Shadowdoom9 (Andi)'s Reviews

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Favorites: "Dreamstate Emergency", "Door 2.12", "Deathbox", "Jack Vegas", "Overdose in the Hall of Fame"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In case you didn't know, Cave In is one of the most diverse rock/metal bands out there. Sometimes they can be metal/hardcore, other times they can be alt-rock with prog and psych tendencies. For 3 decades, they've been on their own innovative path that has spawn several side-projects.

Their previous album Final Transmission was praised by many as a highly respectable tribute to tragically passed bassist Caleb Scofield. Sadly, the overuse of their softer side distracted me from the positives. Heavy Pendulum sounds to me like a more proper tribute. Cave In has displayed their creativity much more than before by give the alt part of their sound from Jupiter more of the dark heavy energy from Until Your Heart Stops. It may just be their highest point of their career since the late 90s!

"New Reality" is an awesome discovery for me from this band. It sounds so zany and they have good relation with Converge, with that band's guitarist Kurt Ballou manning the album's production and Nate Newton as their new bassist after Caleb Scofield's fatal vehicular crash. Beautiful pieces like "Blood Spiller" just smell an Oscar for the band. Then "Floating Skulls" floats back into the prog-rock elements of Jupiter. The title track is a psychedelic metal jam, one that I can one of the best Cave In songs in so many years. "Pendulambient" is an interlude that stays strong and important to whatever concept this album has.

"Careless Offering" rolls through with its rock-on riffing. Then we take a doomy trip in "Blinded by a Blaze". I also found what is truly my favorite song in this new era of Cave In, "Amaranthine", having some muscular sludgy groove. The band then turns to a Voivod-ish angle in "Searchers of Hell". A more blues-filled tone covers "Nightmare Eyes", with some catchy bass practically from the Antenna era.

"Days of Nothing" is one more interlude. It segues to "Waiting for Love" with smooth cleans by Stephen Brodsky as the instrumentation swings like a soundtrack for walking a lonely road in the desert. The semi-acoustic "Reckoning" follows with vocals by Adam McGrath, almost like the band's own BTBAM "Desert of Song". At last, we've made it to Cave In's longest actual song to date, "Wavering Angel". It can catch Gateway listeners off-guard because of the 12-minute length, but as the more progressive fan I am, I'm quite used to that kind of length. The bass is crystal clear and the opening chords are so d*mn good. The song itself is the perfect ending epic for this excellent album, so it's an amazing reward for someone like me who only found this band about 20 years after their highest peak of success. This recording can surpass even Soundgarden for me, and I can consider this song probably my personal Gateway/Infinite track of 2022. Absolute perfection! Caleb Scofield would be proud. RIP

Heavy Pendulum is a masterful offering filled with what made Cave In the modern rock/metal legends they are. While their music is quite talented over the years, it wasn't until this album that they've proven how wonderful they are even after their early peak. And for that, Cave In deserve their praise!

Favorites: "New Reality", "Blood Spiller", "Heavy Pendulum", "Careless Offering", "Amaranthine", "Waiting for Love", "Wavering Angel"

After their 2011 album White Silence, the members of Cave In decided to focus on other projects for a while, such as Stephen Brodsky's progressive stoner metal side-project Mutoid Man and Caleb Scofield in Old Man Gloom and Zozobra. Then in late 2017 and early 2018, the members got together to record what was meant to be demo tracks before they planned to professionally record an album. In February and March 2018, the band spent some time writing the album they were planning to make. Soon, Scofield decided that he was ready to spend some time with his family in New Hampshire, so he said goodbye to his bandmates and drove off. Little did they know, it would be his last goodbye. On his way back to his hometown, he was driving his pickup truck at a fast speed, so fast that he somehow didn't see a concrete barrier at a toll booth. The vehicle rammed right onto it and burst into flames. In an instant, Scofield... was gone.

This tragedy left a devastating impact on his family, his band, and the metal community. Bands like Converge, Every Time I Die, The Red Chord, and Isis showed their support and paid tribute, even performing in some shows hosted by Cave In and Old Man Gloom (with Isis changing their name to Celestial to avoid confusion or association with the Islamic terrorist group). And what was going to happen to the album that was still in production? Cave In made the decision to just release the demo tracks they had finished with Scofield, with the album fittingly titled Final Transmission.

Sadly, and I'm sorry for saying this, I really am, but this is not the tribute I wanted for Cave In's fallen member. Most of this album is the atmospheric spacey alt-rock sound of Jupiter, almost like a short album of unreleased B-sides for Jupiter in late 1999. Seriously, why couldn't they just stick with metalcore and put aside the alt-rock for a different project? Not everything is super bad because we have the nice emotional "All Illusion" which makes a solid segue from the title intro that is a voice memo from Scofield, his final recording. The closing "Led to the Wolves" is actually an unused track from the White Silence sessions, and I enjoy that one for its h*lla heavy hardcore sound. As much as I enjoy Scofield's work in his time with Cave In, Final Transmission is the worst album by the band, and I'm speaking my true opinion. I'm so sorry....

RIP Caleb Scofield

Favorites (only tracks I even slightly like): "All Illusion", "Led to the Wolves"

I've explained all this before and I'll explain it again. Cave In made their breakthrough with their prog-ish metalcore breakthrough Until Your Heart Stops in 1998. Then they dived into spacey alt-rock in the early 2000s that included a brief stint with a major label. Even though Perfect Pitch Black was almost as exhausting as the two albums before it, the more metal/hardcore sides were building back up. One hiatus, EP, and compilation later, they came back with album #5, White Silence.

With this album, Cave In has taken many of their elements to a more merciless level. The spacey atmosphere has been punched through by their earlier technical riffs and rhythms. Late bassist Caleb Scofield's screams and guitarist Stephen Brodsky's cleans are a stunning blend and having nearly the same ratio as their debut.

The title opener attempts to emphasize vocal distortion but sadly really butchers it. We get the first revisit of their early hardcore in "Serpents" that ends up turning out bland. "Sing My Loves" makes up for those short mishaps as an 8-minute epic. While having more in common with Deftones, there's still some hardcore fun to make the time fly by. It's not the total best track of the album though, I would pass that torch to the next song...

The grind-ish metal/hardcore blitzkrieg that is "Vicious Circles" has some of the band's most vicious aggression since the debut. Horns up, y'all! "Centered" is a bit jarring, being all noise-ridden. "Summit Fever" has more of the vocal distortion, this time combined with classic heavy riffing to make another standout.

The softer yet more epic "Heartbreaks, Earthquakes" has some prog alongside more of Brodsky's cleans, taking a pleasant break from Scofield's seething growls from the first half of the album. "Iron Decibels" is one of the strangest tracks I've heard from this band, though it isn't as bad as the aformentioned title opener. The acoustic finale "Reanimation" ends it all sounding haunting yet somewhat soothing.

Seems like the band is slowly rebuilding themselves since returning from the void. It would take some time to get back to their earlier glory despite regaining their roots. White Silence has given the band a new groove filled with hardcore grooves....

Favorites: "Sing My Loves", "Vicious Circles", "Summit Fever", "Heartbreaks, Earthquakes"

Although Cave In made what they wanted to make in 2005's Perfect Pitch Black, they ended up going on hiatus the following year. They returned in 2009 with an EP titled Planets of Old that further brought back their heavier roots. They also decided to release a compilation of rarities from their earlier years titled Anomalies, Vol 1. Vol. 2 is just one of their live performances from 2003.

Anomalies Vol. 1 contains two bonus tracks from earlier releases, 4 covers, and one demo track, all of which show the band's evolution from metalcore to spacey alt-rock. Yeah, there's not a lot of metalcore here but still enough to qualify as metalcore to my ears...

The opening track "Mr. Co-Dexterity" is a bonus track from the Japanese edition of Until Your Heart Stops. Lots of rifftastic guitars and bass, along with screamed vocals by Stephen Brodsky side-to-side with his clean singing. "Inflatable Dream" originated from the Creative Eclipses sessions. The vocals are mostly performed by bassist Caleb Scofield (RIP). With his wicked growls and the heavier riffing, this is more like a bridge between those two aforementioned releases.

The first cover, Bad Brains' "I Love I Jah" is done in Cave In's own atmospheric style (the kind of covers I like, mostly). It was recorded for a 1999 Bad Brains tribute album and hinting at the band's sound in Jupiter and Tides of Tomorrow, which doesn't fit well lyrically here. The extensive amount of noise and feedback is rather useless. Their cover of "Plainsong" by The Cure has nice synths and guitars, though Brodsky's attempt at lower singing is just awkward, especially with the echoing effect. But then the band covers "N.I.B.", and they made it as awesome as the original Black Sabbath hit. Somehow turning an early heavy metal classic into atmospheric metalcore works. Nice one!

Then we come to an early demo of "Innuendo and Out the Other" (still confused about that name). I didn't like the original version from Jupiter, and I don't like this version either, sounding too much like a live recording with no audience. However, not all of it is bad. I can hear the bass, and there's a screamed ending verse that should've been in the album version. And finally, one more cover, the Codeine song "Cave In", which inspired the band's name. The vocals are nice, but other than that, it's a rock-less failure.

I would recommend this release only for the die-hard fans of Cave In. Even though there are a few great tracks, specifically the heavy ones, it's in the same low level as their 2000s material. All it's good for is making the band's discography more complete....

Favorites: "Mr. Co-Dexterity", "Inflatable Dream", "N.I.B."

Now this is something Cave In wanted to do, make a post-hardcore/alt-metal release that balances their earlier heaviness with the alt-ish tendencies they were sucked into. They started off with metalcore in Beyond Hypothermia and Until Your Heart Stops, adopted more of a spacey alt-rock sound in Jupiter and Tides of Tomorrow, and was signed to RCA to make the accessible Antenna. That last album was not worth it for the band and their longtime fans.

Heading back to the more lenient Hydra Head, Perfect Pitch Black shows the band taking their sound from Jupiter and making it heavier, even adding in the harsh vocals last used in Until Your Heart Stops. If the objective was to regain their earlier fans with songs having a better balanced structure, they've done it. Though not by a long shot...

The album opens with static melody in the 30-second title intro. It segues to "The World is in Your Way" which is an amazing song! This is basically like early Queen gone f***ing heavy. Caleb Scofield performs some cool Coalesce-esque growls here. RIP... "Off to Ruin" sounds closer to Jupiter and Antenna which ruins some things. Although there are still Caleb's cool growls. His screams and bass give "Trepanning" instant memorability. Practically every fan of this band has discovered them when they were in high school, but for me, it was just a few years before this review. This f***ing sh*t rocks hard! I especially the groovy bridge midway through. And my first encounter with Caleb's vocals was from his guest appearances with Converge, Isis, and The Ocean. He will truly be missed...

The 7-minute "Paranormal" is a true epic, starting off spacey with Stephen Brodsky's soaring cleans, "Moonlight comes through the shades now". While the U2 influences that cover their early 2000s material is still there, his cleans have beautiful strength and wider range compared to those albums. Plus we have still have that earlier heaviness and Caleb's p*ssed-off growls. Then there's a soft atmospheric break before the drums and guitar feedback rise again for the emotional climax. Majestic! However, the strength is reduced with the slow acoustic "Down the Drain" that sounds too programmed. Same with "Droned", which is heavy and catchy but a little too droning.

"Ataraxia" is a 5-minute instrumental of darkness and hope, with some choir. I enjoy the heavy guitar rhythms that never sound too plodding. "Tension in the Ranks" sounds too Radiohead-ish, again throwing back to the spacey sound of Jupiter. The guitar rhythm work seems to collapse upon itself. "Screaming in Your Sleep" bounces through guitar/bass distortion. Strong ending track, but I wish there was more of Caleb's growls from the first half of the album.

Perfect Pitch Black may not be Cave In's return to their 90s peak, but it's a slight improvement from their previous two albums and has more enjoyable tracks. A decent comeback to the earlier aspects they've revolutionized....

Favorites: "The World is in Your Way", "Trepanning", "Paranormal", "Ataraxia", "Screaming in Your Sleep"

The horrid spacey alt-rock era of Cave In continues in their 2003 album Antenna. It was released via RCA Records, the only time they've been signed to a major label. It really frustrates me that they were continued this sh*t in the one time they were given a chance to spread their music to more than just the metal underground. And when they started making their move back to their earlier heavier style, they were dropped from the label. But at least Hydra Head still had their back...

The move into a more commercial Foo Fighters-esque direction wasn't exactly the band's choice. Frontman Stephen Brodsky has expressed his dissatisfaction with this album, though it gave them the mainstream spotlight. Both a blessing and a curse, I suppose.

"Stained Silver" doesn't start the album off well, leaving a sh*tty stain in the band's discography. Things get a little more steady in the rhythms in "Inspire". The ballad "Joy Opposites" gives me the opposite of joy, leaning too much into Smashing Pumpkins. "Anchor" is the band's only charting single. Decent but too Green Day-ish.

Semi-acoustic ballad (another ballad?!?) "Beautiful Son" has absolutely nothing to intrigue me. Then "Seafrost" is another one of the band's 9-minute epics, adding some guitar/electronic feedback to the song's progressive structure. Sadly, it all doesn't turn out that great. "Rubber and Glue" is a total banger, taking some rhyhms from Stone Temple Pilots and making them better. "Youth Overrided" is a true anthem to get you pumped.

After those two cool tracks, the rest of the album's second half either butchers their typical elements or comes out as lame ballads. Not all hope is lost though, as they would slowly build their heavier side back up in subsequent albums, thanks to Hydra Head giving them some freedom....

Favorites (only songs I like): "Inspire", "Rubber and Glue", "Youth Overrided"

Cave In started off strong with their deathly atmospheric metalcore album in their first couple releases, complete with powerful riffing and screamed vocals. Then in 1999, they released the EP Creative Eclipses. More like Creative Differences! That EP took on an entirely different sound of alt-/space rock, and fans were wondering "What the f*** just happened?!" Unfortunately, any hope for that to be a one-off experiment was diminished the following year...

Their attempt at pop-ish alt-/space rock in their second full-length album Jupiter has more in common with U2 than anything else. Everything sounds so clean, dreamy, and happy-sappy. Frontman Stephen Brodsky dropped all of his screaming for just clean falsetto, like a more strained Matt Bellamy from Muse.

Beginning the journey is the sweet innocent title opener. Then "In the Stream of Commerce" shows the band balancing on the line of hard rock, sounding OK in the Stone Temple Pilots-infused chorus. However, the verse has too much guitar reverb and that d*mn falsetto. I respect their talents and all, but that just comes out as weak. Next, "Big Riff" is a bit of a struggle, from at least it throws back to their earlier heavier sound with occasional heavy riffing along with growled vocals by Caleb Scofield (RIP).

Following this is "Innuendo and Out the Other" (what does that even mean?!?!) which is too much like a chorus-less Soundgarden track. The more stoner-ish "Brain Candle" takes on drug-metaphors that sound like they're relatable but, of course, I never do drugs.

While the previous track has structure, this one, the 9-minute epic "Requiem" doesn't need one to be one of the only tracks in this album that I like. The doomy climax is a little odd when put together with the lyrics, though I enjoy it a lot. "Decay of the Delay" is just a useless 4-minute interlude. "New Moon" starts off sounding like a boring love ballad, like their own futile attempt at Extreme's "More Than Words". However, its heavy two-minute ending took me by pleasant surprise.

If Jupiter is their way of making a more mature work of art, I can recognize that. I just think this is the wrong direction for them to take. Their debut Until Your Heart Stops is far more listenable than their sh*tty exploration in spacey alt-rock....

Favorites (only songs I like): "Jupiter", "Requiem"

As perfect as Cave In's actual debut Until Your Heart Stops is, Beyond Hypothermia is, similarly to Botch's Unifying Themes, an underrated compilation of demo tracks that any metalcore fan should have. When I got on the computer this morning for this reviewing session, I was blown away by this offering as much as I was the first time I heard it a few years before this review. It's hard to imagine that this metalcore album is by a band that would later become atmospheric alt-rock/metal.

Some of the tracks from this album came from split EPs. A few more spawned from some demos. And the remaining few were fresh from this album's recording sessions. There are different members in each recording session, with can cause some obvious lack of cohesion. Still there are high-quality tracks that can't be ignored...

The opening track "Crossbearer" is my favorite here, already giving you what to expect from this band. There's the usual metalcore structure within the riffing, screams, and occasional cleans. If there's anything to plant the seed for metal/mathcore bands like The Dillinger Escape Plan, 2000s Converge, Botch, and Skycamefalling, this is that. Everything about this song is memorable, from the intro to the clean bridge and the rifftastic chaos in between, with those vocals hooks embedded in your head. Truly an epitome of classic metalcore! The kick-A thrashy metalcore riff-fest is only just starting, "Chameleon" marks one of two 6-minute epics in the album that displays more of that metalcore guitar assault. The intro and bridge of "Capsize" have some dissonant feedback from the guitars.

"Stoic" marks a jarring change in quality, and it's not just because it's from a different recording session. It causes the release to lose some power as the weakest sh*t here. "Programmed Behind" has some melodic thrash that The Haunted would later have, but everything sounds more programmed than naturally performed. "Flypaper", the other 6-minute epic, is one of the earliest tracks by the band and can be considered a classic of metalcore riffing insanity. No matter how great you think that song is, you can never put down the riffwork. "Mitigate" is another decent track, though still not so great.

Highlight "Pivotal" is a frenzy of earth-shattering mind-stopping leads. Again making a sharp turn in quality is one of the new tracks "Ritual Famine", which is bland but not a total disaster. The 11-minute "Crambone" is more of a collage of different tracks. First we have one of the most ridiculous songs besides BTBAM's "The Man Land". Then we have an ambient noise section sounding like something from a horror movie, human screams and all. Finally, after some silence, the hidden track comes on. It's the band's own cover medley of 3 Metallica songs. Those songs are two of them from the Ride the Lightning album, "Fight Fire With Fire" and "Creeping Death", and my favorite one from their debut Kill 'Em All, "The Four Horsemen". Although I'm not too much of a fan of Metallica, that is quite a treat for me and any other metalhead. By the way, the only other time I've encountered the word "Crambone" is when it's sung by Uncle Pecos from that one Tom and Jerry cartoon, just some indecipherable singing and then "Crambone!"

Cave In have already proven their talent before their actual breakthrough in Beyond Hypothermia. Despite not being so cohesive and having a couple tracks that could've been better, it's put alongside some of Botch and Coalesce's releases as an underrated metalcore classic. For all you Revolution followers out there...

Favorites: "Crossbearer", "Chameleon", "Capsize", "Flypaper", "Pivotal", hidden Metallica medley

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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