Nick Noro - Vietnamm (2016)

Nick Noro of Survival1 fare is back with a new solo EP project which was supposed to be released earlier this month. It's only about eleven minutes long, but shows that he's still got it. The very beginning of the record revolves around a man who was shot in the head (was this Nick Noro?) and apparently survived (as it is quite possible to do, depending on where you were shot – rare, but the human body can be a bit more resilient than you'd expect) as it then began to play with punk, a little bit of thrash and even some kicking guitar solos that I would not have expected. It actually feels a little more streamlined, if I can say that. Bits of electronics can be heard here and there, but they aren't a primary factor of the act so much as the guitars are. The vocal approach oddly consists of many duets, which can be hit or miss and sound often like spoken word. So say what you want about it, but this is definitely different.

Though at the same time, Vietnamm reminds me just why it is that I like Nick Noro's music in the first place. Even though I'm still upset at the $100 price tag for No Grief, this (still unreleased) EP release is quite fairly priced at just five bones. That's a fair deal, as you get several different and unique tracks here. “Daywalker” and the Kiling Joke inspired “Yugen” are definitely two of the best songs I've heard from the three-piece (also, there are some nice little “tings” in the latter which I felt added depth) which seems primed to conquer the world with their next one. While this record is a bit bizarre in some instances, it still mixes together metal, electronics and classic punk in a way that rounds out to a much more accessible experience. I'm quite surprised to see this released by Turkish label Merdumgiriz, but it's also coming out on his own label, NBRD.

The music here is definitely good, and it's worth giving a listen for sure. I actually think this work is a bit better than the Survival1 material of the past, and I'm not sure if he's going back to that project anytime soon as this one sounds so similar to it. But however Nick chooses to brand himself, it still comes off entertaining, unique and unlike several other artists out there, even those of a similar style. I recommend giving Vietnamm a chance, if and when it finally releases. There's always been something here as far as I'm concerned, and I am continuously curious to what the future holds for this act. No matter what they choose to call themselves.

*I recieved an email notice today stating that the record is now available for purchase. So check it out!

(6 Tracks, 10:39)

8/10

Rekoma - Circle Of Hate (2016)

This is the debut EP from Finnish hard rockers Rekoma and they remind me a little of acts like Ireland's Sinocence, which works for me. There also might be a tinge of Gothic rock/metal like Tiamat in there. The Sinocence influence came in for me during “Trial” with Tiamat style Goth riffs being a bit more apparent on the album's closer “Down The Drain.” Jani Redkin doesn't have the most crystalline clean vocal approach, but he does hit some hefty albeit modernized growls within the piece. Most of it really seems to revolve around the guitar work of Samuli Maunula (lead) and Arttu Korpela (rhythm) as well as the drumming of Juha Iloha which all rounds out to a very rock feel, which some occasionally heavy vocals and downtuned bass riffs courtesy of Antti Maunula. Even on chunkier cuts like the title piece, there's nothing hugely metallic about this disc and it often feels more like a hard rock disc than a metal one. It's still very good from that sort of compositional standpoint, showcasing a quintet attempting for a heavy, yet still soft enough for radio-play sound that may have taken as much of an influence from American hard rock as it did from Goth rock. There's certainly nothing wrong done here, and I think it could appeal to fans of this kind of music outside of Finland, for sure – they'll just have to be aware of a slightly different vocal approach here than you might expect from American hard rock and there's the accents, as always. Though slightly raw and tough to discern in some instances, I'd certainly like to hear Rekoma continue as there's assuredly something here in the musicianship alone.

(4 Tracks, 19:00)

7/10

Gigantic Brain - Self-Titled (2016)

Gigantic Brain are back after a long time of silence, and despite being a very experimental act, one might think they're having a little bit of an identity crisis? I know that's odd coming from a man like me, who revels in all things obscure and unique, but I'm not really sure what's going on here. The previous recordings from Gigantic Brain were all very much rooted in a much heavier vein of death metal, but this Self-Titled seems like a reinvention for the band. There are still loads of electronic elements, vocal filters and harsh vocal elements. I see what they're trying to do here, but it seems lessened a little bit. Most interestingly is the inclusion of clean vocals, which I haven't heard on any of their records prior and seems a little bit off-kilter for the band. This is almost as big a change as when Ulver quite playing black metal to pursue electronica. Gigantic Brain were very death metal and were rooted mainly in experimental brutal death, but this... well, this almost sounds commercial. There are even a couple of tracks on the disc that go a little over the three minute mark, which is pretty uncommon for these guys. Even the death metal portion on “Leaking Out Of Your Mouth” sounds more like modern groove-influenced death metal, rather than you know, the kind of stuff they had been playing. Most of the cuts mainly offer a short atmosphere here and there and just add a little more wind to the album, but when we get to “Our Dam” I'm very closely reminded of industrial alternative rock/Nu-Metal acts like American Head Charge or The Deftones. One might really wonder as to what in the hell these guys are doing, but there's no doubt that the music encapsulated here could appear to a big-wig in the recording industry, as soon as he decides that the band be ever further watered down to the point where they literally are just an Industrial/Nu-Metal act and 9/10 songs sound just like the aforementioned. Though I will commend the band on continuing to experiment, this record shows that they are going in a more accessible direction with their music. One thing can be ascertained from the listen though and that's the band want to be more of an electronic rock act than a metal one, period. Even closer “I Fly The Unicorn” uses programmed drums, short acoustics and piano pieces instead of any real guitar influence. It still sounds like Gigantic Brain in some sense and it still has merit, but I think people are going to be more interested in their early work after the band become commercially famous from whatever proceeds this. IwrestledABearOnce showed us that a band can still be as experimental as hell and get signed to a big label, so I think these guys could very much end up the same way. This Self-titled is definitely out there, but it's still pretty simplistic and a little more straight-forward than some of their past work has been. It's not anything I would have personally expected from the band and shows that they're really not sure what in the hell they want to do yet. I really hope they find out, or go back to doing what they do best. Maybe they'll release some more material to give us a better understanding as to what they want to do, because I'm going to admit that I'm kind of lost.

(11 Tracks, 25:00)

7/10

BAK XII - Aut Caesar Aut Nihil (2016)

I've actually been looking forward to reviewing this one for a while now. But not because it gives me another chance to listen to the record, but because it's a rather strong electronic/industrial disc and it needs to be talked about. You can already point out the influences in this Swiss act, like KMFDM, Kraftwerk and numerous others. You can already tell that the disc is already setup in verse/chorus format, but it's catchy and done right – which is what I really care about on this kind of disc. Let's talk about it in electronic terms first. BAK XIII utilizes everything from dance club beats to chiptunes, and it all works as they’re able to structure it properly. Have you ever tried to make electronic music before? It's not exactly easy to perfect regardless of how simple some artists can make it sound. Listening to “Death Is The New Hype” as an example shows exactly how much goes into this kind of a record, guitar riffs included. While BAK XIII definitely feature guitar sections in their pieces, the music they play here is far from metal or even electronic rock. As I said, I hear an awful lot of influence here from KMFDM and definitely Kaptain K himself. But even in all that, I can hear some lighter nodes from acts like The Pet Shop Boys, who the band seem to have taken a lot of inspiration from as I’m noting with this listen. Recently, The British legends have experimented with their own dance-club friendly musings which you'll hear on their latest album Elysium, and a similar approach can be heard here. Yet as I said, chiptunes are also mixed in with that, making for an approach that I'd expect from a band that has been around for over a decade.

Though this is my first time being exposed to BAK XIII, they're certainly not a new act by any means. To electronic fans, these guys are considered veterans. Yet it's very easy to see why, as this album seems to contain just the sort of formula that makes for a commercially acceptable, yet extremely powerful electronic performance. The vocals can be harsh at times, even utilizing a bit of spoken word, but they can also bring a sort of calm clarity that makes for memorable choruses. Aut Casear Aut Nihil is the kind of record that won't just have you humming choruses, as it'll also have you in deep thought as you’re walking down the sidewalk on your way to the daily commute. Many important topics are discussed here, like religion (The Awakening) fear mongering, (Fear Is Big Business) musical integrity (Fucking Bloody Song Of Shit) escapism (Living In Video Games) and more. BAK XIII really made the sort of record that not only comes off easily accessible, but also seems to more or less be a dissertation of what is going on in today's society. If there's one song that really gelled with me, it's “We Know Nothing” which I feel is a lesson in humbleness that a great deal of people on the internet need to have shoved down their throats. There's also an unexpected oddity called “Wake Up” which explores several world music implementations. Such a piece like this might come off a bit oblong at first, but what's wrong with a song that carries a little bit of a different vibe every once in a while?

In any case, I'd highly recommend this bright and highly intelligent new release from BAK XIII who've proven that they're still just as strong as they were when they began. Aut Caesar Aut Nihil is the definition of capable electronic music in this modern age, and shows that the approach can still evolve and devour newer ideas like video game chiptunes and even (extremely light) dubstep in order to make for a disc that sounds like it belongs in 2016. Make sure you pick it up, because you'll enjoy it. I did.

(14 Tracks, 60:00)

9/10

Anthrax - For All Kings (2016)

Anthrax have returned and with a real monster here in For All Kings. Pound for pound, this is exactly the kind of disc I was waiting for from these guys and it definitely cements the fact that they can still do it after all these years. The excuse for Worship Music was something to the tune of, “we wrote the music to accompany our new vocalist, Dave” but that's not the case here and you can see and hear the difference. Obviously the band have stepped it up quite a bit and For All Kings definitely sounds more like a thrash album than a modern metal or groove metal disc. There are still groove elements here reminiscent of We've Come For You All, but I actually liked that album and can't say that I mind them. For All Kings is definitely the kind of album that wants to combine thrash with a little more substance and structure, just so long as the choruses come in catchy as saccharine and that they certainly do. 

The record is surprisingly punchy, with a drum performance that really serves as a fine backbone, as Scott Ian's riffs seem to have one foot in eighties thrash, with another in eighties prog metal (think Queensryche). There's also an obvious pop/rock flair here as the chorus melody of “Breathing Lightning” sounds very much like a radio cut. Save for the fact that it's almost seven minutes long. Other than the fact that thrasher “You Gotta Believe” (yeah, it makes me think of Sonic The Hedgehog or some anime theme) are quite long pieces, the record features much shorter and easier to digest pieces amongst what some might call more muscular numbers. Yet I feel it was a fine idea to mix them up as the band have done here. I also feel that there's some obvious lyrical nodes to The Dark Tower here, as with 93's Among The Living. All in all, I think that if you're looking for a thrash disc with very bright and memorable choruses as well as prominent musicianship that sounds like a band that's been doing it for over thirty years, you can't really go wrong with this one. As much as I hated most of Worship Music, this album really feels like the band have picked it back up and delivered a record that I think Belladonna fans are going to be very proud of. No, it's not technically as much of a thrasher as was made back in the old days, but it's definitely the best record I've heard from them since We've Come For You All. I've always been partial to the John Bush era, but with this disc I'm opening up to Belladonna and perhaps that's a good thing. I almost feel like it's a thrashier Sound Of White Noise and a secondary “Black Album” in that respect. For All Kings is the kind of thrash album that still sounds like thrash, but still has an obvious commercial viability and will pick up just as many sales at Wal-Mart as it will in independent record shops. Even if you don't like this album, it's really hard to deny the fact that they really put the pedal to the metal on this one. Sure, there are some slower ballads to be found here like “Blood Eagle Wings” and even some touches of atmosphere that might feel alien on a thrash record. But for a band that was fucking around with electronics and Nu-Metal riffs the last time, I don't feel that I mind this kind of experimentation. 

There's almost a final opinion in the very phrase that I've used about four or five times in this review so far, “I don't feel that I mind” which couldn't be further from the truth. I don't feel that I mind many of the ideas on this record, I don't feel that I mind this record as a whole and I think they could have put out a far worse recording than this one. It's not perfect, but I didn't expect that. I wanted an album that shows what these guys can do with a little bit of snow on the mountains, and that's what we got. It sounds like it comes from experienced musicians, rather than trend-hoppers and I can't say that I mind that either. Welcome back, Anthrax.

(12 Tracks, 59:00)

8/10