Precipitation - The Power Of... (2016)

The debut from this uncanny German melodic death/metalcore act definitely surprised me. But that's because Precipitation simply don't follow the rules. It's not always melodic death metal, it's not always core and it's not always metal, period. As a matter of fact, the record begins with blues and doesn't shy away from that. The Power Of... is simply a mixture of different styles that all culminate together to make a pretty interesting experience. It goes without saying that all of these guys are new blood, even though the band have been together since 2013. Sometimes it takes awhile to craft a record and this one is definitely the result of fine craftsmanship beyond anything that I would have ever expected. I asked for quite a bit of physical submissions to review over the past week and don't even remember this being one of them. That wasn't a problem though, as it actually turned out to be my favorite of the three.

If you listen to “Unavoidable” for example, it's basically crunchy melodic rock with some proggy touches, yet fronted with a hefty growl that you might not expect for the genre. There's also a clean vocal moment, which isn't the only one to appear and to be honest – they get better. There are some very strong clean vocal moments on the disc, which I'll mention later on in this review. Precipitation also take on a seven-minute monster called “Dazzled” which is pretty unexpected for a record like this, even though it is a re-recorded cut from their 2014 demo. You can hear as much classic melodeath as you can hear it retooled through the American incarnations of the genre. Yet as I stated in the genre description, you are getting some core moments as well as some breakdowns and whatnot. Though you should expect that, as these guys don't really play by the rules and in some places can come off with an unexpected amount of intricacy. The sound veers into almost progressive metal at times, though can also feature the kind of bluesy-solos that you might expect on a Zakk Wylde album (but are nowhere near as good as Zakk himself, of course.) One of my personal favorite cuts comes right after, called “Cosmic.” The band also tries very hard for some sort of space-faring sound as well which features a very strong clean vocal chorus as well as what almost looks to be a Devin Townsend inspired take on metalcore. Keep in mind, this song is a little over six minutes long and comes pretty early on by which point the song lengths start to normalize. I don't know why they decided to put some of their longest and most-textured tracks at the beginning of the record. This one would have made a great centerpiece and “Dazzled” would have done well to replace album clunker “Insane.”

As we move into the album, we start to notice even more progressive leanings of which I'm quite a fan – I would just have never expected it. “Alone” even tries for a slightly gloomier approach, but nothing like album closer “Last Breath” which is kind of rough to listen to. “Hideout” pounds out hard rock with hefty growls, while “Philosopher's Stoned” sounds like progressive death with a little bit of hard rock influence to it as well. I'd definitely consider it one of the disc's best tracks, as well as several others here. Once again, these guys just popped out of nowhere and impressed me beyond what I would have expected from the band. You can't even tell what kind of genre they are, or music they might play by looking at the album. If you look at the below image and think that you're getting “space black metal” than you've already flunked. Though I've honestly heard enough “space black metal” in my life and I'm quite pleased with the kind of band that really doesn't show boundaries. These guys could have thrown it out to the mainstream years ago, like several other German acts I've reviewed for larger labels; but the fact that they didn't cut out the extremities or textures from this record makes it something of a diamond in the rough.

The album's last cut is “Last Breath” which as I explained, was kind of tough to listen to. It's a serious song about death and one's final thoughts before they die, which can almost be a gut-wrenching experience. It is most definitely a funeral doom inspired moment, even though some of the melodies might be a little more upbeat than what we'd expect on a funeral doom record. It still might come off a bit poppier than some might be used to but it certainly isn't the kind of track that you'd expect to hear on an album like this one. At the end of the day, I really hope that we'll hear more from Precipitation in the future and there might REALLY be something here. This is the sound of a band that has loads of musical potential, but they also have the potential to sell out and make millions or the potential to be a relatively strong force in the underground. It simply depends on what these guys want to do and I'll support them either way. Even if the next record isn't to my liking, I certainly won't forget this unexpected German metal treasure.

(10 Tracks, 51:00)

9/10

The Workhorse III - Closer To Relevance (2016)

Hailing from Philadelphia, this power trio combine elements of punk, classic rock, proto-thrash and even acoustic soft rock to make a very different kind of release with quite a degree of variety. This is actually the band's third recording, but it is one of ten releases on their Bandcamp page. Obviously, I was a little surprised when I was sent something like this, as I'm more of a metal guy and this is more punk-influenced than I'm used to, but it's really not bad and actually kind of catchy, which I like. Some of the tracks come off well as far as the choruses go, but the lyrics can be a bit off-key and that just seems to be part of the whole punk atmosphere.

I will say that guitarists/vocalists Lisa Christ Superstar and Steve McCarthy definitely bring the noise, as these compositions lremind me heavily of acts like Motorhead (“Soulcrusher” is a very good example) and Joan Jett and The Blackhearts. Sometimes these tunes get a bit more funk and blues-laden, but there's a sort of rebellious edge to Superstar that really brings out numbers like “What's The Point”, “Life Of Crime” and opener “War Torn City” and shows a no-nonsense approach to the album.

The Workhorse III really play whatever kind of fucking rock music that they want, which equals out to a record that doesn't get boring fast. What's more, is that there are actually two vocalists fronting this band. McCarthy sings on a few cuts like the aformentioned “Soul Crusher” and “Find My Mind” while Superstar handles most of the others, including the album's unexpectedly acoustic rock closer “I Can't Forget” who I believe is about the loss of former guitarist/vocalist “Foxy” whom the entire disc is dedicated to. As for what happened to her, I'm not really sure because the pictures here in the digipack show that she was still very young, but I can only assume that it was a horribly unexpected tragedy. The pictures seem to show that she went out doing what she loved, which was to rock and surely there can be no greater privilege in life that that.

For some, the vocal performances here might not be as on-par as something you'd see on an American vaudeville program, but there's a necessary rawness that I think truly makes the band stand out. There are those acts that go full-on mainstream and autotune their vocals to make everything sound perfect and then there are those acts that give it to you real and raw. These guys have played a lot of shows, which is kind of what you get here on the record. It sounds like a live performance in some places. But they're not a pop band, they're a rock, punk, blues and kinda thrash and whatever else kind of band. You don't get that often in this industry, which is why it's not even in the industry. These guys seem to do everything independently, but the digipack release that I have here shows a very professional quality record with awesome artwork. I wasn't sure what to expect looking at the artwork and was even more surprised with the disc and type oif band I was getting when I opened it up.

The Workhorse III are definitely more punk than I'm used to, but I can't shy away an act that has gone above and beyond to produce so many different types of music on one disc. Name me three pop artists that have done the same. That's the difference between the underground and the industry. Maybe there's less money, but there's more integrity to be had. You'll be able to pick up a copy of Closer To Relevance when it drops on December 9th.

(12 Tracks, 33:00)

7/10

Buzzard Canyon - Hellfire & Whiskey (2016)

Rolling in like a mix of doom, blues and rock n' roll, we have the warm and fuzzy sound of Connecticut's Buzzard Canyon. The quintet seems to offer a slew of catchy choruses, but there's also a great deal of thickness insofar as the compositions are concerned. “Louder Than God” actually allows for quite a bit of atmosphere, showing that the band can achieve a bit more than the bits of blues rock that you're getting for the majority of the album. Vocals on the record are actually doled out between a strong female frontwoman and a admittedly tough to hear male backing vocalist. Sometimes he takes over the vocal duties himself, especially during one section of the disc where he attempts a little bit of Danzig. If you'll listen closely, you'll hear some harsh vocal elements in the back as well. This kind of adds a bit more bite to the disc, but again – it's tough to hear. The frontwoman sometimes utilizes the same harsh vocal elements, which you can of course hear a bit better in the mix. Often these two duet, but you'd never know it because the male vocalist's mic is so low in the mix for a reason that escapes me. Also, the band is a little lower in the mix than it should be. I'm hearing my bluesy doomy thumps, but the vocals are just too clearly heard over them, which kind of kills the atmosphere that they were going for. It sounds like they were recorded in another room apart from the music (which is sometimes the case) but Buzzard Canyon like any good doomy bluesy rocky act, is more of a live band. You want the kind of feeling where maybe the lyrics aren't so audible because the thick thunder of bass and drums work to drown them out sometimes. When you see these guys live, you're going to experience just that. They currently only have one live show planned right now for December 3rd in their hometown, but maybe next year they'll really be able to take this show on the road. 

Again, this is a relatively stout and overly groovy little album, but it's definitely going to stand out much better on the stage along with some Sabbath and Manilla Road covers, perhaps. Buzzard Canyon aren't bad at all and this is a pretty good debut from my observation. It obviously has some rough edges, but that will be ironed out when these guys come back to the studio for the next one. Hellfire & Whiskey definitely contains some pretty impressive moments as far as some of the leads and solos are concerned, but there's not enough of them to really stand out right now. Again, this is literally the Connecticut act's first major musical output and I'm sure that they'll only get better with time. I do like that some of the harsh vocal moments are quite out there in the open, really pumping in some unexpected moments of groove and animosity where I honestly would not have expected it. Definitely give them a listen, but it's definitely going to work better onstage.

(8 Tracks, 35:00)

6/10

Chronic Hangover - Neo Inferno Italiano (2016)

Chronic Hangover are an Italian act that seem to mix what I'd consider a bit of rock, thrash, and other modernisms into the mix – one I particularly do not care for. But it's not the mix in general where the problem lies, it appears to be in the frontman's approach to screaming. Or I should say, his constant screaming. I also found it quite ironic that his name is Jacopo, who is also the name of the character in the visual novel The House In Fata Morgana that I always hated, even during the redemption stage. Odd remembrances aside, I'll agree that these gentlemen do pack quite a punch with their oblong approach to rock music which even reminds me of an act like The Murderdolls. There's definitely some air of a punk rock vibe going on here, but with more of a thrash edge and some surprisingly rocking solos courtesy of Mattia. In a way, it's more of a punk rock/thrash, except when it's not. Some unexpected blues rolls into “Sociopatia” and equals out to a punky blues, but still retains a hard-edge. Even though I don't like Jacopo's vocal approach at first, I feel that it does go with the act and after awhile, perhaps I could enjoy it. During this second listen, I'm finding that it isn't necessarily unlistenable and Mattia handles the guitar well-enough to keep my attention in spite of the vocals. The band almost feels a bit like grunge rock, but they don't really seem to play too often by the rules and it does make for a performance that shouldn't grate on one's ears. A track like “Regreludio” even features some non-screamy bits from the band's howling frontman, which is a welcomed paced after so much of his voice in my ears. At least he's got spirit though, which is going to count in spades when these guys take the show on the road.

Getting back to the record, we also get a bit of psychedelic doom (or that's what it seems to me at least) in “Alamut 2112” which seems to continue into an untitled instrumental piece towards the end. If I could sum the whole thing up, I would basically consider Chronic Hangover to be the kind of band who mix in rock with a little bit of grunge, punk, doom, blues and whatever else they feel is necessary. They're the kind of act that definitely have mainstream potential, but I just can't quite get over the vocal edge. Even so, there's enough intrigue within Mattia's guitar compositions, Fabrizio's thick bass chugs and Charlo's proficient drumming to make this an act worth checking out. Yes, you heard me right – even though I'm not entirely crazy about some of the lengthy vocal howls utilized here on the piece, I wouldn't shy this one away from rock fans due to the sheer amount of effort put into it. It comes in at forty-three minutes of playing time, which tends to stretch out a bit further when you listen to it, for better or for worse (depending entirely on the listener.) Go listen to a few tracks on their ReverbNation page and give it a listen for yourself to see if you dig it. There are about three tracks from this release here, though I am not sure if they were mastered the same way. Even so, it should give you just enough to chew on before you decide to take the plunge and pick up the record when it comes out later this year.

(10 Tracks, 43:00)

7/10

Black Absinthe - Sounds Of Denial (2016)

A mix of thrash, blues rock, alternative and even death metal, we have something rather unexpected from Canada's Black Absinthe. Apparently this is a bit of a new direction for the guys as their Metal Archives definition is considered to be Heavy Metal/Punk Rock and I'm hearing something completely different. Let's take, “Is This Life” for instance. It starts up almost with a Metallica style thrash, but then rolls into something that sounds more like chorus friendly radio rock. Maybe a little like Fozzy. Then you've got the fiendish death growls which seem to come out of nowhere. Technically this doesn't make them death metal, but there are a lot of thrash bands out there with death metal vocals. “The Wild” opens the disc with a sort of southern blues rock, while we hear a sort of progressive touch on “Berj Khalifa.” Maybe it's a bit more melodic, like the Police. Whatever the case, there's definitely some experimenting going on here and it's working for them. Jack Cerre isn't the best vocalist in the world by far, but he's a great guitarist and really seems to be stepping out of his comfort zone with this one. “Now” definitely shows one of his best sing-along moments, proving that this debut (it's not actually an EP) has the band with their feet in the right direction. No one needs to point it out, they're already there. I have a really funny feeling that an act like Black Absinthe could become very popular due to the type of formula they have here. Now this is just me speculating, but I'm going to break it down for you.

First, I've noticed that these guys have a very commercial vibe when it comes to compositions, but they still manage to stuff it with just the right amount of raw meat in the vein of extreme metal (Winter) to appeal to the metal community. Those heavy parts, as sparse as they might be on this disc, are just enough to appeal to metal fans and will make the act loosely fit the metal genre tag. Cerre even employs a darker tinged sort of riffing in sections that kind of sounds like black metal and that's usually enough in itself. That being said, they still have that very commercial, very marketable aspect and could have some songs play on alternative rock radio. “Now” would work for that, which brings a very catchy chorus right into the hands of new listeners that will more or less purchase the disc just for it. But none of these casual listeners would expect the band's powerful display of darkness in “Winter” which hopefully is a sign of much greater things to come.

Early Signs Of Denial is the kind of disc that can reel you in and keep you entertained on mid-era Metallica/latter-Trivium/current Avenged Sevenfold style pieces, but will also come with a slight bite in the realms of more evil metal (some of the people that unexpectedly hear these utterances will not be familiar with them and will consider them evil, after all I just had a guy ask me if Stephen King was the devil at work earlier this evening) which many of those casual listeners might not be expecting and will open up to. It's a possibility, just as BabyMetal has opened the doors to an entire genre for non-metal listeners. Necessary evils, I'd think. While not quite as extreme as you like, or not quite as family friendly, you'll definitely get a great variety of material here with the record and it's definitely not the kind of record that would upset members of your religious congregation. These guys are very much in the same vein as Metallica as far as I'm concerned and they're mostly quite harmless. Just be careful, because it does bite.

(6 Tracks, 27:00)

8/10

Bound By Fate - Steadfast (2016)

Ohio's Bound By Fate are an act that I would personally consider a bluesy type of southern fried stoner/doom and sludge metal that sounds a lot better on this sophomore than they did with the first time I heard it. I seem to recall passing on these guys the first time they were sent to me, but for some odd reason I really seem to dig it now. There's still some rough edges, like “Condemnation” which still has some harsh vocal issues. I understand he's going for a sort of death metal approach, but it seems like he might be killing his throat here. On the less vocal intensive cuts like “Broke Apart” and “Rebuild The Man” I'm reminded a bit more of Down and I think it suits both him and the rest of the band a bit better. I remember hearing “Crooked Blue” a while back and I did like it, but I'm hearing what I'd consider even better material on this debut record. Even though it's short, it shows you that these guys could really be something. I'll add that the entire solo on “Rebuild The Man” faded right into the background and needs to be raised (I literally couldn't hear it at all) but I'll be lenient as these guys do offer enough of a bite for people to take notice. Steadfast is a really thick and furious metal album that stands on it's own two feet pretty well, regardless of the fact that a few things might not have gone so well in the studio this first time around. There's no reason why a band like this shouldn't get some attention and I'm quite pleased with the amount of enraged vigor that I'm hearing here. I just don't think the growls on “Condemned” should be attempted again, as that just didn't fucking work at all. Other than that, I think it's a pretty decent record and I'd definitely recommend people looking for a hard-hitting shot of adrenal sludge to give it a listen. Bound By Fate certainly sound better here than on the last time I heard them, and hopefully they'll continue that trend on future albums. There's definitely promise here, especially if you're looking for a fist to the jaw.

(7 Tracks, 25:00)

7/10