic punk rock aesthetic they're influenced by i.e. it's simple, in-your-face & a little immature & snotty.

For fans of Sadistik Exekution, Impiety & Belial.

4/5

Testament - "Return to the Apocalyptic City" E.P. (1993)

Ben & I had been pretty big fans of Californian thrash metallers Testament for a good four years by the time this six-track live release hit the streets in 1993. I'd enjoyed all of their records up until that time but the last couple had seen the impressive quality levels of the first three Testament albums dipping a touch so I wouldn't say that I was busting to get my hands on their next record but I still found myself parting ways with my hard-earned cash for this little live release as soon as I noticed it's ball-tearing cover artwork sitting on the record store shelf. "Return to the Apocalyptic City" offers four live tracks which were recorded at a recent show at the Los Angeles Palladium as well as a studio cut from the sessions for 1988's "The New Order" album & a shortened version of "Return To Serenity" from Testament's latest record "The Ritual". All of this material is entertaining, particularly the live versions of "Over the Wall", "So Many Lies" & "Disciples of the Watch". My favourite inclusion is the studio cut "Reign of Terror" though which is the fastest & thrashiest number on offer & had been popping up in Testament live sets since way back in 1984 when they were still known as Legacy. The performances are all strong, particularly the guitar solos of Glen Alvelais & Alex Skolnick which are a real highlight. The production is also much better than the awful sound quality Testament had to contend with on their only previous live release in 1987's "Live at Eindhoven" E.P. which gives "Return to the Apocalyptic City" a clear edge over that record in my opinion. This one should definitely interest most Bay Area thrash fans, even if its format makes it fairly inessential in the grand scheme of things.

For fans of Metallica, Exodus & Megadeth.

4/5

Blood Duster - "Fisting the Dead" E.P. (1993)

The debut release from a legendary Melbourne band that I saw play live many times back in the 1990's. It includes 25 tracks across 19 minutes, eight of them being hilarious intros that have been borrowed from D grade horror films like "Bad Taste". This music is not meant to be taken too seriously but boy is it entertaining. Early Blood Duster offered a well-constructed & produced sound that took the blast-beat driven goregrind of early Carcass & combined it with the groovy death 'n' roll riffs of post-1991 Pungent Stench. The use of double-kick in the blast-beats leaves a little bit to be desired by today's standards but we didn't notice it all that much back in the day. The song-titles & lyrics are as over the top as you'd expect from a goregrind act with ditties like "Vulgar Taste (Of A Rotten Cunt)", "Knee Deep in Menstrual Blood (The Bleeding Bitch Returns)" & "Blood Fart" being some of the better ones. Throw this one on a drunken party with your mates & press the "repeat" button cause it's all over in a flash.

For fans of Macabre, Pungent Stench & early Carcass.

3.5/5

Absu - "Barathrum: V.I.T.R.I.O.L." (1993)

I've always quite enjoyed the down-tuned early Immolation death metal meets Darkthrone black metal feel of this album. It's got a dark & evil atmosphere & the production really reminds me of my tape-trading days in the late 80s/early 90s. Proscriptor's drumming is probably the highlight for me. I'm not too keen on the female vocal stuff & the keyboards are very primitive but I dig the raw brutality of this record. It may be my favourite Absu release actually.

3.5/5

An epic diverse start to this offering from this well-known Armenian-American experimental nu/alt-metal band:

This sh*tty downer doesn't really add anything, and it's best to just ignore it:

Cavern Womb - Stages of Infinity (2024)

Y'know, for as much as I go off about Chilean Thrash Metal as one of the most prolific scenes in Metal at the moment, East Coast NA Tech Death is starting to get really, really close to being the thing to look out for. Whether it's Replicant from New Jersey that everyone but me seems to love, or Tomb Mold from Toronto, or Lunar Chamber from Florida that had that standout EP from last year, things are looking up. Well after showing up to a Philly concert myself recently there's another PA/Philly band that's coming out of the woodwork showing some promise with this ripping 25 minute EP that sounds way to mature for a band that has only had a 3 song split before dropping this beast. I do think we're getting a bit inundated with some similar sounding Tech Death since there's just so damn much of it nowadays, but Cavern Womb's songwriting and mix of influences has really propelled this one to the top for me. Stages of Infinity definitely lives up to its Tech Death tag, but not in the same way as other bands who seem to throw some complex riffing and some fretless bass at the wall and see if it sticks. In my opinion, you can tell from the first song that this EP is extremely tight in the way it moves and transitions in between each riff and tempo without it feeling jerky or forced. That continues through the whole thing and only gets better as it goes, with "Cryopreserved" and "A Vessel For The Esoteric" being some of the best Tech/Progressive Death Metal I've personally heard in a while. This kind of sound definitely appeals to my personal tastes as its less about brutality and more about weird progressive/psychedelic adventures in between some incredibly compelling riffs. I'm going to be listening to this one way more and it may turn into one of the few EP's that make my year end list, I'm seriously enjoying this one. This happened last year with the Lunar Chamber EP, although I think this one is even better at a glance, so these guys need to get their acts together and release full lengths already! (...Y'know whenever they feel like it and all that.)

4/5

Disillusion - Gloria (2006)

Genres: Prog Metal, Industrial Metal

From what I understand, Disillusion's sophomore album Gloria represents a dramatic change in sound from their debut, which was more straightforward prog but amped up.  Having recently gotten through the first three Shadow Gallery albums, I'm perfectly used to this.  I didn't expect a great album when I came into this, but I theorized I would like it more than many others because IMO the last thing the world needs is more "standard" albums, and we're already gonna get them every week anyway, so I might as well enjoy what I can from their new industrial sound.

I don't know about you, but that super-dark raw and rough atmosphere took me by complete surprise.  It's noisy while still maintaining a sense of melody.  It was also made clear early on that the vocalist Andy Schmidt was taking a few cues from The Sisters of Mercy's own Andrew Eldritch.  He also takes many times to go for spoken word segments rather than singing, which means the band has a clear urban vision for the album.  I'll say this, the urban factor definitely works for the album.  Like I said, I appreciate new sounds, and it's safe to say that this album is pretty unique to the prog metal scene.  There are some very interesting decisions you'd never get on the previous album, such as the choral synths on the title track being combined with spoken word.  Another great example is Avalanche's black metal intro.  That was COMPLETELY unexpected.  The tremelo-picking is tuned down to allow for a funkier rock guitar to take its place, which means there is still some room for evolution in these tracks.

There's a big problem with switching their sound to an industrial one, though.  Their new sound is partially built on the repetition of singular notes heard often in industrial metal, and is contradictory to the melodic prowess that made their first album so good, which means instead of merely switching styles, they also forgot one of their signature skills at times.  The melodies here aren't generally bad, but some are much better than others to the point where another strong comparison to the debut keeps this album from reaching the same heights.  Another little problem is that Schmidt easily had more room for his more melodic vocals, and he largely abandoned them in favor of darker urban vocals that don't have the same effect.

This is one of those cases where a band's ambition creates something good but also alienates the fans.  Not every idea present is a good one, but the band works with what they're doing here pretty well.  I'm not sure why they decided to take such a drastic turn in their sound, but with some more fleshing out, they could've had something brilliant.  Instead, we get something enjoyable and diverse, but uneven and lacking spirit.

77

Anthrax - "Sound of White Noise" (1993)

The early 90's was a terrifying time to be a classic thrash band. By 1993, the grunge scene had unceremoniously stripped thrash metal's audience with some of the remainder being carried away by the death/black metal boom so many of the major bands were all fighting for a smaller market share. Pantera had also hit on a key niche of the market with their fresh new groove metal sound that had taken the metal scene by storm &, in order to survive in that environment, many artists simply chose to jump onboard the grunge or groove metal bandwagons with mixed results it has to be said. Big Four member Anthrax was one such act with their 1993 sixth album "Sound of White Noise" seeing the five-piece transitioning away from their thrash metal roots for a sound that took an each-way bet on the grunge & groove metal movements. Many fans would immediately jump off the train but the inclusion of talented Armored Saint front man John Bush in place of classic Anthrax singer Joey Belladonna had certainly peaked my interest, particularly given that I was a huge fan of Bush's work on the Saint's 1991 fourth album "Symbol of Salvation". Ben would purchase "Sound of White Noise" on CD upon release & we'd both spend some time adjusting to the new Anthrax direction. Interestingly, I recall both of us really enjoying it & nothing much has changed there either.

Although "Sound of White Noise" is generally regarded as a groove metal release, I would argue that there's actually a lot more alternative metal here, easily enough for a dual primary tag with thrash metal being the lone secondary influence. To say that "Sound of White Noise" sounds like a different band to the one we heard on classic thrash records like "Among The Living" or "Spreading the Disease" is not entirely accurate though. You can still clearly hear a lot of the techniques the band had made their calling cards but they're used more sporadically here. Tracks like "Potters Field", "Invisible", "C₁₁ H₁₇ N₂ O₂ S Na" & "Burst" would have comfortably fit on earlier Anthrax records though so this isn't a completely foreign environment for extreme metal fans. Bush's more masculine vocals are certainly a little different from Belladonna's but not to the point that you couldn't easily imagine him singing the earlier classics pretty successfully. I personally gravitate more to the Bush tone anyway so this change was always gonna appeal to me. He doesn't nail everything in front of him here but, after a few listens, I can't imagine too many punters feeling like he'd rained on the Anthrax parade.

The eleven-song tracklisting doesn't tend to unveil all of its charms upon first listen & repeat listens definitely see it opening up progressively more. There are a couple of genuine Anthrax classics on show if you're open to discovering them. The obvious highlight of the record is the anthemic single "Only" which possesses an absolute belter of a chorus hook & is the best reference for the skill set that Bush brought to the band you're likely to find. High-octave, energetic alternative thrasher "C₁₁ H₁₇ N₂ O₂ S Na" is also an underrated gem & I've found that it's dug its talons into my flesh to ever greater depths over the last week. The rest of the tracklisting ranges from pretty decent to very solid with only the lackluster alternative metal number "Hy Pro Glo" failing to offer me any level of appeal. Perhaps there aren't enough tier one inclusions to see "Sound of White Noise" pressing for Album Of The Year honors but it certainly had enough about it for Ben & I to remember it very fondly amongst our childhood memories.

So, where does "Sound of White Noise" sit in the prestigious Anthrax back catalogue then? Well, it might surprise a few people to hear that I actually rate it somewhere in the middle rather than towards the bottom rungs. I'd comfortably take it over the legendary New York thrash metal establishment's 1984 debut album "Fistful of Metal" & also feel that it's a more consistently interesting record than 1988's "State of Euphoria" fourth album which was more acceptable than it was impressive. Many people seem to try to tarnish this record with a harshly-worded groove metal brush but that's not a true reflection of the quality of the song-writing or the professionalism in the performances. Anthrax were a high-quality metal act who have produced another high-quality metal record here in my opinion but there's no doubt that it requires thrash fans to go into it with an open mind.

For fans of Acid Drinkers. Prong & Sepultura.

4/5

Here's my review:

The only proper release from Sydney-based doom/death metal exponents Cruciform came to my attention at a time that I regard as being amongst the more exciting in my life to date. 1993 saw me forming the first iteration of my own death metal band Neuropath (still under our early moniker of Coprophagia) with four younger kids from the local area & we had every right to think that we might be the only metalheads in the entire Northern Beaches region that were clued up on the thriving death metal phenomenon that had taken off in the underground metal scene a couple of years earlier. One day one of us came back from the local record store Sandy's Music with a copy of the "Atavism" CD & shared it with the rest of the band who all enjoyed its filthy brand of death metal-infused doom. The music was simple enough for us to compare to our own early works but sophisticated enough to exude a strong pedigree in an underground scene that was currently thriving off the back of the tape trading concept. It wouldn't be long before we'd learn that Cruciform were actually located fairly close in proximity to us &, even more impressive, were also one of the senior players in the Sydney extreme metal scene at the time, being signed to the infamous Warhead Records label that was responsible for several key releases in the annuls of Australian metal history & would go on to release Neuropath's 1996 "Desert of Excruciation" demo too. This added additional appeal to the CD & would see us analyzing "Atavism" in greater detail. Opening track "Sanctuary" would become somewhat of a band favourite & we'd go about covering that song at all of our early live shows. At one Lewisham Hotel gig in 1994 we'd be approached by the sound guy after our set, only to find that we had just played a Cruciform cover to the band's new vocalist/keyboardist Simon Gruer which was terribly exciting. Shortly afterwards we'd realize that the long-haired gentleman behind the counter at Sandy's Music that had sold many of the local kids their copies of "Atavism" was in fact guitarist Leon Kelly too & I'd build up somewhat of a familiarity with him over the next couple of years. I wouldn't go so far as to say that he was an idol but I certainly looked up to him & listened to what he said with great interest.

Cruciform would go on to develop & mature very quickly after the release of "Atavism", culminating in the amazing "Paradox" demo tape in 1995 which saw them poised to break out of the local scene with a new deal with legendary English extreme metal label Earache Records in the works. We were heading to all of the band's live shows (well... the ones we could get in to as most of the other band members were still under the age of 18) which had become immeasurably more epic off the back of Gruer's inclusion & the strength of the new material. But just when Cruciform's light was about to shine at its brightest, the band spilt up & were lost from the Sydney scene, seemingly overnight. They'd reform many years later in 2012 & are still playing shows now but have not released any new recorded material that I'm aware of up until now. That's obviously quite a story but was "Atavism" really as good as my young ears thought it was at the time? Or was I simply dazzled by the idea of some local brothers in arms that were older than me & had achieved things that I was still yet to attempt? Well, I think the answer is a bit of both looking at it with modern-day ears.

"Atavism" was a six song release that we actually regarded as being an E.P. back in the day given its relatively short 32-minute duration. It opens with a lengthy three-minute neoclassical darkwave synthesizer piece that hasn't stood the test of time very well & sounds fairly cheesy these days. The remaining five pieces are made up of extreme metal tunes that had all become staples of the Cruciform live sets & are all worth hearing too, some more than others though it has to be said. The production job has a lovely layer of underground dirt caked on it that gives the music some additional authenticity while the musicianship was still fairly basic at this time with several examples of timing issues being plainly visible in the recordings that were clearly produced under tight financial constraints.

The early Cruciform sound is often touted as sitting somewhere between the doom/death sound that had taken the global scene by storm off the back of the Peaceville Three a couple of years earlier & a more conventional death metal one. You can certainly see why on the evidence here but the doom/death component plays a much stronger role than the death metal one so I don't think there's much reason for a dual tagging personally. "Reduced to Dust" is really the only straight-up death metal tune included with "Proboscis" being more of a hybrid & I'd suggest that those two tracks are probably the least impressive of the five proper songs anyway. Those pieces often remind me of My Dying Bride's early death metal efforts actually. The doomier material is where the real guts of Cruciform's notoriety was formed though with the two songs that bookend the release ("Sanctuary" & "I, to the Heavens Shall Lift My Eyes") being the clear standouts in my opinion. The band was still a four-piece at the time but utilized a three-pronged vocal attack that adds a great deal of interest to their sound. I particularly enjoy the ultra-deep death growl that reminds me of "Symphonies of Sickness" era Carcass although the occasional use of a higher register approach comes across as a little weak & gurgly.

Early Cruciform already possessed an uncanny knack for melody, particularly for such a young band. The way they allow their better compositions to build over time showed a good understanding of dynamics, even if the technical capabilities of the various band members still seemed to be a little immature at the time. Listening back now, I can easily pick up some sections of tracks like "Proboscis" & "I, to the Heavens Shall Lift My Eyes" that have been reworked into some of the more brilliant parts of the "Paradox" demo that I still regard as one of the finest I've ever heard to this day. Unfortunately though, I don't think any of these pieces compare all that well to the two epic numbers that make up that incredibly underappreciated release & this leaves "Atavism" as very much the entree to the "Paradox" main course. It's hard for me to think of it as anything else after all the years of solitary bedroom worship for Cruciform's later material but "Atavism" is still worth seeking out for early doom/death enthusiasts as there weren't too many artists exploring these creative avenues at the time. "Paradox" would see Cruciform pushing a sound that was wwaayy ahead of its time & could well have had a major impact on the global scene if it was given the right production & exposure in my opinion. Unfortunately, it wasn't to be though & we're left with only these limited recording to enjoy which in many ways pre-empted my own musical journey with Neuropath.

For fans of Hearse, Sorrow & Asphyx.

3.5/5

Ben, please add the new Sumac EP The Keeper's Tongue.

My metalcore band discovery journey continues with these two bands:

I was morbidly curious and couldn't stop myself from immediately checking out the one single they have out, the re-recorded "Quest for Tanelorn". I...wasn't very impressed. It's interesting to hear Kürsch's approach now that his voice has changed with age, but that's about it. For me, the instrumentals definitely sound more precise and modern, but the original has a certain energy to it that gets lost in the process. Everyone will have their preferences with productions and I'm definitely biased since this is one of my favorite albums of all time, but I think "revisits" like this make me roll my eyes because they always seem to try to remake the songs note for note and the only differences are the production, the vocalist, and minor changes in playing technique for the other members. Somewhere Far Beyond sounded fine and although I'm still glad they're doing this to get a more definitive, updated version other than the 2007 remaster, I still scratch my head when things like the guitar solo are replayed note for note. I think I'd be infinitely more interesting if they take the opportunity to reevaluate and maybe make some changes that you learned may improve the song after 32 extra years of experience, but that's obviously not what we're getting here. Ah well.

Prolific Aussie genre-hoppers King Gizzard & The Lizard Wizard have yet another new album hitting the shelves on 9th August. This is called "Flight b741" & fuck knows what musical direction they'll take this time. I did really dig 2019's "Infest the Rats' Nest" & 2023's "PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation" records though so I'll be sure to investigate it if there's any hint at it being a metal release.

Thanks, Daniel.

US brutal death metallers Disfiguring the Goddess have a couple of new collaborations out right now. The first is the "Transfigere" E.P. with Ohio goregrind solo artist Putrid Stu whose 2021 "Taking Care of Business is Our Business... and Business is Good" collaboration E.P. with Phoenix brutal death metallers Fluids I quite enjoyed.

The second is the "Breaking Fourth Wall" E.P. with Californian brostep producer Big Chocolate which admittedly sounds like an awful combination on paper but in reality this dude is the main member of disfiguring The Goddess anyway.

Disfiguring The Goddess are hardly a premier exponent of their craft with their back catalogue showcasing as many misses as hits in my experience but I have enjoyed some of their releases so who knows. This one might be one of the better ones like 2012's "Sleeper" E.P. which I really enjoyed.

Thanks, Daniel. Could you please fix the issue for Neurotech's Symphonies II release page as well? https://metal.academy/forum/15/thread/419#topic_18197

Mythra's "The Death & Destiny E.P." is not only the earliest legitimate metal release to come out of the NWOBHM in my opinion but it's also the very first release I deem to be worthy of the speed metal tag due to the inclusion of "Killer" & "Overload" which are both built on tremolo-picked riffs & high tempos. Please vote YES to have the E.P. added the The Pit on top of its existing position in The Guardians.

https://metal.academy/hall/518

After revisiting "Bomber" this week, I've come to the conclusion that any suggestions that the early Motörhead records are metal releases were clearly misguided. There isn't a single track that I'd suggest warrants a metal tag included on this album. It's a raw & dirty hard rock record with a strong blues component still evident & it should really be sitting under Non-Metal as far as I'm concerned. Please vote YES to facilitate that change.

https://metal.academy/hall/517

After revisiting "Overkill" this week, I've come to the conclusion that any suggestions that the early Motörhead records were metal releases are clearly misguided. The only thing metal about the entire record is the double-kick work in the opening title track. Outside of that we have a raw & dirty hard rock record that should really be sitting under Non-Metal. Please vote YES to facilitate that change.

https://metal.academy/hall/516

Another powerful highlight from Trail of Tears' comeback EP:

With this high amount of heaviness and epicness, Trail of Tears are back with a vengeance:

I agree with Vinny on removing Batushka. I've listened to a lot of modern Black Metal and there aren't a lot of bands that follow in Batushka's footsteps with the chanting aspect; the only one that springs to mind is Thy Darkened Shade and their 2014 album Liber Lvcifer I: Khem Sedjet which predates the Batushka album. 

Since we're going purely influential, I'm also with Vinny on removing Conqueror and keeping Blasphemy as the sole War Metal representative, unless someone else wants to suggest an example that's pushing the genre in the modern era. Something like Infernal Coil's Within a World Forgotten since that seems to be hailed as War Metal graduating into something more than the original Blasphemy-core, but I'm not an expert on that. 

I don't listen to a lot of Depressive Black Metal so take this opinion/suggestion as you will: I would keep Xasthur and Leviathan and remove Silencer. Unless Silencer's 2001 is cited as being a real influence on either of the other two albums, in which case I would keep Silencer and Xasthur. I did find out that Bethlehem's Dictius Te Necare predates all of these under the Depressive Black Metal tag, releasing in 1996, and while the production is much clearer and the songwriting isn't as frantic, it still has the reflective and despairful atmosphere along with a vocal style that I've heard from many a Black Metal band. I'm just not sure how well this album was known by other musicians at the time. If Bethlehem comes into the discussion, it'd be Bethlehem and Xasthur for me personally. I went back and forth but I think Ben's right in saying that Xasthur is the more quintessential Depressive Black Metal sound, even though I think Leviathan has the more interesting album.

I think Enslaved stays.

I'm unsure on having both Cradle of Filth and Dimmu Borgir beside each other as the final Symphonic Black Metal representatives, especially since In the Nightside Eclipse is already there. I'm not an expert on either of these bands, but from what I can tell, modern Black Metal bands more closely follow Dimmu Borgir's Enthrone Darkness Triumphant than Dusk and Her Embrace, which sounds still sounds pretty unique to me. I'd have to spend some more time coming up with a more modern representative for Symphonic Black Metal, I don't know if there is one to be honest. 

Did Jari Mäenpää take some inspiration from Trail of Tears when making his Wintersun Time albums? Listen to the background keyboard melody in the intro of this Trail of Tears track:

Made more epic in this post-chorus orchestral melody lasting the same amount of time in this Wintersun epic (first time at 3:35):

Krallice - Inorganic Rites (2024)

Y'know, one of the more exciting parts about modern music production is how many albums some people can put out if they put their nose to the grindstone. Much like Esoctrilihum or Trhä, Krallice has been on a no-filters tear since 2020, releasing 7 albums in about 4 years time. I'm not sure why bands who have some of the densest material to get through decide to be the most proactive with creating albums, but it undoubtedly leads to even the most diehard of fans burning out at some point. I first heard about Krallice with the release of 2022's Crystalline Exhaustion, skipping over their celebrated first 4 albums, and tried to keep up with them as best I could. I wasn't crazy about their brand of Atmospheric Black Metal, but Psychagogue  and Porous Resonance Abyss won me over a bit more as they explored a more progressive, synth focused and spacey sound. Then...I got burned out and decided to skip Mass Cathexis 2. I already got enough out of Porous Resonance Abyss, so I think I tried to load it up one day, got through one listen and just didn't retain anything, then never went back. 

Well, because of that, I was slow to check out Inorganic Rites this year as Krallice albums seem to take a lot of focus and time. Going back to my initial claim about how it can be exciting to sift through a ton of releases, it's because one of them may hit in the absolute right way, and that's apparently what Inorganic Rites is doing for me. I think the use of synth in this album is unparalleled in terms of Atmospheric Black Metal, I want to say it's the best I've ever heard but that's probably a bold, snap decision claim. The creepy, alien feel that Krallice normally evokes fuses beautifully with complex Black Metal passages that range from blistering riffs to slow burning atmospheres. Although this style has been attempted a bunch by different bands, I think this is the first time it's immediately clicked for me. The electronics are so creative without taking away from the Black Metal base, and the consistency with the atmosphere is impeccable. I'm gonna be listening to this one a lot more in the coming weeks, I'd imagine. 

4.5/5

Blind Girls - An Exit Exists

Genres: Emoviolence

Apparently, I've heard multiple Blind Girls albums before a while back and completely forgot about them.  After checking my ratings, I realize that at the time of exploring them I found them overhyped.  I've heard a decent deal of screamo, and I'm on a pretty desperate search for a band that is both unique and creative.  These days, the best I can ask for is the great (but not brilliant) Foxtails, who I'll be closely following.  Having heard most of this group's catalog, I decided to get this apparent "modern screamo essential" out of the way, as RYM seems to be treating it.

Now this is a 20 minute album of a single genre, so I'll keep this review appropriately brief.  As soon as the opener Dissonance finished, I was certain I was in for just another screamo album.  Don't get me wrong, the atmosphere was perfectly fine.  The opener's title really tells you what to expect, but the actual screamo choices are ones I've heard across an entire genre's spectrum already.  The percussions add to the unpredictable and even chaotic nature as they go into jazzy areas explored by hyperactive bands like Deathspell Omega.  So while it's typical, it's entertaining.  Around the time of the 3rd to last track, there are some disturbing ambient sounds which made me wish there was much more of that scattered throughout this album.

I can easily see a screamo fan enjoying this work.  An Exit Exists is pretty typical for a screamo album, but it's still wild and chaotic.  It's one of those situations where you take all the overused ingredients and just keep switching betwene them, keeping it interesting during its tropiness.

74/100

Thankfully, among all the typical choices is a level of unpredictability that completely justifies the album's existence.

This is why we need clan-central combo genres.

^ Gonna review this, too.

I am still a MAJOR noob to the world of epic doom.  I have a little experience in its parent traditional doom, but I'm not even familiar with the works of Solitude Aeturnus, Doomsword, Solstice or Krux.  Having said this, the reason I decided to listen to this today was because I finally have enough room in my top 2024 albums chart for another metal album to potentially make the top 30.  I'm trying to keep it at a 20% max, so as to ensure I explore other genres heavily.  It's been a terrible time trying to expand on it, but thankfully, my saving grace for the day have been that Twikipedia album and new live albums by Can and Yes.  On top of that, checking the charts, it looks like "epic doom" isn't really known for a grand scale of variety among its more popular groups.

Now I just read that the difference between traditional doom, which is bent in more heavy metal and blues influence. and epic doom is the theatrics, which gives this brand of doom more room for an otherwise opposite genre: US power metal, which is much more energetic.  The Stygian Rose makes a point of letting you know that it plans to make the most of energetic theatrics five seconds in, and the riffage is not only impressive, but the progression of each song is both interesting and easy to follow, even when songs change pace.  I mean, it's totally easy to fall in love with that gothic black guitar tone at the beginning of Down in the Hollow.  The stronger changes seemed to be more apparent with each track, such as the tempo changes with Heavy Is the Crown of Bone.  I was just utterly soaking in the combination of traditional doom, funeral doom, USPM and some doses of gothic and black, as well as the progginess of track four.  But the variety itself wasn't the highlight, but the COMPOSITION.  These guys are utter PLAYERS.  Crypt Sermon manage a lot with the album's average runtime.  There are completely hypnotic elements like that synthy beginning to Scrying Orb, which is one of multiple examples of how crystal clear the album's production is without the overpolished reverb of studio necessities.  This is especially handy considering that the band plays with atmosphere the further along the album goes.  Take the noisy yet heavenly funeralism of the closing title track's intro for example.  I have to be honest: that's one of the finest example of composition, aura, produiction and technique I've ever heard in 2500+ metal albums.

And let's talk about the lyrics.  During The Scrying Orb, I noticed something: these guys are about as good at delivering lyrical imagery of other worlds and realms without sticking fully to tradition as Blind Guardian.  I mean, take Imaginations from the Other Side and Mirror Mirror.  Rhyming anyone?  Crypt Sermon aren't as upfront about the experimentation with melody here, but they know how to keep things engrossing on all levels.  Take the line "Blessed be the green lion, the green lion that eats the sun, to see through Orion where two hearts will beat as onе."  I'm just getting customized flashes of ancient walls with highly detailed hieroglyphs moving to the story.  And thankfully, this guy has a totally appropriate voice for both the energetic bits and the atmospheric bits.  I honestly like his voice much more than Messiah Marcolin's.

I've been pretty excited about 2024 this year, even to the point where I feel like I'm overrating albums because there are so many albums this year that completely fit my standards for perfection.  So in my effort to ensure that my reviews are founded on knowledge, I have to ask myself, "how do I know that this album isn't essentially copying another epic doom metal band that I haven't yet heard?"  I think it's a 100% valid question considering that I made the dumbass decision to listen to a 2024 album for a genre I've only heard like 5 albums for, especially since most of those 5 are early Candlemass.

So I'm just going to go based on my standards across 2500+ albums, assuming that's at least enough by this point: I loved it.  There was not a single millisecond I wasn't completely behind.  It might be a bit too diverse for the general traditional doom metal album to really be seen as an epic doom classic, but if Coagulated Bliss is seen as a modern grind classic no matter how many genres it plays with, that I'm going to go by the standards I set up for myself and ask the four questions.

1. What is the goal of this album?  It seems to be a further exercise in Crypt Sermon's growth as a band by once again differentiating their sound from the previous album.

2.  Does the album meet its goal?  100%.

3. What does the band sacrifice or neglect by meeting this goal?  Honestly, I don't think it really neglected anything except maybe standard epic doom behavior, if I'm to believe the RYM track listings.  I guess if I had to compare it to other doom albums, one technicality that isn't quite a flaw but isn't quite as good as another album in this regard is that its variety, while perfect for the album, isn't as wide-ranging as Idolum or The Dreadful Hours.  But it still works perfectly for the album, which pretty much states that there was no real sacrifice if the goal was to expand.

4., Are the sacrifices and negligences made up for by other aspects of the album?  If the above indeed was a sacrifice, then I have to say that in the end, this album is the kind that can probably attract a variety of metal fans by staying true to the band's spirit.

All in all, I just have to call this one of the greatest doom albums I've ever heard.  On my list I'll be putting this at #244 on my list of perfect albums between Peter Gabriel's So and Keith Jarrett's Koln Concert.  This makes the album my #2 metal album for 2024, my #6 2024 album period as well as the seventh 100 for 2024 that I've given.  Haven't had a year like this is a long time.

With a unanimous vote tally of YES 5 NO 0, I've decided to pass this old Hall of Judgement nomination & have changed the database to reflect the change. Thank you to everyone who contributed to a result that I feel is undeniably correct.

As with Black Sabbath's first two classic albums, the age-old consensus that 1971's "Master of Reality" is a "heavy metal" record doesn't stack up to closer scrutiny, at least not when you take into account the modern metal genre tree. If the album was released today by as the debut release from a new band then I feel confident that it'd be tagged as a stoner metal record which is in line with my long-term feeling that it doesn't sit all that comfortably alongside your Judas Priests & Iron Maidens.

For the record, this is how I've tagged the album:

1. Sweet Leaf - Stoner metal

2. After Forever - Hard rock

3. Embryo - English folk music

4. Children of the Grave - Heavy metal

5. Orchid - Contemporary folk

6. Lord of This World - Stoner metal

7. Solitude - Psychedelic folk

8. Into The Void - Stoner metal

The folk interludes are pretty insignificant in the grand scheme of things but it is worth noting that the only one of any length (i.e. 'Solitude') has a psychedelic feel which again plays closer to stoner than it does heavy metal. There's only really the one heavy metal tune included in "Children of the Grave". Therefore, I'd like to see 'Master of Reality' removed from The Guardians & the Heavy Metal genre while maintaining its position in The Fallen under Stoner Metal.

This nomination has been posted in the Hall of Judgement.

https://metal.academy/hall/515

With a vote tally of YES 8 NO 3, my Hall of Judgement submission to have Black Sabbath's "Master of Reality" album added into The Fallen under the Stoner Metal genre has been passed. The database has been updated to reflect the change.

"Revelator" is on the long list of releases that I've spent some time with but haven't gotten around to rating or reviewing as yet Andi but I'm planning on taking the opportunity to rectify that this month off the back of your feature release nomination. The Amenta are arguably my favourite Sydney (i.e. where I lived my whole life until two years ago) band & have been for many years now so I've tended to follow them fairly religiously. 

For August (for now, will add to it as required around other submissions if we get any):

Ten Ton Slug - "Mogore the Unkind" (from "Colossal Oppressor", 2024)

Triptykon - "Goetia" (from "Eparistera Daimones",  2010)

Feel free to bulk your submission out to the 40 minute mark Vinny as I have a new The Fallen member that would like to contribute.

Thanks, can I please add:

Dystopia - "Sanctity" (from "Human=Garbage", 1994)

Shape of Despair - "Angels of Distress" (from "Angels of Distress", 2001)

FYI: From next month the new The Horde playlist track submission limit will be 30 minutes for each of the four nominators after irunak James-Lee has elected to take part.

This week's experiences with our July The Revolution clan feature release have seen me having to reassess the top end of my Top Ten Metalcore Releases of All Time list with Unbroken's "Life. Love. Regret." album shoving its way into the top of the list at the expense of Rorschach's "Protestant" which has dropped out the bottom:

01. Converge – “All We Love We Leave Behind” (2012)

02. Unbroken - "Life. Love. Regret." (1994)

03. Converge – “Axe To Fall” (2009)

04. Converge – “You Fail Me” (2004)

05. Loathe – “I Let It In & It Took Everything” (2020)

06. Converge – “When Forever Comes Crashing” (1998)

07. Between The Buried & Me - “Colors_Live” (2008)

08. Snapcase - "Progression Through Unlearning" (1997)

09. Every Time I Die – “Radical” (2021)

10. Converge – “Jane Doe” (2001)

https://metal.academy/lists/single/178

Here's my review:

I’ve been meaning to get around to checking out San Diego metalcore outfit Unbroken for a long time now. I don’t mind me a bit of 1990’s metalcore on occasion & these guys seem to be known as one of the more prominent examples of that sound so I had a funny feeling that they might be something I’d dig. Their 1993 debut album “Ritual” seems to receive generally positive feedback but it’s Unbroken’s classic 1994 sophomore album “Life. Love. Regret.” that receives the bulk of the attention so let’s see if it warrants the lofty praise that is inevitably heaped upon it then.

 Unlike many of the more widely celebrated metalcore releases, “Life. Love. Regret.” doesn’t try to reinvent the wheel, instead taking a tried & tested direction that lives or dies by its attitude & authenticity. Thankfully though, it has both of those attributes in spades which has no doubt pleased the hardcore purists to no end. The relatively short 35 minute album doesn’t try to be anything that any good hardcore band shouldn't aspire to be. The production job is fairly raw but is still chunky & heavy while the performances are left pretty loose with no attempt having been made to clean up any timing concerns. Those things simply don’t matter all that much when it comes to hardcore music. It’s a more about the visceral urges they inspire in the listener & a general lack of fucks being given.

From a musical point of view, “Life. Love. Regret.” might as well be a guidebook for new players on what 90’s metalcore was all about really. Simple yet crunchy power chord-driven riffs? CHECK! Mosh-worthy breakdowns? CHECK! Angry & aggressive screamed vocals? CHECK! Occasional post-hardcore experimentation? CHECK! In saying that though, there’s an honesty & integrity about this music that places it above the sum of those tick boxes. There’s a purity in Unbroken’s sound that I find to be really easy to buy into. It didn’t quite sink in on first listen but I found myself liking this record more & more with each revisit & that has a lot to do with its consistency as the quality of the song-writing as it rarely dips below the really solid platform that’s set right from the offset with only “Blanket” feeling a little less essential even if it still generally enjoyable.

The two elements that drive this album are its clear points of strength. The riffs are the first of those components with Unbroken seemingly rewriting the manual on metallic hardcore crunch. I can easily imagine how intense this band would have been live because these anger-fuelled guitar parts seem to have been born for mosh pit mayhem. As a guitar nut myself, I found it hard not to buy into Unbroken’s selling point in that regard as I live for the sort of amplifier reverberation they possess in spades, even if the riffs are kinda basic a lot of the time & aren’t exactly performed with precision. The other major highlight can be found in the vocals of front man Dave Claibourn who steers away from that gurgly hardcore tone that I’ve always found to be a little weak by giving himself a little more of a natural sound. It gives his stories of life on the streets some added believability & he does a fantastic job at drawing the listener in through sheer fire & vitriol. In fact, it’s hard to deny that he’s the major calling card for the album overall & I’d suggest that he’d have to one of the more appealing hardcore vocalists out there.

A four-star rating was always on the cards from the first second I pressed play on “Life. Love. Regret.” to be honest as it stays predominantly at that level throughout its nine songs. While “Blanket” may have seen the quality curve dipping just a touch, the biggest talking point for the album comes in the form of a total game-changer that sits right at the end of the tracklisting. The nine-minute epic “Curtain” is nothing short of a devastating, tension-building beast of a track that I’d suggest should rightfully sit amongst the absolute elite examples of the metalcore genre. Its use of repetition & dynamics to draw the listener in from both a physical & cerebral perspective is astounding & I’ve found it hard not to allow my passion for this one piece to dictate my feelings on the holistic package to tell you the truth. I genuinely feel sorry for people that don't have the patience to connect with a piece like this one.

Despite the lengthy classic that dominates the B side though, I still can’t see “Life. Love. Regret.” as a classic release. Essential? Oh definitely, particularly if you’re a die-hard metalcore or hardcore fan. But I don’t think the majority of the album is different enough for it to command the loftier scores in my ratings system. Perhaps I’ve simply come to it a little late in the game but I can’t help but feel that “Life. Love. Regret.” doesn’t really do anything terribly different to a lot of metalcore release. Perhaps Unbroken are the source of all of that in the first place though? I dunno but what I can say is that I’ve rarely heard a better example of this type of music than this record & I can easily see why those metalheads with a stronger affiliation with the metalcore genre than I would tend to gush over it as I’ve been surprised at just how much I've enjoyed the experience.

For fans of Rorschach, Starkweather & Racetraitor.

4/5

August

Kvaen - "De Dodas Sang" from The Formless Fires (2024)

Yoth Iria - "The Great Hunter" from As the Flame Withers (2021)

Sear Bliss - "The Winding Path" from Heavenly Down (2024)