Mussorgski - Creatio Cosmicam Beastie (2016)

Mussorgski is a Polish one-man project from a member of another well-known act, Arkona. This is the project's third album, which seems to also deal with occult, spiritual and furthermore magickal concepts. Considering the fact that the record was “recorded mixed/mastered in Church Of Chaos” I wouldn't really be all that surprised if mastermind Khorzon was indeed a chaote. Surely the lyrics, particularly those in “God Is In The Neurons” and “Sabbathum In Perpetuum” would point directly to this, with the former being very close to my particular observation of reality as well. But that's enough with the philosophical discussion, let's talk about the album. Described as a mix of industrial and black metal, I certainly see this roughly put into effect. There are creepy synths, as well as creepy riff melodies which are probably not supposed to sound as frightening as they are spatial. It just sort of comes off that way. Particularly in the track of which I said I lyrically identified with, sounding like something out of an alien film with a Theremin like effect. Yet that breaks way into the far more calmative atmospheres of “Stellar Core” of which I'm hearing a certain dreamlike effect that makes the latter track I mentioned fit in with the rest of the material. Obviously judging from the lyrics, the man had some sort of experience by which he saw a sort of ritual that he couldn't explain. I also like the fact that he mentions, “could it be some sort of alternative reality, I don't know?” which says to me that he's not going to be arrogant and vehemently claim it's somethinghe can explain as I've heard more arrogant types on the internet speak of. Instead, he simply describes what he saw and thundering blasts seems to decorate that along with what can sound like a full orchestra. Yet there is no actual orchestra described within the recording, so that shows just how great of a composer Khorzon is and how much technology has evolved. Sometimes a large and threatening cybernetic voice appears, along with a female chant, quite similar to Diamanda Galas. The metallic portion of the disc even ceases for a bit, as we become wrapped almost completely within atmosphere, something that might be a hard sell for all those but the most open-minded of listeners. Nevertheless, it is something that I enjoy. That being said, this is still a black metal album. It feels like one, it has the vibe of one and most certainly the fury.

“Key To The Universe” brings on more of an industrial tone, even though it still feels very much like black metal within it's overall vibe, opening way for some creepy Castlevania organs. Doubled with that vocal effect, it sounds positively frightening and truly monolithic. Lyrically, the song would seem to take a different avenue. I don't really think the lyrics fit with what I'm hearing here, but it doesn't really matter as it works as a whole musically and once again, demonstrates how good of a composer this guy truly is. “Implanted Consciousness” adds even more industrial electronics into the mix, as I now begin to hear a series of beeps and bloops, in addition the the voice of our future robotic overlords. Scowls still exist in the mix, but with the addition of the robotic vocal effect and the electronic elements (don't forget about the ominous synths) the music here truly fits the lyrics. It's actually quite amazing, really. The finale here is “Paradisum” which is (judging from the lyrics) as satirical as our upcoming album's title track. So obviously when dreary and hollow atmospheres back harsh verses like “you should kill yourself” and “you should kill your children” we can already tell that such a terrifying piece has nothing to do with paradise. Perhaps the paradise he's talking about is when there's not a human left to ruin anything on this globe. For the third time, Khorzon shows just how much skill he has in musical composition as all of this is programmed – brilliantly. This guy basically made the kind of record that I tried to make twice during my short-lived solo efforts and couldn't get right. Though I'm sure he's got better software and is actually playing the guitar, which makes for a much better performance than the “electric guitar” effect I had far too much fun with. In any case, definitely check it out if you're into as much experimentation with synths, metal and electronics as I am. It's not for everyone, but the people that do decide to check it out will probably be in the camp of people who really enjoy it. It's pretty much flawless from my standpoint, though I'm sure yours will differ. But I'm the boss here, so The Grim Tower highly recommends Creatio Cosmicam Beastie because it's a well-structured and magnificent experiment in black metal music. I also like it far more than his stuff in Arkona, but let's just keep that between us.

(8 Tracks, 50:00)

10/10

Prong - X: No Absolutes (2016)

Prong is back with yet another album, as well as a testament to Tommy Victor's incredible stamina. As it stands, the band have released a new recording every year since 2014's Ruining Lives and the machine just keeps on rolling. Now while I liked the band's previous output of original material (2015's Songs From The Black Hole was a covers album) I felt it was a little more radio-friendly than I would've cared for, with this record being more in the vein of 2012's Carved Into Stone. That's not to say that all of the commercial material has taken a bow, because “Without Words” is definitely well in that vein. But it's also a very good song, with a thrash meets Killing Joke/Fear Factory vibe that I can definitely get behind. But before we even get to that one, there's a four-minute cut early on in the record called “Sense Of Ease” that comes directly before it. This track definitely sees the kit aflame, with Victor screaming as much as he's using a cleaner vocal approach much in the vein of current-era Anthrax, which I can again, get behind. We also have screaming guitars in the background, which I've also got no problem with. This is clearly what Prong sounds like at their best, so I don't feel that anyone should have a complaint with the performance. The title cut definitely contains a more industrial rock approach, where the verses and chorus prove strongest. It's one of those songs that feels like a sing-along, reminding me a bit of Dope's lighthearted material. But the record gets even lighter with the ballad “Do Nothing” which is a rather passionate piece that I can actually feel. I remember this piece from the first time I listened to the record and that says something. These guys prove that they can be commercially relevant, but I don't think they'll ever strip down completely to the point where even the shouts are removed from the track. I don't feel that Prong are channeling Linkin Park here, but in their defense, those guys got a bit heavier themselves as of late. Fear Factory and Killing Joke definitely had their share of great ballads, so I'd much more compare it to one of those great moments, rather than saccharine radio crap. Victor is obviously not channeling Adelle, whose new record should come with a box of tissues. Especially when he resorts to pounding your face into the ground during the djent-laden “Belief System.” Normally I don't care for djent, but prong are one of the few bands where it sounds tolerable, even memorable.

In addition to the Victor's approach, is a rather nice guitar backing in which the man is pulling off some rather nice and quite pretty solo moments. There's still and obvious core influence here, but there should be. That's the idea. These guys didn't simply hop on the bandwagon like Five Finger Death Punch (even though I'll admit I liked their debut Way Of The Fist) and have only been showing the world what hardcore music can sound like mixed in with industrial, thrash, rock and other familiar genres without sounding too much like bubblegum pop rock. Even if the chorus numbers can sound squeaky clean on cuts like “In Spite Of Hindrances” you can't deny that you're getting an absolute pummeling at the same time. While “Ice Runs Through My Veins” might sound a little too mainstream at first, we do have to keep in mind that Victor wants to explore other territories and if such an approach is delivered well enough, then why not? I've already walked you through the majority of the record and you can pretty much get the idea at this point, which is that X:No Absolutes is definitely a hefty record with a rather sugary center that you might not expect, nor will you expect the fact that you're actually enjoying it. For some it still might not be as heavy as they'd like, but that's not to say that these guys didn't deliver a beating. They just delivered a bit more than that, and when done right, is there really a problem?

(13 Tracks, 41:00)

7/10

True Cross - Pure Divorce (2016)

True Cross are a four-piece from members of Landmine Marathon, Trap Them, Transistor Transistor and Vehemence. (That last one really surprised me.) The kind of music they're playing here isn't the sort of catchy core or extravagant death metal that you'd expect. Instead, it's a sort of posty mix of melodic rock which comes off quite soothing, sort of like Palms. The music actually fits pretty well with the bright white cover art, making it almost something of an absence of color flowing into the dreamy abyss of emotion. But if that sounds just too artsy fartsy for you, then I'll break it down like this. You're not going to bang your head to this record, you're not going to hear flying solos or powerful drum blasts. True Cross just aren't that kind of band. They're actually the kind of act that you play when you want to chill and just really soak up the music.

With a crispy vocal approach and so many romantic riff melodies that they'd make Deafheaven jealous, this is definitely the after-hours kind of experience. Hell, it might even make the mood better during a sexual experience. Couple of lit candles, a lit stick of incense and a warm, naked body either in the bedroom or in the bath, and I think you've got a real winner here. The record as a whole is actually quite long, but it's an expectable length for the kind of experience offered. The songs don't even have titles, but do they need to? Obviously, Pure Divorce is the kind of record that you'll want to listen to from front to back and it's sort of made that way. There's a little bit of electronics here as well as some drone, all coming together to make a very intimate music experience. It's kind of odd that they'd call the album Pure Divorce as I don't think you're going to want to divorce the person that you're embracing while such a record plays in the background.

Call it what you want, hipster, gay, not metal, not rock, whatever. If it doesn't speak to you, that's fine. But you can't argue with me that it's a lot more passionate than some of the lifeless approaches you may have heard on the American Grammy's last night. Which makes me wonder, if such an act stepped onto the same stage, would they have been accepted? Would people hear this kind of music and actually get it? Would they feel the same sort of emotion as they do when they hear the same overbearing choruses in use twenty times in a row, and that's the song? Truly there's something of real musical merit here. Something that I think appeals to people far beyond that of rock, metal and other less popular genres. If you like dreamy soundscapes with just as dreamlike vocals and ethereal guitar melodies, you'll certainly find something here. Once again, there's a massive musical appeal here and hopefully more people will be talking about this band in the future. They really should. Much more exciting than Coldplay.

(16 Tracks, 62:00)

9/10

Entombed A.D. - Dead Dawn (2016)

These Swedish death metal legends are already hitting us in the face with another album, this being their second since reforming with 2014's Back To The Front. Much as you'd expect, you're getting another exercise in classic death metal that sounds much closer to the band's earlier efforts in Entombed. It's not Left Hand Path, but it's definitely among the same territory. Make no mistake, there are no keyboards, orchestras or clean vocals to be found and certainly no punk elements. Dead Dawn literally sounds like the kind of record that Entombed fans have been craving, regardless of the new edition in A.D. Some people apparently don't like L. G. Petrov's vocal approach on the previous album though, which they may additionally despise here. It just depends on the listener and how they feel about death metal that is delivered with more of a rusted bellow than a downright growl. Petrov obviously seems to be saving his vocal chords on the disc, but I suppose I can't blame him as one can do serious damage to their vocal chords over time when performing this kind of music, especially for as long as he has. Aside from your normal death metal pummelers, there's a real gem in “When The World Fell” which features some tremendously eerie, yet awesome leads from Nico Elgstrand. Without question, Elgstrand is playing these riffs with as much fright and bite as we'd expect from old, crusty death metal and that seems to be what really sets this album on fire – along with Victor Brandt's pounding bass riffs and Olle Dahlstedt's calculated drumming. All of these men were in Entombed before and they're definitely playing like they're in it again (which they technically still are) and you certainly won't hear me complain about it. From what I've heard from these guys in their years up to this point, something like Dead Dawn just seems goddamned refreshing. I mean, this is death metal whether you like it or not. Perhaps there are some lighter riffs used on tracks like “The Winner Has Lost” and “Hubris Fall” but for the most part, you're getting a burly death metal disc with bone crushers like “Silent Assassin”, “Black Survival” and the title track, which the band can truly be proud of.

When you first listen to Dead Dawn, you may need to listen to it again. It's just not the kind of disc that fleshes itself out on the first listen. It's definitely the kind of performance that you'll appreciate more with repeated listens and you might even discover new things each time as well. I most certainly did. The record comes in and goes out at about the same speed, so you'll definitely want to keep that in mind. It's also only about forty minutes long, which makes it a disc that you'll definitely have to pay more attention to. These Swedes had no intention of sticking around, instead preferring to go in and out with a vengeance that conquers all in their wake. While it's true that some might not be able to get through the vocals, especially during the lighter riff melodies on the disc, there's still enough meat here for those willing to sit down to it. If it's not your thing, I understand. But it definitely sounds more like classic Entombed to me and is a huge upgrade over some of the other records we've heard from them in the past. At least they're still playing death metal this time around, which I think we can be thankful. Swedish death metal is certainly far from dead.

(11 Tracks, 57:00)

7/10

Axel Rudi Pell - Game Of Sins (2016)

If this act is new to you, then you've probably been living under a rock. But don't feel bad, as I just discovered the band upon the release of their twenty-five year anniversary DVD, Magic Moments. But what a great place to start, right? Hearing some of the band's greatest tracks performed in a raw live setting truly shows you what they're capable of. Yet now we have Game Of Sins, the band's next in an unbelievable line of heavy metal albums that have spanned throughout the ages. Obviously we can tell where a lot of Axel Rudi Pell's influences come from, and the very heat and fire of the heavy metal gods (some who've become saints, like Dio) can definitely heard on this one.

Just like any good heavy metal record should, this thing truly pounds as a memorable vocal performance from frontman Johnny Gioeli delivers the experience face-first into your auditory nerves, making for the type of heavy metal world that you might have seen adapted in Deathgasm as of late. When you see an armored guitarist standing on top of a mountain with two naked women swooning over him as he shreds a solo, that's exactly what you can expect here. If “Fire” doesn't hit you as hard as it to me, or for some odd reason you can't feel the eighties power of “Sons Of The Night” then you obviously don't get it. But maybe I don't get the scene these days either. While talking with a group of metalheads around my own age, I was a bit surprised to see them call this kind of music “old man metal.” I really kind of thought that heads would embrace the very roots that brought forth extreme metal, but that apparently doesn't seem to be the case anymore. Even so, it won't change my opinion on the power and majesty of a record that has delivered as well as this one has. Game Of Sins is one of those records that can have a powerful title track which extends to nine minutes in length, most of those being moments where a massive solo effort is employed, just like the old days. You know, those “old man metal” days.

There is a ballad here as well, but it's a little too Poison for me and I guess I'm not feeling it as much as the heftier cuts, but I will say that a fine solo effort is utilized here and surely there's an audience for this sort of approach. Another interesting note about Game Of Sins is that there are actually three huge cuts here other than the title track, “Til The World Says Goodbye” which is almost a ballad, but far memorable than the previous one and “Forever Free” which is the album's technical closer. It is also a much slower track, highlighting the fact that Axel and the boys wanted to make a strong, almost AOR friendly album full of real power ballads that drag us kicking and screaming back into the house of hair. I've never found anything wrong with these power ballads, especially when those ballads come with balls.

While not as punchy as one might like, it hits you where it counts and shows that we can still make classic music in today's age that doesn't feel dated. At least not to me. Keep in mind all the heads that call this stuff “old man metal.” But you know what? That's fine with me. Because I'll take my Axel Rudi Pell and age gracefully with the rest of these guys. I'm definitely looking forward to the next one, and the one after that. But before I get too ahead of myself here, I need to mention one very special thing about this record, which is only available on the digipack release. The legendary Jimi Hendrix has indeed been covered here, a definite saint of rock if there ever was one, and the song in particular is the classic “All Along The Watchtower.” The band have definitely given it their own touches though, making it more of a personal interpretation than a karaoke number. This is something Axel has wanted to do for years and is truly excited about having it appear on the album, so definitely pick up that digipack if you want to hear it. In the end, I'm happy with the performance delivered on Game Of Sins and it shows that these guys just keep plowing on without stopping. Here's to many more.

(11 Tracks, 64:00)

8/10

Autopsy - Skull Grinder EP (2016)

Holy shit, new Autopsy. But this isn't a new full-length by any means, it just simply seems to be some songs that they were going to put on the new record and decided not to. What's very funny about this, is that there are actually seven cuts on the disc, some of them being almost five and six minutes long. So either Autopsy have written a hell of a lot of songs in the past year or so, or these are cuts from an album that they decided to scrap and just release as an EP. Or they need money. Or something. But whatever the reason for this disc, it's certainly not the band's take on Now That's What I Call Music. As a matter of fact, death metal fans will be quite pleased to know that nothing within this recording is far beyond the realms of the genre and that Autopsy still fucking sounds like Autopsy. There's still a little bit of a death/punk vibe to the whole thing, but I'd expect nothing less. After all, these guys came from the days when punk and death and thrash were mixed together and it didn't have to have a special little title. We just called it fucking death metal, and that's what was important. As far as the performance, I'm being literally assaulted with guitar solos and that familiar garbage mouth vocal approach that I could tell from anywhere. There's a lot of death metal bands out there, but there's only one fucking Autopsy. Seriously folks, listen to all the goddamn solos in the title cut. More please, I'd like another helping. Because that's what metal sounds like. It's why we pick up records like this instead of the new Kanye West or Coldplay. Which are both shit bands, in my opinion. Coldplay will put me to sleep, Kanye trips over his own ego too much, and these guys humbly just beat the living crap out of you. Someone needs to send both those bands a copy of this EP. Knowing Kanye though, he'd probably just sample it and consider it genius. But I'd certainly like to see the look on those limey British bastards in Coldplay when someone begins to play the vinyl of Skull Grinder in their studio. You can figure they're having tea time, when one of them comments, “What on earth is the god awful racket?” Then it just gets louder, as tea cups shatter and the drink scolds their fingers. But that's just the kind of carnage that one can expect from death metal. You know, it doesn't really matter what I say about this disc, because Autopsy fans know what to expect. Maybe we have a few more atmospheres in play here like “Sanity Bleeds” and the instrumental “Return To Dead” but I honestly haven't heard anything on Skull Grinder that doesn't sound like death metal, or that doesn't embody the spirit of death metal music, which means that you're getting an EP that is actually worth buying. I never liked the ideas of EP's or (extended plays) but in this case, you're getting one hell of a tasty appetizer. If you're an Autopsy fan at all, please go pick this one up. It's definitely one of the band's finest moments, as it offers a great variety of death metal that doesn't run into boredom or get too full of itself. Well, maybe it does that – but we'd expect nothing less than grim grime and gore from these legends. If you can't get into this one, then perhaps you'd like to listen to another genre of metal. Or the new Kanye album.

(7 Tracks, 28:00)

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