Shadowdoom9 (Andi)'s Reviews

Coalesce has been an impressive band that fits in the mathcore Big 4 along with Converge, Botch, and The Dillinger Escape Plan. Their chaotic take on metallic hardcore is highly influential in math-grind abrasion that later bands can play but never replicate the master. Former and current band members were in other projects that would later spawn a new melodic emotional side of Coalesce. The resulting deep cacophonic sludge swamp is rewarding but doesn't the reach the reign of their original era...

I'm writing my review for this album of demented growls and frets at a time when the band is long-gone. It's not easy accepting that a band this good would now be nothing but a distant memory, but I still have a grasp on the band's rage and some of this strange experimentation.

"The Plot Against My Love" starts with the usual furious barks of Sean Ingram, beginning the album almost like Botch's last full album, though at a lower mid-tempo pace closer to heavy hardcore. For the first time ever for this band, clean singing occurs in "The Comedian in Question". And again in the intro for "Wild Ox Moan", which actually sounds like a stoner-infused Alice in Chains before it gets broken apart by the usual chaos that has shaped up the band's career. "Designed To Break A Man" is almost literally what that title says, with powerful distortion in the mid-paced drums, bass, and guitar, the latter having their signature sludge-ish riffing, crazier than The Jesus Lizard. "Where Satires Sour" is a brief acoustic interlude that lasts under a minute.

The speed is picked up by "The Villain We Won't Deny". More of this stylistic experimentation is presented in "The Purveyor Of Novelty And Nonsense", which integrates earlier Western music history into their sludge. Try speeding your Ford car up a ramp over a river to the other side while listening to that track! Next up, "In My Wake, For My Own" brings back some of the noise from their 90s era, this time with bluesy guitar jangle and falsetto chants that sound like a little kid choir. The instrumentation sounds grungy, but the gang-led shouting is still around. Then it briefly drops into more chanting, this time from Gregorian monks. "New Voids in One's Resolve" has excellent bass.

"We Have Lost Our Will" is another pretty interlude, here with acoustic melancholy and soft xylophone. It's like a spot-on image of the band's tumbleweed-infested home of Kansas City. The madness leads on in "Questions to Root Out Fools" with riff/vocal passion. "By What We Refuse" has lyrics the earlier fans might agree to. "Dead is Dead" deconstructs its chaos smoothly into a marching ballad. "There is a Word Hidden in the Ground" is a h*lla crushing slow closer, a brilliant favorite of mine to end it all!

Nothing too bad for the band's true swansong album. It's interesting enough to satisfy me. Their intensity has been decelerated by some of the experimentation, but it all worked pretty well in the end. And with that, the crazy career of Coalesce has closed.....

Favorites: "The Plot Against My Love", "Wild Ox Moan", "Designed To Break A Man", "The Purveyor Of Novelty And Nonsense", "In My Wake, For My Own", "Questions to Root Out Fools", "There is a Word Hidden in the Ground"

Another kick-A album coming through, this one from one of the most historical years in metalcore/mathcore, my birth year, 1999! That year spawned a few blockbusting classics from the technical Dillinger Escape Plan, the melodic Poison the Well, and the mathematical Botch. And rounding off that awesome year is Coalesce, with their then-swansong album 0:12 Revolution in Just Listening!

The album is only under 24 minutes long, just as long as Rorschach's debut, but it's worth listening to all this hardcore grace. It has really paved the way for a new millennium for the metalcore of A Life Once Lost, the mathcore of Every Time I Die, and the deathcore of The Red Chord, though Coalesce's brutal technicality can never be cloned.

The action plays right away in "What Happens on the Road Always Comes Home", striking you like a truck to a brick wall. The fast frets soon collapse into a monstrous headbanging groove. It's all topped out by Sean Ingram's vocals that should be heard at least once in your lifetime. Segueing out of an odd children-filled audio sample is "Cowards.com", unleashing a crushing mathcore assault that mixes Deadguy with early Meshuggah. "Burn Everything That Bears Our Name" is another top-notch highlight.

Progressing through is "While The Jacka** Operation Spins It's Wheels" with the quick guitar fury of TDEP at that time, all in a beautiful force of precise dissonance. The rather aptly-titled "Sometimes Selling Out Is Waking Up" has a strange yet smashing amount of riffs. Some of those riffs sound fitting for Led Zeppelin while others are noisy beyond human comprehension. Now for the next song, "Where The H*ll Is Rick Thorne These Days?" Well, h*ll if I know! I don't even know who this Rick Thorne dude is. But at least we have another groovy metallic hardcore track.

"Jesus in the Year 2000/Next on the Sh*t List" starts with a collage of audio samples until Coalesce's force is unleashed again into your ears. James Dewees' drumming skills pummel through the hammering riffing and vocals to skin alive the weak. Now that's a classic! "Counting Murders, Drinking Beer (The $46,000 Escape)" is another top-notch composition with verse reverb. A crushing highlight not for the faint of heart! The ambient ending "They Always Come in Fall" actually closes the album quite well.

0:12 Revolution in Just Listening is an intense math/metalcore ride through furious groove precision. It is a heavy landmark for the genre and essential listening for any metalcore fan in The Revolution!

Favorites: "What Happens on the Road Always Comes Home", "Burn Everything That Bears Our Name, "While The Jacka** Operation Spins It's Wheels", "Jesus in the Year 2000/Next on the Sh*t List", "Counting Murders, Drinking Beer (The $46,000 Escape)"

I enjoy Coalesce's studio albums, I really do, with all of its chaotic screaming intensity. However, they still haven't matured enough yet in their demo EPs, sounding too strained and tight. "Simulcast" is in its original demo form, but still the only incredible song here, with some changes into an occasional sludgy sound that would hint at the band's incoming technical experimentation and emotion. By the time Give Them Rope comes on, they would've already improved....

Favorites (only one highlight): "Simulcast"

Season of Mist is one of the most diverse metal record labels out there. Their roster can range from the stoner-sludge of Kylesa to the tech-death of Atheist. When fellow Floridian (former) tech-death band Cynic released their progressive metal comeback album Traced in Air via that label, it was probably a sign for some metalheads that another early 90s progressive tech-death band would rise again thanks to that label. That prophecy came true a few months later, then the following year, the album Jupiter was made! While staying true to their classic style, Atheist would bring a new creative direction...

So in the early tech-death scene, Paul Masvidal and Sean Reinert (RIP) were in pioneering force Death before forming Cynic, in which its bassist Tony Choy helped record bass in a couple Atheist and Pestilence albums. Cynic reformed and went progressive metal, Pestilence reformed and continued their tech-death, then Atheist reformed and stayed in a furious mix of those styles. All 8 of this album's tracks are real songs, no interludes, in just over a half-hour. But enough comparison, let's get to the songs!

Atheist's returns to their uncanny speed instantly in "Second to Sun", which can bring to mind the planet Jupiter without being a title track for the album ("all atoms report to the sun", "without all her fire there won’t be anyone"). Kelly Shaefer's vocal range crosses between Testament's Chuck Billy and Devin Townsend in his Strapping Young Lad albums. Guitar swipes through in "Fictitious Glide". Next track "Fraudulent Cloth" can be said for the rest of the album to keep the Atheist flag raised even after a long 17 years without anything new. The banner is still high!

Shaefer breathes out his vocals at its fullest height in "Live and Live Again" after a soft cello intro. The chorus of "Faux King Christ" is a clever and far better way to disguise the F-word than a certain sh*tty Britney Spears single.

"Tortoise the Titan" has some experimental groove, including a speedy chorus that sounds funny when Shaefer tells everyone to "SLOW DOWN!!!!". The strength is helped out by both the music and the lyrics telling a mythical fable. Concluding "When the Beast" is more of the earlier guitar sweeps. Finally, "Third Person" has an interesting lyrical quote "Historically it has been told, harmonically your soul is sold to old, I was the highest bidder, dripping blood on the dark side."

I'm thankful to finally get comfortably seated in a tech-death band ride for the first time since my year long back from that genre, with this band of coherent passion. Atheist is one of very few bands to achieve that balance, and Jupiter continues their slow yet astonishing evolution of progressive tech-death!

Favorites: "Second to Sun", "Fraudulent Cloth", "Live and Live Again", "Tortoise the Titan"

The original 90s creators of the metalcore universe returned for one last album. Album #2 Protestant is a kick-A masterpiece that would make weeks-long welcomed visits in the playlists of metalcore fans wanting to hear an early mix of the genre with many others!

While the sound is mainly early metallic hardcore, you can hear small bits of punky thrash, deathgrind, and black-doom added to this bad-a** mix. With these influences, there's more riff variation than their violent metalcore-establishing debut Remain Sedate. For Protestant, they expanded on their early Voivod-like punk-thrash riffing into more creative variety. The Slayer-like dissonance is spiced up with tempo changes for progressive chaos. Breakdowns appear sparsely without any cliche over-usage.

"Mandible" already opens the album with abrasive guitar that might make you think of the industrial metal wave that was also shaping up at that time. However, the band is still in the metalcore zone with hysterical shrieks to accompany the abstract madness that gets more melodic midway through. "In Ruins" brings back the powerful anger of their debut. "Traditional" takes on the hardcore thrash that sounds like Voivod's first two albums in interesting dissonance, often twisting into violent bashing. Things get weirder in "Drawn & Quartered" when the Slayer-ish thrash chaos ends up reaching a technical style before becoming a doomy elegy.

"Shanks" has dissonant aggressive chaos taking a turn into the doomy stomping of Confessor. More of the atmospheric music can be heard in "Recurring Nightmare #105". That song and "Blinders" have probably the best early metalcore breakdowns. "Hemlock" again follows the early-Voivod formula of wild riffing and Hellbound atmosphere.

More of the band's earlier raw disjointed madness appears in "Raw Nerve". The nearly 5-minute "Skin Culture" is the band's longest song, and it continues the band's rhythm evolution with a doomy vibe before a sudden twist into faster dissonance. "Cut the Wheel" mixes these elements similarly, but this time having grindcore levels of speed and riffing. Triggering dissonant atmosphere in the best light is "Ornaments", the most atmospheric swansong to end their short career.

All in all, Protestant is an a**-kicker with top-notch music, anger, and atmosphere, going out in history as an absolute early metalcore classic. Highly recommended for fans of metalcore, or simply metal or hardcore, and any mix of those two genres that has ever existed!

Favorites: "Traditional", "Drawn & Quartered", "Recurring Nightmare #105", "Blinders", "Skin Culture", "Ornaments"

Well, time to check again on the present days of The Revolution as a break from my late 90s/early 2000s tour, though this band would revive the emo scene from that era. They show a lot of maturity in the sound, other than this album's title Rouge Carpet Disaster (How do I type in that title without misspelling the first word "Rogue"?).

Static Dress can be considered the Disney/Pixar's Turning Red of the emo revival. They've taken influence from bands from 20 years ago, sounding similar but still unique and not in a clone kind of way, from the post-hardcore of Glassjaw, to the metalcore of Poison the Well, and the alt-punk of My Chemical Romance. Static Dress has brought a great amount of exciting color to the new scene, with Rouge Carpet Disaster seeing possibility of them reaching the hardcore stars.

"Fleahouse" is a melodic album starter, bouncing through a noisy mix of singing choruses and harsh verses. It's the perfect setup for what to expect in the album. Things would keep expanding as the album goes on, as the crew stabilize the foundation. "Sweet" is anything but the title, with strong depth in the harsh vocals. There's more melody later in the progression to keep things balanced. "Push Rope" continues pushing the boundaries with new elements including a shoegaze-like riff added to their mid-2000s emo vibe. There's more of this new experimentation to come as we stay in our seats...

"Attempt 8" turns down the energy for clean guitar and soft vocals that actually sounds perfectly well. Then the chaos returns again in the not-so-relaxing "Courtney, Just Relax". The explosive screams that make a twisting contrast with the softly sung vocals bring Glassjaw and Poison the Well to the minds of early 2000s post-hardcore listeners. The guitars really fire things up sounding melodic one moment and chaotic the next. "Disinter" fires things up yet again as a chaotic yet melodic highlight. King Yosef's guest vocal appearance in the song is one of many layers of sound that heavier rock genres have been going for today. The chorus makes the song an exciting fresh classic. A heavier attempt at a ballad is "Such a Shame". It's songs like that would made Static Dress more popular if they were around 20 years ago.

"...Maybe!!?" is a more melodic song close to pop punk, while keeping some of the harsh vocal brutality. While following that mundane verse-chorus structure, the catchy melodies and drums are balanced out with heavy breakdown usage. Another highlight, "Lye Solution" continues the chaotic/melodic contrast to keep the listener in attention. "Unexplainabletitlesleavingyouwonderingwhy (welcome in)" takes on the punky wonders of a humorous title and post-hardcore assault. It's the most vulnerable song here, not to mention unexpected for those expecting a heavier sound in the album. "Marisol" is the most ballad-like of the ballads, with softness in the drums, bass, guitars... Everything! The soft vocals sound vulnerable while having some raw emotion. You might expect the album to finish after the string-infused ballad, but... The finale "Cubical Dialog" brings back their usual sound as a bonus encore. A worthy instant classic for the ages of melody and chaos!

Static Dress have shown that they're more than just a typical metalcore/post-hardcore band. They've revived the scene from 20 years ago with fresh sounds to make their own sound more unique and less tiring. Rouge Carpet Disaster might just be the start of a new emo generation!

Favorites: "Fleahouse", "Push Rope", "Attempt 8", "Disinter", "Lye Solution", "Cubical Dialog"

UGH, NO, F*** THIS!!! This is just deathgrind-infused deathcore f***ed up much more than Damaged and Deformity's Misanthrope EP. The only track I have time for is "A Time for Iron", mainly because it's under a minute long and I wanna get this sh*t out of here fast. It just ain't worth my early metalcore subgenres tour. This EP can rot in Hell. I'm done. Peace out and p*ss this one off...

Favorites (only one I remotely like because of length): "A Time for Iron"

Now this is a better, more solid mix of death metal and hardcore from this Belgian band! They've unleashed a different beast compared to their EP Misanthrope that was stuck in the middle between those two genres. They mixed them much more smoothly in their debut full album Murder Within Sin, with heavy emphasis on the death side.

I used to really try to avoid the standard death metal/deathcore like the plague, but this album from the late 90s rules! They've made a unique approach that's not as fast and technical as Cryptopsy, nor as brutal as Nile, nor as melodic as Arch Enemy, but right at the center of the 3, and from as much as a hardcore perspective as Embodyment to qualify as deathcore. Everything's in infectious excellence! They don't focus on over-playing solos, instead on dynamic motion.

"Eyes (They Watch, Part II)" is a sequel to a song from Misanthrope, and it's much better than the original. There's a slight touch of the modern deathcore The Contortionist had 10 years later before that band's more progressive sound. Perfect death metal/core reigns in "Bloodfields", especially the end when the vocalist screams "NO ONE GETS OUT ALIVE!" That really has the vibe of threat and danger to be expected in the genre. "Stained Red" is a short one-minute track that would've been better if it was longer. But it serves as a prelude to the divine "Enter Within the Lust Divine".

"33" once again shows that there are more brutal sounds in The Revolution. An acoustic interlude "Angelheart" has excellent indulgence that reminds me of the outros of Stratovarius' earlier albums. Then it leads to the highlight "The Dark Sun", the centerpiece of the entire album, and a great underrated part of death metal/deathcore history. The riffing starts off sounding like Slayer before leading into bruising death, complete with screams and growls in the vocals. That's how explosive death metal/core can be!

One song kept in good consistence is "Speak Out My Name". That song and "Misanthrope" (the latter taking its name from that EP) are athletic hookers where brutal breakdowns are in great balance with the other aspects. "Burn Down the Heavens" showcases the deathcore influence that would spread to German metalcore bands Caliban and Heaven Shall Burn at that time. "Night Scars" is the 4-minute "epic" of the album, like the only good song of the Misanthrope EP, and once again, this kind of sound I wouldn't get away with long ago when I was only into the power metal of DragonForce, but now with more diversity in my range, there's much more leeway.

Despite the short album length of 27 minutes, Murder Within Sin is a prime example of impact instead of atmosphere in death metal/core, though the technicality can rise thanks to the efficiency. It's so stunning how much of a secret this album was back in the late 90s. Thank greatness for the internet to spill the beans and blood!

Favorites: "Eyes (They Watch, Part II)", "Bloodfields", "33", "The Dark Sun", "Misanthrope", "Night Scars"

I had quite a blast with my standard metalcore subgenre rediscovery voyage, along with several extra reviews for albums from that earlier era. It's been great discovering gems from the genre's first decade after being initially fixated on the more modern/melodic metalcore. With that said, there's more for me to look out for, including the epilogue in Deadguy's original run, Screamin' with the Deadguy Quintet!

Had Deadguy ever actually bad at their sound? Not from what I witnessed! I love both this EP and their debut, they're both perfect. But if I had to choose one, it would probably be the debut, while acknowledging the EP's equal greatness. Sadly, after one more live album, they would break up until a reunion show 25 years later.

First off, "Human Pig" gets you started in the same way as their debut, to level up your energy. After siren-like wailing of the guitar, the drumming gets all crazy, and vocalist Tim "Pops" Naumann (replacing Tim Singer) screams all over the place up to the end. "(Escape from) the Fake Clink" has some absurd drumming with different changes, all that could fit well in a Clint Eastwood movie. "Turk-182" sounds more unique than most other hardcore/metalcore bands, but not the most unique themselves. That's good because everything gets balanced well for my enjoyment.

The odd yet best one here is "Free Mustache Rides". The lyrics and screams can be scary as sh*t for newcomers while having a bit of humor, particularly in the title. "Angry Dwarf" is another crazy song, almost like a love song but it ain't. It ends with a beeping noise that slowly and softly fades out which you might think would mark the end of the album... Then "Prosthetic Head" begins with noise fading back in, leading to a mysteriously spiritual-sounding song, symbolic for the end of the band.

Let me explain to you right now the greatness of this band, Deadguy. Their two major recordings are some of the best I've heard, and any metalcore/mathcore fan should get time ASAP. Deadguy may be mostly dead now, but we shall keep their legacy living!

Favorites: "Human Pig", "Turk-182", "Free Mustache Rides"

The first time I had something with the name "Hatebreed" was Children of Bodom's second album Hatebreeder, but back then I wasn't into metalcore yet, and was definitely not up to going the hardcore route of bands like Hatebreed and Biohazard. Fast forward 6 years into the present when I came across this band in my metalcore rediscovery journey (ended up being a bonus epilogue for that journey because this album was not yet in the site), and I was glad to give their debut album a go! What grabbed me was aggressive intensity and lyrics of frustration that I love in metalcore. This band's lyrics of reality shows that they're more than just metallic hardcore noise.

With their debut, Satisfaction is the Death of Desire, it amazingly describes the band's lack of satisfaction for life's advantages and disadvantages. In its release year 1997, their former label Victory Records was still focused on hardcore/early metalcore bands that included not just Hatebreed but also Earth Crisis, Integrity, and Strife. If this early debut isn't an honor for the metalcore sound that would stick with Hatebreed, I don't know what is!

This 14-song 26-minute onslaught begins with "Empty Promises" that immediately pummels through with lyrics following their main theme. This short fast pace sets up the sound the album needs. Then the strong guitar and smashing drumming are kept up for "Burn the Lies". The memorable "Before Dishonor" has a chorus worth shouting along to, along with flaming riffs. Another favorite here is "Puritan", with a bit of melodeath flavor in the riffing. Another death metal-ish tune "Conceived Through an Act of Violence" once again has a catchy chorus and thunderous riffs.

The blazing "Afflicted Past" takes on more of the band's earlier influences. "Prepare for War" once again prepares me to leave the power metal lands I was once in to head into metalcore war. The best track here is "Not One Truth", blasting through rebellious lyrics and chorus rhythm. The drums get fired up again in "Betrayed by Life".

"Mark My Words" would stun the metal community with one of my favorites here, MARK MY WORDS!!! "Last Breath" would leave you breathless by the end of that minute and a half. "Burial for the Living" is another fast highlight to pump me up. "Worlds Apart" is another metalcore key in which the influences would bleed into even later bands like Asking Alexandria and Make Them Suffer. Another one of the best here! Then finally, the heavy "Driven by Suffering" would still be a solid track for fans to this day.

An awesome metal/hardcore gem that is quite short, but length doesn't matter here. I'm glad to finally complete my early metalcore rediscovery voyage with this album. Thanks Ben for adding this to the site, and I ever come across some more albums that can top this one, I'm up for that challenge. Bring on the hate for me to love!

Favorites: "Before Dishonor", "Puritan", "Prepare for War", "Not One Truth", "Mark My Words", "Burial for the Living", "Worlds Apart"

With speedy guitars and hellbent vocals, this is very much a European blend of brutal death metal and deathcore. While nowadays, I don't mind the pained grinding of that mix, the mundane structure sounds a bit dull (though never really going verse-chorus) when you're expecting the complexity of those genres back then. For that reason, the only song that really slightly stands out is "The Shadow of Mankind", reminding me of Underoath at that time.

So all we have is an inhuman yet stupid attempt at mixing Hatebreed with Obituary, only coming out with a slightly worse result than that Deformity EP. I prefer to get my deathcore from Embodyment's debut and in 21st Century bands that sadly get more hate than this trash-fest....

Favorites (only song I even slightly like): "The Shadow of Mankind"

"I've found that strife won't make the bleeding stop, nor will it take away the pain. I feel like this search is all in vain, and I struggle to find my way." OOPS, wrong song! Come to think of it, was Strife one of Trivium's influences? NAH, they probably have a lot more to listen to then just hardcore punk leaning into metal instead of full-on metalcore...

That's basically what Strife is, proving that even though metalcore is becoming a new sound for the rebellion, the original hardcore did not die, instead just hanging out in the underground. One of the more metallic hints comes from the loud fast tempos that most other hardcore bands only use occasionally, with power chords and guitar fuzz to match. Other than a two-year break in the millennial turn, Strife is still alive with their straight-edge lifestyle and disciplined hardcore attitude.

"Through and Through" is a good starting highlight. "What Will Remain" is also good with the occasional speed. "Lift" lifts things up once again through hardcore fire. "Still Rise" has a promising Metallica-like soft intro and metal riffing, but after that, they never really go anywhere. Let's face it, "Face" sounds too hardcore for my palate.

"Am I the Only One?" is also more hardcore, but it's an awesome anthemic standout! And there's more energy in "Arms of the Few", with a highly frantic pace and lyrics to shout along to. But then they lose focus again in "To the Surface". After that, "Shadow's End" has some elements that early Shadows Fall would also have, but it's pretty much just metal-ish hardcore as opposed to Shadows Fall's melodeath-inspired metalcore. This album even has a power ballad, "Slipping", which showcases the band's Metallica ballad influences that aren't even close to dominant as other hardcore bands like Judge.

"Moment's Lost" loses a bit of momentum, being a highly short hardcore track at only under a minute. However, the most f***ing metal track here is "Question Mark", especially that shriek towards the end. "Inner Struggle" is one more track I seem to struggle a bit with. And finally, "Calm the Fire" is not so calm for the most part, but there's heavier fire here to end this close-to-mediocre hardcore offering.

One Truth has some worthy material, but to tell you the truth, it offers much more hardcore than metal, the latter still being around but not a lot in the album. I've reviewed much better and more metallic 90s metalcore releases than this half-decent sh*t....

Favorites: "Through and Through", "Lift", "Am I the Only One?", "Arms of the Few", "Slipping", "Question Mark", "Calm the Fire"

Metalcore was barely existent in some European countries like Germany in most of the 90s. And why not, since it was pretty much a US thing when the genre started. Two bands would mark the first ones from Germany to be metalcore; Caliban and Heaven Shall Burn. They would even release a couple split albums together, but not before each releasing an album separately. This is Caliban's side of the German metalcore coin...

Their 1999 debut A Small Boy and a Grey Heaven showcases their brutal thrashy death/metalcore roots. Obviously they're not the very first metalcore band in the world, but this album is different from what you would expect today. Barely any melody is found here, with the guitars being mostly electric, and very few clean vocals to go with the unclean dominance. With that and the Slayer-like riffing and wicked hardcore breakdowns, plus some memorable scream-along refrains, I can see the influence the album might cause for modern deathcore. All I gotta say is, this can be considered a hardcore mix of the thrash of Kreator and Anthrax, and the groove of Pantera and Hatebreed.

The interlude tracks are quite pointless here and I don't wanna explain them all, though the "Intro" can almost make you think this is a Therion album. Then the proper songs started leveling up your attention, beginning with the standout "Arena of Concealment" with sick screams and the Slayer riffing to creep in your skin and get you headbanging, especially in a pummeling breakdown. "In My Heart" carries on in similar fashion with blazing riffing, slamming drums, and a catchy ending worth shouting along to. One song that actually clean singing is the destructive "Destruction". The title track has the hardcore bass crunch going on that's actually audible, though low and ominous. That's how early metalcore shall roll around here!

After one of the two pointless skits, "A Faint Moment of Fortune" has a more furious riff onslaught complete with blast beats, though you might wanna expect another mid-paced breakdown, and another f***ing skit afterwards! "Supervision Until Death" clearly stands out, sounding slow, even the same level as sludgy doom with notable bass. Of course things will still speed up. Returning to more of the brutal thrash, "Always Following Life" has some bloodthirsty guitar grinding before an incredible climatic outro. The noise-polluting "Pollution" is an anthem with a cool slow intro before slamming and lightning-fast leads and the mid-tempo moshing of hardcore.

After the lame 3rd skit ("Sylca"), the bulldozing "Intolerance (Ignorance II)" (sequel to a song from an earlier EP) has memorable riffing to round things up. Finally, "De Rebus Que Gerunter" (The Matters of the World) is a Slayer-powered scorcher that then slows down for a melodic breakdown, once more having the uncommon cleans that back up the screams. Another thing to make that track a highlight is an unforgettable guitar solo. I think that should've been the end instead of a weak anticlimactic "Outro".

As part of the trio of influential 90s metalcore bands with their names starting with the letter C (along with Cave In and Converge), Caliban is essential for the metalcore we know today. It is recommended for metalheads who want to witness the development of a genre. A few details I might not like, but I know this album's importance....

Favorites: "Arena of Concealment", "A Small Boy and a Grey Heaven", "A Faint Moment of Fortune", "Supervision Until Death", "Pollution", "Intolerance (Ignorance II)", "De Rebus Que Gerunter"

My interest in Coalesce began with their first two albums, both of which contained the chaotic sound of their intense music and screamed vocals. Though this 3-song EP 002 is quite decent, this was before they fully matured to the full-on mathcore machinery of those albums. After that era, which came with changes in lineup and style, they've decided to re-record those songs along with another two-song EP for a small compilation, 002: A Safe Place. I'm sure it's for more than just money...

The vocals in the original EP sounds as furious as they usual do, but back then it sounds high and strained as opposed to, as well as the songs sounding too tight. "Simulcast" is the only incredible song here, with some changes into an occasional sludgy sound that would hint at the band's incoming technical experimentation and emotion.

002 is slightly good, but is it worth the price you pay? They would later improve....

Favorites (only one highlight): "Simulcast"

Hardcore took on a new different form in the 1990s, embracing a bit of the mainstream while trying something different from what many expected to hear. More different was the metal influences in a few of those bands that lead to metalcore's creation. There are slow heavy riffs that go well with the speedy intensity. The ideal attitude was rebellious while caring for the world's environment, which lead to the straight edge scene. From the southwestern corner of the US, Unbroken became an important band for this decade with the amazing album Life Love Regret! Lasting throughout the first half of the 90s, the name Unbroken fit well for their straight-edge dedication and the rarity of passion. Guitars and shouting vocals chug through, the latter reciting struggles for hope in society. This actually fits well for the hard times of the pandemic when we all have to work together to make things better for the world. We need this band back together to motivate us with their hardcore attitude.

It's so amazing how vastly influential this album can be! They fulfilled a hardcore/metalcore legacy to be remembered by the bands they influenced, even after their split. Unbroken would have hardcore fans head over heels in love, and they would probably be like "Minor Threat who?" The passion and dedication comes from all the members, especially Dave Claibourn who shouts his lyrics with meaning. After their split in 1995, the band refused to reunite for anymore shows or albums. That is, until guitarist Eric Allen committed suicide and the band performed a charity show for his family. Over a decade later, they would spend the early 2010s playing multiple shows and donating to charities. Their final show was a 20th anniversary concert for this album. RIP Unbroken and Eric Allen...

Beginning "D4" is crushing sinister riffing, then it makes a slow transition to really grow on you. "End of a Life Time" is also so good, and the more hardcore fans might keep coming back more. "In the Name of Progression" is slightly more speedy and progressive, and it really hints at the metallic hardcore progression the band was shooting for. There's more hardcore madness to come...

"Razor" has sharp guitar work that can cut like a f***ing razor. "Final Expression" could've had some lyrics expressed better, but they still work well. Another favorite of mine is "Blanket", an intense unforgiving highlight!

But then it leads to an even better ending trio of songs, starting with "Recluse". Then "Setup" has the best setup for some of the most explosive music in this album. And soon comes the very best saved for last... The album ends with the 9-minute epic "Curtain" to shape up top-notch progressive hardcore/metalcore for a different metallic future. Everything is wrapped up with long feedback outro to pleasantly end the short yet wholesome journey this band has made. I know the more hardcore fans would certainly look forward to give this album a spin again.

Even though Unbroken is now just...broken, they remained a hardcore legend. This should be enjoyed by fans of hardcore and 90s metalcore. This band spawned a spark of hope for the hardcore rebellion!

Favorites: "End of a Life Time", "In the Name of Progression", "Blanket", "Setup", "Curtain"

This compilation is basically an extended version of Integrity's debut Those Who Fear Tomorrow, with the additional tracks being the In Contrast of Sin EP (an extension of the 1989 Harder They Fall demo), the tracks recorded in 1992 but released 20 years later as The Araca Sessions in memory of their late drummer David Araca (RIP), one sneak peek at their next album System Overload, and a bonus Negative Approach cover. The extra tracks aren't as crushing as the debut, but still good metallic hardcore.

So getting into the songs from the In Contrast of Sin EP right away, "Live It Down" can be considered the earliest metalcore song if we exclude Rorschach's material. I like that! "In Contrast of Sin" is another very early example of what would remind you of more hardcore bands like Nails. It's tough, fast, and the vicious vocals have a lot worth shouting along to. The rhythm pounds like a hammer through your head. "Bringing It Back" brings back some of the hardcore while mixing it with metal. For "Dead Wrong", anyone who thought Integrity wouldn't succeed at this awesome mix they helped create would be DEAD WRONG! "Harder They Fall" punches the floor like a motherf***er.

The debut begins with a short ambient intro, "Den of Iniquity", a hint at Dwid's later ambient noise part of his career. Despite that intro, you already what's coming for you in hardcore... Dwid makes an unforgettable shout of "MICHA!!!" that kick-starts the title track. This was an important part of 90s hardcore, already signifying the metalcore vision of Earth Crisis and Hatebreed, even Killswitch Engage. "Die Hard" sounds more desperate. This would fit well in the one of the first couple Die Hard movies. However, the scenario the vocal cries creates for me is a crazy caveman fight against feral wolves. The lyrics ring through psychotic guilt. "Lundgren/Crucifixion" is another fast hitter. Lyrically, "Judgement Day" would carry their attitude torch to modern bands to Terror. That song would've had potential in Terminator 2: Judgement Day, from the same year.

"Descent Into" nicely sets things up before something perfectly righteous... The immediate "Darkness" is probably my favorite track here, blowing your mind with despair for a solid 3 minutes! This is the right theme for those with thoughts of the world's insanity. This would've probably helped me during a sh*tty time back in my teen years, but back then I was into power metal, and that was good enough for me. "Tempest" is a song worth listening to appreciate what bands like Misery Signals wouldn't exist without. Later on, the album would have apocalyptic themes of love and evil, and that's apparent in "Dawn of a New Apocalypse".

"Wings Tear" would continue the metallic hardcore sound Skycamefalling would have 10 years later. "Candra Nama Vijayasya Stri Pums' Calayasti" is a short interlude with a strange name. "Apollyon's Whisper" follows as another short hardcore track. "March of the Damned" ends the album with some final twists of desperation. I don't know if it would end upwards and downwards, but I guess any direction they go.

"Kingdom of Heaven" begins The Araca Sessions by showing how slightly different their sound is while still in the early 90s. "Rebirth" has their classic thrashy metallic hardcore going on, pushing their 80s metal influences further yet again, with dissonant distortion in hardcore progression. "Eighteen" is out of place compared to the rest, sounding softer like Alice in Chains at that time. It's the Meshuggah "Ritual" of Integrity! The first of two bonus tracks, "Jimson Isolation" is a sneak peek to their next album System Overload, and has a nice Danzig/Sabbath influence in the pace. Finally, the bonus Negative Approach cover "Evacuate" closes the compilation smoothly.

Hookedlung isn't the best metalcore compilation I've heard, but it's pretty great. I would recommend this only to die-hard Integrity fans. And if you early 90s metalcore is your game, this could get you hooked....

Favorites: "Live It Down", "Dead Wrong", "Harder They Fall", "Micha: Those Who Fear Tomorrow", "Die Hard", "Judgement Day", "Darkness", "Dawn of a New Apocalypse", "March of the Damned", "Kingdom of Heaven", "Rebirth", "Jimson Isolation"

This EP was another band's attempt at crossing over hardcore with death metal. However, unlike Damaged, the quality has taken a plunge downward. It's clear how much they were trying to change the hardcore scene, but when they making their bridge between catchy metalcore and Deicide-like death metal, they seem stuck in the middle. The ties still weren't connected as they should've been. I was expecting something more exciting to begin this otherwise interesting deathcore era...

The record shows them trying to force their hardcore aspects into a death metal sound. The songs are short, mostly under 3 minutes, and contain no solos. While those are not usually an issue in metalcore/deathcore, when much of it is death metal-oriented, near the Cannibal Corpse level, it's quite an important key they ended up wasting. They also seemed to pay no attention to the riffs they've written, which could tilt the urgent hardcore-death metal balance they would've had. I would care for this a lot more if they added some soloing to go with the complex groove.

The vocals sound great in the high screams and low growls, and they actually have more aggressive intensity than the riffs, but the one song where the riffs work the best and most memorable is the 4-minute "177252: God Defined", actually adopting fast breakdowns and catchy vocal sections, despite lyrics of Alien-like extraterrestrial murder.

I have doubts for Misanthrope being considered a good start to deathcore. It can help me bang my head, but it just doesn't reach its potential strength. There are much better bands that could carry the deathcore torch, even the modern bands that metal purists hate. H*ll, even the ultimate slam death metal band sounds awesome to me compared to this sh*t. The production also detracts any case of intensity. I can find less stripped-down deathcore albums from the late 90s, and I'll be back with one of them....

Favorites (only one I like): "177252: God Defined"

Well, here I am again, making another attempt at finding out the deathcore status of this Australian deathgrind band I've discovered last week. Deathcore was practically unheard of when this album was released 25 years ago. Back then, very few extreme bands from Australia were known outside their homeland, even Damaged. Anyone who thought groove metal bands like Pantera and White Zombie were the heaviest would have their minds blown away, if they've ever stumbled upon this then-rare token.

The album has good loud production, suitable for this deathgrind/proto-deathcore band. Here we have earth-quaking drums, sonic guitar distortion, and incomprehensible screaming vocals. The songs can range from slow boring distortion to fast interesting aggression! It sounds as if the latter was one of Slipknot's heavier influences, with some similar riffing to be found in that band's debut album two years later. However, the speed and heaviness varies in more than what would've sounded like nu metal sh*t, though the vocals some threaten to reach that level in their weaker songs, particularly in the first half, which really lessens the fun mood.

The solo-less opening title track is never really close to the best. "Change" is a total stinker, sounding too much like they've attempted to change their style in different directions. Too many styles spoil the song! "Eternal Dismemberment Complex" sounds slightly better.

However, track #4 "The Mirror Perils" is the best of this album! It turns things around from the sh*tty first half by mixing their deathgrind/deathcore sound with more extreme yet melodic influence than just nu metal. However, "Cold Blood Eraser" is back to the album's OK status. "Soul Vaxation Accidental" is at a decent good level, though the intro would remind some of Marduk at that time.

Then the rest of the album has that amazing extreme-infused deathgrind/deathcore sound, the awesome foursome of "Swine Eyed Sheep", "Ingrained", "Glass Spines and Hearts like Junkies", and "Dust". Though that last track would have 15 minutes of silence before a weak hidden track.

There are probably better extreme metal bands out there, for me anyway, but Damaged is as much as I'm up to going into the deathgrind genre, though there's a decent amount of proto-deathcore as well. I can only recommend this to fans of this kind of sound with lots of noise and variety. I probably don't plan to explore the death side of deathcore any time soon, other than one more album from a different band. But at least half of this album is a grand blast....

Favorites: "The Mirror Perils", "Swine Eyed Sheep", "Ingrained", "Glass Spines and Hearts like Junkies", "Dust" (not including hidden track)

Do you ever wonder if you think there should be something altered in its history without lowering too much of its value? That is a frequent thought, isn't it? When you don't know if what you think would be more suitable for a band that would've caused them to rise higher or fall lower. You can't change the past, but you can live with what's available. That feeling I can have listening to Cable's debut Variable Speed Drive, which is still marked an enjoyable mathy metalcore escapade!

Cable evolved throughout the over 25 years since they've released their debut, and they've made 7 full-length albums and a couple EPs, splits, and compilations. Before their switch to sludge in subsequent albums, Variable Speed Drive bashes through 90s noise-metalcore at as much tremendous ease as Deadguy.

Blasting off is "Needles Vs. Nails", completely discordant except for pleasant melody exploding into a triumphant climax before the verse drags you back down. My favorite track here is "Steel Cage Match", a highlight in which the anger and passion makes up for the slight unpolished mistakes. "Sick Little Ritual" is absolutely sick and wacky, to have fun jamming along to out of your hardcore mind.

"Water.Down.Rock" is paced slightly close to doom while having that hardcore "fight-anthem" vibe. Whereas "Carolina Eyes" takes that brooding side on in a more hypnotic way. There's still more fast metalcore madness to come...

"Lie Detector", I'm not gonna lie, is a very killer track worth headbanging. "The Sinking Vessel" continues the dissonant guitar that would be more prominent in metalcore from the 2000s onwards, especially in the breakdowns. "PaperPlaneCrash" is one more standout that reminds me of Converge at that time, with more abrasive delivery yet having a good amount of melody.

Variable Speed Drive has intrigued hardcore/metalcore fans by adding elements that barely co-existed before. The thing I would change would be the production to sound more polished, but I know the rawness should be left as is for the "noisecore" trend. Plus, it's balanced out by the then-rare-in-metalcore melody, so it's all good either way....

Favorites: "Steel Cage Match", "Sick Little Ritual", "Lie Detector", "PaperPlaneCrash"

Here's another band that has reached the top in the late 90s, Shai Hulud! Metallic hardcore has started taking higher ground, with this band paving the way for bands from a few years later like Poison the Well and Skycamefalling. Shai Hulud's debut Hearts Once Nourished with Hope and Compassion is an important late 90s metalcore record, and many metal/hardcore bands would be taking the aspect of emotional anger from the music and lyrics of Shai Hulud for their own sound. This band certainly isn't emo, but they have emotional passion in their lyrics and music. Hearts Once Nourished with Hope and Compassion consists of 9 amazing songs with the most intensity heard in the genre. Shai Hulud have been a highly significant part of the metalcore league despite the long 5+ year gap between albums and as many lineup changes as Annihilator. Their debut shows how beautiful hardcore can be. The band's strongest lineup has made their ultimate essential album!

Now would it surprise you found out that the vocalist at that time is Chad Gilbert, founding guitarist of pop-punkers New Found Glory? Chad has done amazing vocals in this album. He has screamed out messages of despair, with thoughts better communicated here than elsewhere. Though if you wanna hear melodic sung choruses with guitars performed by Chad, New Found Glory would be the better deal, but not for me though.

The opener "Solely Concentrating on the Negative Aspects of Life" makes a perfect point about those screams ("By defending those I love with my life"). One of my favorites here, "My Heart Bleeds the Darkest Blood" continues the unbeatable intelligence of those lyrics ("My heart is cold is stone, I laugh at the pain"). Then "Outside The Boundaries of a Friend" has excellent guitar intricacy that would make me say the Owen Wilson "WOW." The perfect devastation comes during the breakdowns in contrast to lightning fast rhythms that sear through.

"Beliefs and Obsessions" continues the band's top-notch metalcore zone, with devastation that sounds sensible. "A Profound Hatred of Man" sounds more emotional as Chad asks "Why should I strive for acceptance and piece of mind!?" Then they go far beyond where they've gone so far in "Beyond Man".

"This Wake I Myself Have Stirred" stands out with the guitar duo's exchange. The music is as amazing as the lyrics! "Eating Bullets of Acceptance" keeps up the earlier theme of striving for acceptance. Then we have one more slow-to-fast track "For the World". Then after 3 minutes of silence comes a bonus hidden track, an electro-industrial remix of "If Born From This Soil" from the Profound Hatred of Man EP, "Treatments for the Infected Foetus". Wow, they made industrial metalcore before it even caught on! Then finally, after a bit of studio jamming, they sign off with Sigourney Weaver's audio sample from Alien, "This is Lieutenant Ripley, last survivor of the Nostromo...signing off."

All in all, Hearts Once Nourished with Hope and Compassion amazes me as much as hardcore fans when it was originally released 25 years ago. This is probably the best Shai Hulud offering for me, though I would still give their other albums a try. No other full album would have their original lineup with only their guitarist Matt Fox continuing the band along with bassist Matt Fletcher starting with their second album. Shai Hulud is no longer as active as they originally were, but Hearts Once Nourished with Hope and Compassion would be a major influence to the hardcore/metalcore world. Shal Hulud is still as influential as they've ever been these past 25 years. Hardcore/metalcore fans would surely be inspired by one of the most original bands of the genre. This is hardcore perfection!

Favorites: "My Heart Bleeds the Darkest Blood", "Outside The Boundaries of a Friend", "Beliefs and Obsessions", "A Profound Hatred of Man", "This Wake I Myself Have Stirred"

We're now heading towards a transitional era where the old-school hardcore roots of metalcore are drifting away slightly more to begin a new heavier wave of metal. A glimpse of promise for the mid-90s before the next decade!

The 90s might seem like p*ssed off Hell for the world, with sieges and wars on the rise in different parts of the planet. Where do some of the witnesses put their rage? In music! Many 90s extreme bands aggressively tackle the world's problems in their sound, whether it's rap metal like Rage Against the Machine, or metalcore like this band Vision of Disorder. This band from Long Island has shaken the world as much as their peers, with the extreme metallic hardcore of their 1996 self-titled debut!

Just listen and learn with the opener "Element" for angry heaviness. "Watering Disease" shows the band really testing the metalcore waters. "Through My Eyes" has violent lyrics of aggression, as Tim Williams threatens to "pull the f***in' trigger, watch your head combust". Then things get more melodic in "Viola" with creative Deftones influence.

"Liberation" is another prime mix of metal and real hardcore punk, as opposed to Devin Townsend's "fake punk" phase at that time. "Divide" has some more of their early metalcore than bands like All That Remains and While She Sleeps probably wouldn't exist without. "Ways to Destroy One's Ambition" has some ambitious motives while sticking to the metalcore guns. "Suffer" originally appeared in a compilation album a year earlier, and it has the best drumming in this album, with lyrics fitting well for this hardcore sound, "Our generation slapped with a f***in' ‘X’".

"Zone Zero" is an amazing combination of melody and heaviness. "D.T.O." is another heavy highlight, recently covered by Eighteen Visions in their own cover album named after the year the Vision of Disorder album was released, 1996. "Excess" continues the excessive amount of metal and hardcore combined, put in great usage to appeal to fans of both territories. "Gloom" has some Filter influence going on, a cool way to end the album.

In conclusion, Vision of Disorder's self-titled debut is another highly essential album of 90s metalcore. The golden age of metal has been considered to be the 80s, but the 90s was in fact the golden age for the earliest metalcore, and this offering is one gem from that era!

Favorites: "Element", "Watering Disease", "Liberation", "Divide", "Suffer", "D.T.O."

If you ask most Earth Crisis fans what their favorite release from that band is, they'll probably say Firestorm and/or Destroy the Machines. I haven't even discovered this band before today and already I'm one of those fans, now knowing this band's historical importance! Their next album that would come behind the throne of those two releases is Gomorrah's Season Ends, which continues the band's unique hardcore metal sound, but with some slight cliches from their attempts to recreate their success.

Metalcore is indeed aggressive, but the whole idea of what's the "heaviest sh*t" has been done to death. People could use that term to describe bands like Metallica, Pantera, and Sepultura, and Fear Factory. However, this album starts with the real deal...

This significantly being "Broken Foundation", an awesome opener that got my attention rolling from the beginning "PAIN!!!!" scream. "Cease to Exist" swirls through with hi-hat strikes. There's even some bass fitting well with the doubled drums in the title track. Nothing's totally perfect in the album, but they've made progress in their greatness, keeping things d*mn interesting in the production.

"Constrict" has helped the American early metalcore scene rise amongst other metal scenes from the rest of that country and Europe. Steadily drumming in the 7-minute epic "Names Carved into Granite", you can hear some of the most alternating meter patterns on Earth! "Situation Degenerates" continues leveling up the hardcore generation.

"Morality Dictates" has the vocalist roar about the horrors of animals being slaughtered for meat industries, and the consequences of obesity that would occur in society. Vegans might be up to screaming along to the vocals to warn people about those dangers, but I'm still a meat eater. Sorry, guys... "Cling to the Edge" adds more to their hardcore edge. "Forgiveness Denied" is a brilliant highlight, with lyrics telling the story of a woman tracking down her sexual abuser for revenge.

Earth Crisis has finally appealed to me, though this album was released over 25 years ago. Normally, people don't find these kinds of bands until their teen years, but I found them today as a young adult. Gomorrah's Season Ends has a great amount of impressive music, continuing this band's status as an important one in metalcore history!

Favorites: "Broken Foundation", "Gomorrah's Season Ends", "Constrict", "Names Carved into Granite", "Forgiveness Denied"

Throughout the past nearly 30 years of metalcore, one of the most influential bands is Earth Crisis. This band is fighting against animal rights issues and drug abuse in their lyrics. While the Firestorm EP solidified their signature metalcore sound in the same level as Integrity, their debut album is where they continue that journey!

Metal and hardcore have been two of the heaviest rock styles out there, but early 90s bands like Earth Crisis helped break the divisive walls between the two. If pure fans of each genre thought one shouldn't co-exist with the other, Earth Crisis proved them wrong by doing their part in bringing together those two scenes. While the Firestorm EP stabilized their foundation of raging riffs and substance-free lyrics, Destroy The Machines brought them higher underground fame, influencing many metal/hardcore bands.

For a brilliant metalcore opener, listen to "Forced March", showing you what the album is gonna be about. It was later covered by Between the Buried and Me in their own cover album. Up next is the introspective blast of "Born From Pain" with heavy weight in the music and lyrics. It was also recently covered by Eighteen Visions in their own cover album. The title track calls out with more rage than Rage Against the Machine. The mid-paced "New Ethic" stomps right through like the fiercest plant-eating dinosaur. A prime example of groove metalcore in that song!

The one track I would consider weak is "The Discipline". It just can't match the power of their EP's title track! Luckily it doesn't detract any perfection from the album. The groove track "Deliverance" is one of those songs that, no matter how bands try to rip it off, always stays original. "Inherit the Wasteland" keeps you in attention with solid drum bounce. The bass is placed perfectly on top of the guitars for some great groove.

"Asphyxiate" has a mid-paced sludge-ish sound that would make you think of Asphyx gone metalcore. "The Wrath of Sanity" touches my metal heart the most of all hardcore-oriented tracks with probably the best breakdown of that genre. Switching around the tempo is "Fortress", one last building-shaking metallic hardcore track.

Earth Crisis is, in my opinion, more underrated than Integrity when it comes to the metalcore pioneering game, with Destroy the Machines bringing hope to the future of the metalcore realms. Even rarer back then was the ability to mix the genre with a groove metal attack. Their record label Victory would become one of the best-known record labels in metal/hardcore, helping out the band in the earliest years for both. Destroy the Machines is essential listening for all metalcore fans, past, present, and future!

Favorites: "Forced March", "Born From Pain", "New Ethic", "Inherit the Wasteland", "The Wrath of Sanity"

Another addition to my "most essential metalcore albums from the 90s" is the 1993 EP from Earth Crisis, Firestorm! This war cry of an EP was a twist in underground hardcore. This band, along with Vision of Disorder and Snapcase, would metallize hardcore away from the outdated Youth Crew scene. Firestorm would build the metal bridge into a new 90s wave of hardcore/post-hardcore, updated into a different genre, metalcore!

Firestorm has the kind of objective Earth Crisis have in much of their material; sending a message via music. The EP unleashes underground anger, and they don't do it without reason. They rage out on different topics that have tainted the world, all while remaining rock-stars (or metalcore stars).

Karl Buechner indirectly screams out that kind of message in the popular title track, "A chemically tainted welfare generation, absolute complete moral degeneration". The track is indexed together with "Forged in the Flames", an incredible anthem for The Revolution. "Unseen Holocaust" has a catatonic breakdown, but the rest of the song drives on through the sonic assault of Karl's vocals as he addresses indigenous people and their risk of genocide and relocation. "Eden's Demise" tries to teach us that veganism might be the way to save the environment. Is that Straight Edge or what!?

In the end, Earth Crisis is never a band to sell out to expand their audience. Firestorm pleases the fanbase they have and would expand with pure simple 90s metallic hardcore. The band would later experiment with other different territories in music, but no 90s metal/hardcore discovery journey would be complete without Earth Crisis, and this 15-minute EP is their very definition. Firestorm is a brave essential release that can be used as a less deadly but equally good-feeling alternate to weapons!

Favorites: "Firestorm", "Forged in the Flames"

Metalcore is, by definition, a mix of metal and hardcore, and the earliest albums of the genre were simply that. They didn't follow any of the trends that would spawn in the new millennium. Starkweather was formed in Philadelphia, in the year the two other creators of metalcore were formed, 1989, and like those bands, they were determined to make a sharp rudimental sound of metallic hardcore. Their debut Crossbearer would be ahead of their time!

I said that because, it was the year 1992, and they were already introducing new sonic elements into the genre they were helping pioneer. You can hear some alt-metal to remind you of Biohazard, Helmet, and Life of Agony, with a similar approach in the production.

In saying that though, you'll definitely hear p*ssed-off metalcore starting shortly after the intro verse of "Tumult". Then in "Mean Streets", there's a section where the vocalist performs almost a monastery-like ritual somewhere in the 30-second outro. "Rest the Soul" is not a song for rest and relaxation. Neither is "Lazarus Runs" which runs at a slow sludgy pace before leveling it up towards the end.

Beginning "Murder in Technicolor" is some Slayer-like riffing that's slowed down. Stretching beyond the limits again is "Shards". Then it segues into "Unto Me". Those two songs are indexed as one in later re-releases. "Picture It Obsidian" has more of a rock vibe and imagery.

The re-release comes with a few bonus tracks worth noting, starting with "The Rift", once again showcasing deranged vocals performed by Rennie Resmini; not hardcore, not metal, but in between. "Above the Rafters" puts you in a sleepy spell of slow energy like if you're in a bar that's also a hot stripper club (not saying that's anywhere I would go). "Desolate" has almost the same death-doomy pace as Paradise Lost at that time. Finally the riff-oriented "Shroud" is a hint at their later material.

With all that said, there's so much to digest, especially for those who have had a hard time finding this album before the reissue. Starkweather is still active, but their album release pace is very slow, having only released 3 more albums in the 30 years after their debut. Their material is very good, so hope they speed up that pace....

Favorites: "Tumult", "Lazarus Runs", "Shards", "Unto Me", "The Rift", "Above the Rafters"

So the original metalcore album was Rorschach's Remain Sedate. But what if you can fully establish metalcore as a genre without being highly dependent on hardcore roots, to influence heavier subgenres, a bit like Black Sabbath's way of heavy metal in Masters of Reality? Add that and lyrics of the confusing insanity of life, and you have the violent intensity of Integrity's Those Who Fear Tomorrow! This hardcore juggernaut is the start of the band's over 3-decade legacy. It is one of the first ever metalcore albums, from 1991, though only the second after Rorschach album from a year earlier. It's no secret that Cro-Mags and Corrosion of Conformity where experimenting with crossing metal over into their hardcore, but Integrity helped bring life to a brand new world. Hardcore verses and metallic breakdowns are led by the original metalcore Dwid Hellion!

For this album's violent soundscape to work, Dwid was born for this world to unleash his psychotic vocals. This unique approach was for many a complete anomaly. This bizarre delivery was unusual at that time, and somehow it still works greatly, with lyrics tackling every trick in the hardcore book. What needed to be kept in mind was, this album was made by strapping young lads in the hardcore scene. Effective messages of "us vs. them" are delivered in gang-like introspection. This music was for suburban Americans preparing for battle, with tattoos and punky uniforms on, ready to tear down more walls than Mr. Gorbachev and descend into dark chaos...

The album begins with a short ambient intro, "Den of Iniquity", a hint at Dwid's later ambient noise part of his career. Despite that intro, you already what's coming for you in hardcore... Dwid makes an unforgettable shout of "MICHA!!!" that kick-starts the title track. This was an important part of 90s hardcore, already signifying the metalcore vision of Earth Crisis and Hatebreed, even Killswitch Engage. "Die Hard" sounds more desperate. This would fit well in the one of the first couple Die Hard movies. However, the scenario the vocal cries creates for me is a crazy caveman fight against feral wolves. The lyrics ring through psychotic guilt. "Lundgren/Crucifixion" is another fast hitter. Lyrically, "Judgement Day" would carry their attitude torch to modern bands to Terror. That song would've had potential in Terminator 2: Judgement Day, from the same year.

"Descent Into" nicely sets things up before something perfectly righteous... The immediate "Darkness" is probably my favorite track here, blowing your mind with despair for a solid 3 minutes! This is the right theme for those with thoughts of the world's insanity. This would've probably helped me during a sh*tty time back in my teen years, but back then I was into power metal, and that was good enough for me. "Tempest" is a song worth listening to appreciate what bands like Misery Signals wouldn't exist without. "In Contrast of Sin" is another very early example of what would remind you of more hardcore bands like Nails. It's tough, fast, and the vicious vocals have a lot worth shouting along to. The rhythm pounds like a hammer through your head. Later on, the album would have apocalyptic themes of love and evil, and that's apparent in "Dawn of a New Apocalypse". With that said, they also add a bit of metaphors related to an abusive mother-son relationship, and that would be some vile disturbing imagery.

"Wings Tear" would continue the metallic hardcore sound Skycamefalling would have 10 years later. "Harder They Fall" punches the floor like a motherf***er. "Candra Nama Vijayasya Stri Pums' Calayasti" is a short interlude with a strange name. "Apollyon's Whisper" follows as another short hardcore track. "March of the Damned" ends the album with some final twists of desperation. I don't know if it would end upwards and downwards, but I guess any direction they go.

So what was next for Integrity? They would make two more EPs and three more albums before guitarist Aaron Melnick left after touring. Dwid would continue the band with more experimental tendencies. Yet he would stay true to the band's legacy and violent touring. Dwid is pretty much an underground legend that helped spawn a massive genre for the worldwide masses. More live albums and compilations would be on the way maintain the band's cult following, and Dwid would even experiment on a more gothic-sounding solo album. Still, Those Who Fear Tomorrow is responsible for a metalcore tomorrow....today!

Favorites: "Micha: Those Who Fear Tomorrow", "Die Hard", "Judgement Day", "Darkness", "Dawn of a New Apocalypse", "Harder They Fall", "March of the Damned"

The revolutionary history of metalcore all began with this hardcore quintet from New Jersey. If you enjoy the sound developed and popularized by Converge or the recent noise-grind of Nails, Rorschach is the band to thank! Such a miracle wouldn't come without a misfortune. Shortly after their debut, vocalist Charles Maggio came down with Hodgkin's disease. After a 3-day cripple, he was able to continue shows to work up some smoke, sweat, and spit, though his vocal style would change for their next album.

Rorschach's debut Remain Sedate would bring a rebellious future to mankind. After the decadent 80s when metal and hardcore were two separate sides, the despondent 90s was when both genres have been united. Maggio had to fight his own battles when keeping together 3 jobs; his time in the band, being an accountant, and a father of twins, and all that energy would be put into making a real scene-changer. Rorschach has made the perfect stylistic formula for the most brutal hardcore at that time, transcending into a new style they wanted to invent. This is a relentless D-beat-inspired assault of crushing riffs and tormented screams like nothing before!

There wouldn't be much justice done if I describe in words the songs from the very first metalcore album, but I'll do my best, starting with "Pavlov's Dogs", blasting out into metalcore fury right from its very creation. "In the Year of Our Lord" can easily refer to this year being the year of the creators of metalcore. There's more of their impressive invention to come in the next 4 tracks; "Someone", "Impressions", "Clenching", and "So It Goes".

So that was the end of their first side, but they would strike again with their second side starting with "Lightning Strikes Twice". And their sound would never be alone thanks to "No One Dies Alone". Then we have the fast hardcore trio of "My Mind's in a Vice", "Checkmate", and "Exist". Finally, the chaotic dissonance fades out after "Oppress".

A new sound was unleashed like the end of the world but really a new beginning. Everything's a highlight with no tracks competing against each other, and no sh*tty filler. The slithering bass and jackhammering drums share the stage with the guitars and vocals. This raw formation of a new sound while channeling their own horrors is kind of what Black Sabbath had done when inventing heavy metal. Like Sabbath, Rorschach was a will-testing pioneer of something new. With this perfect offering, metalcore was born!

Favorites: "Pavlov's Dogs", "In the Year of Our Lord", "Impressions", "Lightning Strikes Twice", "No One Dies Alone", "Oppress"

One last band for me to check out in my early essential expedition is Knut. Sadly I came here after the passing of vocalist Didier Séverin, but with such a perfect album as Challenger, this positive review would be a nice blessing for his legacy. And better late than never, right? RIP...

Lots of cool stuff you can find from Switzerland including metal bands Coroner, Samael, and Eluveitie, along with Tolberlone's triangular chocolates and Swiss Army Knives. Initially, the band only gained attention in Europe, but they would then be heard of in America thanks to Hydra Head Records releasing their first two releases. Challenger is an album that would challenge the Northern lands with unexpected expectations from their sludgy mathcore sound!

Straight on into pummeling madness, the wacky "Whacked Out" opens the album with discordant guitar and thick bass before a Botch-like math-metalcore groove. The chaotic guitar flows through frantic drumming and heavy rhythm. "Repressed" has guitars alternating from high to low, even going far into grindcore. "El Niño" has some Coalesce-powered groove as well. The guitars and drums fight for the main control, impressive building up to more of that chaotic frenzy. There's more of that fury to come later on, if you're up for more of this challenge...

"Bite the Bullet" bites down on the usual mathcore antics, leading up to an incredible ending breakdown. Next track "Neon Guide" slows things down close to black-doom. Don't take it the wrong way though, this ain't Woods of Ypres (another band with a fallen frontman, RIP). It sounds more towards the style of Neurosis and Cult of Luna at that time, reminding me of the latter's self-titled debut. "H/Armless" continues the slow intensity with tearing vocals.

"58.788" is cleaner with melodic yet distorted guitar and voice samples. "Ice Will" brings back the earlier pounding chaos. The closing track "March" is a 20-minute math-metalcore epic (almost as long as the entire Coalesce's Functioning on Impatience), filled with tempo changes, complex drums, and elevating intensity. Incredible!

All in all, it is expected to be unexpected. The intense music has evolved into one of the best albums I've heard of sludgy mathcore. This excellent music will catch your ears with this pummeling record. It should really be picked up by fans of that sound, especially Neurosis, Keelhaul, and Cult of Luna. Add some sludge spice into your metallic hardcore with the perfect challenge that is Challenger!

Favorites: "Whacked Out", "El Niño", "Neon Guide", "Ice Will", "March"

You know how hardcore a band's gonna get with this sarcastic "fight me, b****rds" attitude, and Drowningman is no exception! Rock and Roll Killing Machine allows them to bite their way through social commentary in statements delivered to the metalcore masses.

From the shadows of Rock and Roll Killing Machine, Drowningman brought the right tools for the sound of this second album of theirs in a noisy mix of elements from hardcore punk and crossover thrash that formed metalcore. It is shocking to find the lack of appreciation this band gets for their strength. They even had the audacity to write a few long song titles, which I'll shorten so I don't get exhausted just from writing them all.

"When People Become Numbers" has strength in numbers, and by that, I mean numbers of aspects to expect in metal/mathcore. The hardly recognizable "Last Week's Minutes from the Meeting..." deserves more attention with its sharp relentless riffing attack, eventually turning into some of the most melody this band has ever had to blow through your head. "The Truly Dangerous Nature of a Man..." is probably the heaviest song here, but it won't go out without a soft ending with clean vocals. There are a few more songs coming up, and they have shorter song titles...

The title track has excellent melody in the chorus. "Code Breaking Hearts" is a classic highlight, starting with speedy aggression before some more melodic sections, all great when you're along for the ride. "My First Restraining Order" is definitely not the first mathcore song I've listened to, but it's a great start for newcomers.

"This Year’s Most Fashionable Signs of Weakness" is a slightly longer song title than the previous 3, but they're clever enough to eliminate the emo class for the greater scene of bands like Cable (still waiting for that band to be added to this site) and Today is the Day. You'll never be bored in the frantic "If God Loves a Winner..." And finally, "Angles And Defenses" is the band's last line of metal/mathcore defense before their long break until one more album.

Rock and Roll Killing Machine reaches near-perfection with its caustic blend of melody and dissonance in the vocals and guitars, creating crazy monstrous hooks for noisy hardcore punk songs to morph with math metal into their own subgenre. Drowningman has proven that it's hard to replicate the Killing Machine that they are!

Favorites: "When People Become Numbers", "Last Week's Minutes from the Meeting...", "The Truly Dangerous Nature of a Man...", "Code Breaking Hearts", "This Year’s Most Fashionable Signs of Weakness"

Mathcore's development has been helped out by a few bands that are far more metalcore. Cave In took on a more progressive-ish side of metalcore that might make you think of mathcore though it has only reached elements of that subgenre, and the end result sounds massive!

Their debut Until Your Heart Stops shows what a boundary-breaking band they can be and would make you up for many listens. Instead of going as melodic as Killswitch Engage, expected is the violence of changing rhythms you might also hear in The Dillinger Escape Plan, Coalesce, and Converge, the latter's members Kurt Ballou and Jacob Bannon appearing a few times in the album. Many different elements form the uniqueness in Cave In's mighty sound, for a new underground attitude.

The two-minute opening punch of "Moral Eclipse" pounds through with killer energy, complete with distorted guitar breakdowns, driving percussion, and screaming vocal alternation. "Terminal Deity" has repetitive riffing but it's OK because of its evolution into madness that you can understand more in later listens. "Juggernaut" sounds more progressive but in a beginner's level, with a storming riff onslaught unleashing energetic hardcore, though there are twists back and forth into strange melody, jazzing up things while making the song worth headbanging to.

A longer definition of the album is the 8-minute epic "The End of Our Rope is a Noose". There's an ambient soundscape Isis would have later, before a mid-paced blend of progressive metal and metalcore, sounding slow before a ricochet into chaos. Then we have a psychedelic stoner bridge before the nastily great heaviness rises once more. Normally I don't like bringing interludes into detailed light, but "Segue 1" stands out as a cool interlude to breathe in for a minute. You can consider that one instrumental experimental emocore! Then there's a sudden jump into the title track, with the most Slayer-ish riff-fight you'll ever witness, before some last melodic twists and concluding with the noise-ridden interlude "Segue 2". Following this is "Halo of Flies" with stomping guitar and percussion effects, and vocals ranging from harsh to soft.

"Bottom Feeder" is an under-3-minute mid-tempo clean-sung track that reminds some of Helmet in the semi-relaxing verse, before some more ugly yet beautiful noise. It's forgotten yet so unforgettable! Then "Segue 3" is another brief weird noise interlude. "Ebola" has the most frantic intro, yet it continues as the most melodic song here. The 14-minute "Controlled Mayhem Then Erupts" travels the mathy metalcore lands one more time before sailing the ambient noise seas into the unknown...

Until Your Heart Stops is not an album to simply summarize, but it's known as an interesting diverse addition to the metalcore revolution. It's the perfect way to start this band's career that would end up taking a less heavy turn. Don't let their legacy stop!

RIP bassist Caleb Scofield

Favorites: "Moral Eclipse", "Terminal Deity", "The End of Our Rope is a Noose", "Until Your Heart Stops", "Bottom Feeder", "Controlled Mayhem Then Erupts"

Coalesce's debut Give Them Rope can be considered an early mathcore masterpiece, highly technical with underground production in a decent album length. However, their shorter second album Functioning on Impatience might be good for the impatient but not for those who want a full album. This is pretty much the Daughter's Canada Songs of Coalesce in terms of length and quality.

With its 20-minute 7-track length, Functioning on Impatience doesn't reach the brilliance of Give Them Rope. The album is not the most metal-looking, but it doesn't hurt. Neither does this short test of patience...

The subtle build into chaos that begins "You Can't Kill Us All" consists of the caustic pained shouts of Sean Ingram with simple drumming. After he proclaims the title line, the drumming tightens and in come the guitar rhythm and bass rumble, all while the thick growls lead the way. After that is the filler interlude "Recurring Ache of Monotony Still Running". Then the heavy cadence is steadied in "A New Language".

Speaking of language, they better watch themselves in "On Being a B****rd". After that "My Love for Extremes" is heavily suitable for my love for extreme mathcore. Will they continue the extremeness that I love?

"Measured in Gray" keeps going on and off with their guitar work and time changes. They really start and stop a lot in a pleasant way, thanks to guitarist Jes Steineger. The most furious way to finish the album is "A Disgust for Details". To be honest, I don't think there's a lot fiercer than that track from much of this band's material or mathcore. That's the heaviness to remind me of us where they started in their debut!

Functioning on Impatience has quite some tight groove throughout the album. You won't be able to dance to this music without turning the dancefloor into a moshpit. The insane amount of time-changes was the right spark for a metalcore future. Now despite the album's short length, you would be welcome into metal-mathcore progression....

Favorites: "You Can't Kill Us All", "A New Language", "My Love for Extremes", "A Disgust for Details"

Coalesce has disbanded and reformed on and off, and currently they're no longer active after a couple reunion shows. I've only just discovered the steady supreme material they've made. During their first long split throughout the first half of the 2000s, in order to tame fans of the band hungry for a new EP and album, a crushing masterpiece was remastered and re-released, their debut Give Them Rope! This perfect album delivers mathcore in every way possible.

The lyrics can be quite hard to understand and can p*ss off some listeners, though the frustration is important for Coalesce's power. However, when you already know the lyrics and pay close attention, you know the darkness of the themes within the screams.

The impressive assault "Have Patience" blasts off and has made quite an impact for my first time with this album, delivering heaviness beyond 11. If anyone thought Spinal Tap made heavy history, that track would prove them wrong. "One on the Ground" begins in a screaming barrage that's totally worth it. I can personally hear those notes and beats strike my heart. Blasting through again in "Cut to Length". And again in the crushing "For All You Are".

"Still It Sells" has panning rhythms, while the screams of Sean Ingram rocket through the ears in an interesting light. "Chain Smoking" continues the heavy math-metalcore chain once again. "Did It Pay the Rent?" pays off well with its tormenting greatness.

This band can pummel and there's "Every Reason To", from every instrumentation aspect, including the heavy groove bass of Stacey Hilt, the smashing drums of James Dewees and the technical destruction in the guitar riffs by Jes Steineger. Altogether with Sean Ingram's mighty roars. "I Am Not the First" is an interlude with not much to say. "This is the Last" isn't the last song, but has the ultimate part of their sound. "I Took a Year" makes sense the amount of time they took to release the album since recording.

It's no secret that Coalesce knew how to take on the audible aspects of their sound. While people might prefer more precise production that the band would have in later albums, the muddy sound is what sets Give Them Rope apart, letting the technical grooves beak through the Earth's crust. Just think about the massive moshing whirlpool the smashing guitars and decimating drums would create when performed live, all guided by Ingram's deep monstrous vocal power. This metallic hardcore can be both brutal and catchy, the way it's meant to be. The crazy destruction is what helped Coalesce stand their ground, and an album this important deserves the most attention!

Favorites: "Have Patience", "One on the Ground", "Still It Sells", "Did It Pay the Rent?", "Every Reason To", "This is the Last"

One band to really put the metal in metalcore and the math in mathcore is Deadguy (not to be confused with German power metallers Edguy). There are more popular bands of those genres, but a few of the less active bands would have you keep keep listening. Though I've already experienced Botch and Converge, Deadguy is what's missing for me! For their debut and only album, Fixation on a Coworker, we have the most real metallic hardcore you'll ever witness, with such beauty and chaos to inspire new bands.

The production is quite grand yet sharp, as sharp as a razorblade! The angular riffs shred like buzzsaws alongside heavy tom hits. And there's never the need for any recycled emotion, it's just rage all the way through.

"Doom Patrol" starts with a direct punch in the face as speedy riffs sear through riff harmonic dissonance. The intense vocals by Tim Singer (who shouts, not sings) is just what metallic hardcore really needs, working especially well in the slow breakdown. "Pins and Needles" has more intricate syncopation as you hear in your mind all that's happening to you. The lyrics focus on the horrors of reality instead of the gory film horror that death metal bands fixate on, inspiring a dark yet modern future. The mid-paced "Die With Your Mask On" keeps up the standard-tuned riff wrath as you hear a ranting frenzy in the vocals ("so quick to deny and patronize"). That's a much better way to start mathcore than the overly experimental Candiria!

"Baby Arm" once again makes sure the band is armed for another metal-mathcore war. The more dissonant "Makeshift Atomsmasher" has more unpredictable brutality that would level up a moshpit. They can sound so technical in such a short song length. "The Extremist" once again takes things to the extreme.

"Nine Stitches" has the kind of bridge you wish to have in music class, with as many time changes as The Dillinger Escape Plan can have, enough to induce f***ing confused headbanging. "Riot Stairs" starts clean and gloomy. Then the drums speed up to fast hardcore with thundering growls ("therapy and love"). There's rapid metal complexity all over "Apparatus". Finally, the 6-minute "Crazy Eddie" starts with a riff that's like Slayer but slower, then after a pause, some kick-A rhythm before a final hard chord strike.

Who needs solos and breakdowns when you can have nothing but f***ing technical heaviness!? Fixation on a Coworker is the right album for metalcore fans, and it's disappointing that this band ended too soon. Essential metal/mathcore that you can't skip in your life!

Favorites: "Doom Patrol", "Die With Your Mask On", "Makeshift Atomsmasher", "Nine Stitches", "Apparatus"

For far too long, old forgotten albums have been in the unknown void. If only I could have a time machine that could allow to teleport back in time to when they were still remembered. The debut album from Candiria isn't easy to absorb, it sounds quite weird with some superb points! Straight outta Brooklyn, Candiria want to make any d*mn music they wanted, with no fear of being criticized. Since their 1992 formation, they've crossed through a diverse sonic mix of styles and experienced several lineup changes and hiatuses, plus a tour van crash in 2002 that severely injured all the members at that time, but fortunately they recovered. Their most recent album came out in 2016. But now we're gonna experience the first part of their diverse journey, their debut Surrealistic Madness!

I had not known much of this band before this encounter, and it's quite incredibly strange having come across this album for the first time, as if the cover art and title wasn't enough of a tip-off. Many fans have praised this band, but little did they know the existence of this offering! Some things are quite notable when you catch up with the context of the sonic music. It's quite a bizarre combination that works sometimes. There's also lots of death metal groove here, but is this really enough to create deathcore? Well the style I would say is progressive mathcore, and this album is the first of that style, but is more of a mix with that and technical death metal, along with jazz interludes. The album is also known as their only one without longtime guitarist John LaMacchia. Instead they had the late Chris Puma (RIP) who also wrote some guitar parts for their second album that were performed by LaMacchia. Puma's guitar work was quite impressive though...

You can hear it in the first of two songs that were re-recorded for later, "Temple of Sickness". At over the 4-minute mark is a brutal slam-core breakdown, then a minute later, the vocals reach death-growling while having the mid-paced metalcore of Cold as Life. The one-minute interlude "Wind" seems like a bit of a waste. I mean it's OK, but it sounds too much like a futile attempt at a different experiment of tribal drumming. "Elevate in Madness" is the second of two tracks re-recorded for The Process of Self-Development, trying again their mosh-core bridge between jazz and tech-death. The fantastic "Infected Wisdom" is for some reason only available in the original version. That's too bad because the awesome jazz-infused progressive death/mathcore is still around.

"Toying with the Insanities" is another useless one-minute interlude. The only thing amusing is the possibility that they made this using only bathroom appliances. "Mental Crossover" definitely sounds like a crossover between mathy hardcore and deathgrind, especially in the vocals. "Observing Highways" is another amazing track that was only in the original. But what's different here is, this is basically just progressive jazz, sounding like Herbie Hancock contributed to the SimCity soundtrack. "Pages" is a return to some great deathly hardcore insanity. They unleash furious fire in a brief breakdown in the last 20 seconds.

For the next track "Weep", it starts off like something from a horror movie soundtrack before going full-on jazz in the last minute. "Red Eye Flight" is a f***ing treat. The first minute is deathly hardcore but after that is a 10-minute string/synth jazz interlude. Holy sh*t, some of the jazzy parts actually work pretty well on and off. Not something I would listen to if I'm in a pure metal mood, but it has decent potential. There are two bonus tracks in the 1999 re-issue, starting with the dissonant yet jazzed-up "Chaos in the Middle of Perfectly Illogical Sense". The other bonus track "Purity Condemned" is from an earlier demo and, one minute and 20 seconds in, has a killer breakdown.

This band's experimental journey began in Surrealistic Madness. I'm sure longtime fans of the band would love it to bits and probably finally give it the credit and praise that has been missing all these years. But for someone who has just discovered this today, it would have to take a very long time to get used to it before I like it more. There's more than meets the ears, and you would find a lot more of it if you're a professional listener of experimental jazz/death metal/mathcore....

Favorites: "Temple of Sickness", "Infected Wisdom", "Observing Highways", "Pages", "Red Eye Flight" (parts of it), "Purity Condemned" (bonus track)

In the second year of the COVID lockdowns, live performances were still put on hold. Music fans had more time to spend listening to music and writing about it in reviews. Some bands split up or went on hiatus, while others continued to record. Eighteen Visions used the time to record some more material after last year's Inferno EP, and this time it's one song and 9 covers, in a surprise-release looking back at different bands from the 90s, the cover album 1996!

From June to July 2021, the band released 3 singles. The first one was an Alice in Chains cover, the second one was a Vision of Disorder, and the third was their own song. Then on the 4th week, all 7 other tracks came out in this album together with those 3 singles. Personally, I think when they switch into Alice in Chains-style hard rock/alt-metal, it doesn't always work as much as their metalcore glory. Still they can blend beauty and chaos together well. With crushing drums, pummeling bass, searing guitars, and in-your-face vocals ranging from clean singing to bloodcurdling screams, there's barely any other cover album to hit you as hard as this.

The title track is the sole new song here. It pays tribute to a few things; this era of old-school metalcore/hardcore, the year the band was formed, and also the year vocalist James Hart stood up against a racist Nazi bully in high school, a true story that became the lyrical inspiration for that song. This is heavy old-school-sounding metalcore that would have you party like it's that year! Now it's on to the covers, starting with the aforementioned Vision of Disorder cover, "D.T.O.", a heavy highlight made f***ing heavier. Brilliant! "The Hangedman" is a cover of that Damnation A.D. track, in which the original was dragged down by the painful vocals and lyrics. I dig 18V's cover a lot more than the sh*tty original, but the fact it's still that song prevents this from becoming a highlight.

"Born From Pain", originally by Earth Crisis, comes up next, and just like the original, there's heavy weight in the music and lyrics. The Unbroken cover "Blanket" is another intense unforgiving highlight, and my favorite track in the metalcore/hardcore side of the album, almost like an outtake from their previous album XVIII. Oh yeah, the album has two sides, and the second has covers of songs from hard rock/alt-metal bands, starting with that first single, the Alice in Chains cover, "Them Bones". I don't really listen to a lot of Alice in Chains, but I'm familiar with that song, and they've really nailed it from the iconic intro. As if the original didn't sound filthy enough, this is a much more crushing tribute. With that, I can forgive 18V for their earlier attempts at grunge-metal. "Scentless Apprentice" is a song by Nirvana, known as the most popular grunge band. As always, it manages to outshine the original, in this case with the sick bass and vocals, nicely done!

"Sad but True" is a song from Metallica's Black Album. As heavy as the original song was, 18V has turned it into f***ing heavier sh*t. I mean, d*mn, this is truly solid! And then, Nine Inch Nails' "Terrible Lie"... Holy sh*t, what a cover! Far better than the original and even Static-X's cover. 18V has covered a NIN song before, "March of the Pigs", shortly after reforming, and the one also rules more than the original and Horse the Band's take on it. "Terrible Lie" is so f***Ing perfect, and my favorite in the rock/metal side. "Down" by Stone Temple Pilots is the last song covered here, and it's another cover heavier than the heavy original.

This may sound a little biased, but 1996 is one of the best cover albums in metalcore. It would've reached a perfect 5 stars if they had replaced that Damnation A.D. cover with a different one from a metalcore/hardcore band. Still I really dig the other 9 songs, and if there's anything to bring the band back to their early 2000s glory, this is that!

Favorites: "1996", "D.T.O.", "Blanket", "Them Bones", "Terrible Lie"

There's a reason why deathgrind is not one of the death metal subgenres I chose to rediscover. It's a mix of two of the deadliest metal genres; standard death metal and grindcore, and bands like Brutal Truth (whose vocalist Kevin Sharp would perform in their final album 5 years after this one) are beyond my leeway. So why am I here? To explore the earliest deathcore releases and, SPOILER, this ain't!

With the lack of impact outside their homeland, Damaged was signed to Rotten Records to have this EP and their debut reissued as one album. Damaged is in their game of deathgrind fury, sounding good in a couple tracks, but when they rarely ease up, it's as intense as the world's spiciest ghost pepper and not how I would handle spiciness.

One track I truly enjoy is the title track, which has unholy guitar-vocal assault that might be an early hint of deathcore, but again that subgenre is not what this EP is for the most part. The only other enjoyable track for me is the neat little cover of Bathory's "Equimanthorn". Still nowhere near deathcore, but it's quite interesting hearing this band transform an early black metal song into deathgrind.

If you enjoy Celtic Frost's earlier death metal-influencing material mixed with the noise-grind that Nails would later have, you might like and handle the intensity of Passive Backseat Demon Engines way more than I do. All you need to know is, they're deathgrind, very little deathcore is present, end of review....

Favorites (only songs I like here): "Passive Backseat Demon Engines", "Equimanthorn"

Winter is one of the 4 seasons, the most notorious one due to the coldness, darkness, and freezing snow. Having lived in a hot near-equator country for so long, I do wish to experience that season again someday. One band would put their energy from the freezing bleakness into what was the most doom-ridden album back then. This is Winter's debut Into Darkness! The theme of winter may work best with black metal and power metal, but a doom metal band like Winter can convey something more somber about the season, infused with bits of death metal for hallowing magic. There's beautiful contrast between the grounded guitar and the spacey keyboards.

I have a feeling the recording happened when the members were in a college dorm, but I guess you can say that about any lo-fi black metal recording. What makes this doomy album sound so clean yet highly gritty in production is how the instruments sound like switch from multiple to one, as the vocals stand out above them all. The drums sounds the best in the mix, never overwhelming while a prominent massive weight to hold everything together.

Starting the album is the dark gloomy 6-minute intro "Oppression Freedom". If this album was a movie, this would fit well for the beginning scene that shows the aftermath of a battle that happened shortly before the events of the film; the moon shining over a battlefield with nothing in it except burning fire and slain bodies, a bit like the cover art. "Servants of The Warsmen" has a Celtic Frost-inspired sound similar to that Delirium album. Within the gloom, there's keyboard atmosphere to guide us through after-war depression. One of my personal favorite tracks here is "Goden". The death growls that I like are in fantastic contrast with the doomy guitars, bass, and drums.

Then we have the shorter interlude "Power and Might" with a slow yet irresistible drum beat. Then it levels up for another favorite "Destiny", for a groove-like speed. There's still the occasional doom atmosphere to keep things wonderful and interesting.

The best of it all is "Eternal Frost". Words can not describe what a frosty cold doom track it is. The title track is an awesome 9-minute epic, one last heavy listen in the dark forgotten underground. The grim malevolence of this album is still around. The slowness dominates for another perfectly executed track. And it works greatly in the raw fuzz that is a main part of the production.

Winter made only one album in their tenure, and that album, Into Darkness is a better death-doom release than the other two I've reviewed. But don't expect me to return to any other bands from The Fallen like My Dying Bride, at least for now. A stellar underrated release to bring life to a dark depressive sound!

Favorites: "Goden", "Destiny", "Eternal Frost", "Into Darkness"

I'd like you to think about how many death-doom bands are inspired by Celtic Frost and be amazed by how much that band inspired many bands in death and/or doom even though they have their own different sound that mixes those elements. This kind of death-doom would never die out, despite a bumpy start. Bands like Winter and Delirium would each try their own take of the doomy parts of their first couple Celtic Frost albums, but sadly split up afterwards...

For the sole album from Delirium, Zzooouhh (wow, that wacky title sounds like some kind of snore), we have the smashing guitar, growls, and groove of death metal that then collapses into the slow monstrous doom metal, a captivating mix also done by Winter the same year. It's strange how this style barely caught on as much as other genres like thrash metal. With that said, Delirium's Zzooouhh sounds so fresh and inspiring, with the harsh guitar, riff variation, and tempo changes pleasing heavier metalheads who want more. It's obvious how much the fast-doom ratio has been influenced from Celtic Frost, though it's not just that kind of influence.

The album starts weird with the intro "The Ninth Dimension". Then the 6-minute "The Warrior" rolls on, though the speed isn't all that delivered well. What works well here is the catchy riffing in the first minute. The odd-titled "B***h" doesn't level up the fun factor, and even with the influences from Celtic Frost and Death, sounds a bit lame. "Amputation" doesn't have the addictive riffing that would level up the length. However the crawling doom is much more promising.

We finally have a death-doom anthem here in "Voices from Zzooouhh". This is standard early death-doom to lighten my mood with barely any disadvantages, again taking those Celtic Frost influences and making a style that Asphyx would later popularize. "Flood of Intricate" also sounds more fresh and compelling. It starts off sounding like something from a horror movie before kicking off the doom riffing Cathedral would later have, while continuing the Celtic Frost-inspired rhythm. Delirium can really be in the middle of this connective exchange in a good way.

"Menace Unseen" doesn't start as a banger right away but soon quickly grows into one. Right off the death metal bat, the vocalist screams in a way that rises from his usual growling to a full-on Death-esque shriek. The tremolos are on fire and there are unexpected times when even the guitars shriek! "The Sign of Urth" has riffing fury that sounds more towards hardcore/deathgrind but the rhythm action of Celtic Frost is still there, right? Also a notable highlight! "Beyond the Gates of the Afterdead" is the final surprise, a 9-minute epic that almost works as two parts. The first half in a constant mood-changer, crawling through until another Celtic Frost-powered drive in the verse, with the riffing soon morphing to thrash. Then the second half is a grand turn into driving death metal before ending on a creepy note. Far better than those first few tracks!

Zzooouhh is not really the absolute best of death-doom because of those beginning tracks, thereby having a little less points than that Spooky Gloom album, but the rest is essential death-doom for fans of the subgenre and Celtic Frost. Pretty neat if you just start at track 5 and not think too much of the strange album title....

Favorites: "Voices from Zzooouhh", "Flood of Intricate", "The Sign of Urth", "Beyond the Gates of the Afterdead"

The underground is barely known to the mainstream public, and one band from those illusive caverns would invent atmospheric death-doom. In Sempiternal Deathreign's only album The Spooky Gloom, you can hear slow doomy epics ranging up to 10 minutes and shorter death metal attacks. It's more varied than just a standard mix...

F***ing raw production right here! You can hear the guitar crunch with the equalizing bass fitting right in and sounding audible. So, nothing too special about that bass then... The excellent drumming varies from grind beats to slow doomy power, the latter leveling up the monolithic riffing. There's wild growling vocals all around, and fortunately, the lyrics can be read online in case you don't understand them just from listening. All in all, a great dark instrumentation setup.

"Creep-O-Rama" opens the album with atmospheric riffing before it turns fast and crushing with destructive drumming, and eventually spooky growling. Lots of good riffing lead up to before a chilling guitar lead ending climax. "Resurrection Cemetery" is so brutal and fast, with occasional slowness before ending with Slayer-like soloing.

"Devastating Empire Towards Humanity" starts with a soft ominous intro, before a riff that I guarantee will make you scream "SABBATH!!!" Well it does make sense because can you think of a doom metal band that's is NOT influenced by Black Sabbath? You probably won't. Though for the more elite old-school doom fans, the meaty rhythms can remind them of Pentagram and Witchfinder General. With those death metal elements still out and about, I haven't heard such a varying death-doom epic since My Dying Bride's "The Return of the Beautiful". However, "Dying Day" is where the quality dies down a bit, but I'm still in attention.

"Unperceptive Life" is a brutal track I would like more if it was more doomy and not so f***ing short at 2 minutes. The title track sounds so spooky and gloomy, fitting well with the title. This is probably the greatest early example of death-doom, sounding much doomier than the previous songs. They could've really pushed that sound into prominence, but they split up after this release.

The Spooky Gloom is very great, but a couple songs are a bit tiring and lose a bit of interest. Still this was a very unique album when it came out, practically giving birth to death-doom while different from what you'd expect in the subgenre. Slight flaws aside, this is what your ears crave in the deathly side of death-doom....

Favorites: "Creep-O-Rama", "Devastating Empire Towards Humanity", "The Spooky Gloom"

Why haven't I fully discovered this masterpiece yet!? This is masterful wizardry made by early prog-thrashers Watchtower! Control and Resistance is where they add jazzy elements to their sound, something absolute original at that time. I've been in a marathon of reviewing albums from technical death metal bands like Atheist, Death, and Pestilence, and this is the album that inspired those bands and many more to mix tech-death with pieces of progressive jazz. I think we can thank two talented masterminds here for that brilliant idea, starting with the amazing guitarist Ron Jarzombek. He can handle time signatures and tempos in an impressive way that barely anyone else can with technical riffs and jazzy solos. The audible bass playing of Doug Keyser is PERFECT!!! Standing by with the guitar like a 3-legged race. What a duo of geniuses!

Of course we can't ignore the other two band members, including vocalist Alan Tecchio. His high vocals are a usual part of progressive thrash, performed so d*mn well. It's impressive how high he can go while following the music. It sounds like he can do it normally with no struggle. Excellent! And finally, there's Rick Colaluca, whose style is very much the same as you would hear in jazz fusion. Imagine have an octopus drummer who's a fan of jazz and Megadeth, that's Rick right there! He has to make all those intricate time signature patterns, and yet it's all performed flawlessly.

Keyser wrote and co-wrote all of the songs in this album, starting with "Instruments Of Random Murder", where the instrumentation is killer and can be deadly for those who can't perform the complexity. Luckily, Keyser performs his bass perfectly and survives. He would later encounter "The Eldritch", so strange and otherworldly for most people to catch up, and yet he can! If he ever needs help in "Mayday in Kiev", Jarzombek has helped with the writing assisting him with the jazzy guitar progression as usual.

The shining highlight of this album is the epic "The Fall of Reason", with insane jazzy soloing from Jarzombek as Keyser continues his amazing bass journey. The title track is where Keyser really needs to control his pace in order to play the higher-level complexity smoothly.

For "Hidden Instincts", Jarzombek joins the writing journey once again, and this time, he's assisting Keyser throughout the remainder of this album, as they both conquer hidden surprises. That cycle continues in "Life Cycles". And finally, "Dangerous Toy" is the most dangerous ending for anyone who has made it that far. With the amazing bass and the strong guitar of Jarzombek, BOOM!!!! They've vanquished the terror with their impressive skills. They reign victorious in this excellent adventure, no fails at all!

So yeah, Control and Resistance deserves a perfect 5 stars for being able to add jazz into prog-thrash without messing anything up, with all that inspiring technicality and masterful writing. I might just dig further into more of the prog/tech-thrash of bands like Sieges Even and Toxik, but maybe another time. This is a jazzy metal treat to love!

Favorites: "Instruments Of Random Murder", "The Eldritch", "The Fall of Reason", "Hidden Instincts", "Dangerous Toy"