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

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

Morbo/Bunker 66 - Into The Morbid Bunker (2016)

Here we have a split between two Italian acts. The first one is Morbo which can be described as death metal, with the other being Bunker 66 which is considered by Metal Archives to be a blackened thrash group.

The first two cuts come from Morbo, which offer up what I'd consider to be a very raw and classic type of death metal. Maybe it's safe to say that they thrash a little more than some death metal bands, but you wouldn't want to call them death/thrash either, as this is nowhere near the speed or potency of an act like The Crowned. Instead, we're getting something of a traditional production value appropriated to what I'd consider to be an almost progressive and quite weird style. “Cross Tormentor” actually changes from the slower approach in “Per Legem Mortuorum” to literally include the speed-thrash that I at first mentioned was absent from the performance. Oh, well. I guess it's a bit tough to classify these guys and two songs really don't seem to be enough to display all that they're capable of either. I guess we'll see in time as to how far these gentlemen are willing to go in order to combine their style of classic death metal with bits of oddity and speed/thrash.

The next two cuts come from Bunker 66, which seems more like a type of death/thrash mixed with punk than the blackened thrash tag that Metal Archives gave them. There isn't any black metal to be found here, as the band instead offer what I'd consider to be a thrash meets punk style of riffing with hardened vocals that feel a bit gravel along with some killer little solo sections. It's more or less the kind of thing that comes in hard and fast, with little time to really observe it. This definitely had the energy of old punk and possibly some Motorhead infusions as well. It's about the furthest thing from black metal that I think there can be and the band's tag needs to be changed to fit that. For a band who has been around for as long as these guys have, (which is about a good six or seven years) it seems like Bunker 66 have changed their sound a bit. Though it is possible that this was only done for the split.

In the end, both bands are pretty decent. I thought Morbo was a bit more interesting because of the odd progressive tinkering, but that's just me. It's a relatively solid split and perhaps you should give it a listen.

(4 Tracks, 11:00)

6/10

Traffic Death/Lurking Corpses - Split Personality (2016)

I don't review much punk here, because I frankly can't fucking stand most of it, or that scene for that matter. Especially now that social justice culture has worked it's way into the scene. That being said, this is a split between two bands from Des Moines and Ft. Wayne with both offering a different approach to punk than I've heard before. Traffic Death started out with a pretty common punk flair, right up there with the Ramones or Misfits, especially in the “whoa-oh” sections. Then they decided to turn a song about their frustration with remakes and new shit into a rather scathing punk cut. The riffs were pretty derivative of the punk genre, but the frontman offered an absurdly harsher vocal approach that I quite enjoyed.

Next we have the equally scathing Lurking Corpses, which aren't strangers to me as I've reviewed them before – but this time around they're experimenting with thick, heavy bouts of doom as well as some death metal growls on “Human Scar.” It's also the longest cut on the disc. Considering the length of this thing, that's not long. After that, they just go into fast numbers that come in and out and don't really leave a mark. It's like when an artist just kind of says, “Eh, fuck it – we'll just write two quick tracks and clal it a day.” But that's what they did. It's a decent disc with slight bits of promise and even though I don't really like a lot of punk, I'll accept this as a relatively decent disc.

(5 Tracks, 8:00)

6/10

Sea Of Bones/Ramlord - Split (2016)

We have two similar, yet different acts here, the first one being Connecticut's sludge/drone/doomers Sea Of Bones and the other New Hampshire's crust-punk/black metallers Ramlord, which sounds more like Neurosis in their early era, just with more of a blackened tinge. I say that both acts seem similar because regardless of genres, they both seem to be going for the same style of sludge and doom influence on this EP.

Sea Of Bones haven't had a great deal of records, certainly not as many as Ramlord; but they do have the potential to go quite far if they continue to do exactly what I'm hearing here. They consider their band to be “a dissonant wall of sound” and would compare themselves to Neurosis and Buried At Sea, which I would say is most comparable among the others here listed. It sounds exactly like that, feeling like a literal fucking wave of monolithic thunder, replete with hoary roars and what feels like a great fog. When I listen to the record, I feel like I'm in the middle of a storm and about to be demolished by a tidal wave of grease, slime and sludge. There is a bit of a calm after the storm however, which allows the piece to breathe well.

Ramlord definitely pump doom into their performance and I'm getting a sort of blackened punk feel, right from the vocals especially. There's even a bit of death grunt to be had, fronting a performance that feels just as foggy as the other. Ramlord aren't big on sludge, but there's definitely a pounding sense of doom here and that's going to be what matters as a whole. The track does feature a big kick as it continues, observing a much different atmosphere than what we got with Sea Of Bones. You can really hear the punk roaring in along with a big tempo change that completely wipes over the doom and almost carries as sense of grindcore with it. Then the doom comes back in, albeit with a sort of celebratory node. It feels like they're having a little bit of a party towards the end of this song, and that's fine.

Closing out this observation, I think both bands prove their worth rather well on an EP that should please fans of both varities of metal. It's not quite doom, sludge, punk, post, drone or black metal, but there are enough elements of each inside of this grimy snack mix to suit your tastes.

(2 Tracks, 20:45)

8/10

Sunlight's Bane/Geist - Split (2016)

This split features two tracks each from Michigan based Sunlight's Bane, as well as Englanders Geist. The difference is that both bands are a bit different than each other, with the guest being a little more intriguing to me than the mainstay act.

Sunlight's Bane starts out the disc with what is an absolutely grueling round of pure musical chaos. It's pretty damn rambunctious folks, with influences ranging from brutal death to black metal and even some core semblances. I'd definitely consider it a flavor of extreme grind, with two vocalists ready to tear your ears off and throw them in a waste receptacle. There IS a little bit of a punk influence here, but only if that punk was fiercely injected with the very blood of a living inferno. Sunlight's Bane is what happens when you mix punk in with hellfire and makes for something that I'd consider leagues better than ninety percent of the punk music I've heard recently. We at The Grim Tower hope that they'll make plenty more of this, as I am all ears.

As for Geist, I'm not going to sit here and trash them. Let's give these hardcore punks a respectable observation. While not as extreme as Sunlight's Bane, they still manage to kick up enough piss n' vinegar to make a mark. The drums frantically pound throughout the release, fronted by a man who reminds me of Jamey Jasta at his angriest. I mean, it's not as preferable to the inhuman approach of the other act, but I think it has just enough firepower going for it to a make a statement. It does sound a little bit more realistic though and may bring listeners back down to earth after surviving the horrifying abyss that was Sunlight's Bane. The drums I feel are the best part of the performance, but at times they are also the only thing that I can hear on the record and even work to drown out the guitars (and vocals even.)

Obviously, I'm going to praise the hell out of Sunlight's Bane as far as this split is considered. But both bands are definitely worth checking out and I'd recommend this split to anyone looking for a short and raucous shot of pure fucking adrenaline.

(4 Tracks, 10:34)

8/10

TMHM - Stage Names (2016)

Canada's TMHM (The Man and His Machine) have been around for five years now and have self released three EP's as well as two live discs throughout their lengthy tenure. This recording marks the act's first full-length and official debut, which as of this writing is also a self-released recording. The only difference here, is that that album was recorded in Rain City Studios, where acts like Misery Signals, Japandroids and Baptists were also put through the three-step process of recording, mixing and mastering.

Although this is the act's first debut release, it still feels like an EP due to length, but I guess that is to be expected from a band who is most likely (and I'm just taking a guess – not even an educated one) used to writing and recording smaller albums in an EP format. It merely graces over twenty-two minutes of overall playtime. The sound I can describe as a mix of Nu-Metal, post, punk and core, which certainly doesn't turn me away due to the Nu-Metal elements alone. Those of you who've been with us a long time will know that I grew up in the age of Nu-Metal and first cut my teeth on this music. Though I've reviewed and enjoy more extreme approaches as well, I've always had a soft spot for this kind of music.

We start right with the very Nu-Metal style of “Bad Luck In Belleville” which seems to echo some of the heavier moments of acts like Primer 55. The vocal end of things is definitely a bit loud and even somewhat obnoxious in the mix, but I think that adds some real heart and feeling to the music. When we get into “Toxic Mix” we're listening to a post-metal piece which almost carries a bit of punk with it. The punk and groove elements punch up with “18 Oz” which might not be for everyone, but it's got a hell of a lot of piss and vinegar. “Threadcounts” changes the style of the band to a punk influenced core or powerviolence if you will. I guess I'm a bit reminded of Gallows without the sing-along parts. The powerviolence seems to carry right on over into the title cut, which is quite raucous, but I'm almost afraid that the frontman is about to blow a blood vessel.

“Better Half” changes the style a bit to aloow for more down-tuned bass, but the Nu-Metal influence has been removed almost completely in favor of something that sounds like more of what we've just heard. It's not a bad approach, but it makes me feel that the beginning of the disc might be a bit misleading to listeners. TMHM certainly have a lot of fight in them though, I can say that. The rest of the record doesn't offer much more than we've heard at this point, so you should already be aware of what you're getting now. Saying little more about the album, if you like incredibly noisy approaches that combine punk along with various metal elements, you'll certainly find something in what I can consider a rather solid and outspoken release.

It sounds like the voice of a generation, in which a cacophony of words amount to distress and frustration towards society and it's machinations as a whole. I believe this is the sound of the rebellion, though I'm not quite sure what the rebellion is against these days. The wealthy capitalist machine cannot be beaten in a physical manner, one will merely have to wait until it finishes it's tenure and goes kaput all on it's own. 

People obviously seem a bit disrupted by the current system of economics and government, which of course will bring about some sort of change in paradigm. Though that change in paradigm, I believe; had already been planned from the get-go. It is much easier to get people to rebel against and remove something themselves, than to just completely have it removed altogether – especially when they'll find that the next system probably won't work as well as this one. But what can I say? Progress has a price. Give this one a listen if you're full of rage and angst against the infernal machine.

(8 Tracks, 22:00)

7/10

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

Solanum - I.T.S.C. (2016)

Solanum are a Canadian punk/thrash act that have crafted a record that I feel is more or less a decent effort. As I listened to these seven tracks, I noticed that I heard barely a difference in any of them and the disc just kind of came and went. I can honestly say that I.T.S.C. Is definitely not the kind of record I would have reviewed had it not appeared in my mailbox, and I'm certainly not one to completely recommend it. Being that I'm not much a fan of the punk scene and the social justice movements by which it now almost completely consists of (because that's the new form of rebellion) you can almost foreshadow my opinion on the piece as a whole. These guys are loud, rowdy and full of spite, with sharp thrash-gone punk riffs and a frontman who belts out every line as if he's willing to drill into your forehead. It's almost like a hardcore approach, similar to something from Pro-Pain or other acts that I like. His voice is also tolerable and not the kind of absurd gut punch vocal style that many of these kinds of bands will employ. Why? I have no idea. In any case, there are no real “dude-broisms” here to be found and these gentlemen mainly stick to their guns. The record comes in hard and fast, screaming loud enough to give you tinnitus (which I think I now have after listening to the piece, and I don't remember my ears ringing that badly before) which is why it is almost certainly not for the feint of heart. There's not so much an atmosphere here as there is a sense of “I'm pissed off and I'm not going to take it anymore” which will definitely work for listeners. 

These tracks are a bit longer than you would expect however, with the majority of them being well over five minutes and the longest (Into The Sinner Circle-Self Righteous Refusal) clocking in at a little over seven minutes, and I suppose offering a little more meat to the production. I'm not sure, I literally can't remember and the whole thing feels like a blur. It's the kind of record that you'd play if you were really upset about a lot of things and wanted to stew in that anger for quite a while. It's the kind of record you play before you're going to get into a fight with someone. It's the kind of music that you might hear playing as the soundtrack to a fan created video of “MMA's greatest hits” or something of that nature. Certainly not my thing, nor to my taste. I gave it a listen the first time and wasn't digging it, I gave it a listen the second time (just a few minutes ago) and still am not able to get into this kind of release. There's an audience for it, but I just don't know how loud, rowdy and angry I am. From my rants and raves online, people might think that I embody this kind of record, but I most certainly do not. Punk music, even fused with metal, is still a very tough genre for me to absorb and I'll either like an approach or not like an approach. In this case, I can't say that I prefer I.T.S.C and would like to hear a bit more than what I'd consider the bass product. If I can't remember your record after the second time, then it just doesn't work for me. I guess I'd compare this kind of stuff to Nails, which just sounds like a bunch of guys playing loud music and screaming in a room. Some people love that kind of stuff, but for me... well, I'd rather eat crow.

(7 tracks, 38:00)

6/10

Volker - Self-Titled (2016)

Featuring members of Otargos, Noein, Demented, Lifestream and Regarde Les Hommes Tomber, this cold wave/dark metal project is certainly worth checking out for the mere surprise of it all. Though it's just a sample, these eleven minutes offer something unlike anything we've heard from any of the previous bands these guys have been in. It's definitely metal, but with an angry feminine tinge to it that sounds like something from modern American female fronted metal. I'm reminded of a black metal version of Kittie by this, which will make a few of you want to rip your hair out, I'm sure. It definitely has that sort of angry pop/punk vibe that I shouldn't be recommending, but this reviewer thinks the disc is more of a “hey, this project actually exists and I wonder how far they'll get” than a “I think this is going to be the next big thing.”

Jen Nyx screams and sings and whimpers throughout the disc, making it sound like a weird mix of Christina Aguillera and Otep Shamaya. Ulrich W. plays Satyricon friendly modern black metal riffs, making for a weird mix that I could only consider a sort of black/pop/punk, if you can believe it. I'm not sure where such a band will go in the future, but if Kaotoxin is looking for more exposure in the mainstream metal scene, then this is definitely that goldmine band to do it. A lot of people wouldn't touch it with a ten-foot pole, but it's not terrible either. I'm actually curious to the final product, but this EP won't be for everyone.

(4 Tracks, 11:00)

6/10

Nuclear Hatred - Nuclear Hatred (2016)

Originally called Zamboni, the band decided to change their name at the last damn minute, which makes me glad that I decided to wait to review them. A band that I can immediately recall after hearing “Killer Croc! Hit him with a rock!” (Batman fan here) these New York/New Jersey punk/thrashers actually caught my attention with this debut album, which had been riddled with delays and personal dilemmas. The band itself is rife with drama, so it's good to see that they managed to get something out, even if it was two years later than originally planned. You see, the recording began in 2014, but it hasn't released until now which is quite odd because this is only about twenty minutes of material. It's the same length as one of their EP's to be honest, but is still interesting. Crawling out of the ashes of thrash act Obliterator, Robert Orr seems to carry that same thrash mentality here, except watered down a little more for a more in-your-face punk approach. Chris Butera handles the vocals here in just that sort of fashion, with a real middle finger in the air sort of vibe that lends it's way to powerful punk anthems. I don't usually like punky stuff, but this is one time that I'm actually a bit interested. The one thing that you'll notice about these guys is that they sound a bit classic and don't opt for the pop-punk emo crap stuff we've got these days. We do get some pretty heated guitar solos, and even though the drums are programmed, it's really tough to tell. They've got a good software program to make for such an authentic sounding kit and that's surprising as you can normally tell when the drums are programmed. When you pop in this disc, it'll hit you hard. It's not overly brutal, but it's definitely full of aggression and perhaps some comedy as well. Themes for wrestlers, zombies, supervillains and other such meanderings appear on this record, which shows that these guys have obvious dedication to their craft and will only get more refined with time. If they're able to release another recording at some point. It might be 2034 before we hear another one of these, so I wish these guys luck with the new moniker and what does feel like a proper release. Though they think of themselves as the most awful band of all time, I'm sure none of these guys have heard Cat O' Nine Tails Records biggest secret, Flowers Of Disgust – the literal worst band of all time. Though admittedly, I like them as well. Just can't get over song titles like “Man In Hot Dog Quandary.” That being said, give the record a listen and please try to support this act, which barely even got it off the presses.

(9 Tracks, 21:00)

7/10

Maximum The Hormone - Mimi Kajiru EP (2016)

Mimi Kajiru is a mere EP from the Japanese experimentalists, who seem to mix together elements of everything from punk to Nu-Metal to djent and a lot of other things. They're not as obscure as they used to be, especially since performing for the first time in the US during last year's Knotfest event. These songs also incorporate J-Rock as expected, as well as some silliness. There's a lot of silliness utilized here on the vocals, almost the kind of thing that you'd expect from Mike Patton. This time around, these guys really tend to love their punk, which you'll hear utilized just as much as the heavier Nu-Metal sections, where the harsh vocals appear. In a song from Maximum The Hormone, it's not too out of character for a track to turn from a happy punk anthem to something that sounds like thundering metallic mayhem. Think Dir En Grey a little, perhaps towards their earlier era. It's obvious that they were having a lot of fun with this one and it feels like a good snack in between their last record and a possible upcoming release. There's just twenty minutes of music here, but between the many different shades of music the listener will digest, it's going to sound a lot longer. Unexpected things like the telephone message and the children's choir appear on this record as well, making for an even more random sense of things. It's not my favorite of their releases, but it's certainly not bad for an EP and gets surprisingly heavy during some sections. But you can't expect any one thing from Maximum The Hormone, nor would we ever want that. It's obvious that fans of Slipknot and their style would certainly find something in the down-tuned riffs and vocal delivery laden within these tracks, but they'll be forced to open up their palette to new ideas of which they might not be keen to at first - especially with all the roaring punk influence. I'd say to give it a shot if you can find it, because it is worth a listen or two. But they've delivered better in the past and will no doubt deliver even better in the future.

(7 Tracks, 20:00)

7/10