Shadowdoom9 (Andi)'s Reviews

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"

It's a little hard to believe that the last Vision of Disorder album as of this review was a decade ago. It's almost as long as the gap between the release dates of From Bliss to Devastation and The Cursed Remain Cursed. This album, Razed to the Ground can be considered the bridge between those two, and while that brings the rating closer the former, it still has potential to be as excellent as the latter...

To be more specific, these metalcore/hardcore Long Islanders have more of the mainstream alt-metal of From Bliss to Devastation than before. Fortunately, they still have their roots from the heart of 90s metalcore.

This is especially proven in the furious opening highlight "Heart of Darkness", starting off reckless and relentless (NOT the Asking Alexandria album). "Hours in Chaos" is filled with intense chaos. "Electric Sky" brings things further, having some top-notch riffing and vocals. Then we have the ferocious title track. The breakdown at the end is so f***ing pulverizing, practically rivaling those from mathcore/deathcore bands out there.

"The Craving" is slightly more progressive, having an unorthodox time signature. The power and strength makes that song another one of the best here. For the next track "Cut My Teeth", the bridge is quite sharp, though the rest is a little dull. "Red on the Walls" loses some power as well, and it's not as sh*tty as FBTD's lowest point.

"Nightcrawler" brings the quality back up with some heavy riffing. Nothing about it is a letdown! Neither is "Severed Wing" which is also a bit progressive, considering the amount of key changes it has, more than many other metalcore/hardcore bands could. Finally, "Amurdica: A Culture of Violence" is so heavy and violent. It's really only the choruses and the ending that are melodic. A solid brutal closing track!

Vision of Disorder is almost never the kind of band to disappoint. Only those who are experienced with the band and genre will enjoy Razed to the Ground at least as much as I have. A couple weak-ish tracks aside, this is a great release to get you pumped up before a possible upcoming album sometime near....

Favorites: "Heart of Darkness", "Razed to the Ground", "The Craving", "Nightcrawler", "Amurdica: A Culture of Violence"

It was during the late 90s when two separate scenes, metal and hardcore, began to coexist with more than just a few bands. And one band that helped the genre out was Vision of Disorder. Their sound can cause violence and fury in the moshpits. And if one other New York hardcore band can bring metal into the scene, that band is Strife. Vision of Disorder disbanded in 2002 due to lack of support from record labels, and the members formed other bands including Bloodsimple.

After some reunion shows, the band returned with their new album The Cursed Remain Cursed! They brought back the metalcore/hardcore of their late 90s material, and while the alt-metal of From Bliss to Devastation is still around, you won't find many grungy elements here.

This is especially proven in the opening track "Loveless". A riff-storm accompanies Tim Williams' sharp growls and smooth cleans. It's good to have their earlier hardcore roots back! "Set to Fail" has intense touches of groove/thrash, and the chorus consists of the song title chanted fiercely. It leads to "Blood Red Sun", which is probably the f***ing best song here. The vocals, guitars, bass, and drumming are all filled with rage, especially in the riffing and screams. The cleans also add to the brilliance.

Lots of great riffing in "Hard Times" too! "Annihilator" alternates between audible bass and f***ing violent riffing. This also happens in "Skullz Out (Rot in Pieces)" albeit starting with the grunge-ish sound of their previous album. "The Enemy" is another aggressive banger.

"The Seventh Circle" adds a little more groove to their hardcore, reminding some of Coliseum. In saying that, Vision of Disorder still have uniqueness in their alt-metalcore aggression. Even at just 4 minutes, they can unleash all their furious power from their riffing just like that. "New Order of Ages" continues that as another prime example. Same with "Be Up On It" which is quite heavy and leaning into beatdown. "Heart and Soul" is one more hardcore gem, only slowing down for a soft bridge.

The Cursed Remain Cursed is an amazing comeback for Vision of Disorder, proving that they're still relevant to the metal/hardcore scene. So if you're in the mood for some alt-metalcore fury, just put this album on and witness it all!

Favorites: "Loveless", "Blood Red Sun", "Annihilator", "The Seventh Circle", "New Order of Ages", "Heart and Soul"

Some people don't like change, particularly when a band they've been listening to changes their sound out of nowhere. Like if Vision of Disorder fans were expecting another hardcore/metalcore album, they would be quite p*ssed. That is what happened when the band jumped on the alt-/nu metal wagon that was really rollin' at the time. However, that was long before I started listening to metal. From Bliss to Devastation is actually, to my ears, a great album. I think I still have some Gateway enjoyment left in me...

I'll fill you all in with what has led to this album's creation. This usually hardcore/metalcore band made it big with their first two albums released via Roadrunner Records. They ended up leaving the label and made a mostly demo-re-recorded album with a different label. And then here they were, delivering some sharp alt-metal with this release.

Already crashing in is the driving "Living to Die". I think it's still clear that they can be a great band even with a different sound. The guitars are razor-sharp and Tim Williams' vocals have all that hate and rage as always. "Southbound" has some sinister heaviness, coming out as a Sabbathian Soundgarden. The beat is probably the best I've heard here! "Itchin' to Bleed" rips on through just like their older days. "Sunshine" may remind some of Faith No More in terms of the music and vocals.

"On the Table" has a bit of the groove from Demolition Hammer's Time Bomb. The 6-minute title epic can make very much an alt-metal classic. I think this is the closest we ever have to hearing Sabbath-esque riffing and a Slipknot-infused groove in the same song. The most prominent throwback to the band's earlier rage is in "Downtime Misery". The aggression that occurs is in a slower groove, heard in fine production. "Pretty Hate" is another great track. It's nice hearing grunge from the prior decade being given a heavier resurrection. "Without You" packs some alt-metal punches that Bury Your Dead would also execute in their later material.

"Overrun" has haunting groove in the guitar. However, this is around the point where I start to recognize how repetitive things are getting, making me hope for a glimpse of their more hardcore side. "Done In" makes up for that by unleashing some metal fury in the riffing and vocals. "Regurgitate" does kind of the same but becomes an ugly mess, making me feel like regurgitating. "Walking the Line" makes me wonder if this is the same band who dominated 90s metalcore alongside Hatebreed in their debut era.

Slight mistakes towards the end aside, From Bliss to Devastation is for people who can appreciate rock-on alt-metal with none of the hip-hop elements of nu metal in sight. Sadly, the lack of success and support would result in the band disbanding temporarily. Still their greatness has stayed strong even in the roughest of times....

Favorites: "Living to Die", "Southbound", "From Bliss to Devastation", "Downtime Misery", "Pretty Hate", "Done In"

Vision of Disorder had their breakthrough with the first two albums having been released via Roadrunner Records. However, the label seemed to prioritize this band less than others, giving them very little recording time for Imprint and lack of tour support. So the band left Roadrunner and decided to try something different with a new record label...

The band decided that to make up for the inconvenience fans have witnessed, they would make something for those fans, that being a mostly demo-re-recorded album For the Bleeders! It shows the band's simpler more hardcore roots while keeping things tight and metal. Despite some loss of energy, there still isn't anything bad about these songs. They just continue their powerful emotion in songs that each have a shorter amount of time.

One of the songs "Choke" is from their 1995 EP Still. Right away, it explodes into their usual blend of groove/metalcore/hardcore. Then one of the new tracks "Adelaide" hints the verse-chorus structure they would expand upon in their next album. "Watch Out", another track from Still, is filled with blazing speed.

One of the tracks from the earlier demos is "7/13". Melody and heaviness drift alongside each other. The title track is the second of the new songs. They slow things down to a more sludge-ish approach while still aggressive. Hardcore screams and smooth cleans fit greatly with the ethereal guitar chords. "No Regrets" is from the 1996 CD edition of the Still EP. It's good, but it doesn't impress me as much as all the other tracks. "Formula For Failure" is another early demo track. I think until this album was released, fans knew it more as a live track than something made in studio.

"Beneath the Green" is one more song from Still, and it's the best song of the entire album. My mind can embrace it as much as it embraces me. "Take Them Out" is the remaining of the re-recorded demo tracks, filled with hardcore fury. Another impressive highlight "In The Room" is the last new track for this album. Well technically, it was originally recorded for the soundtrack for the film Terror Firmer, released shortly after the Imprint album. It certainly sounds fresh out of the Imprint sessions.

The band consisting of vocalist Tim Williams, guitarists Mike Kennedy and Matt Baumbach, bassist Mike Fleischmann, and drummer Brendon Cohen sound better and more mature, especially in Williams' vocals. The bass is more audible, and Cohen is still one of the best drummers in early metalcore. The bleeders shall enjoy!

Favorites: "Choke", "7/13", "No Regrets", "Beneath the Green", "In the Room"

I like the idea of music giving negative personal experiences more positive light. That seems to be the second Vision of Disorder album Imprint's main theme. Apparently, vocalist Tim Williams was caught up in some fights, one of which resulted in a razorblade slash in the face. The cover art is a manuplated photo of his scar. This scarring incident, while not the album's main focus, took it to a different lyrical direction. One that would, combined with the music, would make the band's greatest breakthrough!

Imprint truly proves Vision of Disorder as one of the best and heaviest bands of New York hardcore/early metalcore/groove metal. Although their 1996 self-titled debut is a perfect gem too, their second album is given smoother production by Dave Sardy, who's known for his production work with bands like Red Hot Chili Peppers and Helmet as well as his own film score compositions. The writing is also quite sharp as they unleash their East Coast heaviness, far away from the rising West Coast nu metal at the time. Although all the members are worth appreciating, the one that really stands out for me is Brendon Cohen and his incredible drumming skills.

In "What You Are", the band wastes no time as they attack with the guitar complexity, rhythmic drumming, and furious vocals. It already shows Vision of Disorder as more than just your friendly neighborhood hardcore band. This is basically Converge gone Sepultura, with the occasional death metal sprinkle of Obituary and Death. Williams can alternate between screaming and singing quite impressively. "Twelve Steps to Nothing" is another memorable highlight with both melody and aggression. "Landslide" also displays their songwriting ability. The drum/guitar frenzy is followed up by a strange yet intriguing melodic chorus as the guitar is given greater effect. Next track "By the River" is an interesting standout. Williams has a vocal duel/duet with Pantera's Phil Anselmo who is a Vision of Disorder fan.

The title track crushes as it details how Williams dealt with his scarring injury. The 6-minute epic "Colorblind" has their standard sound filled with different colors. "Rebirth of Tragedy" is another enjoyable highlight. "Locust of the Dead Earth" has some of the hardcore of Converge at the time with some melody later used by The Autumn Offering.

Pulling up some punches is "Up in You". Then "Clone" shows that they're more than just a hardcore/metalcore clone, with the melody of 36 Crazyfists and the chaos of Burnt by the Sun, years before those bands' rise to prominence. And finally we have the melodic "Jada Bloom", which really touches my heart as pretty much one of the first ever uplifting metalcore ballads. The beat is still quite hammering, along with the addictive heavy starting riff. So f***ing beautiful, especially the song's second half!

Vision of Disorder's first two albums show the band at their best, with a slight edge given to Imprint. Whether they can be remembered or forgotten, this fantastic offering is an essential one for 90s hardcore/metalcore. Imprinted for anyone to see and hear!

Favorites: "What You Are", "Twelve Steps to Nothing", "By the River", "Colorblind", "Rebirth of Tragedy", "Jada Bloom"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hearing about a successful band reuniting without but in honor of their two fallen founding members is a nice time to finally witness what the hype was about with Pantera's Cowboys From Hell! This is their 5th album and a mighty change from their once-unknown heavy/glam metal to the freshly developed groove/thrash metal that would make them burst in popularity. Metallica made a similar attempt with their own fifth album in sort of the opposite approach, switching out of thrash into mainstream heavy metal, and they were already popular underground before expanding globally. For Pantera, their groove twist in the speed/thrash template has left many hits and a few sh*ts...

The production is heavy yet clean, though later albums from the band and the genre would be heavier. The late Abbott brothers have really taken the stage with their respective instruments; Dimebag's guitar has thick tone but not too heavy, and Vinnie's drumming has a thrashy pace without too much aggression. Rex Brown's bass is close to audible, and vocalist Phil Anselmo is professional at his singing range from clean to aggressive, even making the heavier songs sound tame in a beautiful way.

The title track already shows traces of the post-thrash fury the band would shine with. "Primal Concrete Sledge" fits their groove metal development much further with the heavy riffs, powerful chords, and simplistic rhythms that they would have in later releases, though it might cause some love from thrash fans and hate from groove haters and people accusing the band of being a metal ripoff of Red Hot Chili Peppers. "Psycho Holiday" has Metallica-sounding riffing, minus the epicness and speed, plus the repetitive rhythms that lack variation. Despite its flaws, that song is still decently listenable. "Heresy" has faster speed than what Metallica and Megadeth would abandon slightly later on, along with politically driven lyrics.

"Cemetery Gates" is the album's ballad-like song, an excellent one, and the band's longest at 7 minutes. After a stellar acoustic intro, the power increases especially in the vocals and shredding soloing. That song was covered by many bands, including Between the Buried and Me on their cover album The Anatomy Of. Another one of the few fast furious speed/thrash tracks here in "Domination". The shredding "Shattered" has a lot of Judas Priest vibes, including when Anselmo makes his attempts to sing as high as Rob Halford, along with Dimebag's guitar cutting like a chainsaw.

However, that's the start of the filler second half of this album, starting with the odd flop that is "Clash with Reality". Honestly, the sounds of pop rock and thrash end up clashing each other in a forced mix that sounds lost. "Medicine Man" sounds fun though a little too goofy. Same with "Message in Blood" with its murder themes. "The Sleep" is also fun-sounding yet forgettable. However, "The Art of Shredding" makes up for all those mistakes with one more offering of dense thrashy riffing and shredding.

All in all, I understand this album being the bridge between their once-elusive glam years and their famous groove era. Although this sounds inconsistent with its mix of classics and duds, Pantera was done sounding like Van Halen and preferred an Exhorder-like direction. May the two fallen Cowboys From Hell rock on in metal heaven.... RIP

Favorites: "Cowboys From Hell", "Primal Concrete Sledge", "Cemetery Gates", "Domination", "Shattered", "The Art of Shredding"

Well, we've come to this album that is the August 2023 Gateway feature release, one year after the band's next album Obsidian was the feature release for that clan. And I must say, I really look forward to saying what I should say about this album. It's a solid blend of genres from 3 of my clans; The Gateway, The Revolution, and The Sphere. And seeing how well-deserving their earlier albums are of The Infinite, it solidifies Northlane's reign as one of the most suitable bands for me.

The band had already reached a decade since formation at that point. Continuing their quest for worldwide fame, they were able to overcome lineup/touring changes. Alien is a true definition of the new modern direction they're going for. As amazing as their previous two albums are, Alien may just be the best of that trio!

The cyber-metalcore style blasts off in "Details Matter", a total in-the-face track of heaviness and screaming. There's a lot of industrial/cyber metal effect in the song, much more than in any of Northlane's past albums. "Bloodline" has absolutely awesome lyrics and production here! So atmospheric while dark and heavy. Fantastic prog-ish alt-metalcore! "4D" is a speedier track, albeit as electro-industrial-focused as Rammstein and The Prodigy. Unlike some metal bands that trade their heaviness and breakdowns for electronic synths, Northlane combines the best of both worlds, with a sound unique as f***. The addictive speed is worth good listening. Bassist Brendon Padjasek, who's only in the band for this album, also performs noticeable screamed vocals, alongside Marcus Bridge's cleans, and even a screaming duel between the two vocalists.

In "Talking Heads", Marcus has proven himself well as one vocalist ruling with 10 techniques! The sludgy nu metal part of their cyber metalcore sound has really expanded in their recent albums. "Freefall" has a brief slow introduction, then it explodes into a faster drive. The heavier side with screamed vocals and djenty riffing definitely makes this song another favorite of mine. "Jinn" is so monstrous. The band take on different sounds and styles, and crank up the power. As a result, this mind-blowing blend can beat a lot they've done in the past. "Eclipse" is one of the most upbeat and heaviest songs by Northlane. You can definitely scream along to the lyrics in live shows!

"Rift" is a soft atmospheric ballad. There's not much heavy or loud, with the power being relied on by the electronic synths. It's almost like they take some influence from Bring Me the Horizon's divisive album Amo that was released earlier that year. The fearless "Paradigm" has more of the heaviness and screaming that's definitely worth playing live. With a lot going on, hearing this song is much more of an experience than a listen. In "Vultures", Marcus Bridge is really having more influence from the band whom Northlane named one of their songs after, Architects, adding melody to his screaming. So insanely epic, continuing the writing of Mesmer while restoring their earlier riff-wrath. The final track "Sleepless" is mostly just EDM, though it's a fitting closer for this offering as different sounds appear. During the second half of the track, the band's heavy instrumentation is unleashed one last time in full emotion and melodic heights. Then it all ends in synth and piano. It's a risk that nicely paid off.

Northlane continues to rise as the album Alien expands their style into different realms. The elements can evolve while the source stays intact. This album is highly enjoyable and can be treated like a journey from the dark Hell to the bright Heaven, from the masters of futuristic modern metal!

Favorites: "Bloodline", "Talking Heads", "Freefall", "Eclipse", "Paradigm", "Vultures"

Northlane started off their career with two djenty metalcore albums, Discoveries and Singularity, with their original vocalist Adrian Fitipaldes. Then came their 3rd album Node, marking a grand entrance for their current vocalist Marcus Bridge, and beginning to hint at more alternative experimentation. People weren't aware that another album was around the corner, and just when they least expected it....

F***ING SURPRISE!!!!!! Northlane's 4th album Mesmer sprung out of nowhere after some singles and teasers that went on for a couple months! I think they got that idea from when Avenged Sevenfold surprise-released The Stage months prior, so sudden that fans of that band didn't even know. Was the abruptly ended wait for Mesmer worth it?

Already the answer is yes with opening track and single "Citizen". OMG, I have no words to describe this beauty! And it continues in "Colourwave". The breakdown here is one of the best, and it has stirred up one of my favorite songs from this album the and band. It made me pumped up for listening to the rest of this album. Segueing out of that riff-tastic monster, "Savage" opens with synth that is put on the spotlight ahead of the ambient guitar, building up for 25 seconds before the rest of the band bursts in. This is heavy aggression that can smash through the walls surrounding you. At over the 3-minute mark, things quiet down for listeners to take a breather before a quick heavy outro.

Kicking off with slow and steady drumming is "Solar", and the pace is maintained throughout the song. Marcus is so good at singing, easily hitting those notes within the ambient instrumentation. I guess you can find a bit of Limp Bizkit-like nu metal/rock here. What helped the band reach their mark there is the production by the legendary David Bendeth. "Heartmachine" has more of that ambience. It can come out as a sweet power ballad while being a dark banger. "Intuition", despite being in the middle of the album, is its first single. Anyone who was in the 2017 Unify Gathering got to hear the band perform that song for the first time. It's packed with the band's usual f***ing heavy riffing, drumming, and clean/unclean vocal alternations. It's perhaps one of the heaviest songs by the band that any fan of the Adrian Fitipaldes era should dig. "Zero-One" has a brutal breakdown with some of the heaviest as f*** vocals I heard from Marcus. Holy sh*t, now that's my favorite here, and worth playing in live shows!

Slowing down further is "Fade", but only for a few seconds before some more speed, followed by nice singing melody. That might be worth hitting the mainstream. As the end of the album nears, "Render" has haunting ambience to fit well with Marcus' vocal anger. This is another one of the best here, and it really shows Marcus' unstoppable vocal talent. "Veridian" lets you know that there's still more of this adventure left to go beyond. Fast guitars, background synths, and more of both the clean and unclean vocals are not to be missed. "Paragon" closes things up as a tribute to Architects' late guitarist Tom Searle. Things ease up slowly for over a minute, and then F***ING H*LL, there's more of the heavy bass, chaotic screams, and melodic cleans. Alex Milovic has more audible bass played and it sound so impressive. Totally worth some re-listening!

Mesmer is quite close to reaching the perfection of most of its surrounding Northlane albums. The band stood silent about their album-released plans, and then delivered it straight to fans as a reward for their patience. These guys should really be proud of their work, especially Marcus Bridge. So exceptionally mesmerizing!

Favorites: "Citizen", "Colourwave", "Intuition", "Zero-One", "Veridian", "Paragon"

The third album from Northlane, Node is basically a continuation of the djenty metalcore sound in their earlier albums before their more recent evolution into alt-/industrial metal territory. Here you can find the experimental structures, polymetric grooves, and down-tuned riffing that make up the djenty sound first prominent in Singularity. Though this time, the more alt-metal elements draw near...

As the Australian metal scene grows with awesome metalcore bands like Parkway Drive, The Amity Affliction, and In Hearts Wake. Standing strong in the scene as well is Northlane! Their 3rd album Node introduces their current lead vocalist Marcus Bridge after Adrian Fitipaldes left the previous year.

Kickstarting this offering is "Soma" with a slow buildup into what to expect; great riffing and lyrics ("I refuse to die here"). It's easy to find out how much greatness the band still have since Singularity. The next track is single "Obelisk" which has its own video released a month before the album's release. I enjoy that track that nicely builds up throughout before a 20-second slam-down. The title track is slow yet epic, with motivational lyrics and vocals ("You could be the change"). A true anthem for world peace!

"Ohm" is where the speed starts picking up as the band members jam along. The following track "Nameless" is an ambient instrumental with most of the work being the percussion by drummer Nic Pettersen. My favorite song here is "Rot", the first single of the album and listeners' first taste of Marcus' vocals. Each listen makes it better, and it ensures the modern heavy direction the band has in this album. Any Northlane newcomers here, start with that awesome song! There's barely any time to settle down as "Leech" storms in with a breakdown after a calm intro. OK, the REAL breakdown doesn't come on until later, and it's worth listening to as well as playing live.

"Impulse" proves that Marcus can really bring new sounds to the old, and that's why he's an awesome vocalist! "So alone in a digital world..." Massive heaviness and diversity right here! That's how much I love this band, and the breakdown rules! Structures had also tackled the topic of the truth of the digital age. It can actually fit in the Digimon video games or anime! The sound would've been what would happen if Underoath didn't have their hiatus after Disambiguation and instead took on a more progressive sound before their recent albums. As this album approaches the end, we have the slow "Weightless". Smashing through your face is the heavy "Ra". And lastly, "Animate" makes a superb combo of cleans and uncleans to end the experience as perhaps the best album closer by the band.

All of this modern greatness comes in waves of timeless talent from this Sydney-based band. This is another album that can truly get modern metalheads worldwide in love with this music. Another solid recommendation!

Favorites: "Obelisk", "Node", "Rot", "Impulse", "Animate"

Although Discoveries is a solid start to Northlane's career, it's their second album Singularity that catapulted the band into fame. It's quite a step forward from Discoveries, with the production in Singularity being some of the best I've heard in modern metal. It's so perfectly clear! The growls and screams by Adrian Fitipaldes sound awesome as ever and stay unbreakable. Too bad this is the band's last album with him, though their next vocalist Marcus Bridge is awesome too.

It's quite easy for me to give this album a perfect 5 stars. It's a melodic progressive blend of beauty and heaviness. The breakdowns hit hard! The poetic lyrics fit well for this modern-age society and give listeners positive encouragement.

The ambient intro "Genesis" starts with haunting strings, followed by rising percussion, dissonant rhythm, and emotional vocals to start things on a powerful note. Keeping it up straight on is "Scarab". With its technical structure, you'll be able to stick around in attention as the band members unleash all their talent. "Windbreaker" shows the earlier heaviness still being around as the melody increases. The most brutal growls and breakdowns can found there. It's almost as if they initially wrote that song for Discoveries.

A bit of Dark Tranquillity-like melody can be heard in "Worldeater", which is one of a few singles from the album. Another single "Quantum Flux" shows the band taking on a calmer direction, while keeping the usual heaviness. The breakdown fury is in perfect place, and they're never overdone, proving how well Northlane are at the genre. "Dream Awake" is more energetic with a rapid pace, in solid delivery and balance with the ethereal atmosphere. "The Calling" reminds me of a similarly titled track by Saturnus, though instead of gothic death-doom, we have a foreshadowing of the band's later alt-metalcore, like a more progressive and djenty blend of All That Remains and Coldrain.

The aggression really levels up in "Masquerade", perhaps the strongest track with something special, guest vocals by Drew York of Stray from the Path. The catchy chorus is what makes this song a total highlight, along with lyrical fire and breakdown brutality. The slow ambient title interlude has given me a good lesson; If I worry too much about famous people like Michael Jackson, I would become disempowered by media icons. Terrence McKenna gave those who have listened to this album up to this track this advice, and it's amazing advice to follow. The instrumental itself gives me warm chills ("warm chills", sounds oxymoronic), it's so beautiful! The message is now more unbelievably relevant than ever. The final track "Aspire" unleashes the last of Adrian's vocals. Chaotic yet pretty!

I can never put down such a perfect masterpiece that is Singularity. This is a true example of ambient progressive djenty metalcore, and a must-have for modern metalheads. You won't regret this incredible journey!

Favorites: "Scarab", "Windbreaker", "Quantum Flux", "Masquerade", "Singularity"

Throughout the past year and a half (as of this review), I've made many different Revolution/Sphere discoveries, and Northlane is one of those bands. Since their 2010 EP Hollow Existence, they've been building up a strong fanbase. Their first full album Discoveries was released on 11/11/11, the day that two of the greatest computer games arrived, Skyrim and Minecraft. Djent-ish metalcore fans can chill and enjoy the music without comparing the bands to the other same tier.

OK, yes, there might be a few similarities to other bands, but they're very subtle! Architects was their most obvious influence, with Northlane taking their band name from one of Architects' songs. However, this band twists their influences into a unique masterful sound, as they explore the spectrum of modern metal.

The brief technical bass intro in "Dispossession" might catch some people off-guard, but the drums, guitars, and vocals make a perfect entrance! They kick things up to high gear without slowing down much. The band can really balance riff melody and killer breakdowns without ever wimping out. A clean ballad-ish song follows with highlight "Abrasumente", standing out with an honest clean chorus. More clean singing appears in "Comatose", building up within the eerie as sh*t atmosphere.

"Transcending Dimensions" proves that progressiveness can dark melody that's far different from other progressive bands like In the Woods... The title intermission is a nice time to chill out. It's quite epic and beautiful, starting off with serene ambient chords that soon build up into a stylistic djenty climax. A lot of the diverse sound of this band is summarized without having to use vocals, and the bass and drums gain tight insanity. "Corruption" is my favorite track of the album, and right after the intro, you'll encounter heavy verses worth headbanging to, with complex drumming. This mix of ambient and brutal has never been demonstrated so flawlessly elsewhere!

"Exposure" seems to stray off a bit, with a more average-sounding chorus. The singing could probably have taken out of the chorus as there's little point there. Anyone following the band since the beginning may know "Metamorphosis", re-recorded from the Hollow Existence EP, having some heavy songwriting. "Solace" (or "Solitude" in some editions) definitely has the djenty metalcore vibes Within the Ruins and Invent Animate would have later. All of the band's strength is unleashed once more in "I Shook Hands With Death", dominating with wicked instrumentation/vocal talent. It's quite impressive how the band can end it all in a devastating bang without being too much of an abrupt cut-off. Props to this band for that!

Northlane can perform some f***ing brutal technicality in conjunction with ethereal melody, in professional form worth playing over and over again. This band has proven themselves ahead of their peers, and the game ain't over for them. It was just getting started!

Favorites: "Dispossession", "Abrasumente", "Discoveries", "Corruption", "I Shook Hands With Death"

Dutch band Pestilence made a brilliant evolving revolution in the European death metal scene in the late 80s and early 90s. First they were thrash, then death, then tech-death... Then came top-notch original progressive death metal in Spheres, making the many elements that were in their first 3 albums possible! Patrick Maneli and co. bring their music to more imaginative realms beyond comprehension, despite disapproval from heavier fans and the band doubting their future, leading to their 15-year split. But at least they went out in a bang!

Sure the music disappointed the earlier extreme fans who prefer Testimony of the Ancients or earlier. While that album is awesome too, Spheres has a better understanding in attracting attention with its unique sound, and it would make open-minded listeners want more. It was a risky yet intriguing move for the band. Whether the consequences were good or bad for them, they've never lost their stylistic essence.

The guitar riffing style of Mekong Delta can already be found in "Mind Reflections", standing out with minimalistic atmosphere and sounding nearly as thrashy as Dead Brain Cells. This continues in "Multiple Beings". And even further into "The Level of Perception" with a bit of tech-thrash foreshadowing what would come in the new millennium. Then the heaviness halts for the spooky string aura of interlude "Aurian Eyes".

"Soul Search" is an urgent prog-death trip that would expand beyond death metal's boundaries, the way Tribulation has done in their first two albums. There's some marvelous psychedelia a bit like Pink Floyd in "Personal Energy" in more dynamic light. "Voices from Within" is another ambient instrumental.

Then we have the abstract title track. There are some more mind-blowing traces in "Changing Perspectives", containing some more impressive synth-thrash of Mekong Delta. Then there's one more interlude, "Phileas". And lastly, "Demise of Time" is a twisted labyrinth of great leads and synths that guide you through transcendence beyond space. Lots of galactic magic all around!

Spheres was the band's last attempt at changing their style into something phenomenal before their long hiatus. The album has placed this band in the progressive tech-death league along with Cynic and Atheist, thanks to their combination of space and extreme. A unique masterpiece before their disappearance from activity!

Favorites: "Mind Reflections", "The Level of Perception", "Soul Search", "Personal Energy", "Changing Perspectives", "Demise of Time"

The whole reason I keep requesting these earlier metalcore/mathcore/deathcore bands to be added in this site is to make sure I can expand my metalcore genre rediscovery with different discoveries, particularly in the very early years of those "non-melodic" genres. And, well... This one's a f***ing mess! Sure there's the noisy chaos of mathcore and metalcore that I like, but it leans towards Refused-like hardcore than what could spark up a more metallic band like Underoath. The least agonizing and only song close to a highlight here is "Charcoal Drawings / Weapon Of Choice", their best attempt at the mathcore Deadguy developed more properly, in a two-part epic. Yeah, it's much better to start with Deadguy in your mathcore journey, rather than this sh*t-fire....

Favorites (only one I even remotely like): "Charcoal Drawings / Weapon Of Choice"

With all this recent talk about Northlane, and me enjoying one of their earlier songs to bits in one of my Revolution playlists, I decided to check out their latest album Obsidian to see if I really do have a chance with this band, and YES I DO!!! They were named after a song from metalcore band Architects and once known for their djent-fueled progressive metalcore sound. While experimenting on their untouchable sound in recent albums might alienate their fanbase, for me, it fits well with my current clans!

Here we have some f***ing bangers filled with emotion and talent in their music. If Obsidian can get you get as excited as I am, d*mn right it will! I'm here to provide usual track-by-track, and while it might not do the tracks in this masterpiece justice, it's all about my reviewing journey.

"Clarity" starts optimistic-sounding, all light and gentle in the electronic without immediately starting in a bang while many other albums in a similar style would. After one and a half minutes, BOOM!! The heaviness kicks into high gear! Switching from melodic vocals and electronics to screams and technical riffs, you're buckled up for this wild ride like no other. A very strong starter track! Building through this 6-minute track, it's not until the 4-minute mark when the breakdown the more hardcore fans are hungry for strikes and gets you hooked in the remain two minutes. Every member shines with the instruments in their own ways. The drumming especially makes that song a standout! "Clockwork" is the second track but the first single, released over a year before the rest of the album. I probably love this as much as any Northlane fan who has listened to it before. Not as adventurous as the opener, but I'm highly comfortable with this breakout track. If you thought this would end the album with the "I’m running out of time" lyric, you're mistaken! It sounds so fresh and strong, and there's more to come in this album soon... "Echo Chamber" is my favorite song here and shows how big the sound can be. There's strong synth-dance bits while staying heavy and vocally diverse. I sometimes feel like I'm in an online vortex where my goals have a hard time being reached, and that's what that track relates, along with the virus lasting for a couple years. Again, that track is the f***ing best! "Carbonized" is another single, this one starting with grungy experimentation in the intro. The screams giving you a moshing urge. The moods often change. Then the chorus adds more life with Marcus Bridge's d*mn beautiful singing.

"Abomination" has different elements and interestingly covers self-reflection to fit with the monstrous sound. When you expect a metalcore breakdown, instead you get a DNB-like dance section! It's great that this journey has something to break the circuit. "Plenty" is one more single as we approach the end of the first half of the album, so the second half would have songs that originally appeared in the album and not before. The second half of that song has plenty of twists that make an interesting standout. I definitely see that as a live staple!  "Is This a Test?" is a test of 90s nostalgia. You can for sure understand when I say that this would fit well in the soundtrack for the rave scene of an action-thriller movie set in the 90s. When you listen, you can hear the palate being cleansed with fresh ideas. There's certainly never any filler, though the tempo change seems too calm for one. "Xen" twists your way back into heaviness in the beginning verses before a light verses. Yet another standout! Your heart would melt by the harmonizing music and vocals, especially when they take a detour away from breakdown territory, into a f***ing searing solo! More harmonies await in that experimental alt-metalcore track! It's another 6-minute track, but the softness is reserved for the two-minute outro. That can be considered the last track before a 5-song encore...

"Cypher" has a long intro following up from the previous track's outro. Beautiful music shows comfort in their creation. They've made an easy song that still speaks more than words. Not regular, but an enjoyable standout! "Nova" is, from start to finish, the lightest song here. It sounds so dreamy in the music and vocals, where Marcus can really shine. So get yourself and gear up for more coming... "Inamorata" is a beautiful song that's the closest we have to a modern metal love song. Oh the beautiful emotion! The title track starts by once again following the light path of the previous two tracks. But after the first minute, we start to witness a climatic epic buildup and wondering if they will ever reach their breaking point. That occurs in the "we’re too far gone" breakdown and final drum collapse. "Dark Solitaire" is the 5-minute ending track summarizing the heavy and light sides of the album. It switches back and forth from a light section to a furious breakdown, and finally ends in an interesting farewell.

The band has been plagued with lineup changes and other problems over the years, but they've never given up. Obsidian is the album they've pretty much dreamt of making, and much different from what they had 10 years prior. Well done, Northlane! You've served a masterpiece for the new modern metal age!

Favorites: "Clarity", "Clockwork", "Echo Chamber", "Plenty", "Xen", "Cypher", "Obsidian"

Here's one of the first albums to combine death metal and hardcore in the late 90s, thus creating deathcore, a genre that would evolve (or devolve) into something much different. Day of Suffering and Abnegation were two of the first bands to combine hardcore with thrashy death metal influences. At hand was a righteous mix of Earth Crisis, Slayer, Deicide, and Morbid Angel, the latter of whom is perhaps how Day of Suffering got their name, from one of that band's songs...

The Eternal Jihad has a few uncomfortable things about the album, such as the title. It's so unlike the lyrical themes the band was interested in, and me being part of Islam, I'm not sure what my family would think of this. Of course there were more controversial bands of the hardcore scene like Vegan Reich. The vegan message made by that band and Earth Crisis would carry on into Day of Suffering. It's quite strange hearing such liberal themes in hardcore, but hey, when haven't those themes occur? They were more relevant back in those days than the recent diversity I was more used to.

The opening title track begins with a sample from Malcolm X before hitting you like a truck with deathly hardcore. The Slayer/Earth Crisis-like riffs are leveled up with death metal influences. It's so amazing hearing chugging tremolo riffing with dangerous aggression. "Shades of Red" is a better highlight, with as much blasting intensity as Deicide before settling into hardcore groove. There's a chanting chorus important for live shows. "Elegy" fights against abortion.

"Engulfed In Darkness" starts with a dark intro then accelerates into hardcore chaos. The thrashy "Condemned to Fire" has evil-sounding leads. "Visualize Industrial Collapse" takes on industrialization as the lyrical theme.

"Pawn" is another deathly hardcore monster. "The Rising of the Tide" is one more highlight that's left me in awe. I can hear the metalcore that Trivium and Demon Hunter would have in their most sinister in each band's first couple albums, while mixed in with those thrashy death metal influences from before. This finale doesn't beat the first two tracks, but it's a brutal good way to end!

The music this band has made fits well for their place and time. Many underground bands would remain forgotten, yet some stand out as interesting and underrated. The Eternal Jihad is perhaps the best founding definition of early deathcore/metalcore and is worth being placed in the hands of the listener....

Favorites: "The Eternal Jihad", "Shades of Red", "Engulfed in Darkness", "The Rising of the Tide"

Even though I'm glad to join The Sphere, I still haven't listened to as much industrial metal as many of the genres in my other clans, though there might be more, thanks to the tracks I've enjoyed in the Sphere monthly playlists, such as one of the tracks in this album (sneak peek for the July playlist premiering less than a week after this review!). From the gothic-ish cyber metal sound to the artwork of blood and nudity, Deathstars' Termination Bliss can be quite strange yet awesome!

I might try their other albums later, but Termination Bliss is a perfect work of cyber metal and what got me interested in Deathstars. I'm no expert in song analysis, but I've done it hundreds of reviews before, and that's what I shall do again...

"Tongues" is a slow melodic awesome album opener to get you pumped for incoming darkness. The deep dark voice sticks with the heavy electronic rhythm. I also enjoy the chorus and the female singing before it. "Blitzkrieg" is blazing epic techno-metal fire complete with an awesome mix of voice samples, guitar distortion, and driving rhythm. Excellent single and probably the best here! "Motherzone" feels a little bothersome. I mean I love the warm chorus, but the change from techno groove to violent heaviness is abrupt. It's great, but not the right bridge. "Cyanide" is a perfect hooker! Great rhythm alongside more of those deep dark vocals. They probably work better in studio than live and, along with the bass, shine more than the guitars that are still awesome. From the synth intro onward, you'll never get bored even after hundreds of listens.

"Greatest Fight on Earth" is a weird slow heavy track. The King Diamond-like chorus is once again sung by that female vocalist, Ann Ekberg. It's an impressive waltz within the rhythm and vocals. Not the greatest of the album, but definitely in my favorites list down below. "Play God" is quite killer. The great chorus with heavy rhythm is what makes that song remarkable. Probably the best for public jogging! "Trinity Fields" is the longest of the album, though only 4 and a half minutes long. It still works as a relaxing change of pace in one of their gigs, or at home after a long day out. Different yet nicely great.

Holy sh*t, "The Last Ammunition" is another brilliant highlight. There really should've been a single for this, being the 3rd-best song of the album (behind "Cyanide" and "Blitzkrieg"), though maybe I would find better songs in the others. If there ever was a video for this song, it could be the soundtrack for the combat sequence of a modern war video game. With dramatic rhythm, synths, and vocals, this is as perfect bliss as those two other favorites. You must check them out! After that perfect storm comes the calm of "Virtue to Vice". This is probably the softest song of the album, quite close to a ballad. The guitars and vocals shine despite their softness, and you might hear more of that in their next album. "Death in Vogue" shows that, while the album is still deserving of this 5-star rating, this song is once again just plain. You can read or study to that! The title track has slower melancholy with sad emotion. You don't need to know the lyrics to get the feeling, an achievement first made by Queen in "Bohemian Rhapsody".

Well my reviews are mostly based on my own taste, but Termination Bliss is so amazing that you have to listen to believe. We'll see how much I enjoy their other albums, but for now, this is Deathstars' best work and a (inter)stellar piece of cyber metal!

Favorites: "Tongues", "Blitzkrieg", "Cyanide", "Greatest Fight on Earth", "Play God", "The Last Ammunition"

So I've been into metal for nearly a decade, including the first 5 years when I preferred power metal. However, the rest of you in this site have only known me for 3 years now in a time when metalcore was dominant in my metal liking. I definitely see more appeal now to lyrics of hate for metalcore fans to love. Rising from Connecticut, Hatebreed, has been active for nearly 3 decades, with the only two founding members still active being vocalist Jamey Jasta and bassist Chris Beattie. This band has been quite strong and successful, having released a solid 9 studio albums since 1997, including their 2002 second album Perseverance!

The artwork is as basic as the album, depicting what appears to be the band's logo with two spiky black maces, all on fire. The name "Perseverance" can be seen below. You can see it as some sort of face! Anyway, the artwork is not bad, but they could've made better effort. The logo stands out the most in the artwork. The name is also suitable for the band's motive to persevere with their sound and career.

The band prove their heavy aggressive metalcore sound in "Proven", blasting through for believers to rock on with them while the doubters are given a big fat "f*** you". This banger can get things moshing in no time and, at two and a half minutes long, the hellfire doesn't last too long. The title track keeps up what the first track had, a blast in the face and b*lls. Enhancing the metalcore approach very well is how clear the vocals sound, so you can hear the lyrical message better. Persevere against these hard times! "You're Never Alone" is for those who don't feel enough appreciation or mental health in life. This would definitely help us more now than 20 years ago, since we have a certain virus going on. You're encouraged to brush aside those issues and come to peace with what you really love. This is why metalcore and other heavier metal genres should not be knocked until tried. This band says a f***ing lot more than lame pop stars. "I Will Be Heard" motivates you to get up on your feet and stab your enemies with your middle finger. Aggressive metalcore greatness! It also appears in the Vin Diesel film xXx, which is one reason why I'm here in this review. "A Call For Blood" changes the narrative into more hate, targeting possibly the 8-year presidential tenure of Bill Clinton. Jamey's words cut sharply like swords in that angry thrasher.

"Below the Bottom" brings the lyrics back to normality while adding a twist. Sure it's about self-belief, but the story is about the enemy sinking below the bottom in the pit of lies while the hero rises out of there. F***ing rad, right?!? A shorter one and a half minute track is "We Still Fight", continuing the theme of belief and dedicated to the military who has helped the country stay safe. Short yet sharp, though slightly forgettable. "Unloved" can be considered the most hateful breakup song in existence. This might or might not be the right song to send to your partner that you're tired of, like a huge "f*** you" to that partner. Moving on, that track is not too bad, but a bit bland. "Bloodsoaked Memories" is a composition I like for the switch in gear. The drumming really drives along here. Riffing is drawn out while staying aggressive. However, the lyrics are just painful to fear, continue the power of hate but with something missing. Rolling on from the last track's riff, "Hollow Ground" opens nicely yet loudly, shouting to the masses for them all to fight back with their fists up high. I'm happy that the album's back on track after the bumpy middle. G****mn it, that's a great fight anthem!

"Final Prayer" signifies the human race being destroyed by greedy leaders fighting for infinite power. It's hard and heavy as usual, ending with killer guitar soloing by Slayer's Kerry King. The lyrical message is quite bleak, since the power would destroy us before we could have a chance to fight back. "Smash Your Enemies" is re-recorded from their hardcore demo EP Under the Knife. The great intro has some of the heaviest growling and vibe here, as the lyrics detail destroying your enemy with the strong power of the previous track, in interesting depth. "Healing to Suffer Again" would have you raising your flag in a battle to protect your mental health, which the vocalist might've been struggling in, considering the lack of the earlier perseverance. "Judgement Strikes (Unbreakable)" is quite decent for another short track, with a clear message of hate. "Remain Nameless" is the final real song, and a more complete one to once more strike down haters. The "Outro" is quick a 40-second jam hinting at what would come next...

I'm glad to enjoy this album. Even though the middle tracks are a bit dull, the ones in the start and end are highlights with clear messages. Hatebreed and Killswitch Engage were competing against each other in the reign of metalcore popularity, but both bands should be checked out by fans of the genre. Hatebreed shall please the metal breed!

Favorites: "Proven", "You're Never Alone", "I Will Be Heard", "Below the Bottom", "Hollow Ground", "Final Prayer", "Smash Your Enemies", "Remain Nameless"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Favorites (only one highlight): "Simulcast"

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

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

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

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

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

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

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

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

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

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

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

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

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

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