Shadowdoom9 (Andi)'s Reviews

If there's one album that sealed the deal for a band's stylistic direction, it would be 1997's stunning brutal metalcore in Living Sacrifice's career, Reborn! The cathartic power of this genre was shining for the band ever since guitarist Bruce Fitzhugh started doing growling vocals.

Apparently, the band wanted to make an album with a unique sound unlike any other bands. The band released 3 albums before this with original vocalist Darren Johnson, the Big 4-inspired thrash self-titled debut and two Malevolent Creation-esque death metal albums Nonexistent and Inhabit. Reborn can indeed be considered Living Sacrifice's rebirth, taking on strong metalcore with a bit of their earlier thrash rhythm. Yeah, there is a bit of the Sepultura-like dark insanity within the uniqueness...

"Reborn Empowered" starts simple in the drumming, then sudden switches into blazing fast progressive-ish metalcore. Those growls and lyrics are just top notch, "Reborn empowered, all strongholds broken, old ways have died, given new life, boldness engulfs my every word, strength empowered by God, Jesus, the strength in Christ's name". Beginning the next track "Truth Solution" is another groove-ish verse and empowering lyrics, "Breath of God released faith, creates all life". Another track "Threatened" has acoustic strumming in different parts of the song while maintaining the heaviness throughout. "Awakening" is memorable in the groove and lyrical images, "Our spirits no longer reek of sleep, through prayer we've entered in the throne room".

"180" once again shows the band's 180-turn away from their earlier death metal while keeping a bit of the much earlier thrash rhythm. While the album has the groove-ish metalcore sound done in perfection, "No Longer" is the closest we have to a half-baked idea. "Something More" kind of give me a thrash-ish metalcore vibe of Annihilator meets Hatebreed. Introducing the next track "Sellout" is an acoustic intro that can make you think of Opeth.

"Spirit Fall" adds a little more progressiveness into their metalcore, though obviously it's a closer level to early August Burns Red than, say, ERRA. The classical-sounding (in terms of guitar) "Presence of God" is a simple interlude of improvisation to perform in worship. The most well-known track by Living Sacrifice that they still play in encores is "Reject", with lyrics about deception against the Lord, "Half truths, deceit, forced in, not God, reject all lies, reject all of the lies." Closing the album is "Liar", a song for Christ's battle against Satan, "Worthless, want to be God, loser imitation, fallen from grace, deceitful lying beast your bound, lord of maggots, we rebuke you."

It's sad that even one furious blast of metal can be considered Satanic. Some people need to be enlightened and realize that there is holy glory in metal, despite the brutality. Living Sacrifice should really has much fame as P.O.D., and this album Reborn is the reason!

Favorites: "Reborn Empowered", "Awakening", "180", "Something More", "Spirit Fall", "Reject"

In the 90s, Burst was in the metallic hardcore realm. The primal riff delivery laid the groundwork for the band's later sound. In a way, you can consider the band's 5 albums like the first 5 of Neurosis in terms of their stylistic evolution, starting hardcore before a more Infinite sound, except Burst's sound has a dissonant metalcore backbone throughout. This perfect offering stands out with a hardcore stampede of drumming, riffs, and shouts, all in a unique drive to level up my rediscovery journey!

Two Faced and their next album Conquest Writhe were made before bands Cult of Luna and Andromeda released their debuts, so they still didn't have yet the elements of those bands. With that said, Burst made grand progress in their debut with their songwriting and performing in unison. The quality is tight while in top-notch production, with solid crispy support of the bass and that metalcore backbone. Patrik Hultin might very well be a new favorite drummer of mine with his eclectic skills. His drumming is wilder than the guitars, in calculating alignment with the riff groove.

Once again, talking about many of these awesome songs here won't do them justice, so I'll just note the highlights such as the title track, which has a simpler direction than what they would have later, while more adventurous than many of the more traditional hardcore bands out there. There's some melody in the music while having the usual vocal aggression that would be lessened as the band progresses. "Callous" has a catchy formula that would be foreshadowed in the other album I've reviewed, Lazarus Bird.

"Crossbreed" has almost the same pace as the band Crossbreed (minus the industrial elements) but then evolves into the usual metallic hardcore that's almost as chaotic as Cave In and The Dillinger Escape Plan. I can also hear a slight taste of early August Burns Red in "Lifeline".

"Repentance" has a bit of the dark-ish melodic metalcore instrumentation that Prayer for Cleansing would have two years later. After 10 short songs, the final track "Cadence of the Faithless" is a 5-minute metallic hardcore monster epic. But if you stick around after 3 minutes of silence, you get a raw punky hardcore demo recording that seems like a waste after a real stable closer. It detracts from the album's momentum, but I can ignore it and just stay with the perfect 5-star rest of the album.

Two-Faced is the hardcore one out for this band's material, and they would start heading towards a different direction from Conquest Writhe onwards. This debut is a h*lla great beast, probably more metallic than Strife's debut. The enclosed tightness is dusted off by Burst in their most hardcore bloom!

Favorites: "Two-Faced", "Callous", "Crossbreed", "Lifeline", "Repentance", "Cadence of the Faithless"

Upon realizing that I've haven't listened to and reviewed this release from State Craft, I decided to do so, and... TO F***ING H*LL WITH THIS!!! This is just too weak for my metalcore standards, with only one decently good song here, "After This Morning", probably of how short it is. This sh*t ain't worth my journey. State Craft is so not for me....

Favorites (only one I remotely like because of length): "After This Morning"

Here we are again with State Craft, with me reviewing the first EP from perhaps the first Japanese metallic hardcore band. There's never any greatness in the vocals, choruses, and lyrics. To me, it just feels like an Unbroken ripoff that sucks a**, but at least they don't have yet the cheesy symphonics Temperance would have two decades later. Though the song "Break the Cycle" sounds good in the intro, which I like. F*** it, I have better metallic hardcore to listen to. Also that Windows XP wallpaper-like cover art is laughable....

Favorites (only one I even remotely like): "Break the Cycle"

Oh wow! This is a huge positive twist in my rediscovery journey. After a couple sh*tty demo EPs from other metalcore bands, here we have a perfect compilation of demos from this band Morning Again, worth money from the buyer. There are 7 songs in 30 minutes, and I almost think of Hand of Hope as a full mini-album. So great with lots of heavy tracks! So where I do begin?...

Morning Again are legends in the metal/hardcore scene. At that time, their frontman was Damien Moyal, a straight-edge vocalist who was also in Shai Hulud at that time. It's thanks to those two bands that the Floridian music scene has expanded to more than just death metal and *shudder* Backstreet Boys and Disney, paving the way for other metalcore bands like Trivium. Morning Again broke up after one official album, but they've since reunited multiple times and released a couple more EPs. However, Moyal moved on to melodic hardcore band As Friends Rust, and he remained vocalist for that band except for those 6 years when the other members performed as Salem.

Now back to this Morning Again release... The first song "Turning Over" rockets towards you with a metalcore blast. I think talking about many of these awesome songs here won't do them justice, so I'll just note the highlights such as the aforementioned opener. And oh yeah, we have the grand 6-minute epic "Minus One" that marks the perfect blend of beautiful and heavy. The last of the 7 tracks, "God Framed Me" continues the hardcore intensity of blending violence with melody.

I think I just found a new favorite vocalist in Damien Moyal, almost rivaling Converge's Jacob Bannon. Props to Morning Again for this incredible work! If you enjoy Shai Hulud and other metallic hardcore, surely you wouldn't wanna miss this. It's an album of hardcore insanity!

Favorites: "Turning Over", "Minus One", "God Framed Me"

As I continue my rediscovery journey, I've realized that I like the full albums more than most of the demo EPs. The Absolve EP sounds nice, but the production is jacked up in a bad way, which along with the overuse of samples in the beginning, doesn't make me up for it so much. "Bleeding" is the brutal highlight here, having a brutal Suffocation-like slam death metal breakdown. A f***ing crusher in a mostly f***ing bland trash-fest....

Favorites (only one I like): "Bleeding"

The first 3 albums of Dead to Fall were known as a personal struggle for the band, especially vocalist Jon Hunt. They weren't really up for the serious image of the deathly metalcore sound they had. Of course I know what fans of their original sound would say to me, "ARE YOU SERIOUS?! You're gonna start with their wackiest album?" And the answer is yes I am, and it works! Are You Serious has humor in the album, songs, and cover art where they're the most comfortable while as enjoyable as the grand classics.

Well it's not entirely a drastic change in the metal sound, but there's more flavor, and I mean bong-party flavor, almost as much as Attila at that time. What also reminds me of that band is how they add in riffing reminiscent of A Life Once Lost and Carnage.

An experimental intro "IQ Test" starts the album. Then "Stupid?" unleashes mighty in-your-face deathly metalcore to make fun of the genre in the lyrics, with Hunt bellowing about how "F***ING STUPID!!!" this song is, mentioning the "OH SH*T!!" At the Gates-like thrashy death metal riff while it's playing, and finally ending it all "WITH A F***ING BREAKDOWN!!!" There's more eclectic programming to come later in this album. "The Future" takes us through atonal space and A Life Once Lost-like riff-wrath. "Sleeping Bag" injects some thrashy guitar into their metalcore in a highlight that shows how much they've evolved.

"Major Rager" is another highlight of strong adrenaline and has practically invented party-core before Attila later that year. This is deathly metalcore with a humorous twist as Jon Hunt bellows about "doing another shot" and "staying up all f***ing night". Another highlight, "Loch Ness" shows some more shredding and vocal growling, this time in a mellower pace, almost like stoner doom, along with delicate programming. "Brainmelter" is faster but still mid-paced, a bit like death 'n' roll in the riffing.

This humorous direction once again has a bit of the band's roots in "Cropgrower". Then "Robo-Destro" has destructive power almost as chaotic as The Dillinger Escape Plan. "Doombox" is another Hatebreed/Bring Me the Horizon-sounding metalcore monster. "Astral Projection/Dream J(ourney)" has trippy weirdness to end the journey nicely.

In a strange yet awesome way, Dead to Fall turned into a more natural and organic band of Darkest Hour-infused metalcore, with the guitarist of that band, Mike Schleibaum manning the production, all while painting the metalcore walls with humor. In the end, you can still hear something more deadly than a mosh-pit ninja, alongside the humor that the earlier, more serious fans, might not approve of. Dead to Fall had the confidence to make that move, and I'm super glad to find the tone balanced out. Seriously!

Favorites: "Stupid?", "Sleeping Bad", "Major Rager", "Loch Ness", "Doombox"

So what have I checked out so far in my Zao journey? First was their second album The Splinter Shards the Birth of Separation which was their last original lineup, then was their third album Where Blood and Fire Bring Rest where they started a new era. Both of those albums are some of the best metalcore albums I've listened. Would their next album continue their perfect streak?...

Way right! Liberate Te Ex Inferis is one of the heaviest albums from the late 90s. It was time for the band take their sound from Blood and Fire to a new level of metalcore. There are 10 songs here, with every two songs placed in one of Hell's circles: Limbo, The Lustful, The Gluttonous, The Hoarders and The Spendthrifts, The Wrathful.

The album's opening "Intro" starts slow before rising in the climax. In the end, an Event Horizon sample lets the listener know that "Hell is just a word, the reality is much, much worse." The first real song "Savannah" continues the band's recurring theme of Christianity's hypocrisy. A porn star suffers a deadly wound and the people who believe in God just let her die, "They can't believe the machine was alive but we saw it bleed, The machine falls apart and when it's cut it bleeds, The machine bleeds, She was alive." The more positively-written "Autopsy" is where Dan Weyandt asks for help from the Lord, "I can't see it but I feel the light, Someone tell us we are loved, Someone take the pain away, Someone fill up the void, Someone fix my broken heart, Are you that someone?" However, some of the other verses are lost and forgotten, even by Dan himself.

"If These Scars Could Speak" tells another story, this one of a woman whom his date raped her. While you can consider this release a concept album because of the Circles of Hell, I'm not sure about that because the songs tell different stories instead of one. "The Ghost Psalm" is another great track. My only complaint that doesn't detract the song and album's perfection is about the unnecessary Event Horizon sample in the beginning, "Do you want to make a deal? Cut a deal with the devil?" Another notable track is "Desire The End" with lyrics about Christianity's end of all things and a new beginning, "I desire the end, The touch of Armageddon, This world encased in flames, I desire the end, I desire the new beginning." Segueing out of another strange movie sample, "Dark Cold Sound" has some more introspective poetry in the lyrics. The listener can understand what Weyandt wants and interpret.

"Skin Like Winter" is a better phenomenal highlight, and what helps is, no strange movie samples around! Now this next track, "Kathleen Barbra", who is that? I have no clue, but we do have another great song, and the last one before the outro... "Man in Cage Jack Wilson", I'm sure there are over a dozen notable people with that name. It starts with another Event Horizon sample that includes the album's eponymous phrase. It's the same sample as the one heard in the beginning of "Prom Song" from Every Time I Die's debut EP released a few months after this album. But instead of chaotic metalcore, we have a dark yet beautiful 7-minute sludgy metalcore Crusade.

An album mandatory for Zao fans, Liberate Te Ex Inferis has a lot smile-inducing surprises. The band has continued their quest since Blood and Fire go beyond the limits for a refined metalcore sound. You don't wanna miss out on this punishing yet rewarding metalcore glory!

Favorites: "Savannah", "If These Scars Could Speak", "Desire the End", "Skin Like Winter", "Man in Cage Jack Wilson"

The perfection of Zao's second and last album with the original lineup carries on to a new one. 1998 marked a new era for the band who have been grateful to God for where their ongoing lives took them. The remaining founding member Jesse Smith continued with new members Daniel Weyandt, Russ Cogdell, and Brett Detar, the latter from rock band The Juliana Theory for a dark turning point in hardcore/metal. Where would bands like Underoath and Haste the Day be without this offering?

Let me just say, Dan Weyandt's screaming is perfect! Besides that, the two guitarists have heavy guitar riffs that would surely blow your minds. While they maintain the Christian lyrical themes, they focused less on the spiritual side and the topics are more about Weyandt's fallen loved ones.

You can immediately hear what's different as "Lies of Serpents, A River of Tears" opens the album. They switched from the hardcore tone of Earth Crisis to a more metallic Converge-like direction, especially in the guitar duo's atonal riffing. "To Think of You is to Treasure An Absent Memory" has vicious drumming. That song was written in memory of a friend of the band who committed suicide. Those lyrics pay great tribute to the fallen, "When you shut your eyes and fell asleep, Dark clouds descended on the souls of the ones who held you close to their hearts." Continuing that tragic theme is "A Fall Farewell", for Weyandt's late relative, in which the message is basically his faith shining to keep him alive after all the losses he and the band suffered. Its heavy impact has caused many Christians and non-Christians to relate.

Once again, guidance from the Lord is prayed for in "March" without having to use the name in vain, "A single quiet voice and the breath of His words consumed the night and brought strength I have never felt on my own, He held me up until I could walk again and promised to stay by my side forever". Next up, "Ember" has heavy riffing that reminds me of early Trivium. "Ravage Ritual" shows a bit of forlorn pain in the vocals as the lyrics fight against the judgmental. Once again, where would bands be like Eighteen Visions, Bleeding Through, and Bring Me the Horizon without a song like "Fifteen Rhema"!?

Only one song threatens the perfection of this release and that's "For A Fair Desire". There just isn't as much lyrical passion as the rest of the album, but I think the song might work well as just a separate single or something. "The Latter Rain" is a greater improvement from that slight misstep, a 6-and-a-half-minute epic! Though it's not the end yet... "Violet" is a beautiful 7-minute piano outro to wrap up the album pleasantly.

All in all, Where Blood and Fire Bring Rest marks a different transition from The Splinter Shards The Birth Of Separation, including shorter songs, though both albums are the best. You like As I Lay Dying and all those bands I've mentioned earlier? Pick this up! Whether you're Christian or not, this is for the heavier metalcore fans. Zao is still alive!

Favorites: "Lies of Serpents, A River of Tears", "To Think of You is to Treasure An Absent Memory", "Ember", "Fifteen Rhema", "The Latter Rain"

I've listened to many bands during my nearly 5 years of listening to metalcore, and I'm currently exploring more of the classic groups such as Cave In, Coalesce, Converge and Botch, and obscure bands like This Day Forward. But there's one band that is, alongside Converge, one of the earliest metalcore bands to still be active today... Zao! Named after the Greek word for "Alive", this band made a solid mark in the metalcore and Christian metal scenes.

The Splinter Shards the Birth of Separation is the second album by the band and shows the band traveling through hardcore roads to add more than just simplicity. There's complex music, with phenomenal drummer Jesse Smith taking the band to battle, and defiant screams by ex-vocalist Shawn Jonas that perfectly match the instrumentation.

The first of those many songs is "Times of Separation", and considering how similar the intro is to that of Every Time I Die's Radical, you might think the latter made a tribute. Anyway, Shawn's long screaming is often what levels up the quality. In "Surrounds Me", he continues to be surrounded by the killer music. "Exchange" is one of 4 songs re-recorded from their earlier material. Not highly different, but it highlights Zao's creativity.

The Christian lyrical message in particle has a bit of a worship vibe, "I will lift You up, I will praise Your awesome name, For what it's worth and nothing less." However, they've done it better than Underoath at that time. "Repressed" is one of my favorites here, sounding quite heavy at times. And another standout is "In Loving Kindness", starting with a short bass intro before some of the best rapid drumming to be found in 90s metalcore. There are great lyrics in "Endure" telling about the surviving truth of Christianity, "It has been proven, It shall remain, This faith has stood the test, It persists through conflict, Through the revolts against its ways, Nothing has held true like this."

"The Children Cry for Help" starts off with a good speedy intro for 20 seconds, and continues into the fast metalcore style you would expect from Zao. However, it just slows down to midtempo for most of the 5-minute length. I still like it though. One other re-recorded song (besides 3 others) is "Resistance" which once again has some of the best vocals here. "Song 1" is OK, but the silence and hidden experimental outro is slightly pointless, though it's still fine and much better than Blur's "Song 2".

I've made the right call of following that YouTube commenter's recommendation, and I'm glad to receive this rewarding masterpiece. My next stop is their 3rd album Where Blood and Fire Bring Rest, but for now, any metalcore fans around can hold on to this album and play it to their heart's content. Never separate!

Favorites: "Times of Separation, "Exchange", "Repressed", "In Loving Kindness", "Resistance"

There's barely any band that could change their sound in each album as immensely as OLD. Starting off as humorous metallic grindcore in their debut, they took on more of a psychedelic industrial metal style in Lo Flux Tube. Album #3, The Musical Dimensions of Sleastak is filled with experimental madness! Basically a weird yet amazing mix of metal and electronics from the brilliant James Plotkin and the shrieking Alan Dubin. Some who find this unlistenable don't know what they're missing in this wild adventure...

This is another original album ahead of time. They experiment with different styles, more than just metal, letting go of restrictive conventions and patterns so what they create can run free. I don't need the thrashy industrial metal of Ministry when I have this cool weirdness that actually suits me!

"A Beginning" is an astonishing way to begin this offering. Then leveling up high is the apparently two-part "Two of Me". More of the experimentation commences in the freaky highlight "Freak Now". That song was used in the soundtrack for the film Brainscan. Another song featured in that movie is "Peri Cynthion", one h*ll of a 10-minute experimental industrial metal epic. Listen for yourself if you like this sound!

"Happy Tantrum" sounds like an outtake from Lo Flux Tube, but a great improvement from there. It's another one of my favorite tracks in this album, with absolutely no filler. The experimentation actually sounds catchier than that of the mathy metalcore of Coalesce. "Creyap'nilla" can sound a little creepy at times.

"Glitch" is really great but can be a bit glitchy in some parts. "Ebb" allows the experimental instrumentation to flow nice and smoothly, while staying surreal. "Backwards Through the Greddo Compressor" is the 11-minute finale that almost sounds like the album is shortened and compressed. It's so different yet listenable! However, it probably won't help those people who put down the album change their minds.

Yeah, those unbelievers are better off elsewhere. The only people I would recommend this to are those up for a challenge through experimental noise-powered industrial metal, like I am. Enjoy the weirdness!

Favorites: "Freak Now", "Peri Cynthion", "Happy Tantrum", "Backwards Through the Greddo Compressor"

From the capital city of Norway, Oslo, here's gothic industrial metal masters Gothminister! This project founded by Bjørn Alexander Brem became a full band when a fanbase started growing, a fanbase strengthened by their live shows and music. The band has recently made their comeback in rising pandemonium.

The band made a steady career with 6 albums spanning from 2003 to 2017. Then all was silent for 5 years, with no material released during then. It was a long wait...until over 3 months before this review, on October 21, the new album Pandemonium arrived, and the anticipation was totally worth it! With an intro and 10 songs at a span of 40 minutes, their lyrics of darkness and death can make your ears bleed in a pleasant and painless way.

Beginning this masterpiece is the sweet 35-second intro "Abgrund (Abyss)" that welcomes you to the dark industrial hellfire. The well-arranged and thriving title track is filled with epic industrial metal greatness! I'm glad that got me into the band alongside one of the songs from the previous album The Other Side. "Demons" has poppy synths, along with a catchy chorus that you can't resist. "Star" will get you hooked. The melody is an addictive throwback to the band's 2000s era that was more focused on electronics while still having a lot of metal.

Things start to build up slowly in "Sinister". Seducing you smoothly is "Kingdoms Rise". Then we have the sensational "Bloodride" that can make as thirsty for blood as a vampire. The heavier "Norge" is a doomy march of gloom that, in some ways, has possible potential to be the Norwegian anthem. Note that the title is Norwegian for their homeland of Norway, hence the potential.

Rapidly firing away, "Run Faster" has purely fast metal. "This is Your Darkness" empowers you as greatly as a certain game show. Then ending in a bang is the progressive "Mastodon", though not as progressive as the band Mastodon.

In conclusion, Pandemonium can surely unite the gothic-ish industrial metal fanbase with their catchy sound. Music listeners outside of metal may point out the band's aesthetic of evil darkness, but what they don't find when they don't try is the hopeful light in their compositions. It's just so incredible this compelling music they make. Worth the 5-year wait, the Norwegian dark industrial metal masters strike again!

Favorites: "Pandemonium", "Star", "Bloodride", "Norge", "This is Your Darkness", "Mastodon"

Once I joined The Sphere clan and was given the privilege of assembling the monthly Sphere playlists, it was like a whole new world of industrial metal opened up for me! I started discovering many more bands of the genre than before, Gothminister being one of them. One of the songs from this album was what got me into that band, but I'll talk more about that song as the review goes on...

So how do I like industrial metal? Dark, but not overly accessible. The Other Side is a perfect example of that. Frontman Bjørn Alexander Brem has also been known to be a lawyer, and he can lead the pack to perform horror-themed live shows that would make Marilyn Manson or Alice Cooper watch in awe.

First up, "Ich Will Alles" (I Want It All) starts with a sad slow symphonic melody, then pounds into upbeat heavy industrial metal. Other than the title lyric, the song is sung in English. This pleases me because I can't really get used to the Neue Deutsche Härte of Rammstein that heavily depend on German lyrics. There are dark storytelling lyrics throughout, "Leaving God behind, because I have darkness on my mind." Perfect for an energetic goth-rock dance-club! Next up, "The Sun" continues the dark industrial metal sound with harmonic energy. Sure the lyrics can be deemed as satanic as Ghost, but the fierce yet catchy chorus and melodies turn the song into an earworm to make you forget its dark side. "Der Fliegende Mann" (The Flying Man) is symphonic industrial metal with a German chorus. "Aegir" is a different slow rock ballad.

"Red Christ" starts with bombastic symphonics and Front 242-esque synths, before rocking out into heavier territory with an anthemic chorus, "I’ve turned so blind but I feel future is coming." Rather prophetic if you think about the world today! That's also the song that got me into this band. It's so epic, just listen to believe! "We Are the Ones Who Rule the World" drives through with the guitar crunch and beat of Nine Inch Nails, and more lyrics about the world's political climate. The final minute includes a slow bridge and a poppy female vocalist singing the title. Another track, "All This Time" has dark philosophical lyrics.

"Day of Reckoning" is another symphonic industrial metal song. Then "Taking Over" has electro-industrial synths and harmonic female vocals taking over to nicely add to the ongoing sound. "Somewhere in Time" sounds so spooky, and I'm talking about the riffing and whispered baritone vocals. It's actually a melodic symphonic closer to this part of a dark industrial metal journey.

All in all, this album is an impressive favorite of mine in my Sphere collection, and I would suggest buying the CD if you can afford the full beautiful package. Pretty much every fan of the industrial metal of Nine Inch Nails and Marilyn Manson should get it. There's a lot to find at the Other Side!

Favorites: "Ich Will Alles", "The Sun", "Red Christ", "We Are the Ones Who Rule the World", "Somewhere in Time"

If you're about to listen to this album and read my review, let me say, congratulations on having the bravery of continuing your epic deathcore exploration after the incredible starter pack that is Lorna Shore's EP And I Return to Nothingness. If you decide to listen to their new album Pain Remains, while sleeping and absorbing it subconsciously, here's a quick warning. You're gonna witness, in your dream, change that has never happened in reality, so intense, that when you wake up, your pain remains. In the dream, you're the sleeping dreamer. The scenario I've made throughout this review will be your dream!

Lorna Shore had their own painful situation over two years ago that they have overcome. It started just a month before the release of their previous full album Immortal, when vocalist CJ McCreery was fired due to a scandal of abuse allegations (not clickbait), then most of their touring was cancelled due to the rising virus. However, the following year, the band wrote and release the EP And I Return to Nothingness with a new frontman Will Ramos, and for the first time in their over decade-long tenure, they've hit the stratosphere of global success! Fast forward to late 2022, their epic new album Pain Remains showed the band pushing their deathcore boundaries further. Keeping up the addition of symphonic black metal darkness and technical sludge-ish breakdown aggression into their epic deathcore sound, the anticipation is all worth it.

"Welcome Back, O’ Sleeping Dreamer" begins with an ominous intro, where symphonic orchestra rises as if you were expecting Two Steps From Hell. Then at the top, the band strikes in a devastating touchdown, as the guitarists conjuring a searing riff storm raining down on you. A brutal breakdown chops you down to size, then sharp riffing once again decimates you while fitting well with the brilliant cinematics. The Sleeping Dreamer finds himself in a world that has been, and can be, designed using his own imagination. However, he falls into a world of nightmares that always changes to become worse than before and cannot be changed by the Dreamer himself until he can succumb to the possession, which he refuses to do. Driving further is "Into the Earth", with its frantic verses and dramatic chorus. The Dreamer has to shine like the sun, with the rays touching the dream Earth. However, he grows cold and crashes into the dream Earth, with vivid nightmarish hallucinations surrounding him and projecting into his mind, leaving him immobilized. "Sun//Eater" is the first single released for the album, and has psyched fans up with its furious fret force and mythological lyric themes. A young choir of angels appear, chanting "Kyrie eleison" ("Lord Have Mercy"), giving the Dreamer wings and the unlimited power to fight back the hallucinations. He flies back into space and, like Icarus, heads towards the sun, this time conquering and consuming it, regaining his shining power, now shining a colorless black-and-white light, a hint at his possession of evil slowly beginning.

One epic shining highlight is "Cursed to Die", in which the speed and precision from the band's rhythm section work like a charm. The breakdown fits well right in the middle of this epic glory without being abrupt. Despite all that power, the Dreamer starts to feel weaker and more fearful, believing that he might lose his legacy and be cursed to die. However, the evil within possesses him to continue what he was doing before, building up its legacy to the point where it still hasn't reached enough, decaying his soul greatly. The breakdowns in "Soulless Existence" have the same greatness as the previous track, invited in by the Lord of the Rings-like epicness and emotion. At this point, the Dreamer has lost 90% of his soul. The evil has greater control in him than before and begins melting the tundra and ice of the blackened dream Earth, flooding the whole world. The Dreamer's weak soul could only question the existence of himself and the world. Without showing off, in "Apotheosis", the technical speed in the drumming is so insanely impressive, keeping up the band's heavy fury. The evil within the Dreamer is now powerful enough to leave his body to continue its destruction of the dream Earth. The evil spirit boils the water and burns a hole into the dream Earth. The weak Dreamer falls into the hole and finds himself in the Labyrinth of Hell, which he must go through into the center to find the altar of power to regain his power, though at the risk of having his soul decay again. "Wrath" has more of this visceral fire from the rhythm section and is a f***ing heavy highlight overall, like probably the heaviest of the year! After praying at the altar, the Dreamer regains his infinite power and the missing part of his soul, and zooms back up to the surface to unleash his wrath on the evil spirit who's already burning the Dream Earth with his fire powers. As the battle goes on, the flames expand and cover more of the land, and the Dreamer is unaware of his soul decaying until he is struck down by the evil spirit.

At last, we've come to the coldest blizzard of this dark snowy journey, the 3-part title trilogy suite of grieving sorrow. The first part "Dancing Like Flames" is so d*mn beautiful. It's been referred to as a "deathcore ballad", and I kinda agree in the emotional sense. The Dreamer finds himself lying down in the flaming ground, in never-ending pain from the flames and the earlier strike-down from the evil spirit. All he could see is a ghostly image of a passed lover from the past. With little strength he has, he dances with the ghost in the flames before finally collapsing once more. He sees one last hallucination, the Grim Reaper telling him that it's his time to die. The suite continues seamlessly into the second part "After All I've Done, I'll Disappear", expanding the emotionality and adding in a little more intensity. The hammering instrumentation and vocals allow the band to shine in the symphonic black-deathcore realm. With only minutes left before the Dreamer's time to die, he realizes that after all he has done in his desperate attempt to protect the dream Earth, he will have to disappear, leaving behind what he failed to save, now having no meaning. His soul leaves his body and transcends out of the world that has reached its heating point and begins to disintegrate. He transcends through the astral plane. The climatic final part "In a Sea of Fire" is a highlight you can never skip. It shows the band at their most epic, then wraps it all up with a soft outro of ethereal atmosphere. Suddenly, the evil spirit grabs the transcending soul of the Dreamer, possesses him once more, and burns him away into nothingness. The evil spirit then burns away the remains of the Earth out of existence. With its own infinite power, he then proceeds to burn away the rest of the galaxy and the rest of the universe. In the end though, it all turns out to be a dream for the main character who then wakes up.

Pain Remains can be described as a lot of adjectives, more than just the decently overused "epic". With an intense production of complex instrumentation, dynamic vocals, and brilliant lyrics, all to marvel at, you're in for a fun remarkable deathcore treat. The early 2020s can be pretty much a new rising era for deathcore, all thanks to Lorna Shore taking out their pain on an immaculate masterpiece of a lifetime!

Favorites: "Welcome Back, O’ Sleeping Dreamer", "Cursed to Die", "Soulless Existence", "Wrath", the complete "Pain Remains" trilogy ("Dancing Like Flames", "After All I've Done, I'll Disappear", "In a Sea of Fire")

Creativity and technology were really advancing in the 90s. ONE MAN, Klayton decided to put his music skills to the test as a once-unknown man determined to fulfill his vision. His project Circle of Dust takes on industrial metal fury that has given him a reasonable fanbase. Turmoils over record labels and the target audience caused the end of the project. He would start his next project Celldweller and formed his own label FiXT, having more electronic rock/industrial metal freedom.

The earliest hints of Circle of Dust returning came in 2015 with a couple remixes of Celldweller and Scandroid (his electronic side-project) tracks. Later that year, it was announced that he had finally regained to the albums he made as Circle of Dust, as well as Argyle Park, re-releasing them in remastered forms with a huge array of bonus material. While he has completely brought all of his 90s work back to light, there was one thing left to prove that Circle of Dust isn't dead... A new album! Machines of Our Disgrace, released in late 2016, has the blazing aggression of industrial metal you've known from Circle of Dust, probably the best album since Brainchild.

Distortion fills the intro "Re_Engage" in electronic ambience. Then the metal fury fires away in the title track, a h*lla fantastic highlight resurrecting the band's earlier thrashy aggression. "Contagion" can fit well in this album as much as any of the earlier material. Some of the best lyrics, riffs, keys, and samples can be found here, almost like it's a Brainchild B-side. "Embracing Entropy" is more melodic and electronic. "Humanarchy" is another highlight of aggressive chaos. It's like Nailbomb 2.0!

"Signal" is a 30-second interlude with a robotic warning about an atomic bomb. Grabbing your attention again is "Alt_Human", alternating between electronic and vicious. "Hive Mind" is another synthy anthem, looking back at the sound of Disengage. "Outside In" is probably the project's first ballad. I love that beautiful song so d*mn much.

"Neurachem" blasts forward with more of the cyber complexity from the first two albums. Another instrumental "K_OS" would throw back to some more of the electronic melody. "Neophyte" strikes with dance beats and vocal harmonies, almost sounding like a B-side from the debut. The closing track "Malacandra" has the cinematics, synths, and acoustics of darkness peril that have shaped up the instrumentals from Disengage.

It's no farce that Machines of Our Disgrace would mark a true rebirth this underrated underground project by Klayton. Well-produced compositions push through the limits of industrial metal, coming out as another perfect achievement. The music and lyrics are both heavy and compelling, with the concept of striking back against the mechanical atrocities of the world. Klayton has proven himself to be a master of industrial rock/metal, and longtime fans can enjoy this music that's so complex and intense. Circle of Dust has returned, and the vision has come full circle!

Favorites: "Machines of Our Disgrace", "Contagion", "Humanarchy", "Hive Mind", "Outside In", "Neurachem", "Neophyte"

The 3rd Circle of Dust album Disengage ended up being its last album for nearly two decades. The songs were written during the era of the first two albums, originally intended for release shortly after the 1995 debut re-recording came out. These songs would alternate between the dancey atmosphere of the debut's original 1992 edition and the fast aggression of Brainchild. The album suffered some delays for a few years, including recording new tracks and record label's demands. Said label Flying Tart would end up dissolving during distribution, resulting in limited copies. With that and Klayton losing his rights to much of his material, that was the end of the project.

Disengage is another excellent industrial rock/metal album! There are more electronic melodies without losing the aggression. Basically a more mainstream direction while staying underground. The songs are all solid and enjoyable. And within the blend of heaviness and melody is the usage of samples, as you would expect in any Circle of Dust album. It's time for another electronic journey...

"Waste of Time" is never a waste of time! I especially enjoy the rap-ish metal verse and its lyrics. "Refractor" is a true blast to the project's earlier past, while blending it in their more electronic direction, far ahead from what bands like Nine Inch Nails can do. "Yurasuka" has some ambient beats in conjunction with nu-ish industrial metal. I'm amazed that they can pull this off before bands like Limp Bizkit and early Linkin Park made it more popular. We actually have a few instrumentals here, starting with "Babylon" with its spine-chilling melody like when you're walking through a dark wasteland. "Chasm" is another highlight worth giving lots of praise to.

"Thulcandra" is another instrumental with a similar vibe to the first one. "Blindeye" is another great banger, complete with electronic rhythms and rap-ish vocals that all sound good. "Mesmerized" has both a heavy edge and a mainstream curve. Another one of my favorites! "Perelandra" is one more instrumental with spooky atmosphere, not too far off from a video game soundtrack. "You Are Fragile" is the first of several remixes that were meant to be in a separate EP until Flying Tart forced Klayton to have the remixes embedded to the album. It's an electronic track centered around a sampled line from "Chasm". The title track of the album wasn't in the original edition. It's a bonus dark spacey instrumental to follow up from the others.

Then comes some more remixes from the scrapped remix EP, starting with "Chasm (Version 2.1.0)", with its brilliant electronic patterns. "Refractor (Version 3.2.1)" follows, having more of an EDM-esque pace that surprisingly fits well with the vocals and lyrics. Those two remixes make great companions with each other. "Easier to Hate" is the first of two remixes by Lvl, Klayton's young brother. It's another remix of "Refractor" with more of an electro-goth sound, and there's more emphasis on sampling the verse with the titular lyric. "Hate Opened Wide" is a remix that combines those two tracks into one. It has more electronic ambience than the other remixes. "Alone to Die" is one more Lvl remix, centered around "Chasm" and again sampling the titular line. And thus the remix section is complete! "Deadly Love" is an interesting outro, a brief electronic track with Klayton singing. This version ends with him saying "You f***er", which of course was taken out in the original edition because Flying Tart is a Christian label.

Since I've already reviewed the first two albums that includes their remastered editions' bonus discs, it would make sense to do the same here. However, there are two bonus discs, both with lots of material, so I'm gonna try to speedrun through them all, starting with "Machines of Our Disgrace". Oh yeah, that's the song from their comeback album of the same name, and it's a h*lla great track resurrecting the band's earlier thrashy aggression. "Yurasuka" has been given a remix by Blue Stahli. Bret Audrey can once again add his electro-industrial sound to a Circle of Dust track and make it beautiful, really doing it justice! "Your Noise" is a demo track, an acoustic tune Klayton wrote against demands towards humanity made for the sake of popularity and technological evolution. I have a feeling he's just attacking Flying Tart for their compromising demands ("Please...shut the f*** up"). "Resist" is another demo track, somewhat reminding me of a more melodic Red Harvest. "Goodbye" is not related to the similarly titled Argyle Park and Celldweller songs, though it has similar vibes to those projects. Then the rest are some acoustic versions, instrumental versions, and remixes.

Disc 3 (the second of the two bonus discs) starts off with some demos, beginning with "Beneath the Skin" which is a demo of "Waste of Time" with a different chorus, intriguing me as much as the official version. There are also 3 demo versions of "Chasm", starting with an early demo that's just a short rough draft. "Blindeye" has a really cool demo. "Chasm" is given another later demo. It's more of a "not better enough but getting there" kind of situation. Then we have a demo version of Lvl's "Refractor" remix. And then there's the last of the "Chasm" demos, this one for "Chasm (Version 2.1.0)". Perhaps the best of that trio! But now it's time for some more of the "Dust" instrumental tracks which are cool but not worth talking about. And to wrap it all up, we have censored versions of the two acoustic songs with swearing, "Your Noise" and "Deadly Love". I say they're both a blessing and a curse. And yes, that's the version of "Deadly Love" that concluded the original edition of the album.

Whew, what a journey! The 4.5-star rating still goes to the original album with some of the most intriguing music and lyrics in industrial metal. Despite Circle of Dust's then-demise, Argyle Park would release one more album as AP2 and Klayton would start a new project, Celldweller. Still, Disengage shall not be overlooked in the industrial world!

Favorites: "Waste of Time", "Refractor", "Chasm", "Blindeye", "Mesmerized", "Chasm (Version 2.1.0)", "Refractor (Version 3.2.1)", "Hate Opened Wide", "Machines of Our Disgrace", "Yurasuka (Blue Stahli Remix)", "Goodbye", "Beneath the Skin (Waste of Time Demo)", "Blindeye (Demo)", "Chasm (Version 2.1.0) (Demo)"

It was hard for me to decide which Circle of Dust album to review first, their re-recorded debut or their second but first canon album Brainchild. Ultimately I've chosen this one because I think it's a more proper start to Celldweller founder Klayton's first project. This album was originally recorded in 1991 and released in 1992, but Klayton really hated, like "not caring if it's a strong word" HATED the original album. He especially disliked two of the songs from that album, "Technological Disguise" and "Senseless Abandon", and that's why they've never been re-recorded, only appearing in remastered form in a recent demo compilation.

I have to say, I agree with Klayton there. The original album is so bizarre, dull, and doesn't have any metal in their industrial sound. And he had the right idea of scrapping those two dreaded songs. This re-recorded edition is way better! It has stronger, more metallic guitars without sacrificing any of the industrial melody, setting the right direction for the band. Also I'm reviewing the 2016 deluxe remastering which includes a second disc of special treats not to be missed out on.

"Exploration (Redux)" wasn't originally in the re-recording, but adding it to the remaster has made a greater beginning, like a sample-filled electro-metal overture. Songs like this made me up to checking out Klayton's other projects like Argyle Park and the more popular Celldweller. Thanks so d*mn much, Klayton! Seriously! For "Onenemy", the lyrics are quite good, and the sound makes me think of Linkin Park gone The Prodigy. "Four cycles moving gone, three dark days and death is on, two wishing to fulfill, only one enemy to kill!" However, much of the structure in the sound is quite mild. Luckily, the breakdown that starts the last minute is something to really love! "Demoralize" continues building the band's wall of sound with heavy guitars. "Self Inflict" fires away with the usual industrial metal. It's amazing how someone (me) who has spent time with deathcore bands like Chelsea Grin can also enjoy some melodic industrial metal.

The next song "Rational Lies" has different effects, leading up a perfect ending of black metal-ish tremolos within the industrial beat before fading into ambient oblivion. Also the remastering has made the vocals and samples stand out a lot more than both the original and the original re-recording. It's more dynamic and listenable, fixing a problem often found in industrial metal production. Thunderous drums in "Nightfall" match the crushing guitars. "Twisted Reality" is another twisted industrial-fueled track, similar to some of Fear Factory's remixes. That reminds me, should Circle of Dust and Fear Factory collaborate and remix each other's tracks? I sure hope so. "Consequence" is a more brutal track while still melodic.

"Dissolved" is filled with industrial metal intensity, something that was rare in the Christian scene that Klayton has since distanced himself from. "Nothing Sacred" is another brilliant highlight and it's proves that there is sacredness in this music. "Parasite" is the best highlight for me, an awesome piece of industrial rock/metal greatness! It's almost like a sequel to "Exploration". The final track in the original re-recording "Bed of Nails" was originally a hidden track embedded with the previous one. It still has some of that earlier vibe from Nine Inch Nails along with some experimentation similar to Grin-era Coroner.

Now we come to the bonus disc 2, starting with "Neophyte", a new track that would appear in the Machines of Our Disgrace while sounding like a B-side from the debut. I absolutely love the Blue Stahli remix of "Nothing Sacred". Bret Autrey's futuristic stylings give an already great song more life. "Onenemy" has been given an acoustic version which is fine. We also have the original 1992 "Exploration", fun but not as strong as the redux. The 1990 demo of "Demoralize" lacks the heavy guitars of the re-recording.

The remaining bonus tracks are late 80s "Dust" instrumental demo tracks and instrumental versions of two other bonus tracks which are great but don't do too much. I'll give my 4.5 star rating to the main album. Nine Inch Nails electronics, thrashy riffing, audio samples, and Christian-ish lyrics.... They don't get more memorable than they are here!

Favorites: "Exploration (Redux)", "Self Inflict", "Rational Lies", "Twisted Reality", "Nothing Sacred", "Parasite", "Neophyte", "Nothing Sacred" (Blue Stahli remix)

1992 was the year when Circle of Dust's self-titled debut came out in its poor form compared to its re-recording. That same year, founder Klayton worked with Doug Mann on a different project Brainchild, releasing their sole album Mindwarp. The following year, R.E.X. wanted another album by Circle of Dust, but because most of the money was already used for the Brainchild project, Klayton decided to have Mindwarp re-released in 1994 as that second Circle of Dust release, with Brainchild becoming the album title.

Around that time, the band was part of the Christian music scene, and people were complaining about the secular "devilish" lyrical nature. But why should those people be the boss? Dark music and lyrics complete with samples more haunted than reversed hidden messages!? Count me in!

We're already getting into the band's different heavier sound in "Cranial Tyrant" which is like a more upbeat Godflesh. "Telltale Crime" is a highlight a lot more people need to hear more of. The Mindwarp edition originally had an audio sample from Geraldo Rivera in the intro that was then removed. "Prayers of a Dead Man" is just re-recorded in its entirely, and just like many tracks in the debut, it's better and more metal than the original. "Regressor (Aggressive Mix)" has many audio samples like this one from Robocop 2, "HE'S A KILLER, I SAW IT!" Anyone more familiar with Klayton's current more famous project Celldweller can be pleasantly surprised by his work in Circle of Dust. There's also a remix of that track by Battlejuice.

"Enshrined" is more industrial, way different from the heavier modern metal bands I enjoy like Imminence and Sylosis. Then there's "Course of Ruin", a highlight of heartful aggression. Klayton made quite a brave statement for America in this highlight "Descent". The future of America is the country citizen's hands...

"Deviate" I dig much more, and this is the only second song I've heard from Circle of Dust, the first one being the title track of the comeback album Machines of Our Disgrace. Klayton has done an amazing job combining the industrial metal and samples of Ministry with Slayer-like thrash. The remastered version gives the song fresher dynamic. You can headbang while playing the air-guitar and starting a mosh pit! The "DON'T MAKE ME USE THIS!! ONE STEP CLOSER, I'M WARNING YA!" part is from Ren and Stimpy. It's a little shocking that this band is of Christian background, though I'm speaking as someone who is not Christian. This is more for those who want to destroy everything in sight, in video games, of course. "Who's got the shotgun!?" Another superb track is "Pale Reflection" if you're up for some loud distortion and Blade Runner samples. I just love the gothic-ish industrial metal finale "Aggressor (Regressive Mix)", especially the whispered screams and samples, "Behave yourself!"

Once again, I'm reviewing the remastered edition which comes with an hour-long bonus disc of special treats. Some of you might've already heard "Contagion" in Machines of Our Disgrace, but it's quite fitting here as well. Some of the best lyrics, riffs, keys, and samples can be found here, almost like it's meant to be in Brainchild. "Deviate" gets the remix treatment, and is one of the best remixes by Blue Stahli! Their cover of Steve Taylor's "Am I in Sync?" is a little odd but still OK. It is followed by the original Mindwarp editions of "Deviate", "Telltale Crime", and "Prayers of a Dead Man". I like the "Deviate" demo the best, sounding strong, even without the midsection commentary.

The remaining bonus tracks are some more "Dust" instrumental demo tracks, live versions of two tracks, and an instrumental version of the remix, all great but don't do too much. I'll give my perfect 5-star rating to the main album. If this review doesn't convince you to check out this industrial metal gem, I don't know what would. Come and get it!

Favorites: "Telltale Crime", "Course of Ruin", "Descent", "Deviate", "Aggressor (Regressive Mix)", "Contagion", "Deviate (Blue Stahli Remix)", "Deviate (1992)"

You know me as a metalhead transcending through different metal genres, currently focused on metalcore, industrial metal, alternative metal, and progressive metal. Having been born in around the same year this band was formed, I was never around in the 80s, when the older guys grew up with genres such as classic heavy metal and the more melodic progressive metal. After trying to get into those earlier genres for some time, I realized that my heart is set for something more extreme, technical, and djenty...

So here I am, listening to this amazing band Mnemic, having sonic influences from Fear Factory and Soilwork, straight outta Denmark! After two albums, vocalist Michael Bøgballe was out, and Guillaume Bideau was in. There ended up being a bit more of a progressive/melodeath vibe added to their industrial/groove metal sound, which turned off some fans, but it never ceases to please me. Mnemesis is the band's final album before hiatus, and it continues the band's indirect aim to resonate with me, though with a more melodic twist in their metal, sounding like they've added some late 80s throwbacks into their futuristic sound. It's almost enough to make this a full-on gem!

Beginning this final leg of their journey is "Transcend", adding some solid Soilwork magic. "Valves" is one of the best tracks from this band, continuing the Strapping Young Lad-like blend of arena rock and extreme death riff-wrath/growls. And that massive fusion starts from the tasteful synth intro. "Junkies on the Storm" has some more of the heavy headbanging pace along with a chorus to be implanted into your head. Solid single "I've Been You" starts catchy in the intro that blasts off into the usual riff machinery and growls, leading to a melodic chorus you just gotta love. Another track "Pattern Platform" kicks their modern metal sound up a notch once again. You just gotta follow the patterns that fire this sh*t up.

Another favorite, the title track has some of that Scar Symmetry-like futuristic melodeath going on. But what really brings the band back to a time 25 years before this album is "There's No Tomorrow", the 6-minute epic that almost sounds like a power ballad ala Bon Jovi/Dokken. There's even a beautiful guitar soloing crescendo. Of course, the brutal growls are still in great passion. Following this "Haven at the End of the World", showing how impressive drummer Brian Larsen can be despite this album being his only one with the band. "Ocean of Void" might sound closer to nu metal, but there are some melodeath growls, plus some more of the classic sounding harmonies.

Now before we get to the grand finale, the bonus tracks are worth mentioning, starting with "A Matter of Choice", with fantastic extreme dissonance that includes another blazing solo. "Empty Planet" adds a bit of Voivod-like progressiveness and Silent Planet-like hardcore and atmosphere. "Synaesthesia" has a bit of a synth atmosphere. OK, now we can talk about the final "Blue Desert in a Black Hole", the closest to atmospheric progressive metal from this band, and a very interesting way to go out in a bang.

Mnemesis is what I can consider a happy ending to the band's career, but the aftermath ain't. One of the guitarists Victor-Ray Salomonsen Ronander left after a final show in November 2013, then the band went on hiatus and the other members pursued other paths. And recently, Bideau passed away suddenly, one of a few shocking tragic metal musician deaths in May 2022, one other being Trever Strnad of The Black Dahlia Murder. Nonetheless, Mnemic's tenure was quite a home run, releasing amazing records after records, and they're simply good at blending different styles so skillfully. You won't regret getting into the zone of this band of modern legend!

Favorites: "Valves", "I've Been You", "Mnemesis", "There's No Tomorrow", "Haven at the End of the World", "A Matter of Choice", "Blue Desert in a Black Hole"

The consistent path of Mnemic continues! Vocalist Michael Bøgballe was with the band for their developing debut Mechanical Spin Phenomena and their superb sophomore The Audio Injected Soul. Then for their third album Passenger came the late Guillaume Bideau. He had done an outstanding job with his growls and cleans in that album, and did he keep it up in this album? Yes sir!

His amazing vocals are part of this satisfying plethora of djenty industrial/groove metal. In the music, there are solid heavy guitars and electronic soundscapes, all a great reason to consider this album underrated.

The opening title track brings back some of the band's earlier riff technicality especially in the fast thrashy verses, but they haven't forgotten about their more recent catchy choruses worth singing along to. "Diesel Uterus" is well-suited for my modern taste. "Mnightmare" is another heavy banger. "The Erasing" has some of the band's strongest groove with an interesting catchy riff after the chorus.

"Climbing Towards Stars" somehow reminds me of if they took Excessive Force's "Ride the Bomb" or Daft Punk's "Harder Better Faster Stronger" and transform either song into their own track of their usual style. Though it's not as forgettable as "March of the Tripods" that drags on into the end, but the high industrial metal quality is still up. "Fate" is another highlight that helps the band achieve what they need here. "Hero(in)" has some of the best elements of their sound, including a regular lead groove staying together with an irregular beat, arranging things in a more atmospheric fashion.

"Elongated Sporadic Bursts" seems to drag on longer than it should, but it still works a bit well. "Within" is another well-accomplished feat, where the nice melody is in engaging contrast with the heavy groove. "Orbiting" adds a bit of Voivod-like progressiveness and Zao-like mid-tempo hardcore into the usual industrial/groove metal mix. However, if you're getting any one of the bonus track editions, I should warn you, "Dreamjunkie" is mostly some mainstream-sounding junk that shall stay as a bonus track.

Once again, Mnemic proved themselves to be a monstrous cauldron of influences from Fear Factory and Meshuggah. I think one real regret this band has is not having as much recognition as they should have, which I guess is one reason for their split, though not before one more album. Take on the system!

Favorites: "Sons of the System", "Mnightmare", "The Erasing", "Fate", "Hero(in)", "Within"

Mnemic (the Greek word for "memory" and an acronym for 'Mainly Neurotic Energy Modifying Instant Creation') has packed pummeling punches during their 15-year existence. They've built up quite an audience with their demos and first two albums, including The Audio Injected Soul with its blend of speed, texture, and aggression.

Passenger takes a twist in the step with ex-Scarve vocalist Guillaume Bideau (RIP), along with Christian Olde Wolbers of Fear Factory in production work. The album takes on human entropy in emotional, psychological, and spiritual directions, something already discovered in Stanley Kubrick's Space Odyssey. Lots of prophetic inspirations in the themes! Drummer Brian Rasmussen blasts forward in time with his volcanic drum kit, with more variation than The Who.

"Humanaut" is the two-minute intro that blasts off into the industrial metal chaos of Circle of Dust and Strapping Young Lad right away. "In the Nothingness Black" has beautiful vocal harmonies and keyboards to keep you hooked. "Meaningless" attacks with great guitar dueling that marks a new addition to the evolution of the band and modern metal. "Psykorgasm" has powerful riffing with a beautiful melody to go along with it. The shape of time is changed with barely any effort. You can also hear a vicious guest appearance from Carcass frontman Jeff Walker.

The intro of the vicious "Pigf***" is insane, and so is the switch to more of the Meshuggah-like industrial death/thrash influences. "In Control" demonstrates the greatness of Bideau, especially in the powerful melodic chorus. Things get a bit unremarkable in "Electric ID Hypocrisy", but it still works. "Stuck Here" is so progressive, I wouldn't be surprised if that's part of the motive for the direction Dir En Grey would later take.

"What's Left" once again lacks some interest, but the band manages to maintain their loudness. "Shape of the Formless" once again pushes the Fear Factory/Strapping Young Lad influences they're known for. Making up a lot for the slight bit of mediocrity in two of the earlier songs, the closing epic "The Eye on Your Back" is bound to keep you awake with its cycling through some of the best vocals, keyboards, and riffs in this offering. The power that makes up most of Passenger is revisited, while not as Meshuggah-infused as their earlier albums. There's also a killer bonus track "Zero Synchronized".

"Passenger" has that intellectual emotion going on throughout that has kept Mnemic on the metal map. They've had their place in the industrial/groove metal realm that they didn't perfectly seal in the beginning but had since built it up to how it is that would still be praised 15 years forward!

Favorites: "In the Nothingness Black", "Meaningless", "In Control", "Stuck Here", "Shape of the Formless", "The Eye on Your Back"

Denmark is probably the quietest country in Scandinavia when it comes to metal. Not that it ever was quiet, but the amount of metal bands there isn't as huge as Norway, Sweden, and Finland. There are a couple prominent death metal bands hailing from there, Hatesphere and Illdisposed, along with the scene branching out into the death-doom of Saturnus, the progressive power metal of Wuthering Heights, and finally, the modern industrial/groove metal of Mnemic. Their smashing debut Mechanical Spin Phenomena is a great start of a journey for the band and their listeners, but if you're looking for something to perfectly seal that deal, prepare for the Audio Injected Soul!

Mnemic's futuristic metal sound once again has thrashy chaos and atmospheric power added to the mix. There's slightly more originality compared to the debut that had heavy amounts of Meshuggah influence, now forming together the band's original style. You can recognize the fun storming riffs and wonderful harmonic melodies. The vocals by Michael Bøgballe keep things all in place, though he would leave the band the following year.

We start off the album with "The Audio Injection", a short intro recorded using the band's special AM3D technology. "Dreamstate Emergency" follows as a straight-up banger. Heaviness is totally on their agenda here, though there's a soothing chorus before more of the riff attack. The ultimate anthem for the band in a nutshell! "Door 2.12" keeps up the wild pace. Its chorus is one of the best here and is definitely worth your money if you're buying it. "Illuminate" has some things drowned out, but it's not bad at all and has kept the album's perfection up.

Released as a single, "Deathbox" has tons of madness to be injected in your mind and soul, especially in the AM3D technology. "Sane vs. Normal" has some more wild heavy wackiness, though with a serial killer lyrical theme ("I made the mistakes I couldn’t afford to make, Hell, they even knocked on my door because they found a dead girl in the lake"). More personality is included in "Jack Vegas", including the dialogue performed by Bøgballe in multiple vocal styles.

Shooting the target further is "Mindsaver". Then there's more atmosphere in "Overdose in the Hall of Fame". It's unfortunate that "The Silver Drop" doesn't stand out the way it should, but the perfect of the album is kept intact. In saying that, you might think my reaction to the band covering the Duran Duran hit "Wild Boys" wouldn't be pretty. And the truth is, nothing is spoiled! It's another pleasant example of a band metalizing a pop hit to be way better than the original. However, it's not as spectacular as the highlights of the album, while still a wild fun ride.

The Audio Injected Soul is an album to recommend for the wildest metalheads out there. It's so interesting how catchy and melodic this album is while having the usual heavy chaos. This is modern thrashy industrial/groove metal that fans of Fear Factory, Strapping Young Lad, and Machine Head should get into. A standout in the trek of Denmark's finest band of modern futuristic metal!

Favorites: "Dreamstate Emergency", "Door 2.12", "Deathbox", "Jack Vegas", "Mindsaver"

I just realized that I haven't reviewed this Watchtower EP yet, and since upcoming music from this band was announced to be in the works on the month I've written this review, it's a good time to do that. It's mathematical! No there isn't any mathcore. Watchtower is known for their jazzy progressive tech-thrash sound that continues on in this EP that contains three 2015 singles, one 2010 single, and a brand new composition, altogether forming a near half-hour of brain power.

It must've have been a joy for fans of mathematical prog-thrash witnessing the return of these Texan legends. However, for those hoping to hear Jason McMaster return from their debut Energetic Disassembly, that's not the case here. At least we have Alan Tecchio, whose previous album with the band Control and Resistance is also a classic.

Coming back with their prog-thrash sound still stable is the under 4-minute "M-Theory Overture". It goes beyond overture levels by getting listeners geared up for the thrashy riffing and time changes coming up in the next 4 tracks. They continue to give their longtime fans delight! "Arguments Against Design" is where Alan Tecchio steps in with his memorable vocal range, as the thrashy riffing bounces alongside solid leads.

"Technology Inaction" is a marvelous blend of progressive complexity and thrashy aggression, with catchy vocal hooks, "T-T-T-T-TECHNOLOGY INACTION!!!" Next track "The Size of Matter" isn't too bad, having some spacey riffs and leads before a surreal psychedelic bridge. That's the 2010 single! Finally, "Mathematica Calculis" is the new track, a 10-minute epic (their longest song) of the usual progressive thrash, though toning down the earlier aggression for more expansive aspects. Those aspects being the amount of twists and passages almost as much as Dream Theater and Liquid Tension Experiment. Absolutely wild!

Besides Watchtower, other progressive thrash bands were making their return from the void in the 2010s, such as Toxik and Blind Illusion. While those bands end up taking on a different sound from their respective magnum opuses, Watchtower have never abandoned their roots, and they've made it more exciting with different complex sections that turn this release into an expert-level metal sudoku. Not to brag, but I'm one of those listening experts. The Math Gods have give us a sine- I mean, sign!

Favorites: "M-Theory Overture", "Technology Inaction", "Mathematica Calculis"

I love this blend of progressive metal and thrashy technical speed metal. I can get the fun wackiness of prog and speed metal's eponymous aspect without having too much of either side. This album was made by an innovative group of talented musicians, wearing their sound with pride but not too much pride, and it's really impressive. Ladies and gentlemen, this is a serious start to the technical side of metal that we know today!

The bassist and guitarist work well like a duo, a possible inspiration for that kind of aspect in later bands. The thrash-like guitar riffing and bass tones fit like a glove, despite the difference in octave, and even more so in the interplay between searing leads and bass harmonies. I'm not super into Halford-like falsetto vocals so much right now, but the ones here have spot-on beauty. Barely any other vocal style can fit into this kind of album. And MAN, these are some mighty drum skills. I wish my family didn't give away an electronic drum kit I once had, so I can continue learning that instrument. You never have to rewind because all those instruments can be engraved in your mind.

The tracklisting is different in some editions, but for this one I'm reviewing, "Violent Change" starts off with a thrashy riff of violent energy. It's different from what you would expect in the mid-80s, with the drums and vocals sounding punky before rising close to classic heavy metal. It's insane how groundbreaking this album was when it was released in 1985, and you can understand the NWOBHM elements they've had there. And there's a lot of vocal power in that chorus! "Asylum" has one of the best solos here, near the two-minute mark, and would make you wanna repeat that part. It's those instrumental sections where the guitar and bass jam all over the place, and the drums tag along for the ride. That can also occur in the beginning of one of two 6-minute epics, "Tyrants of Distress", another one of the best here with great verses and chorus.

"Social Fears" has thunders in with an ominous bass line and a riff that's catchy as h*ll. More of the amazing bass comes in a short solo after the chorus. The title track picks up the speed, and it has the best of all the instruments and vocals. Seriously, these guys have done a splendid job keeping up the expectations required for an album's title track. Prepare to get blown away by the bass solo near the 3-minute point! The following track "Argonne Forest" slows down the pace a bit, and tells a story about the Forest of Argonne's role in the first World War. A catchy bridge shows the guitar heading high into frantic soloing, bringing back some of the speed.

Next up, "Cimmerian Shadows" has a slower pace and lower vocals than the rest. While the aforementioned title track is the highest point, this one is the lowest and almost comes out as bland. Still it doesn't affect the album's perfect glory. "Meltdown" makes up for that by a ton as perhaps the second-best of the album, with fast tempo, an unforgettable chorus, and incredible soloing. It's probably one of the first ever songs by the band, recorded a couple years prior for a compilation.

It's many progressive/technical metalheads' dream to have this band as teachers for music lessons. Energetic Disassembly is an album that's so ahead of our time and showed the band assembling the genres we know as progressive metal and technical speed metal. Consider your mind blown!

Favorites: "Violent Change", "Tyrants of Distress", "Energetic Disassembly", "Meltdown"

A lot happened in the months between the recording and release of this album. While waiting for its release date to be decided, Lorna Shore began touring with other bands in support of the album with ex-Signs of the Swarm vocalist CJ McCreery. He recorded vocals for the album, and the band released 5 singles in advance. Then when a scandal of abuse allegations involving McCreery occurred, caused by the Weinstein effect, he was fired. The band wasn't sure about releasing the album at first, but I'm glad they done so. All drama aside, Immortal is the start of Lorna Shore's perfect streak, and one of the greatest deathcore releases on Earth! The best of their previous releases have been given deeper personality and a more atmospheric background, so sinister and ethereal. With that along with the brutal breakdowns and symphonic black metal influences, this would give the band a spot in the deathcore hall of fame (there is one now!).

Deathcore has crucial aspects for records of that genre. You need technical atmosphere and heavy aggression in careful balance so the heavier listeners can praise it. Lorna Shore have proceeded in the perfecting that mix for Immortal, and it's no secret. They were slowly building up symphonic black/melodeath elements into their deathcore throughout their powerful tenure, and this release has marked the perfect prominent point for those elements, leaving their earlier releases to lower their heads in regret.

Unleashing that aspect right off the bat, the epic powerful title opener is a surefire deathcore highlight! McCreery lets out every vocal style he could possibly do throughout a thick sea of brutal glory. "Death Portrait" is a brutal work of splendor to fit well with a dangerous battle against demons on top of a snow mountain under a solar eclipse. An excellent mental masterpiece! "This Is Hell" is a heavy onslaught bursting through the gates of Hell, unleashing more demons, running as fast as the immaculate insanity of drummer Austin Archey. His amazing skill has grown since Flesh Coffin, shining in many songs like that one, alongside breakdowns bursting through in full force. McCreery's brutal vocals can get you hooked from start to finish.

Next track "Hollow Sentence" is a brilliant vocal battle between the growling of the one-man army that is McCreery vs. a multi-person choir, almost like a vocal exchange. There are huge dramatic theatrics while staying menacing. The riffing is also impressive, alternating between the slow breakdown and sledgehammering sections. "Warpath of Disease" continues that vocal technique, alongside brilliant fretwork and riff immolation from the two guitarists. The vocals once again have catchy hellfire. "Misery System" has the most impressive technicality in the album.

In "Obsession", the guitars sound so ethereal that the brutality is mostly in the drumming. At this point, you might find a bit of repetition in the album, especially in the vocals, with all this savagery leaving you numb, but honestly, that's just what the genre wants to convince you to think. I can still find a heavy amount of creativity here and face the enemy head-on despite what can be considered too similar. McCreery keeps up his regurgitating-like vocals in "King ov Deception" (again with the black metal "v" spelling), and I mean that in a great way. "Darkest Spawn" is another epic highlight with vocals pulverizing like a motherf***er. That song along with the earlier "This is Hell" were the first two singles for the album and with McCreery as vocalist, so those tracks make a great heavy starter duo. "Relentless Torment" shows the band going out in skillful fury. You get to hear the last of McCreery's catchy yet brutal vocals in this offering. Honestly, I'm the kind of person who doesn't directly associate art with artist, so I prefer to enjoy his vocals without thinking too much about the atrocious things he had done.

Lorna Shore has made an impressive leap into a different era, beginning with Immortal, a bleak brutal journey. This is Lorna Shore's way of starting the new decade in a bang, an immolating offering relentless heaviness and gloom. Despite being a decade later than Oceano and Whitechapel, this band shall be immortal in the deathcore realm!

Favorites: "Immortal", "Death Portrait", "Hollow Sentence", "Misery System", "Darkest Spawn"

Lorna Shore has shown a lot of potential that I can finally witness thanks to my brother recommending this band to me. Straight outta New Jersey, this band unleashed some of the most immensely talented deathcore around beginning with 2015's Psalms, and while that album is superb, a couple tracks were dragged down by the cliche overthinking of breakdowns. Would they make their next album solid and in a greater level?...

H*ll yeah, they did! Flesh Coffin continues the technical atmosphere and furious groove of Psalms with slight cleanup and enhancement. Of course, they were the same band that they were in their debut, while slowly building up their greatness.

"Offering of Fire" already proves the band's strength that has never withered, including vocalist Tom Barber, straight from the first verse. After all that crushing aggression in the first track, shining more with shredding soloing is "Denounce the Light". Next up, "The Astral Wake of Time" shows non-stop decimating speed in the drumming skill. Absolute blistering technicality in that one!

The rhythm section of bass and drums continues to dominate in the complex "Desolate Veil". Up next is "Fvneral Moon" (looks like they're using the black metal "v" spelling), which is such a great highlight. There are two breakdowns that would burst out of nowhere and crush your bones, then you're pulled back into speedy soloing and fantastic riffing. A much better balance than that small fraction of their debut! "Void" shows the guitar duo hammering their skills hard. Adam De Micco and Connor Deffley reign as one of the best duos in deathcore, though Deffley's time with the band would end after this album. Some of the catchiest lyrics and verses appear in "Infernum".

"The//Watcher" (what's with those slashes?!?) expands on the band's symphonic black metal influences that they would have more of in subsequent albums while keeping the "-core" part of their sound in mind. A fantastic highlight with wonderful background melody! "Black Hollow" displays more of Barber's incredible vocal range, enduring more professional energy than many of the more famous heavy bands. The brutal title closing anthem can cut you to the bone, all the way to the last of Barber's growls.

There's no doubt than Flesh Coffin has shown the band reigning as one of the best blackened-ish deathcore bands in the late 2010s, probably more than Carnifex, with technicality and melody added to the darkness. There's almost nothing disappointing about Lorna Shore, and even then they can improve. Here's to more of their excellence!

Favorites: "Offering of Fire", "The Astral Wake of Time", "Fvneral Moon", "The//Watcher", "Flesh Coffin"

Life falls apart, death is your only way, your fate lies in higher power, and no matter how much divine salvation you pray for, you can't escape the brutal intense apocalypse... This is Hell! Psalms is a crushing deathcore offering of infinite power unleashed by Lorna Shore to the world. Only those brave enough to dive into the deepest darkest depths of heaviness can access all that deathcore has to offer.

Anyone who has followed the band since their EP trio of Triumph, Bone Kingdom, and Maleficium knows the heaviness to come. Psalms is perhaps the heaviest start of the band's true adventure, adding brutal breakdowns with technical twists. Drummer Austin Archey has pretty much the ultimate death metal/core weapon.

Archey is already dominating with his arsenal in "Grimoire", boldly kicking through drum patterns and cymbals. An excellent opener! And you can hear the shouts and growls from vocalist Tim Barber from the start. "Harvest Realms" is another excellent dynamic track containing shredding soloing balanced with aggressive breakdowns. "Throne of Worms" has some slight filler, but it's still quite good.

The vicious "White Noise" is an anthem of deathcore devastation, with drums kicking and smashing skulls like cannonballs launched into the face. Guiding Archey along in the assault is founding bassist Gary Herrera, providing heavy patterns in synchronization. More of the wonderful drum kicking is included in "From the Pale Mist". Punishing death metal riffing are in a brilliant mix with brutal breakdowns. "Infernal Haunting" continues that excellent combo, though the breakdown lacks its need buildup. "Death Gowns" has some relevant moments, while sounding noticeably similar to Thy Art is Murder at that time.

"Wretching in Torment" unleashes its might in its 30-second intro than drops into a breakdown like a car screeching into a brutal crash. Although it's a great track, it might work better live. "Traces of Supremacy" makes amends for those slight mistakes in sinister fury. "Eternally Oblivion" is the 5-minute epic where the guitarists roam and Barber lets out his echoing yelling and growling that can almost rival The Black Dahlia Murder's Trevor Strnad (RIP).

Lorna Shore has made some of the heaviest deathcore magic-craft that is learnable for the new generation of music. With dark atmosphere, technical melodeath-like riffing, and sludge-ish breakdowns, the heavier fans can gather around for a moshing party filled with this punishing aggression. You can't be spared from the deathcore inferno!

Favorites: "Grimoire", "Harvest Realms", "White Noise", "From the Pale Mist", "Eternally Oblivion"

Maleficium is the 3rd Lorna Shore EP and last one before the band was signed to Density Records and began making full albums. It is one of the most brutal releases they've ever done, only for fans of the band and the genre brave enough to go down the back roads. Here they're already hinting at the Lorna Shore we all have known.

Deathcore was pretty much dying in the 2010s, and any band of the genre back then had to resort to something unique that had barely been done before. Diverse vocalist? Check. Speedy drummer? Check. What's left? Oh yeah... Every member has to have that level of professionality to give this sound a punch. And throw in some new and different aspects like ambient background keyboards. Just make sure deathcore/metal fans have what they want to stick around for these pummeling 20 minutes.

Opening track "Godmaker" has it all in 4 and a half minutes of perfection. Ominous ambience creeps in throughout the first minute, then they launch into relentless riffing, blast-beats, and bass bounces. And there's more of that to come! We hear a bit of the floating keys in "Cre(h)ate". The song is quite decent. Not the best, but I've heard worse.

The best of the extreme vocals of Tom Barber comes in the title track. The soloing helps make it another standout. "Born in Blood" has heavy breakdown and deathly growls without ever calming down. "Accumulatory Genophage" ends the offering with some of the strongest drumming and darkest soloing around. The lyrics and vocals can remind some of Whitechapel and Thy Art is Murder because of how brutal they are, "So say goodbye to your father, your mother, your sisters and your brothers".

Even a short EP like Maleficium can be destructive, though I prefer the blend of epic and extreme that would come up in their later albums, more glorious than the last. Still if you're up for Lorna Shore at their most brutal, this EP is the right call....

Favorites: "Godmaker", "Maleficium", "Accumulatory Genophage"

After a decent yet rough start with the more metalcore-fueled Triumph, Bone Kingdom severs the band's ties with that genre for just pure technical deathcore. It's better and more worth repeated listening, but I think some songs could've had a bit of excessiveness trimmed to reach the higher levels of subsequent Lorna Shore releases.

I say the songs are all pretty good, though not worth detailed mentioning. However, I have a couple songs I wanna talk about that I can give as many spins to as their later material, starting with "Life of Fear". The song was the band's first exposure to internet fame when it was featured in one of those YouTube cat videos (popular before the reign of pop music videos). Truly a killer favorite deathcore track of mine! The title track is quite awesome too.

Alongside the change of sound, the production is better improved and has more impact. The structure is less formulaic and would shape up the uniqueness the band would later obtain in the later part of their discography. It's still a little far away from that though....

Favorites: "Life of Fear", "Bone Kingdom"

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"

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"