Monday, June 17, 2013

Week 80.5 (June 17, 2013)

Relinquished - Onward Anguishes (PR2013) - Relinquished is a progressive doom/death act with some definite potential as far as I've heard. They've got a great deal to offer to the metal world and I have a feeling that this disc is only the beginning. "Authority 4:38" takes a while to get started, but the chorus is very strong and once it hits, you won't forget it. There are three vocalists in the band, one growler, one screamer and one female vocalist - and they all work together beautifully.

"Loss Delusion 6:54" is next on the disc and that track automatically lets loose into the band's somber side, think of a proggy Katatonia with thundering death metal moments. But once again, when the clean chorus starts up; you won't be able to get it out of your head. This one hit me instantly. Even from the first time I heard this record from the stream, this chorus alone came out at me.

"Logical Step 3:50" brings a bit of warmness to the album, with nice leads that remind me a bit of Tool and some core influence, but the vocals don't go with the core and that works for me. There's no question that the axeman here has talent and the drummer's just as good to keep up with him. A clean vocal tries to pierce me, but it fails and instead leaves me only remembering the lead riffs.

"To Whom I Could Relate 7:29" might remind you a little of Katatonia or Staind at their very lightest, however I am sure that there are many other bands that I'm just too tired to think of right now, who you can attach names to for this track. But what I like, is that the harsh vocals come up in portions that make this track a little more than just a ballad. These guys are really trying to bridge the gap between Swallow The Sun and current era Katatonia here and it's working. The guitar solo also helps.

"No Virtue Unatoned 4:42" makes me think of Opeth from the very first note. That's a good sign, especially when the genre tag for the band is labeled "progressive." The song does erupt into a fury however, bringing some well needed heaviness atop some cleaner portions and closing it off with a great solo. Not amazing, but certainly a fun track to listen to. It just doesn't catch me.

"Surrender & Distance 6:52" Comes in with strong melodies and thick gravel on the vocals. It's very much the "melodic doom/death" track of the album and should remind you very much of Swallow The Sun, Insomnium, Belakor and several other bands of that ilk. The second part of the song is a little lighter, but then the heaviness comes back until the end. Certainly a strong track, it's the sort of thing that most people will want to hear from this band.

"Another Lightsource Going Out 3:53" is a bit of an oddity on the album as it is a soft jazzy piece that eventually gets a bit heavier, yet retains the same amount of saxophone influence. You might think that's a flute there, but I know better - it certainly sounds like a light saxophone. Thanks, Ulver! As for the track, light saxophone pieces thrown on the album always do the trick and bring that sense of freedom that I've always championed.

"A World Of Constant Suffer 5:03" starts out with the death/doom sense, but slows down where it welcomes soft whispers and clean leads. Things get heavy for a while then get a little funky as they straighten up for one bout of heavy before the solo. Yes. This is how you write a song, folks.

"Beyond Anguishes 7:21" is the slow, yet shredding closer to the album, which is always a welcome thing. Again, the band's axeman is highly skilled and doesn't mind showing off his licks, despite all the loops and changes in the music. Female harmonizing comes in during the whispers, which certainly work well as this is all some large sort of storyline which seems to be something about the loss of a loved one, a significant other perhaps. It's quite dreadful of a topic, but works well for this genre of melodic, progressive doom/death metal. The album ends out with some amazing leads and there's no doubt about it that these guys are certainly talented.

Relinquished is a band that's most certainly worth your attention. Fans of doom metal and somber alt. rock as well as fans of despairing doom/death will find something here, as well as fans of progressive death metal as all these genres seemed to have gelled into one large mass that comes off a bit rough with this first disc, but will be further refined on later efforts. I just hope that enough buzz gets generated about these guys that they'll be able to continue.

If you like the music, support it!

Highlights: Loss Delusion, To Whom I Could Relate, Surrender & Distance, Another Lightsource Going Out, A World Of Constant Suffer, Beyond Anguishes (9 Tracks, 50:00)



Kylesa - Ultraviolet (PR2013) - I must admit, after hearing Kylesa's last album Spiral Shadows, I hardly expected such a transformation in the form of Ultraviolet. First of all, we can't really call it a metal album. Even though there are still some hints of sludge on the disc in the male hardcore vocal influenced opener "Exhale 3:02" things do get much softer. "Unspoken 4:47" starts this trend of the band incorporating strong elements of darkwave music into their sound which I enjoyed, but 98% of people who wanted to hear sludge will be like "What the fuck?" and I understand how they might feel there. The sludge still remains but I digress that it sounds like grunge now more than sludge. "Grounded 3:13" however does manage to return us to the metal while injecting a fierce dose of 70's into the mix which reminds me of plain old classic doom with some trippy influence. "We're Taking This 2:41" is another one of these where they've chosen to let the male vocalist scream, and boy does he like his Glassjaw. No thanks, I'll pass on this one.

"Long Gone 3:27" brings back the darkwave, but adds a nice injection of dirty rock into the mix which is the thing that great singles are made from. Things get really hypnotic in the latter portion of the track before it closes with the chorus. "What Does It Take 2:04" is another one that I'd just be better off skipping due to it's same indie/punk influence. Just not my kind of music. "Steady Breakdown 4:48" is about the same thing as "Long Gone" just with different riff melodies and trippy effects. "Low Tide 3:36" comes in next, bringing an indie rock influence into the music. Note that I didn't say metal. This definitely sounds like something you'd expect from Muse, trippy effects included. It's decent, I suppose. "Vulture's Landing 3:15" is like light thrash mixed with female fronted indie pop. There are also some trippy solos/effects and such. "Quicksand 2:35" takes us back to the darkwave, but with more kick and those damn hardcore vocals in the back. "Drifting 5:26" is the band's biggest darkwave experiment, at parts it sounds like Autumn's Grey Solace or Black Tape For A Blue Girl.

You know, I have no idea what the planning was for this album. It's got indie rock, darkwave, doom, hints of grunge and sludge still mixed in. I will say that the female vocals are mesmerizing, and the guitar solos/trippy effects definitely add a hypnotic vibe to the album. But there are some songs on the disc that I just don't care for, not one bit in the least; and hope to never hear anything of their ilk again. Yes, this album is going to drop many metal fans; but it's something the band felt they needed to do this time around and perhaps they'll pick all those fans back up with their next release. It's definitely one of the most unexpected releases from a band in 2013 and sounds like more of a side project than Kylesa. This sort of thing really shouldn't have been draped under the Kylesa moniker.

Highlights: Unspoken, Grounded, Long Gone, Drifting (11 Tracks, 38:00)



Necroccultus - Solemnelohim, Bringer Of Death (PR2013) - On this 12' Necroccultus showcase some pretty grueling stuff that sounds just as grimy and relentless as you'd expect. The spirit of classic death metal breathes through this release, despite some modern nuances and it should resonate with those metalheads who remember when death metal was actually still about death, death and only death; hence why it was fucking called death metal. Of course, a little bit of Lovecraft also found his way into the mix, but with deep and pummeling riffs as the kind that I'm hearing here, it's no surprise. These guys remind of bands like Hooded Menace, but just seem so much more threatening. It definitely broods when it's not bashing and offers a few short solos amidst the onslaught. If you want to beaten over the head with a drum kit, then Necroccultus have that. But they've so much more in atmosphere and just a sense of overwhelming darkness that seems worthy of the name. The title of this album is Solemnohim, Bringer Of Death; and if we could consider these tracks to be his anthem, then he's certainly not anyone that I would want to fuck with. There's even a cyber-demon sort of vocal on "The Equinox Of The Unburied Ones 4:31" which certainly made me smile with glee. If you're looking for something that reeks of fucking evil and would put a smile on the disfigured and terrible visages (could we even call them faces?) of the Great Old Ones, then I'm certain that you'll find it here.

Not terribly long, but terribly frightening and terribly brutal. More than likely the kind of death metal that you've been terribly looking for.

(4 Tracks, 19:00)



Cadaveric Fumes - Macabre Exaltation (PR2013) - This 12' release shows Cadaveric Fumes doing what they seem to know best - occult laden death metal with a flair for the old school and an emphasis on twisted and macabre atmospheres. "Macabre Exaltation 1:26" which is here an intro, is the kind of thing that you can trap someone in a basement and play in the pitch black darkness, to frighten them with. But the rest of the album does that too, with "Vault Of The Haunted Mist 4:46" which showcases their raw production, but actually sounds foggy, like the band is playing in some hidden cave where a temple to the great Kuloth-Ka resides and smoke vomits forth from a deep chasm below where the beast god may yet reside. "Gravecrusher 2:54" however doesn't seem quite as strong as the last track, despite a couple of good riffs here and there. "Unspeakable Visions 6:20" borrows a bit from Nile, but explodes into the same sort of Morbid Angel/Entombed/Cannibal Corpse territory that the band encompasses, but does it just a hell of a lot more ghastly. There's also a worthy solo. The disc ends out with some amp fuzz and then "Knowledge Of The Ancient Ones 5:02" which sounds like it could be a dread march and has some definite black metal influence, which does creep up on this album from time to time. One thinks that perhaps this bastard mix of death and black that they have since created and mixed with the spirit of the old school might be far more ominous and evil than the blackest of black metal.

Cadaverous fumes embody the spirit of terror and fury from unknown and otherworldly forces. If you're looking for the dark, evil and heavy shit; then this is where you'll find it. Piss off your parents or your neighbors with this one!

Highlights: Macabre Exaltation, Unspeakable Visions, Knowledge Of The Ancient Ones (5 Tracks, 20:00)



Burialkult - A Call From Beyond The Grave (PR2013) - On this CD & LP, Burialkult lay down the fire and fury of black metal at it's most vile. There's no doubt about it, each and every song on this monster thrashes like the heaviest shit you've heard and doesn't bullshit about it. The drums sound like they're right in your eardrums, and the frontman might as well be screaming these litanies to Satan right into your brain. "By Satan Possessed 4:29" blasts with no remorse, no care and no concern; while "Blasphemous Infuneral 3:08" adds the thunder by really bringing out the thrash. "Throne Of Disease 3:45" goes completely fucking old school. You've heard this before, but you can't tell me that you don't like it. "Eternal Satan 4:22" sounds more garage-band, but that works for me, because the effect is thick, raw and callous. These guys have a total punk attitude when it comes to black metal and make this a total tribute to all things fucking kvlt. Then you've got "Filth 4:50" which sounds just as grimy as you'd expect it to.

"A Call From Beyond The Grave 4:18" really hits on the goddamned thrash again, really making a mark for me now. Fuck, these guys are great! "I Am Torment 3:34" resumes the bashing and "Spell of Black Vomit 3:01" has that black punk feel which makes me start banging my head instantly.

When we get to the band's EP, I almost wish it wasn't included. "Provocations 2:58" is a dark drone intro that opens up "Necrotormentor 2:49" which is a good little thrasher, but just doesn't sound as good as the actual LP. "Desecrate The Temple 2:52" is a little better, but to be honest - I've already heard better material on the LP.

Burialkult is a black metal act who's out to show the world what black metal is all about. Thrash, punk and volatility. There's riff melodies here, but nothing sweet and pretty. Not one bit of this disc is "nice" or "beautiful." It's all fucking ugly, ugly as fucking hell. This is the sound of unbridled rage and I loved every fucking last minute of it. The LP that is. The EP/Demo thing included is just a bonus and I could take or leave it. But to tell you the truth, these guys went into the studio and recorded a performance that sounds as organic as possible, just like it would sound as if you were watching them live. The guitars scream solos, the drums blaze with venom and fury and the vocals are absolutely hellish. This is the way black metal was supposed to sound and even bands like Impiety can't touch this, despite how fucking good some of their releases are.

Let me tell you something. I checked out the new Clandestine Blaze album recently. I liked the last one and figured it would be good too. But then I listened to this and heard just how fucking bland that new Clandestine Blaze disc sounded in comparison. It sounded soulless, to tell you the truth; and as ironic as it is, this shit has soul. Seriously. These guys fucking believe what they're doing. It reminds me of the work I did in Unholy Sacrifice when we gave little fucks and sounded as raw as hell, but continued to play anyway because we fucking enjoyed it. That's the same vibe that I get with these guys. When you listen to Burialkult, you're getting 100% RAW AS FUCK BLACK METAL that isn't concerned about keyboards, clean vocals or beautiful harmonies. This stuff is bathed in vomit and covered in the blood of human sacrifice... And that's how black metal should sound.

Highlights: By Satan Possessed, Blasphemous Infuneral, Throne Of Disease, Eternal Satan, Filth, A Call From Beyond The Grave, I Am Torment, Spell Of Black Vomit (12 Tracks, 41:00)



Backyard Mortuary - Lure Of The Occult (PR2013) - On this 12' LP, Backyard Mortuary completely annihilate six tracks while partially causing minor damage to "Beyond The Grave 5:48" which didn't do much for me. It's the opener, but it takes a while to get started and the drone doesn't do so well as an introduction to an album that for the most part, ravages without sign of warning. "Mutation 7:18" hits harder (but I question their use of drums at the beginning of that one) and finally launches into a gutter-mouthed death metal romp, where it begins to brood and exude a solo. "Diseased 4:14" starts out this way that the album should have - quick and to the point. I'll admit that it does brood for a bit, but then kicks up the speed and gets back to bashing right before it ends. "Deprivation 5:08" begins with the brood, and this is great; because it works well here and the vocals accentuate the feeling of fucking dread. There's nary a hint of speed on this track, as it mostly dwells in the deepest pits of hopelessness and carries a catchy chorus along with it. "Macabre Butchery 5:53" starts off quick, but goes into the groove where it takes a slight break to showcase the frontman's vocal fury. He's got some amazing fucking pipes for this material, it comes off as sadistic as one could possibly expect. There's even a solo for a bit, even though it got muffled. "Lure Of The Occult 5:05" is next and it shows me that there are some things done on the kit that I just don't fucking care for. Things pick up with riffs that resemble an 80's horror movie soundtrack and it works well until the vocals pick up and change the tempo of the song. The solo comes back in towards the end of the track and tries again, but it's still tough to hear him. "Demon's Blood 8:12" ends the disc out in the same fashion; with a chant of "drink, drink, drink from the chalice of demon's blood." which I'm wondering what might actually happen to a person if they did that. Intriguing...

Lure Of The Occult is good, but it's not great. Some will just find it decent. But there's always the possibility for stronger releases later on, right?

Highlights: Mutation, Diseased, Deprivation, Macabre Butchery, Lure Of The Occult, Demon's Blood (8 Tracks, 43:00)



Arceye - At First Light (PR2013) - Out of all of the promo's I've received, I must say that the press release for Arceye is one of the largest I've ever skimmed through. It contained just about everything I could want to know about the band, who they played with, where they've been featured and several snippets of other interviews which seem to have people up in arms about these guys. But to me, they're not really that innovative. However, they do put on one hell of a great show and showcase that they can play their instruments well. Acreye is thrash influenced technical melodic death metal with bits of groove like "The Storm 3:54" which contains the Pantera chorus injection but gets bogged down by the completely unnecessary "The Longest Drive 0:57" which is a waste of studio time to hear a guy play acoustic guitar for less than a minute. Why do bands do these kinds of things?

"At First Light 6:27" and "I Silently Wait 5:23" don't offer much more than you've already heard from these guys - the same thrash/prog/technical sort of metal that carries plenty of groove riffs and some guitar theatrics sprinkled throughout. Fans of Lamb Of God, Sylosis and Arsis will eat it up.

However, I was quite elated to find "Sirius 6:37" on the album and will note that this is the break from the band's normal "British Redneck Metal" perspective. "Sirius" is a beautiful piece completely devoid of thrash elements and carries with it a hint of classical and some rather soothing passages that show Arceye is capable of much more than the current flavor of the scene. "Brother Disarmed 5:38" and "Prey Forgiveness 3:53" continue the band's signature assault, but finally let up when the same "Sirius" style riff melodies come back for "Damage Done 6:53." The longest song on the album, this one really works for me by mixing the heavy style of the band with the unexpected clean vocals. It works better when the harsh vocals come in later on the track, but then that makes it sound like doom/death a bit. There's also a keyboard used here, but I don't think it works - and the solo is absolutely fantastic. These guys definitely have skill, but they play too much of the same old death/core/thrash/groove/brutal style that most bands are playing today which can sound a beat meat headed at best. But they do a damned good job of that sound and will certainly make you bang your fucking head which you'll appreciate. It is metal after all, and these guys certainly seem to deliver on that promise of extremity. "Dusk 1:32" ends out the disc with a nice folk acoustic which some people will shake their heads and wonder about and others will just skip.

It's definitely a sign of evolution for the band, showing that they can not only beat you over the damned head with their instruments; but that they can also serenade you with a gaggle of awesome melodies. Arceye certainly has just as much of a chance as any other big name act of their ilk, (Sylosis, Arsis, Gojira, Lamb of God) so there's no reason why they couldn't find a record label for this one. People will play the heck out of it, it's the kind of thing that surely sells these days.

Highlights: The Storm, Sirius, Damage Done (10 Tracks, 47:00)



Ashes Of Tyranny - Shrine (Band Request 2013) - Judging by the album cover, these guys don't have a heck of a lot of money; but they've sure got the kind of passion I look for in a band. There's no reason why tracks like "Demolition Man 3:32" shouldn't be recorded in a huge million dollar studio, because the frontman's vocals showcase that he's got the kind of tone that sounds well on the ears. As for the rest of the band, we could consider them a sort of melodic hard rock/thrash act with some elements of modern metal. "Shrine 3:42" thrashes a bit but slows down to allow the vocals to come in as a solo briefly lights up the track. "The Rag Man 4:15" works well enough, it contains some strong melodies and a powerful chorus ala "Demolition Man." The ending melodies are particularly potent. "Start The Flood 3:46" is a bit more ballady, but still contains a few heavy riffs in addition to the first use of harsh vocals on the album.

"Satisfy 7:04" bellows forth with melody and structure, doing much more than a song of it's type would offer from another band of this type. A slight bit of acoustic flair follows near the end of the track as harsh vocals in the vein of deathcore appear again. I will note that I can hear a great deal of Killswitch Engage influence in the band's sound as far as these melodies are concerned, and since I've always loved Killswitch for their melodies; it seems to work the same for me here. "For You 5:27" is also quite powerful, featuring sullen riffs that lighten with a strong chorus. The latter part of the track returns the sorrow. "Suffer 6:44" starts out with a vocal approach that might suit pop music, but is for the most part another sad song with some strong melodies that don't sound like they came from KSE, but more so from classic heavy metal and there's nothing wrong with that. There should never BE anything wrong with that. The disc ends with "Deathbringer 6:01" which further continues the sorrow albeit some progressive riffs and interesting drumming. The chorus here is exceptionally powerful, it's definitely one worthy of a bigger production value.

Ashes Of Tyranny certainly have promise. As a matter of fact, I hope that someone picks them up, so that they can re-record some of these songs with better equipment and higher production value. The passion of this effort combined with the state of the art technology that we have now could see this album really thunder and blow away damn near most of the competition. They could even become a household name. It's not too heavy on the metalcore influence and not too much on the rock, but has just the right amount of classic metal melodies and should certainly raise someone's eyebrow. The whole time I was listening to this, I was thinking "how great would this song sound on a larger scale?"

Granted, it's not the heaviest thing you'll ever hear and most of these tracks are essentially ballads. They did do the right thing with putting "Demolition Man" at the top of the album, which I could loop for hours. So there's definitely some thought and strength behind this music. Their singer is as well suited for pop as he is metal though and that should not sit well with some of you. But it's worth checking out if you're interested.

Highlights: Demolition Man, For You, Deathbringer (8 Tracks, 40:00)



Drug Honkey - Ghost In The Fire (Band Request 2013) - Drug Honkey is a sludge band like no other. Sure "Order Of The Solar Temple 3:52" might sound like just another sludge track, but that's until you notice that you're being taken on a trip, and it's not a good one... Take "Ghost In The Fire 5:23" for instance. This track sounds like what music might sound like if you were on a heavy dose of Heroin of Methamphetamine. Holy shit. I've never heard anything that's sounded this fucked up in my entire life. I could literally not believe what was coming through my earbuds when I was listening to this one. And from there, your trip begins. There is nothing else to say...

I'm serious. There's nothing else to say. Once you've had the trip, you don't come back the same.

Guitars influence that trip, but so many other things happen that you just don't see coming for miles. "Dead Days (Heroin III 6:29)" is where vocals appear once again, but I just really don't know if what I'm listening to is a song, or if I'm hallucinating. "Out Of My Mind 5:44" brings back the sludge vocal elements and the harsh sense of the band, but it's still part of the trip. Is it the band's frontman, or your own consciousness that's screaming for release? But there is no release, for you have to finish the entire trip. "Twitcher 5:37" lightens you up a little bit, and then finally brings you back into music. There's still hints of the trip here, but it's all kind of weird and than it just goes into nothingness, like a fog... Then you think to yourself, "Did I even listen to this album at all?" and you go back to the first unassuming sludge track to find that you're about to take the trip all over again...

Highlights: The trip: Ghost In The Fire, Weight Of The World, This Time I Won't Hesitate, In Black Robe, Dead Days, Five Years Up, Out Of My Mind, Twitcher (10 Tracks, 50:00)



Il Da Morte - Il Da Morte (Band Request 2013) - Southern death/thrashers Il Da Morte left some messages on The Grim Tower's FB page requesting that I check them out, so I finally got a hold of one of the band members and told him to go ahead and send me some tracks and I'll give it a go. Well, he just that and here's what I've got to say about these four offerings:

First off, the band hasn't made a proper EP yet, so we'll consider this a demo in all respects. Which is good, because I hope with this review; I can give them a few pointers in how it sounds. "Narcotic Rage 4:56" reminds me of death metal era Testament and it's got some Pantera groove complete with light gravel on the vocals. "This Mortal Coil 3:42" definitely thrashes along just as well, it's quite solid but doesn't offer me much more. "Kill. Fuck. Hate 5:20" is where the band begins to experiment a little more and change the structure up just in time. it has a slight feel of progressive metal, albeit slightly. Don't take that to mean something that it doesn't. "Skin Puppet 3:11" ends the disc out on a weak note, not doing much for me once again.

Il Da Morte has promise, but what I think needs to change is the mixing. The drums just don't bash enough. I really want to feel the drums in the mix, and they feel like they're thrown out in the back somewhere. The vocals need to be tuned down just a bit (they're too much in the front, but if the drums were louder this point would be moot) and it sounds too clean. The sound needs to be just a bit rawer and more dirty. It's thrash, not classical music. But what these guys are doing here is promising, and with these things in mind; I think they can achieve some notoriety. Well, some of the songs need a bit more meat on their bones, but that comes with time and more experience. These guys just together recently, so I'm not going to expect the world. It's a great effort for what it is. I'm not sure if this is the kind of review that these guys wanted, but if I don't tell the truth, then there's no use in doing this kind of work at all.

(4 Tracks, 17:00)



Scream Machine - Rise Of Machines (FREE EP 2013) - In daily life, the composer of this work fulfills the same day to day responsibilities of any normal everyday housewife - cooking, cleaning, and taking care of the children along with her husband who also shares in those duties. But what separates her from any other normal housewife; is that she transforms into her alter ego, SinDelle De Morte and continues to build on her already massive body of work in the electronic powerhouse known as Scream Machine. This is the project's second EP for the year and it is for the most part a teaser for the forthcoming LP.

While the last EP seemed to deal more with matters of the heart, this new album returns us to the conspiracy laden material of the project's previous focus. Five tracks are featured here with high quality production and a much better series of programs which makes the album seem professional. "Rise Of Machines (Ft. Resist Concept)" starts out the disc with promising electronics and some guitar influence as SinDelle shouts "They're Coming! They're Coming! Rise Of Machines!" It's a very solid track, definitely showing how well the project has come along since 2010. "Enemy Of The State 3:10" is next, which certainly seems to work for the most part, the electronics and SinDelle's signature approach seem genuine, almost like the narration of a twisted fairytale and ends with a chorus that needs the backup vocals to come up just a bit more in the mix. I also kind of laughed when the "Yankee Doodle" parts of the lyrics came up. I see what she was trying to do there, but it didn't come off correctly and may sound unintentionally comical. I think they should've been junked, but the "Ring Around The Rosie" portion does work well with the "All Fall Down" nature of the chorus (again, which I wish was louder in the mix and I've no idea why it was put in the back so low - it would have had more effect in the forefront.)

"Endgame 4:25" reminds me of a Lucia backed KMFDM track definitely, except I think there's something missing in the music. It just doesn't thump like it should and I think the chorus is a bit repetitive. The first time the chorus is utilized, it works well with two chorus lines, but the music seems to be made for 2 refrains, which would be monotonous, so the second refrain is based around "This is the Endgame x6" which only comes to fruition near the very end of the refrain, during the scream. Again, I keep thinking of KMFDM when I hear this one, but something is off.

"The War Machine 4:42" has a great start up, but I don't like the vocal filter she's using on her voice for this one. The second part of the song does work much better however. It still sounds like a cast-off though. The album's last track is a Suicide Commando remix of "Evacuate 5:45" and it's a decent way to top off the disc.

Rise Of Machines is free, but I don't think it really offers that much and seems to be built from tracks that didn't make the cut for the LP. It feels like some of these tracks are out of focus, perhaps SinDelle has been hankered down with other things as of late and hasn't been able to give the project the attention it deserves. However, this is the heavier side of Scream Machine and for those who didn't like Moon In Libra, (But how could you not?) this one should suffice. I'm hoping that the new album shadows both Moon and Machines, but I'll just have to wait and see. Again, Rise Of Machines is a teaser. So just take it as that and be ready to expect much more from the forthcoming disc.
(5 Tracks, 21:00)


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