Shadowdoom9 (Andi)'s Reviews

Epic deathcore heroes Lorna Shore began as more of a death/metalcore band in a similar vein to The Acacia Strain and Emmure, maybe even the heavier songs of Parkway Drive and Bring Me the Horizon at that time, in their debut EP Triumph. Those other bands have done it much better than this sh*t though. Keeping things decent is the vocal work by Tom Barber who was the original vocalist before he switched to Chelsea Grin in 2018. The album cover is beautiful too. I can jam out to the vicious "Second Skin". But everything else doesn't sound all that great. I'm a f***ing lot more used to their later sound that would start to shape up in the next EP Bone Kingdom onward....

Favorites (only song I really like): "Second Skin"

While Empire of Dark Salvation is Gothminister's breakthrough and my favorite album from their electro era, Happiness in Darkness is better known to the rest of the world. The music from that album is definitely worth playing clubs from dusk to dawn. Anima Inferna is a great transition from that era into a new one, one with a more expanding sound and a lot of new surprises...

Utopia showed Gothminister gaining higher ground than before! New stuff has been added to their dark gothic industrial metal such as more accessible pop elements, in a way that increases their audience instead of decreasing.

The intro "The New Beginning" is indeed a sign of the beginning of a new era, though it could do without the baby crying. "Someone Is After Me" is an action-packed hit for the dance floor. Powerful strength comes from the beat and melody. You'll never be bored when you listen to this amazing action. The title track is a great catchy example of the gothic-infused industrial metal I prefer. "March" is a short march to the next track.

The freaky "Horrorshow" really dominates. Exploring the next track "Nightmare", there are nice gothic melodies, but the spoken bridge midway through kind of ruins the vibe. The song "Afterlife" may seem cliche in the title, though it's a more serious track. "Helldemon" is more cliche in the interlude itself, but it's fine.

At some points in "All Alone", the storytelling can remind some of King Diamond's concept albums, yet the sound has more simple catchy melodies and sounds far closer to Marilyn Manson's Antichrist Superstar than King Diamond's Abigail. "Purgatory" is one more orchestral interlude. "Eternal" isn't the best song here, but still listenable. Towards the end is the excellent "Raise the Dead". And finally, "Boogeyman" finishes the album as a complex entertaining 6-minute epic.

Utopia is clearly something I would recommend to fans of gothic-infused industrial metal. It can certainly please you to the bitter end. It's been an interesting journey through Gothminister's discography so far, and it continues!

Favorites: "Someone Is After Me", "Utopia", "Horrorshow", "All Alone", "Raise the Dead", "Boogeyman"

The dark journey of Gothminister continues on, and I'm already midway through what they've had so far. I think you can consider Anima Inferna the transition album between the two surrounding 3 albums eras; the electro side and the epic side.

Whichever era the band is in, they've been engraved to the stone of Norwegian dark industrial metal. Bjørn Alexander Brem enjoys doing what he loves. However, he thought about becoming a lawyer again after feeling like he achieved enough from his electro-era trilogy. Luckily, he didn't stop! He still felt up for some more music to create. He knows how to make a living while doing he and his fanbase love.

The album opener "Stonehenge" begins with heavy guitar crunch and interesting synth harmonies. Then the guitars calm down to let Brem's baritone vocals shine. Sounds quite evil for a then-recently-married and domestically happy man, proving his ability to maintain the earlier darkness. Optimistic lyrics ain't gonna make the gloomy vocals fade away in this battle of life and death. The album's single "Liar" has an electro-synth intro that expands through the guitars and vocals. Brem has excellent vocal range and harmonic effect. The track drives through in the beat and melody. Next track "Juggernaut" starts with guitar that again fades slightly for Brem's vocals. After being primarily guitar-focused, the buildup makes a calm descent into the atmosphere of synths and strings.

"616" switches again to an interesting synth intro before the guitar and drum strength comes again. Brem's vocals become grittier and deeper, similar to the earlier albums, that wasn't heard in this album until that point. The electro-synths fully dominate in "Solitude", while Brem's moody voice and driving percussion make their entrance, balanced out by the guitar. That's probably one of the darkest tracks with the most electronic synths. "The Beauty of Fanatism" sounds much different with higher melody. Brem's vocals remind you that there's more to expect than that song innocent melody. The beat eventually picks up, and there's more aggressive mood in the lyrics. There's pretty much epic evolution in that creative composition! The title track opens with a faint male operatic chant, then a drum beat marches in alongside symphonic strings. Brem's vocals have dynamic fury as usual. The music fits well and gives you the right amount of attention.

The interlude "Fade" transitions out of that track in orchestral fashion. Then it leads into the next track "Beast" which almost has the evilness of blackened death metal, but is really just a melodic song with more singing in the band's usual style. Wrapping things off is the outro "Hell Opens the Gates", subtly transitioning from the previous track with simple synth and barely any percussion. After some vocal sample effects, an evil voice ends it all. There's also a bonus remix of "Liar" which, while sounding way different from the original track, works quite well.

Anima Inferna is quite excellent, with every full song working smoothly, though it would've been perfect without the somewhat pointless interludes. It's quite short at just 40 minutes, so there should've been more. Nonetheless, the vocal range is brilliantly mixed with the electro-industrial metal sound. It's just so good with astonishing melodies! If you enjoy Gothminister's earlier electro trilogy, you'll be up to hearing the sound leveled up. And if you're new to this band, let me tell you, the legendary greatness is real!

Favorites: "Stonehenge", "Liar", "616", "The Beauty of Fanatism", "Anima Inferna"

"Happiness in Darkness" is the perfect ending to the perfect offering that is Gothminister's second album Empire of Dark Salvation. Would they expand on that sound in their third album named after that track? Let's find out, shall we?...

Bjørn Alexander Brem was once a lawyer, similar to Stephan Pastis before his main job as the creator of comic strip Pearls Before Swine. Brem's main job is being the leader of band spawning out of a side project, Gothminister. The debut Gothic Electronic Anthems was a hit with the critics, but it wasn't until Empire of Dark Salvation when they became one of, if not THE, biggest gothic industrial metal touring acts. This band has really proven to us that there's... Happiness in Darkness!

The band relentlessly hits the club with opening single "Dusk Till Dawn", picking up where they left off with industrial rock/metal guitars with monumental orchestra. What's really good for this song is the chorus with top-notch vocals from Brem. "Darkside" ascends with gloomy choir atmosphere before powerful drumming, alongside more of the hard-hitting guitars and orchestra. "Your Saviour" is the first of 3 songs in the album to feature the serene vocals of former the Crest/Theatre of Tragedy vocalist Neil Sigland. I could also hear a bit of the synths that are somehow reused by Dead by April.

The next track "Freak" is interesting and rather, well, freaky. Following this is "Sideshow" with an opening audio sample of a circus ringmaster, "We didn’t lie to you folks, we told you we had living, breathing monstrosities." The strings from that sample segue into brand-new mighty strings, pushing forward with the heavy drumming. The softer melodic "The Allmighty" is a nice surprise intermission, with only Sigland singing, sounding like a medieval princess.

"Beauty After Midnight" has a darker heavier sound, similar to Motionless in White's more industrial works but without any of the metalcore screaming. The ballad-like track "Emperor" is still a rocker at times while progressing through the band's softer side, along with the last of Sigland's vocals. "Mammoth" is one mammoth of a song in the more dynamic parts. "Thriller" is superb cover of that Michael Jackson hit, though it's clear that Brem is straining beyond his limits. There's an extended version that's twice as long and includes part of the original narration by Vincent Price.

Gothminister continue their right path, as Happiness in Darkness pleases both old and new fans. It's so catchy with barely anything flat. That's great value needed for an album of gothic-esque industrial metal!

Favorites: "Dusk Till Dawn", "Darkside", "Sideshow", "Beauty After Midnight", "Thriller"

The more commercial music listeners might think of Gothminister as nothing but a horrifying freakshow, but the more open-minded metalheads like myself recognize their brave talent. Bjørn Alexander Brem was once a lawyer, and his wife Sandra Jensen is an artist photographer. As for the other 4 members, they were already producing music and performing in other bands. Bound to be a winning offering, Empire of Dark Salvation can be seen as the Trivium Ascendancy sophomore breakthrough of gothic industrial metal! It's a grand step up from their 2003 debut that is still pretty great.

Manning the co-mixing is Stefan Glaumann, known for his production work with Rammstein, Within Temptation, and Paradise Lost. Empire Of Dark Salvation has a dark powerful sound, helped by the occasional spooky vocals of the angelic Miss "Dementia" Jensen, along with keyboard atmosphere by Halfface. With guitarists Android and Maschine, and drummer Chris Dead, the loud unforgettable instrumentation impresses us, accompanying the vocals of the main star Mr. "Gothminister" Brem!

"Dark Salvation" opens the album big, really big! It serves as kind of a prologue to the album's story that actually starts with the interlude "Welcome". The best track for me is "Monsters", worth adding gothic-ish industrial metal to a club. "The Calling" has some cyber-industrial elements that I wouldn't be surprised if Northlane used for Obsidian.

"Daughter of S" is a strange interlude of a satanic trial for child murder or something. I really like "Forgotten", what else can I say? "Nachtzehrer" is another weird yet satisfying gothic-infused industrial metal treat. Not the best one here, with all the eeriness going on, but it still works like a charm. "Leviathan" once again has some electronics that reminds me of what trance-metalcore band Crossfaith uses.

"Swallowed by the Earth" is more atmospheric. I wouldn't say it's as atmospheric as bands like The Ocean, but I'm referring specifically to Halfface's keyboard atmosphere, along with wild soloing from those synths. "We Die In Dreams" is another standout hit. However, right after such a hit, again there's a brief interlude, "Gates of Salvation", that leads straight to the next song. "Happiness In Darkness" is the perfect ending track to make you happy in the midst of lyrics telling a tale of the end of the world as everything dies and decays out of existence. There are also a couple bonus electronic remixes, for "Monsters" and "Swallowed by the Earth".

Gothminister is the dark devil that the more angelic music listeners out there really need to balance out their lives. Throughout these exactly 40 minutes, you can travel all around this gothic world of darkness. And there are more reviews to come for the rest of their stellar discography!

Favorites: "Dark Salvation", "Monsters", "Forgotten", "Swallowed by the Earth", "We Die In Dreams", "Happiness In Darkness"

I think electronics in some metal genres stand out. While there a few bands out there that sound too poppy or dark, it all works well in a good balance. Gothminister can be considered the metallic equivalent to dark pop bands like Unheilig and Wolfsheim.

There's a lot more to expect in Gothminister's material. The album title Gothic Electronic Anthems says it all; electro-goth industrial metal with a few beautiful atmospheric ballads. It's so unique for me to listen to! This band can master the coherent concepts of these songs at such ease. They wouldn't fully perfect their sound until Empire of Dark Salvation, but it's quite promising in this debut.

"Gothic Anthem" is a prime example of this kick-A gothic-influenced industrial metal sound. And you never really have to be Satanic or Goth or swear to make or even listen to music like this. The music is what's supposed to matter. The anthemic single "Angel" is totally worth hitting the charts and being used for clubs. "The Holy One" is also quite decent. "Pray" has more of the atmospheric electronics. There's quite some nostalgia for 80s electronic dancers, while adding in the sinister 90s sound of Marilyn Manson. Take that one to a club!

"The Possession" is an ominous interlude. Then comes the second single "Devil". It's slightly darker than the other single "Angel", adding to the "Devil vs. Angel" motive. The slow side begins with the soft "Shadow of Evil Sins". However, the better "Hatred" smashes through as industrial dance-metal that should really make a hit.

The slow decent "March of the Dead" really leads the listeners through up to the ending buildup. "Wish" has soft female vocals by Nell Sigland, former lead vocalist of bands the Crest and Theatre of Tragedy. "Post Ludium" is one more beautiful electronic ballad of bittersweet dreams. It really has the romantic goth vibe of HIM. So cool! The edition of the album that appears in the rest of Europe has a bonus club remix of "Angel".

If you're looking for a band like Umbra et Imago but more industrial and less sexually dominating, Gothminister is that star in the dark skies of goth. Their debut Gothic Electronic Anthems is a solid versatile start to this band's journey, and listeners of many genres might dig most of it. But I'm prepared for the better in their next offering....

Favorites: "Gothic Anthem", "Angel", "Pray", "Devil", "Hatred", "Post Ludium"

Skillet is part of the league of alt-rock/metal bands my brother likes and I used to before starting my TRUE metal interest. Little did I know until now, frontman John Cooper and guitarist Seth Morrison started their own spin-off project Fight the Fury!

As those Christian rockers continue to rise in mainstream fame, the fans wanted to hear more of the sonic heavy compositions from their golden mid-/late 2000s. There's no chance of returning to that kind of power those earlier followers really want, but this project formed by Mr. Cooper and Morrison provided a more metallic alternative. Their debut EP, and so far only release, Still Breathing has some mixed results; a bit of a letdown while still enjoyable in a couple songs.

The opener "My Demons" is very energetic. This is probably the heaviest to come from any of John Cooper's bands since Skillet's Collide. However, the lyrics have too much embarrassing drama, "I go to sleep with my demons, creep in my head every night. They come to shred all my dreams, why why why is this my life? I can't, I can't close my eyes". Fortunately, the heaviness makes up for that. "Dominate Me" is just intolerable with the lyrics too overwhelming, "This is how you dominate every part of me, yeah, it's okay, dominate me! Teach me not to misbehave, I can be a slave".

The fantastic "Still Burning" restores grace for the EP, once again reminding me of Collide and the heavier direction Skillet should've taken after that album. The lyrics in the song are a great improvement compared to the earlier weakness. "I Cannot" satisfies me once again. However, the "I cannot live, I cannot breathe" chorus is an unoriginal flashback to Skillet's Comatose musically and its title track lyrically. There's too much similarity between the final "Lose Hold Of It All" and Skillet's Awake single "Monster".

Honestly, Still Breathing sounds too awkward in the lyrics and occasional throwbacks to the earlier Skillet songs. Other than that, it's a short fun listen for Skillet fans wanting more of what John Cooper has to offer. And if you're new to his works, only a couple songs are worth your entrance. Still I gotta show this my Skillet-fan brother....

Favorites (only ones I like here): "My Demons", "Still Burning"

After finding out that today (as of this review) is the 25th anniversary of two obscure yet relevant Revolution releases with one of them being that Damaged album I've reviewed, here's the other release, Crisis' The Hollowing! Their fanbase is divided by female vocalist Karyn Crisis. She can go all over over the place with her vocal range, from operatic highs to tough rasps to brutal death growls. Add in some pig-squealing and this album would be in deathcore territory, though fortunately that's not the case.

Her voice is a d*mn essential element for Crisis that helped them stand out, but what about the other aspects? The lyrics are written in multiple perspectives guided by her vocals. As for the music, f***ing h*ll, this is more than just metalcore! It's mixed with the sludge metal that you might find in bands like Eyehategod, along with pieces of thrash/death/doom/hard rock here and there. All of this has shown the band at its best; not too accessible, yet not too repetitive or bizarre. And it's a great step up in my ongoing metalcore search, despite not having this band in plan before finding this release in the Anniversaries page.

First track "Mechanical Man" opens the heaviness for business, a fast kick-A standout! "In the Shadow of the Sun" almost has the melodic death-doom vibe of Insomnium, while mainly standing by the sludge metalcore sound. Same thing for "Fires of Sorrow", though more sinister. "The Vision and the Verity" has good lyrics, "I cut out my heart, just the other day, held it in my hand, said it doesn't work that well anyway". See, nothing gory or satanic, despite what outsiders might believe. There's also cool guitar here.

One of the best songs here, "Kingdom's End" is amazing, especially the one-minute outro. Cool guitar distortion interplaying with the vocals repeating a f***ing brilliant lyric, "when this chemical lung gives out, I'll be living at my body's mercy". After that is the soothing intermission, "After the Flood", with construction-like background sounds. "Sleeping the Wicked" has helped put the band neck in neck with Candiria as the most experimental standard metalcore band of the late 90s. But if you think the band sounds awesome there, check out the next track...

"Surviving the Siren" is the greatest of the bunch, with every one of Karyn's vocal styles here; operatic singing, monstrous growling, and banshee-like shrieking. The lyrics seem to twist around The Odyssey, specifically the part with the sirens, in which lust can lead to doom. The drumming gets crazier and descends into chaos as the song progresses, and the only light in the darkness is the beautiful chorus sung by Karyn. You really gotta stick around for that song and have it stick to you! "Take the Low Road" is the last total highlight, having solid death/thrash elements, especially in the drumming. Another underrated track! "Discipline of Degradation" continues the slow metalcore sound similar to the more groove-ish side of Earth Crisis. "Come to Light" is the instrumental finale, then it's followed by a pointless hidden track of studio outtakes.

All in all, I say the only reason this band had a bad rep is because of those 80s metal/grind purists out there. Don't believe them! The Hollowing is filled with great music and evocative atmosphere. Karyn Crisis can almost surpass Julie Christmas as the best female vocalist in the heavier side of metal!

Favorites: "Mechanical Man", "In the Shadow of the Sun", "Kingdom's End", "Sleeping the Wicked", "Surviving the Siren", "Take the Low Road"

As an ex-fan of Between the Buried and Me and fan of Prayer for Cleansing, I knew I had to give this band/EP a good listen and review, since two members of both bands were in this one; guitarist Paul Waggoner and vocalist Tommy Rogers. From Here On had more noise in their deathly metalcore than the technicality of those other two bands. The harsh vocals from Rogers roar over the heavy riffing/shredding of Waggoner. There are occasional acoustic/narration passages between parts of the onslaught.

However, there are only two great highlights here, one of which is "Shards of Glass", a total spine-chiller. The other highlight, "Further Away" has the best breakdown I've heard in any of the Rogers/Waggoner bands. Other than those two, it's all mostly just uninspired deathly metal/hardcore, and I'm relieved that the EP only has a 25-minute length....

Favorites (only two for this album): "Shards of Glass", "Further Away"

Ah, here we go! A 1990s metalcore/deathcore release that has greater playing value than that other Abnegation release, along with the Napalm Death/Coalesce split and Downcast album. This oughta add a small bit of goodness to my search...

The 90s was a different time for our world. For one thing, thrash/death metal was withering after their golden age of the 1980s, and in its place was the newly developing metalcore scene on the rise. The two bands here, Abnegation and Chapter, both of whom would have a more deathly sound later, were highly influential back then but faded down into obscurity. This split EP was a very important display of adding metal into hardcore. They didn't need to be known by the whole world, just the right audience!

Abnegation began their transition from hardcore to metal around that time, and what helped out is one of their songs here, "Blanket of Black". This highlight shows more of a speedy deathly metalcore sound. This was considered the most metallic/Slayer-sounding any hardcore band has gone before. It was thanks to this band and that song that every metalcore band would start emphasizing the metal part of their template. "Behind the White Walls", on the other hand, continues the chaos, yet the shorter length kind of decimates its memorability. Still a great song to like!

Chapter is not really interesting enough for me to describe the songs in detail. All I'll say is, they play wild dissonant metalcore that would also take over the late 90s, yet more in the Rorschach style than Slayer. I mean, they sound more metal than Rorschach, but not as powerful when crashing in different angles. I prefer my noise-metalcore from the more popular Converge who would release the amazing Petitioning the Empty Sky. While Chapter is likeable, Abnegation has much better Slayer-inspired metalcore.

All in all, this split EP is an interesting example of metalcore beginning to rise, straight from two nearly-elusive bands. Abnegation's side is a more amazing offering from that band than the ultra-deathly 1998 album. If you're going through metalcore's early age, start with Rorschach then work your way to this split, then you know what matters....

Favorites (only from Abnegation's side): "Blanket of Black", "Behind the White Walls" (despite its short length)

I'm sorry, but NO. My search for the earliest bands in non-melodic metalcore subgenres ended up getting imploded by 90s f***ing proto-emo-core. I'm glad this is much lesser-known than the real fantastic metalcore inventors like Rorschach, Integrity, and Starkweather! The only reason I gave this at least 1.5 stars at all is for the song "System" that has helped in the band's attempt to create metalcore that is better off made by those bands. No words can explain how weird the outcome of trying to expand my ongoing search for metalcore can be, when it comes to these sh*tty oddballs....

Favorites (only one I even slightly like): "System"

Abnegation was one of the very first bands to connect the bridge between metalcore and death metal in the 90s, plus adding in a bit of Slayer riffing. It wasn't until their 1996 split EP with Chapter when they've gone from obscure to influential. They were following the common straight-edge lifestyle with their views of veganism and pro-life. But with this different sound, they've become very divisive within the scene...

Verses of the Bleeding is more weird than good in some ways. It's different from what the more hardcore fans might expect. The earlier fans might be in dismay by the fact that 3 of the founding members already left, and the switch from hardcore to evil death metal. On top of that, they were still in Goodlife, a Belgian record label for hardcore bands and hardcore fans, and those fans were vegans and activists. The band went from holy to unholy, not giving a f*** about their longtime audience. And I bet the sh*tty gruesome cover art was a dead giveaway for all this. Personally, I have more of this deathcore/metal album to judge than ideology changes, so let's dig right in!

It starts promising with my favorite song here, "When the Smoke Clears", the shortest while having guitar aggression. The title track has that lo-fi death metal sound going on to remind you of Morbid Angel and Deicide. However, the lo-fi is too low, that first minute of film-samples has tired me out, and the riffing is decent but not interesting enough for me. "Hopes of Harmony", has some slight redemption in fine significance with their earlier hardcore, but the only thing truly heavy is the so-so death growling.

"Bury the Needle" is another short favorite here, having the guitar and vocals reminiscent of early Cannibal Corpse. I think I like the shorter songs best. "Stones That Strike the Cedar" was recorded from an earlier demo, though subject to destructive criticism. Same with "Drowning in Halo's Water", also fast but doesn't mean it's ever powerful.

"A Kiss Before Dying" is one of the most brutal songs I've heard, and it's hard to believe that my metal interest slowly evolved from the epic melodic progressive metal of Symphony X to the brutal deathcore/metal of this album. "Cry of the Ezurate" is a vicious ending track that I enjoy, and it's not as short as the other two highlights. There's also, apparently, a bonus cover of Venom's "Welcome to Hell", but I couldn't find that one. Fine with me, because I've had enough here.

It's no surprise how overwhelming the album's resulting controversy was for the band. They broke up at the end of the year, and not much is known about the members since. I prefer to get my early deathcore from a more hardcore band like Day of Suffering, and I should dive into Abnegation's earlier hardcore stuff too. Yeah, I probably should....

Favorites (only ones I really like): "When the Smoke Clears", "Bury the Needle", "Cry of the Ezurate"

Until now, I honestly wasn't really up to giving this split EP a listen and review because of how rotten I treated the Coalesce EPs, and the band in the other side of split is English grindcore pioneers Napalm Death. Y'know, the band with the one-second "You Suffer". This split was made around the time of Napalm Death's experimental death metal phase, and Coalesce was making their transition from their poor demos to their more superior albums. While those different directions sound promising...

...What was the point of this split!? I get they were trying to promote both bands, but if each band released their side separately, there would be just a couple two-sided singles. While the music is OK, the length isn't. I could listen to a progressive metal epic as long as that entire split! Really not necessarily worth purchasing.

The Napalm Death tracks are actually quite interesting, specifically "Food Chains", continuing the groove-laden death metal of Diatribes, almost leaning into early nu metal, as you can hear in the Korn-like chords and Sepultura-like drumming. The vocals by Barney (NOT the dinosaur) make it obvious that this is the band's usual death metal. A demo version of "Upwards and Uninterested" (from Utopia Banished) is an aggressive beast. While that song is from their earlier grindcore era, it sounds closer to the band's return to that style in Words From The Exit Wound, especially when the riffing and drumming sound smooth while staying as chaotic as mathcore. The best of that side!

And now for the Coalesce tracks, with their technical hardcore/mathcore sound starting to be more comfortable while still not reaching its brilliance, starting with "A Safe Place". Shifty rhythms dominate over strange riffs, all in front of guttural vocal barks. The drumming is interesting, yet it's not highly listenable. "Harvest Of Maturity" has more relaxed maturity with midpaced riff variation to be explored along with more of the technical drumming. That's what I prefer!

All in all, the EP is quite decent in quality but at the same time unnecessary. I don't know who to recommend this entire EP to, fans of death metal, mathcore, or both genres, and even then there's not a lot of point. If this were to cost anything, it would probably just be dollar or less, any more than that and it's a rip-off. Easy split, but skippable....

Favorites (one from each side): "Upwards and Uninterested", "Harvest Of Maturity"

After staying in the modern metalcore scene firmly in the first 10 years, Parkway Drive stunned them all with their 2015 album Ire, evolving into a more expansive part of their journey. Then their following album Reverence took out most of their metalcore roots for emotional experimentation. So what's next in this Byron Bay band's 7th offering Darker Still? Another small step forward into their melodic path, but a good leap in quality compared to the previous album...

This album is as dark as the title would suggest! Apparently, the theme is confront a destructive event and standing up against it with your beliefs as you make your journey through this dark world. In other words, instead of living in nightmarish misery, let this metal tale motivate you to rise in resistance against what life has to threaten you.

Twinkling into the opener "Ground Zero", vocalist Winston McCall starts off sounding fragile, before rising in defiance and shouting "Drop the beat!", as if he commanded the band to begin their anthemic attack. The riffing and chorus would have you pumping your fist in joy. Add in a moshing breakdown and a big choir-like bridge, and it's pretty much Parkway Drive's ultimate anthem! Next track diving in "Like Napalm", destined to make a furious mosh pit when the band can perform it live, complete with a chorus to shout along to amongst the dangerous chaos. The album's first single "Glitch" adds a bit of speed while in a mid-paced march through insomniac depression, alongside guitar and gang-style vocals to remind me of While She Sleeps.

"The Greatest Fear" shows a different, more epic direction for the band, beginning with a church organ and an angelic choir. Then melodic riffing marches in to make you think of Iron Maiden then it's twisted into the groove of Rob Zombie in the verses. In the bridge, we hear a Gregorian-like choir singing the "hymns of nevermore" and then they're replaced with a moshing breakdown. Probably one of the best of the album for me and my brother whose listening to the song reminded me that I needed to get into the action. However, the title-track centerpiece, surpassing the previous album's "Chronos" as the longest and probably most epic song by the band, is a prime example of reinvention for the band. It's basically filled with pieces of acoustic balladry and whistling, with Winston singing some Nick Cave-like cleans. It's obviously not as heavy as the more metal tracks, but there's deeper texture glory than before! However, "Imperial Heretic" doesn't sound really inspired. Neither does the minimalistic "If a God Can Bleed".

Fortunately, "Soul Bleach" puts us back on track with rapid pacing in the riffs. Then cleaning this up in a brief one-minute interlude is "Stranger" with a post-apocalyptic vibe in only two repeated lines, "We are all but strangers, in a stranger world" and "Pixelate, isolate, filter out the human... We become the future". It leads to "Land of the Lost", with one of the most infectious refrains, telling you to "Keep digging the hole down deeper". The headbanging closer "From the Heart of the Darkness" gets you ready in the intro for a final battle started by a mighty guitar riff and Winston grunting "I took a walk last night through the valley of death". The heaviness pounds in rebellious resistance!

Parkway Drive has given you a journey through Hell that you can pleasantly battle through and come out with as many scars as the band had making this powerful offering. The songs with the most strength come from the first half, though a couple ones in the second half are great too. All part of this test of promised survival....

Favorites: "Ground Zero", "Glitch", "The Greatest Fear", "Darker Still", "From the Heart of the Darkness"

Let's make it clear that as much as potential as these high screaming vocals and guitars have, they don't have enough meat in the bone. It's very much just another early underwhelming attempt at deathcore/metalcore. I'm glad this got added to site so I could give it a try and find out it's just sh*t not worth trying for. The best track here is "Falling Into Ashes", but that's pretty much it....

Favorites (only one in this album): "Falling Into Ashes"

Remember when I mentioned that one of the songs in my August Sphere playlist ended up in the soundtrack for Bad Boys? Well that movie came on TV earlier today (as of this review) and that was the incentive needed for me to give this album a listen and a review. How did it go? Well, where do I begin...

Album #8 from KMFDM, Nihil is where the band started adding a bit of that metal groove into their industrial sound. They've also become more of a collective than a band, with En Esch and Sascha Konietzko gathering many guests throughout the years. Even their image has become powerful, thanks to the visual marketing that includes comic-style cover artwork from Brute. Except this album's cover art was made by guest drummer Bill Rieflin's wife Francesca Sundsten (both passed from cancer at age 59, RIP).

Busting through is the nearly flawless opener, "Ultra". After that is the anthem "Juke Joint Jezebel", the most popular song from KMFDM, selling over a million single copies, and the aforementioned song that appeared in the Bad Boys. A remix version is also in the Mortal Kombat movie. You can really dance along to some parts, much more than Nine Inch Nails, especially the disco-sounding choir led by guest vocalist Jennifer Ginsberg. "Flesh" is slower in the verses, but speeds up in the chorus and definitely towards the end. "Beast" has choruses you can sing along to.

The political-sounding highlight "Terror" thunders through with industrial metal guitar. "Search & Destroy" is one of the more destructive songs here, while having some of the catchiness infecting the album. "Disobedience" is perhaps what really stands out the most in the album. It's not a ballad, but it sounds the closest to one. In saying that, it's one of the greatest highlights here.

"Revolution" cranks up the heavy power once again, but not before things get heavier... "Brute", named after the cover artist of almost every other KMFDM album, is more brutal while staying melodic. "Trust" has another female sung chorus by Dorona Alberti, "Do what you can, what you want, what you must, feel the hunger inside, don't lose your trust", which has a funny similarity to Steely Dan, and is ironic during the battle for idealism that ends up getting lost. The hidden title outro is rather pointless, but I guess it helps makes sure the album doesn't end too abruptly.

Nihil can be considered the core of KMFDM's industrial intelligence that has helped the band fly in the mainstream realm, far beyond their peers. Alongside founders Esch and Konietzko shining throughout, vocalist Raymond Watts and guitarist Gunter Schulz make colorful contributions above the artful production. Compared to industrial metal's usual abrasiveness, KMFDM have a more polished sound, proving that they can be more than just noise. Still they know how to control their striking impact....

Favorites: "Ultra", "Juke Joint Jezebel", "Terror", "Disobedience", "Brute"

Self Inflicted is known as one of the cult albums deep in the underground metalcore/early deathcore mines. However, there's not much in common with what I'm used to when it comes to this style...

I mean, there are some moments to beat you into damnation, but I was hoping for more in this mix of Hatebreed-style metalcore and slight Crowbar-ish groove. Maybe a bit of experimentation from fellow New York-core band Candiria would've spiced things up, but nope, nothing like that here, other than a few audio samples. One track, "Step Back" is pretty good, but everything else is mediocre and boring (I hate using that latter word to describe anything metal). I got much better bands to access than this poor sh*t...

Favorites (only one for this album): "Step Back"

Candiria's goal for a more complete sound wasn't achieved in their then-unknown debut Surrealistic Madness, but I think it might just be in their 1997 second album Beyond Reasonable Doubt! As the band take on Starkweather-like experimental metalcore sensibilities, it seems like a slight change of lineup might affect which path to go. Guitarist Chris Puma (RIP) left to explore different horizons, and taking his place was John LaMacchia who would then be confirmed to be a full-time member for their next album.

The band went to Brooklyn's Purple Light Studios to record the albumwith All Out War producer Michael Barile. As a result, you'll find the usual complex yet listenable compositions with guitars at true thick power.

There's not much you can deny when it comes to how flawless this offering can be, beginning with "Faction", an irresistible blend of metal and jazz. The blend continues to form in "Year One", with incisive riffs and rhythms as changes surround the sound. "Lost In The Forest" is an 8-minute experimental jazz instrumental which seems to weigh down the earlier dynamic. It's the only slightly annoying part of this otherwise perfect album. "Paradigm Shift" adds in tribal groove percussion and a bit of saxophone.

There's some more of tribal percussion in "Tribes", this time brought into the front stage while mixed with more of the cutthroat riffing and vocals. Next track "Molecular Dialect" has some sprawling drum samples which I found out were from the somewhat Dave Witte (Municipal Waste, Burnt by the Sun, Discordance Axis, etc.) who brings interesting color into this interlude. Amazing! Then we have the improbable "Divided". Even "Mental Politics" is excellent, and that one is a different genre from two scenes in New York, rap, which is not really my thing in other times. That proves how well the album shines in diversity.

Then there's the interlude "Riding the Spiral" that's pointless but doesn't affect the album's score. It leads to a more primal highlight "Primary Obstacle". The final track "Intrusive Statements" closes the album with a couple long jazz jams. I wouldn't say it's bad in any way, but while there are irresistible aspects like its energetic attack and urban groove, this would be more pleasing as soundtrack to a cheesy lounge, rather than something for metalheads. It's still quite fun! Ya like jazz!?

How can I not praise the talented genius of these guys? Beyond Reasonable Doubt follows the style of Surrealistic Madness though in a better level that I hope to find more of in their more successful next two albums. There's more efficient maturity that has helped Candiria stand out in the hardcore scene. You really shouldn't forget quite a feat. Anyone here looking for eccentric creativity for a hardcore band? You're in luck! Candiria would have it all in this album and their next two. Beyond Reasonable Doubt shall delight me with its improbable delight for many years to come, and it's no doubt at all!

Favorites: "Faction", "Year One", Molecular Dialect", "Divided", "Mental Politics", "Primary Obstacle"

Many subgenres are created out of different experimentation, and crust punk/stenchcore is no exception, thanks to a band wanting to take a more unorthodox path. Amebix was the kind of band who wanted to craft music without any limitations. This band moved fresh out of the 70s punk scene and took their roots to the metal scene rising in the UK in the 80s, taking on a new sound of eclectic consistence. After a few demos and EPs, the band become more than just "experimental". They were a band that made some of the heaviest, most aggressive fusions of punk and thrash, a style known as stenchcore!

As much as they've made a great impact to the punk and metal scenes at that time, the actual material of debut album Arise! is worth looking out for. These guys can actually play their instruments, unlike some punk bands. They perform simple riffs then mix them up with atmospheric keyboards. I've never really heard much of stenchcore before finding this album and requesting its addition to the site as part of helping the genre expand in the site, but I already have a great feeling about it...

"The Moor" right there shows how unique the genre can be by blending by mix creepy choral work with a slow rock groove. "Axeman" continues the creepiness, this time in the lyrical territory. The lyrics in "Fear of God" perfect show their revolution against religion, "To justify injustice you must misinterpret Christ".

Another track establishing where the band stand in their lyrics is "Largactyl" (sounds like what you call a large pterodactyl). The ambient/progressive elements rise in the 6-minute epic "Drink and Be Merry". Next track "Spoils of Victory" is one of the most victoriously rebellious songs I've heard, more than anything I've heard in The Revolution. Daniel was right, this is the best example of stenchcore!

The title track is not as fast and brutal as that of Sepultura's Arise, but Amebix's song is still a killer punky thrasher. Do you dare to bang your head viciously to "Slave"? Maybe if you're a greater stenchcore fan than I would ever be. The closing ballad "The Darkest Hour" once again brings home some of their Rush/Pink Floyd influences.

All in all, Amebix's debut is perhaps the first release to seal the stenchcore deal and probably the best this genre had to offer, adding relevance to the lyrics and intricate music to touch your punky soul. It's mostly a well-defined part of the style that quickly started a kick-A evolution. Amebix is a pioneering force of a genre they were piecing together in their earlier EPs. I don't really intend to continue on with their next album, Monolith, but for those who wanna hear thrash crossing over into crust punk.... Arise!

Favorites: "Fear of God", "Drink and Be Merry", "Spoils of Victory", "Arise!"

After revisiting a couple albums from my symphonic-ish power metal past, it was time to hop back into the more brutal end of the symphonic-ish metal spectrum. Earlier today (as of this review), I had a not-so-ordinary family car ride, with the driver, my usually alt-rock/metal-loving brother, blasting this EP (among other songs) along the way, and holy mother, this was one of the most epic and brutal at the same time EPs I've heard recently! I recognized one of the songs and remembered where it's from, so I knew I had to find the right time to listen to it at home. I was prepared for a full listen to this EP by myself, and here's what I have to say about it...

Are you with me, deathcore fans?! This is THE deathcore EP of 2021, and facing it head-on is demanded if you haven't given a listen in the year since release! You know how much the sh*t is real from the start. Lorna Shore has let go of two vocalists, one for another band Chelsea Grin, and the other due to abuse allegations. Enter Will Ramos, a young yet monstrous vocalist whom his first song with the band has become their entryway to popularity. You're about to find out what it is in a second, so let's f***ing go!

Although I listened to the brutal opener "To the Hellfire" in one of the Revolution playlists last year, I changed my mind about it because it was too intense for me at the time. And now that I can stand the deathcore intensity much more a year later, it was time for a second round. This is perhaps the discovery of deathcore for many listeners, probably including my brother, perhaps from the breakdown alone, which we'll get to soon. It's incredible how rapidly the song's video gained millions of views. The entire band's talent is also beyond incredible, with Ramos taking the front stage with his vocal rage. From this opener, you get the greatest taste of operatic/demonic blackened death metal/core. It's so amazing and better appreciated with headphones. It's hard to believe that this furious breakdown is what caused my bro to convert from alt-metal/pop-punk into full-on epic deathcore right off the bat, but that's what happened. It occurs 5 minutes into the track after some speed metal soloing, with the consuming line of "Swallowed by the womb of death!!!" You would also hear the most demonic shrieks ever! This breakdown is such a f***ing ride with nothing dramatic to precede it.

"Of the Abyss" is another 6-minute epic that can really pack some punches right through. Ramos warms up his vocals while the band rises from the cinematic orchestral inferno while still attacking from the deepest pits of Hell. This is symphonic black/technical deathcore we're talking about at its most epic, and it might be a new style to add to my metal arsenal. There are new standards in the drumming that just never stop, maintaining its power in every beat. They shoot like a machine-gun above the guitars, bass, and orchestration. In the middle is a spectacular breakdown with perfect vocal precision from Ramos. Super wonderful production once again ensures that the album is one of the best releases of deathcore and perhaps all of metal.

And finally, we have the title track finale to behold in all its epic glory. This is pure massive destruction that the band had in earlier material, perhaps much more than that. The death metal elements carry on in a steady rhythm, as the vocals are unleashed with berserk might, and the guitars shine even more. The riffs have incredible technical speed. Ramos doesn't have any mistakes in his vocals and the dark lyrics he reads. It's all in intentional thought and focus. His lines are made high while breaking through the lows. While the breakdown fury is an important aspect to the other two songs, and pretty much many other deathcore bands, for this track, fast blasting technicality is the key. Speaking of technicality and keys, the final climatic minute marks a couple raises in the key signature, blows you away with the last of the technical speed, and ends it all with an operatic outro. That final epic is probably the best of the 3 and one of the most glorious extreme metal songs in my entire lifetime!

So, that's that Lorna Shore EP, ...And I Return to Nothingness. F***ing h*ll, I can't believe how incredible this is! If you're a deathcore fan enjoying this as much as me and my brother, you definitely need it. If you're like my indifferent-to-extremeness parents, you're better off elsewhere. This deathcore gem has made history for a epic brutal future!

Favorites: ALL 3 tracks, though the best of the best is the title track

I haven't given up on this industrial metal early-years journey after a soundtrack EP to brutal violence by Trent Reznor's NIN project. There's still one more heavy industrial metal trick up my sleeve... I like some of the 7 long progressive-length tracks in this Trust Obey album, though the album is overall in the same quality as SLAB's albums.

For the few highlights here, "Hands of Fire" is a killer tune. "Hands of Glory" is also worth part of the CD's runtime. However, what's really the best, probably better than some of Godflesh songs, is the terrifying beautiful bonus track in the original edition, "Larvatus". It is the final destination for this industrial descent into Hell, where horns, trumpets, and synths flow over the moans of founder John Bergin. It's so cathartic and almost epic! A grand ending to a heavy experience. Such a shame it's not on Spotify...

I guess you can say that Trust Obey is like a mix of Nine Inch Nails, Godflesh, and SLAB!, and it seems to have the same quality as the latter, a few winners here in an otherwise poor album. If you want the best of heavy industrial rock/metal, check out the highlights....

Favorites (the few highlights): "Hands of Fire", "Hands of Glory", "Larvatus"

Trent Reznor has been active for nearly 4 decades now, with his popularity growing with every release. He can be considered the industrial music king! His project Nine Inch Nails is the reason for his success and has changed their sound quite a lot. The 80s debut Pretty Hate Machine was known for its cheesy synths and beats, and torture-themed lyrics where vocal distortion dominates. Now what was the 90s like?...

Drastic new changes come aboard including higher prominence of guitar, screams, and a beautiful blend of orchestration/piano/synths in contrast to the hideously great heaviness. Those can be found in the dark Downward Spiral and the melodic Fragile. The bridge of pleasure and pain continues to extend beyond, though some gaps between albums, such as between Pretty Hate Machine and The Downward Spiral last as long as 5 to 6 years. Fortunately, to prevent any stagnation, the band has cooked up an EP, Broken, an over half-hour industrial metal EP essential for Nine Inch Nails fans! This cauldron of catchy riff crunch marked the beginning of a dark decade.

"Pinion" is a decent distorted intro with a riff building up to the end. Then it drops into "Wish" with a programmed beat and spaced-out vocals making room for metal riffing. The catchy metal chorus spices up that mundane verse-chorus pattern with metal guitar and synths, the latter foreshadowing what they would have in The Downward Spiral. "Last" adds a slower twist into the riffing that's like a more distorted metal take on Pretty Hate Machine, and then crossing over to a hint at The Downward Spiral. Good one!

"Help Me I Am in Hell" is a melodic interlude that would foreshadow even further into the instrumentals of The Fragile. It's a nice highlight to let you breathe before the rest of the album socks it to ya. "Happiness in Slavery" is pretty bad, not having any melody at all, as Reznor screams "Slave screams!!" It mellows out for a little while with a bit of melody in the verses. Sick yet bearable... After a minute of programmed drumming and Reznor's whispers, "Gave Up" has good riff-blast before quieting down for the verses, while keeping the pounding drums, screamed vocals, and guitar blasts. The pre-chorus gradually grows louder until the chorus with loud metal riff repetition until fading out.

In many versions of the EP, there are 91 one-second silent tracks that lead into tracks 98 and 99, which are two covers, one awesome and the other horrible, starting with "Physical", originally by Adam and the Ants, an awesome catchy tune with a sexual-sounding chorus that you desperately try to resist singing out loud, "You're too physical to me". The Pigface cover "Suck" sucks as an ending track, having some of the worst 90s techno-metal sh*t I've heard. They should've ended the EP with the "Physical" cover.

Most of the tracks would serve as the basis for one of the sickest, most disturbing short films you would ever find. The content is why that film never had a commercial release, that and they don't want it to overshadow the music. If the film is too much for you, just stick with the music. And definitely ditch that sucky Pigface cover....

Favorites: "Wish", "Help Me I Am In Hell", "Gave Up", "Physical"

So far, it's been an interesting ride through the early years of industrial metal, and what's next after Ministry's entryway into industrial metal? How about a collaborative EP with the legendary Dead Kennedys vocalist Jello Biafra!?

Indeed this was unexpected when Lard's debut came out in 1989, but it wasn't surprising for anyone who was already following Al Jourgensen's side projects like Pailhead with Minor Threat's Ian MacKaye. With Lard, Jourgensen and Biafra have teamed up for a project of ambitious progression. The Power of Lard is a 3-song EP that continues the industrial punk of Pailhead, in addition to Jourgensen's newfound metal influences and Biafra's punk stylings.

The title track practically picks up where Jourgensen left off in his Pailhead, including the pattern; opening slow before building up frantic fast energy. Once the drums roll in, Biafra leads a group in shouting the band's name, "Lard!" Biafra adds his recognizable vocals to socially political lyrics in the verses. It's the kind of commentary to sonically assault the listener! Following this is "Hellfudge", a country rock ramble similar to what you might find in Dead Kennedys, as opposed to the hardcore-speed industrial metal of the first track. The coherent story in the lyrics shows Biafra taking on the role of a Southern TV preacher. I guess you can consider this EP a stroll through different styles...

...And even more so in the 32-minute closing track "Time to Melt", basically a long slow experimental industrial sludge epic about death and rebirth. I wouldn't say this is the best half-hour epic I've ever heard, but it's almost as enjoyable as the first track.

This EP would be the first 3 releases Lard would publish in 1989 and 1990, then after a break, they would release one more album in 1997 and one more EP in 2000, though a possible new album has been teased lately. Despite its lack of activity, Lard is an essential part of the successful careers Biafra and Jourgensen had in their main bands. The Power of Lard is a pretty good EP, though it could do without "Hellfudge" and with "Time to Melt" being trimmed down a bit, but fans of Jello and Ministry will surely like it....

Favorites: "The Power of Lard", "Time to Melt"

I'm glad I discovered industrial metal a year or two ago in the site and have expanded my interest in a genre I've once barely known into one of my favorite genres that has earned me a spot in The Sphere. In saying that though, I'm more into the experimental side of the genre with bands like Godflesh and Strapping Young Lad rather than the alternative-ish side with bands like Rammstein and Ministry. Of course, I'm up for another visit in one of the pioneers of the genre as part of my early years review tour!

It is good to diversify every few years, whether it's your music taste or your band's style. After a couple synthpop and EBM albums, Al Jourgensen refreshed his Ministry project with a metalized sound. A hellbent atmosphere of vocal distortion, booming drums, and heavy keyboard-guitar hybrids fill the air, along with solid bass presence.

One of the best tunes displayed here starts the album with "Stigmata" and its fuzzy keyboard riffing. Al would enter the scene with a howl of maximum distortion. The riff and beat drives the song through well. The keyboard-guitar hybrid riffing rolls in "The Missing", which is mid-paced and can deliberately force your head into a different place. "Deity" is a roaring Metallica-like thrash tune as the drums and riff thunder around. Next up, "Golden Dawn" is a highly different instrumental trip. It is the first of several tracks in the album to use samples, including from the horror-drama film The Devils ("The antichrist!!") and chanting from Aleister Crowley and Israel Regardie. An excellent loopy instrumental! I could recommend this to anyone starting out this band for the first time. Though it's in contrast with the bleak drone of "Destruction".

The first of two bonus tracks in the CD version is "Hizbollah", which is good but not really a mentionable standout. The title track is a menacing crawler, standing out with its creepy vibe. "You Know What You Are" has simple drums and trance-like keyboards, along with Tuco from The Good, the Bad and the Ugly screaming the title, "YOU KNOW WHAT YOU ARE!!!" This creepy mood foreshadows what the band would have in their next album.

"I Prefer" is the second CD version bonus track and has what I prefer in industrial metal, savage percussive heaviness. "Flashback" is pure up-tempo industrial where the keyboards appear more clearly. The final track "Abortive" is more unique, as the samples and loops creep up and corrupt what would've been a throwback to the dance-pop of Ministry's earlier 80s era. Nonetheless, it's perfect for a dark nightclub. The samples are from NASA announcing the takeoff of "America's first space shuttle!" A great metaphor for the developing industrial metal sound taking off...

Anyone with a more open mind than mine should give The Land of Rape and Honey a try and love its mood. The mood is what Ministry needed to nail the metal path they would take. And you can hear the catchy riff power coming not just from the guitars. Then after you finish this, you can progress to the more metallic Mind....

Favorites: "Stigmata", "Golden Dawn", "The Land of Rape and Honey", "I Prefer", "Abortive"

The nearly unknown second and final album in the initial run of Slab!, Sanity Allergy is still not as exciting as I would hope for the first ever metalized industrial band. Sure there are heavier grooves and menacing slabs of beats, guitars, and vocals, but not a lot of it is good.

I prefer the upbeat tracks in this one like the instrumental "Son of Sloth" with the sheer action to remind some of later electronic acts like The Crystal Method. The other upbeat highlight is "Cancer Beach", f***ing catchy, especially in the bridge, yet not a lot of other people have heard of it, let alone like it. Any industrial rock/metal fan can go ahead and try this album and look out for any chance of a new album coming out in the future. If you want just upbeat fun though, then just grab those two highlights and skip the rest.....

Favorites (only ones I like): "Son of Sloth", "Cancer Beach"

The Sphere was created and turned on with the first ever album to fuse to industrial rock with metal. Slab's Descension is not really super good, but it's highly underrated compared to more popular bands like Ministry. Slab! seemed to have built their sound from industrial-ish rock bands Swans and Big Black.

The Big Black influences are especially apparent in the opening track "Tunnel of Love", my favorite of the album and the perfect start to the industrial metal genre. However, the rest of the album isn't as promising as the opener. Though "Dolores" and "The Animals" have great potential. One of the two bonus tracks "People Pie" is another great highlight despite a more poppy sound. All in all, a kinda poor album while a decently respectable beginning, for anyone up for a similar vibe to Godflesh and Trust Obey's Hands of Ash....

Favorites (only ones I like): "Tunnel of Love", "Dolores", "The Animals", "People Pie"

I decided to give this album a listen and a review for a couple reasons: 1. To tag along in the stenchcore ride despite this release sounding otherwise. 2. I'm a fan of Neurosis (both a bit of their crust punk era and a lot of their post-sludge material) and Godflesh, the latter's debut coming slightly after this offering from Saw Throat. Sore Throat was known as a classic band in the crust/grindcore scene, delivering avalanche after avalanche of short fast tunes. Their over 40-minute single-track concept album Inde$troy is essentially an 8-part ambient industrial sludge epic with barely any of their crust/grind roots. And it's not the best album of that style either, but it's enjoyable in a few parts....

The highlights I would specifically point out are the long ambient intro and outro, and the standard hardcore heaviness of the "Air" section. Basically those highlights take up half of the album with absolute power. The ambient sections work out as an easy-listening soundtrack to the apocalypse of a dystopian society. Yet the in-between-sounding parts don't do well for me. Anyway, if you're looking for an earlier, more ambient/industrial attempt at a grindcore band's sludge epic than Pig Destroyer's Natasha, here you go...

Favorite parts: "Phase I", "Air" (Phase IV), "Phase VIII"

There's a light chill from an intro of cheesy synth-orchestral sh*t that then descends into a heavy storm of melodic deathcore chaos. In saying that though, this is a much lower step from what I hope for in this early deathcore reviewing marathon and anything of this style I've listened to on a regular basis. This is pretty bad, though I've heard worse. Only the ending epic "Season's End" stands out well, but as for the rest of the album, BEWARE....

Favorites (only one for this album): "Season's End"

This is sort of a half-decent half-awful EP. It actually follows up smoothly from the Caliban/Heaven Shall Burn split EP I've reviewed just before this. With that said though, there just isn't much worth mentioning here, except for one track...

"Don't Hold Your Breath" is the best song in this EP, filled with top-notch raw math/metalcore brutality! Honestly, this is the kind of metalcore sound bands like Underoath, All That Remains, and Lamb of God were starting out at that time. Yep, that's brilliant mathcore right there!

However, the rest of this EP isn't like that, instead striking with early deathcore and melodeath. You can hear a lot of the melodic Gothenburg leads here, along with a bit of a thundering Slayer influence in those leads. The black metal-like screams bring the EP closer to melodic black/death territory. I can handle this style better if parts of the song lengths were wasted on breakdown overdose and rough demo-like production. I don't plan to listen to more of this band, but if I do, I hope to see more improvement....

Favorites (only one I enjoy): "Don't Hold Your Breath"

I was hoping for a slightly better follow-up to Caliban's debut on their side of this EP, but what do I end up getting? A more generic-sounding melodic death/metalcore split EP with some of its entertainment value. The other band hasn't been great either, after reviewing one of that band's albums a couple years ago...

The intro is sampled from a composition used for the 1992 Dracula film, a great atmospheric build-up. Then a good thrash/groove riff rises after a great scream beginning the first real song "Assassin of Love". There are two f***ing brilliant breakdowns, but afterwards, the song sounds a bit draggy. "A Summer Dream" is just weak thrashy melodeath-metalcore, with only the intense vocals not sounding lame. The riffs really need faster speed and sharper changes for the genre to work.

The intro of "Sunday's Words" is nice, but the rest is weak-sounding metalcore, and not the thrashy melodic-ish kind I prefer. Their cover of Heaven Shall Burn's "Partisan" is very good though. Then the outro is an audio sample from Pulp Fiction.

I just can't say anything about Heaven Shall Burn's side of the EP. I mean, some parts sound raw and good, but there just isn't any great or mentionable. Except the vocals that are once again the best aspect, ranging from good growls to great screams. However, the structure is terrible, spoiled especially by the drumming. Metalcore is awesome, but they were missing a lot to learn. A real metalhead would skip most of the songs in the EP, and if they're up for better metalcore like I am, best to search elsewhere....

Favorites (only from Caliban's side): "Assassin of Love", "Partisan"

Good amount of chaotic potential, though much too intense for my liking. Daughters' Canada Songs had the one to two minute grind-mathcore song aspect done much better. And those song titles are hard as sh*t to type without copy-pasting! The final 6 and a half minute epic works out well, but the rest of the album? No thanks! This is just another case of grind-mathcore sounding more than I can take....

Favorites (only one I can stand): "2xs{om:cclc}2xs{/f}4xs{ccl}2xs{g:infct}1xs{hx}3xs{:\:.}"

The first nu metal band with gnarly masks that comes to the minds of many people is Slipknot. But for me, it's Mushroomhead. Despite not being as successful as Slipknot, Mushroomhead has been around since a couple years before Slipknot was formed, and this industrial-ish take on nu/alt-metal is more interesting to me. Their 8th album A Wonderful Life proves that the band can stay relevant after a 6-year gap and the departure on longtime members vocalist Jeffrey Hatrix and keyboardist Tom Schmitz.

As always, the industrial-ish nu/alt-metal sound is blended together with pieces of hip-hop and techno, whether separate or together. Props to the new lineup that includes new vocalists Steve Rauckhorst and Jackie LaPonza, one-off guitarist Tom Shaffner, and sampler Rick Thomas taking over on keyboards, for keeping the band alive!

"A Requiem for Tomorrow" opens with a church choir before a rollercoaster ride of a familiar yet fresh heavy sound. The attitude changes when you nicely expect it to change. "Madness Within" has Marilyn Manson-infused madness, some unusual elements to spice up the cauldron. First single "Seen It All" hints at the band taking a more accessible route than before. Not quite a surprising track, but Rauckhorst's vocal range has promising melody. No matter how repetitive it is, the catchiness still pleases me a bit. Taking the vocal spotlight in "The Heresy" is 3rd vocalist Jackie LaPonza. Next song "What a Shame" is where rapping/growling vocalist Jason Popson gets ahead of the game with his vocals. With eerie carnival-like experimentation, it's almost like "Qwerty" all over again!

Clear strings and choir appear in "Pulse" that almost make that track full-on symphonic metal. "Carry On" is a beautiful addictive highlight. It's almost entirely clean vocals here, and I like it as much as the other tracks. Great music! The band sure know how to build back up after their split from Schmitz and Hatrix. It's so riveting! I feel like this is a continuation of the dedication to the loved ones they lost that started with their previous album The Righteous and the Butterfly. Keep calm and do what that song says! Some epic doom can be heard in "The Time Has Come" before speeding up. "11th Hour" is a strange yet enjoyable track of Faith No More influences in the music and vocals.

"I am the One" has nu metal riffing performed well by Shaffner. Ballad-ish "The Flood" lets the piano flow as the song progresses. "Where the End Begins" has more of that piano and other diverse aspects everywhere in this 7-minute epic. Absolutely exciting! The choir-led finale "Confutatis" is something unexpected from the band, but it allows the standard edition to come full-circle. There are 4 bonus tracks in the special edition, but not much is interesting there, apart from the destructive "Sound of Destruction".

All in all, A Wonderful Life continues the band's strong streak. They have a new lineup and modern approach while staying true to their name and getting fans on the edge of their seats over what the future has in store. Wonderful!

Favorites: "A Requiem for Tomorrow", "Madness Within", "What a Shame", "Carry On", "The Time Has Come", "11th Hour", "Where the End Begins", "Sound of Destruction"

It's strange how Mushroomhead is part of the nu/alt-metal pack but has never gained the huge success many of their other peers have gained. Nonetheless, this band has a large fanbase that barely of those other bands have. The dedication fans have for Mushroomhead is a good reason for their 3-decade existence at this point, and why open-minded metalheads, such as myself, have no trouble at all with albums like this one, The Righteous and the Butterfly!

Following up from the heavy Beautiful Stories for Ugly Children, the industrial-ish nu/alt-metal blend of brutality and beauty still stands in this album. The Righteous and the Butterfly introduces two new members, guitarist Tommy Church and bassist Ryan "Dr. F" Farrell. Jason "J Mann" Popson returns on vocal duties to make a 3-vocalist lineup (or 4 if including their later vocalist Jackie Laponza who guest appears in one song here). The title pays tribute to two longtime contributors who passed away in the years leading up to this album, former guitarist JJ Righteous and band photographer Vanessa Solowiow (drummer Skinny's wife). RIP...

Opening this album is "Our Apologies" that pretty much summarizes all that Mushroomhead is known for. Then we take on "How Many Times" that's more melodic and ominous as h*ll. "Devils Be Damned" continues the hardcore adrenaline that's gotten the band this far in their career. "Qwerty" is a song that sounds weird at first, but eventually I end up loving it to bits. This might've also happened to my brother because he loves it as well. I guess you can consider this Slipknot performing at a haunted carnival. Seriously, this band should've had greater fame than Slipknot. The haunting piano makes a comeback in "Portraits of the Poor". It very well sums up the slower Mushroomhead tracks of yore that can please both modern metal fans and ballad lovers.

"Childlike" has haunting beauty with the vocals mainly done by Jus Mic of 10.000 Cadillacs. "This Cold Reign" launches back into heaviness to tear you apart. And again in "We are the Truth" with its country-like guitar and the aforementioned guest vocals by Jackie Laponza. The Best Buy version has a few bonus remixes of that song at the end of the album. If you thought there's not much experimentation left here, "Son of 7" will have you think otherwise. Another standout, "For Your Pleasure" has pretty much everything you can find from Mushroomhead, practically from every era. A true gem!

"Worlds Collide" sounds like you're going down a cave until a heavy monster crushes you. "Graveyard Du Jour" is as spooky as a graveyard while maintaining some heavy moments. One more original track "Out of My Mind" has smokin' hot metal. It practically pays great tribute to earlier heroes like Judas Priest. A high-quality heavy tune! But my actual favorite song here is their cover of Adele's "Rumor Has It". It's no rumor that this awesome cover is what got me into this band. Incredible!

All in all, Mushroomhead have their strongest album since XIII in The Righteous and the Butterfly, nicely improved from the albums in between. Both longtime fans and newcomers will love this righteous album, essential for any nu/alt-metal fans' collection!

Favorites: "Our Apologies", "Qwerty", "Portraits of the Poor", "This Cold Reign", "For Your Pleasure", "Out of My Mind", "Rumor Has It"

Mushroomhead and Slipknot were in a bit of a feud throughout the 2000s due to their aesthetic similarities, but then they ended their rivalry and became close friends. They even paid respects to each other's fallen members in 2010; ex-Mushroomhead guitarist John "JJ Righteous" Sekula and original Slipknot bassist Paul Gray (RIP). Though while the bands themselves have buried the hatchet, their fans are still burying hatchets into each other's heads, with some of them claiming that Mushroomhead is ripping off Slipknot. In reality, Mushroomhead's sound is much different, and they were creating music in the underground before Slipknot even formed. The situation is pretty much equivalent to people thinking Big Nate is a Diary of a Wimpy Kid ripoff when Big Nate is actually around before Wimpy Kid and both book series' authors know each other.

The global success Mushroomhead would achieve did not come until their compilation XX and their first two major-label albums XIII and Savior Sorrow, standing out from the nu/alt-metal pack with their experimental sound. The band can still stay strong despite having to leave behind one of their original vocalists and the record label that propelled them into fame, before their previous album. For this one, Beautiful Stories for Ugly Children, they continue their industrial-ish nu/alt-metal journey with more emphasis on metal. Still you can hear the Faith No More-ish wackiness to keep their stylistic personality in place.

First track/single "Come On" punches through with its heavy instrumentation and catchy vocals. The song has some notoriety in the foul chanting chorus ("Do you really wanna f*** with me?! COME ON!") and its music video that's too graphic for television. Starting off "Inspiration" is some fiddling of synths and drums that can turn off anyone who hates nu metal or industrial. I can hear a bit of Limp Bizkit in the hip-hop pace. "Slaughterhouse Road" has a lot to expect from Mushroomhead. The name of the song was the album's working title before the band changed it to its current one based on a DC Comics graphic novel series. The Faith No More influences are the most prominent in "I'll Be Here", where Tom Schmitz displays his keyboard/piano talent. The sampled children noises are a bit odd yet interesting.

"Burn the Bridge" starts with a funny beatboxing intro then launches into thrash aggression. "Holes in the Void" has more of the keyboard drama with some guest vocals by Joe Altier and Sarah Sloan. The percussive intro in "Harvest the Garden" leads to rock-out groove-ish riffing. "The Harm You Do" is close to ominous blues rock in the guitar.

The vocal contrast stands out the most in "Your Demise" between vocalists Waylon Reavis and Jeffrey Hatrix. Topping it all off is excellent soloing by Dave Felton. "The Feel" is a ballad with a lot in common with the slower tracks from other bands like Asking Alexandria, Waltari, and While She Sleeps. Can you feel?! Next track "Darker Days" has some more excellent metal guitar. The closing track "Do I Know You" has slow piano tranquility plus a brief buildup that stops in a rather anticlimactic ending.

Anyone who enjoys any of Mushroomhead's surrounding releases can very well dig this one. Whether or not you're in the Mushroomhead or Slipknot side, there's always some appeal to gain from Beautiful Stories for Ugly Children. If any outsiders consider metal an ugly genre, they don't know what they're missing out on, the beauty within!

Favorites: "Come On", "Slaughterhouse Road", "Burn the Bridge", "Your Demise", "The Feel", "Darker Days"

Although Mushroomhead is more of an experimental nu/alt-metal, there are some times when they lean into industrial metal. Savior Sorrow is where the industrial side of the band shines the most. It's also where the band decided to just have Gravy do all the guitars after Bronson left. Co-lead vocalist J Mann also left and was replaced by Waylon Reavis. He can perform growls as greatly as J Mann and can almost be considered the band's savior!

The tight structure of this album has reduced a bit of the experimentation from their previous albums. It's also less commercial and not so radio-friendly, though it has spawned singles/music videos for half the amount of songs in the album. And even at their most mainstream, Mushroomhead is still what they are.

Firing things up is the opening track "12 Hundred", beginning the album in a more kick-A fashion than most of their previous albums. "Simple Survival" is one of my favorite and more industrial-sounding Mushroomhead songs, beginning with the sinister yet melodic opening line, "The shadow within me, the sorrow at my feet". This will make you wanna pay more to get more of Mushroomhead's releases. So cool! I can hear a bit of a Linkin Park influence in the music and a Slipknot influence in the aesthetics, though it's no reason to start a feud between these bands. Still an awesome song! "THE END IN ME!!!" Unorthodox instruments roam in "Damage Done" which starts off sounding like Korn until they bring in a sitar. "Save Us" is a softer ballad suitable for the radio.

Then we have the mighty heavy "Tattoo" with guest vocals by Sean Kane of Gizmachi. Next song "Erase the Doubt" stands out well to smoothly end the album's first half. "Burn" stands right on the line between the industrial metal of Fear Factory and In This Moment and the mid-tempo metalcore tendencies you might find in bands like Soilwork and Upon a Burning Body. The second ballad "Just Pretending" is better and heavier than the first. You can certainly point your devil horns and headbang along while doing the emotional ballad swaying.

Another anthemic ballad, "The Need" can still unleash complex power. "Cut Me" messes things up a little as a strange gothic sound creeps in and causes some confusion to affect the thunderous guitars/drums frenzy. "The Fallen" won't work in the Metal Academy clan The Fallen, but it's still nicely heavy. "Embrace the Ending" ends the album as an eerie ballad, albeit a metal-less one. The vocals, guitars, and classical strings add beauty to the haunting sound. A demo version of "Burn" appears as a bonus track.

With Savior Sorrow, Mushroomhead knows how to keep things in control. It may seem restrictive, but that's good because too many cooks can spoil the broth. Though I'm not saying 7 or 10 band members is too many. They all know how to do everything just right!

Favorites: "12 Hundred", "Simple Survival", "Erase the Doubt", "Just Pretending", "The Need", "Embrace the Ending"

After making 3 albums in the underground, Mushroomhead released their first major-label release XX, which is a compilation of tracks from those 3 albums remastered. That release marks the band's introduction to a more global audience. With that big amount of success achieved, it was time to make their major-label album of new material, the perfect gateway into a new level of fame, XIII!

The songs in this album are more accessible but at the same time more enjoyable. The guitar tunings have been dropped lower to drop B and drop B-flat. The experimental nu/alt-metal has some stoner/grunge-ish elements that are added to make sure nothing sounds too repetitive.

"Kill Tomorrow" is one of my favorite Mushroomhead songs from the breakthrough era, though the quality could've been slightly higher. "Sun Doesn't Rise" is a more commercial single that is still great because the vocal duo singing together in the choruses can get you headbanging in no time. There's some strong muscle in "Mother Machine Gun", but it makes way for some moody piano. Soft emotion covers "Nowhere to Go". Then "Becoming Cold (216)" is another heavy banger.

"One More Day" is the most emotional track here. It moves you along through serene piano, a gothic violin solo, and background female vocals by Devon Gorman. It certainly shows more of the experimental side of early Mushroomhead before the band's usual heaviness returns in subsequent songs. "The Dream is Over" decimates the earlier softness as the heaviest track here, featuring killer growls by Meshuggah vocalist Jens Kidman. The thrashy "The War Inside" has the speediest torment here that only the strongest can survive. "Almost Gone" has a bit of the funky groove of Faith No More. "Eternal" has a bit of the industrial metal of Gothminister added to the brutal heaviness.

"Our Own Way" has the acoustics, piano, and female vocals similar to the other song that features Devon Gorman, but the heavy guitars and growls are still around. The progressive "Destroy the World Around Us" is an intriguing 8-minute epic with slower drama. I feel like that one should've been the final track of the album. Simply because the only track here I consider even remotely weak is the actual final track "Thirteen" which sounds serene until you end up hearing creepy baby laughter. Quite unsettling but doesn't affect the album's perfect score. Some editions have a bonus track before the album's original hidden track, the bonus track being "Along the Way" with a similar vibe to Demon Hunter at that time. Said hidden track "Crazy" is a cover of a Seal song, but it sounds a bit half-baked. One more bonus track "Treason" sounds more like a remix.

I would give this album a score of 96%, those few percentage points being taken off by that unlucky 13th track and the hidden Seal cover. Nonetheless, XIII is one of the greatest, most satisfying albums Mushroomhead has ever done. A fantastic start to their more famous days!

Favorites: "Kill Tomorrow", "Sun Doesn't Rise", "One More Day", "The Dream is Over", "The War Inside", "Eternal", "Destroy the World Around Us", "Along the Way" (bonus track)

Nightmares are brutal beasts of horror that haunt your dreams and give you terrible experiences in your mind. Fortunately, I'm one of the lucky few to not remember a single dream. The only downside for me is, I wouldn't have any new fears to conquer and gain heroic strength. But I am grateful for my memories of reality. Sometimes the worst nightmares are the ones that actually come true, like for metalheads when nu metal sprang into existence much to their chagrin. However, Mushroomhead has given this metal nightmare a more expressive and elegant turn, and turned it into a pleasant dream for open-minded listeners such as myself.

Staying hot in Cleveland since forming in 1993, Mushroomhead have their experimental nu/alt-metal sound going with pieces other genres ranging from art punk to industrial metal, along with a similar live imagery to Slipknot. The band started slightly weak with their self-titled debut but were slowly building up to the top. The 3rd part of their 8-album journey so far, M3 might just be their entryway into the unbreakable streak that started with the perfect XIII! Though M3 is the last part of their independent 90s trilogy.

"Before I Die" is a wicked start to this offering. However, it doesn't beat "Solitaire/Unraveling", one of the most popular songs from the band's 90s era, and for a great reason. Jeffrey Nothing sings in clean melancholy while Jason "J Mann" Popson has his tough-guy vocals, both fitting well with the dramatic instrumentation. "The New Cult King" has some heaviness while being more melodic. The haunting "Inevitable" follows, and it starts with an audio sample snuck in from Storm of the Century, a miniseries by Stephen King, shortly after the series first aired.

"Xeroxed" has a more brutal take on Mushroomhead's style. Unfortunately, it seems a bit flat in the production compared to other songs. "The Final Act" is more melodic, partly due to Scot Edgel performing guest vocals here. Then "Conflict - The Argument Goes On" has more of the incredible vocals to flow with the keyboard atmosphere.

The impressive "Exploiting Your Weakness" is full-on primal in the riffing by J.J. Righteous and Dinner. Oh yeah, I should mention that this is the last album with that guitar duo, and JJ Righteous passed away in 2010. RIP... The aptly titled "Beauteous" is filled entirely with beautiful somber piano. "Born of Desire" is a great heavy ending to the main album. But then there's 12 minutes of silence followed by a hidden track "Dark and Evil Joe", a humorous prank call argument over the true meaning of "black" metal.

Despite that hidden track and the production in one of the songs, M3 is a stunning album that long-time Mushroomhead fans should get. And I would also recommend this to anyone coming across this band for the first time. If you can get used to this blend of electronics, melody, and heaviness, you're all set. No harm, no foul!

Favorites: "Solitaire/Unraveling", "Inevitable", "Conflict - The Argument Goes On", "Exploiting Your Weakness", "Born of Desire"

The earlier albums by Mushroomhead were practically unknown. You gotta admit how underrated this industrial-infused nu/alt-metal band is, compared to the more popular aesthetically identical Slipknot. Back then, these Clevelanders were starting their underground business before that Iowan band was even heard of. Mushroomhead pretty much invented the idea of a nu metal band wearing horror masks and costumes, though of course, that aspect has already existed in other genres like black metal.

Buick is a cool car name. My dad owned one when he was young. However, Superbuick is a super cool name! The band's second album was self-produced with help from Bill Korecky. It is a shorter album without a useless 12-minute medley and, like their debut and their 3rd album M3, would have some songs appear in the compilation XX.

The first song "Bwomp" has some of the greatest lyrics in the album. Jason Popson performs a rapping verse with some amusing lyrics ("If it was up to me, I'd free Charles Manson"). Then later, Jeffrey Hatrix yells out his own lyrics in the killer breakdown ("Laughed at religion long ago, I doubt I'll be an angel when I die". Fantastic start! Then "Never Let It Go" continues this perfect blend of beautiful melody and dark heaviness that would maintain its greatness in the XX remastering. Next up, "These Filthy Hands" has keyboards shining over the guitars for an eerie effect. The creepy drama from the piano is more apparent in "The Wrist", another highlight. If you can't go past the spookiness that track has, then why are you still here!?

The piano horror/drama doesn't stop in "Chancre Sore", which once again keeps its quality together when remastered in XX. "Flattened" is more unpredictable, even when it's mostly a piano-emphasized ballad. "Big Brother" shows how well the band can add experimental twists into alt-metal long before Twelve Foot Ninja would do the same thing. "Idle Worship" is another track that shall be worshipped by members of the experimental alt-metal fanbase circle. This is the kind of a song that would ask fans of the genre the following question, "Are you in or are you out?"

"Fear Held Dear" is a slow sludge-ish track, a bit like Will Haven, though the experimental alt-metal aspects are still dominant. To be honest, I don't know if "Unintended" was intended to be the album's outro. I mean, it does sound like it should be the outro, but then we have one more track... That final track being a reprise of "Bwomp". Should've been different placed, but it's still as perfect as the main song.

Newcomers should be prepared for the experimentation the band has to offer, and once they're used to it, they'll find greatness within. But if they don't like it, they should at least listen before cursing it out. As great as this album is, I feel like the production quality, guitars, and vocals could've been improved. Still cool either way. And that's all....

Favorites: "Bwomp", "Never Let It Go", "The Wrist", "Big Brother", "Idle Worship", "Bwomp (Reprise)"

Like most metalheads, I'm not a fan of nu metal. However, I don't hate it as much as those other metalheads do. A little overrated, but not everything about it is a downright atrocity. My brother likes a bit of nu metal, alongside his usual hard rock/alt-metal/post-grunge, and I was following his music footsteps before starting my own metal path. Mushroomhead is probably the closest band to nu metal that I enjoy, and they play a more experimental take on alt-metal.

For those who think Slipknot is the band that introduced horror-themed masks to nu metal, Mushroomhead already invented that aspect before Slipknot popularized it. The alt-metal sound with bits of hardcore/industrial metal in this album should've had more fame than their aesthetics, though their 1995 self-titled debut is bit of a rough start...

"Slow Thing" is an interesting track to kick off the album. It's an instrumental gothic-ish piano ballad with samples from a couple documentaries about LSD and marijuana. Then the last minute is an audio sample from an intense scene in Twin Peaks: Fire Walk With Me ("IT'S HIM!!! IT'S YOUR FATHER!!" "ARRG!!!!" "STOP IT!!!"). From the White Zombie-ish "Elevation", you're already in for some punk-ish chords, melodic synths, strong cleans/shouts, and percussive assault. Some Ministry/Killing Joke influences are snuck into their alt-metal. "Too Much Nothing" has riffs and vocals that might end up spawning a nickname for this band, "Alice Inch Nails". Then we have a useless piano "Intermission" before we can proceed further into the album.

"Ego Tripp" has more funky fury to remind some of Suicidal Tendencies. "Mommy" is a cute yet sexual-sounding ballad with soft lovely guest vocals by Mandy Lascko. A bit weird but a great break from the more thrashy heavily-sampled arrangements in other songs. "2nd Thoughts" shows the band easily mixing together alt-metal with old-school electro-dance music. The only other band who could do that mix well at the time is Waltari. "Casualties in B Minor" is another pointless interlude and probably the worst of them. That's practically what most metalheads would consider a boring lullaby.

I'm indifferent to the song "Indifferent". Then "Simpleton" is far too simple to impress me at all. "43" starts with that One Flew Over the Cuckoo's Nest sample that also started Mastodon's EP Lifeblood ("DO YOU UNDERSTAND!? FINALLY!?!"), then the song itself is a catchy rocker with the two vocalist Jeffrey Hatrix and Jason Popson performing their Mike Patton-influenced vocals well. "Episode 29" is another instrumental, but it's much better than the other ones. It starts with a sample from David Lynch’s Hotel Room ("You're not a nice person. You're a b***h.") then leads into some wicked electro-industrial with some background samples from Twin Peaks. The remix in the Remix EP is f***ing killer. "Snap" is a strange outro that reprises the "LSD user" sample from the first track. After 29 silent tracks, the 43rd track is a medley of several highlights from the album, and each clip is separated by a different-pitched sample of "Slow Thing". It's cool and all, but at the same time, absolutely worthless and baffling.

So here we have a standard E-tuned (in PAL speed/pitch) platter of alt-metal gone experimental and industrial (NO avant-garde metal). A nice beginning for the band, but don't expect this album to be a grand work of art....

Favorites: "Elevation", "Too Much Nothing", "Mommy", "2nd Thoughts", "43", "Episode 29"

It's amazing how a group of 5 can stay together for around two decades even with a few-year break and a recent pandemic. Brandan Schieppati has battled through mental doubt during these trying times to keep the band alive during the virus. The end result is the 3-track EP Rage, filled with straight sh*t-loads of aggression!

Drummer Derek Youngsma blasts the band into the action of "P*ss You Away" that instantly makes one of the band's best classics. Gang chants, harsh growls, and harmonic cleans, all from Brandan Schieppati, blend with Marta Peterson's stunning background singing and icy symphonic keys unusual to metalcore. The band proven themselves to still be around during these trying times.

"Damage Done" reminds me of 2000s-era Dark Tranquillity with more of Peterson's enchanting keyboards, melodeath-ish riffing/soloing, and melancholic atmosphere. The chorus is definitely worth singing along to and makes a modern classic moment, alongside lyrics of love and hate. The final hardcore breakdown crashes through to instantly start a moshpit. This (un)holy trinity of songs ends with the title track, complete with sinister riffs, sharp solos, and serene synths that oughta land this song a spot in the soundtrack for the next Underworld movie. So epic and brutal!

This melancholic yet malevolent 3-track release is a very short yet great continuation of the band's career. They've returned since their 2018 album Love Will Kill All in a way that they don't overstay their welcome....

Favorites: all 3 of the tracks! (though they could've been slightly better)