Mesmur - Mesmur (2015)

Mesmur is a sort of symphonic doom/death project, which utilizes some elements of electronic music within it's forlorn compositions. This act is formed from members of Dalla Nebbia, but it's definitely a different can of beans as far as I'm concerned. The most interesting thing for me here was how much electronic influence was sampled right at the very beginning of the disc, but after that it really starts to plod. Plodding is quite normal for doom/death in the My Dying Bride, November's Doom and Saturnus style (among others) but at least these guys round it out with strong, memorable lead melodies. These leads help to accentuate the piece, making it far easier to feel as an atmosphere and not just a bunch of slow doom riffs. There are ten and twenty bands that utilize that style, and even we're guilty of it at times – but that's why I feel it is essential to achieve more than everyone else. Aside from the metallic side of things, the vocal end is still very powerful and heavily memorable. If you remember what I said about Dalla Nebbia, the same can be said for Mesmur, where there is a definite focus on the deep growls, yet there's a bit more passion behind them. It very much sounds like classic doom/death, but with an added aspect in once again, the electronics. Yes, I know that electronics in such music are sometimes seen as a detriment, but here is where they deliver. Mesmur are definitely symphonic and these songs rely as heavily on synthscapes as they do on dreary, melodic riff melodies. As you can start to imagine, these synths eventually move into a sort of wave, which takes over the sound completely and makes it something new. The final cut on the disc, “Osmosis” seems to deliver this the best, as it sounds like “doom in space” and really resonates with me. While the band are still playing a very staple style as far as doom and death have been concerned, with this added synth element, it almost feels as if the band are hurtling through the stars, with the bass thumps on the record being likened to the pounding of asteroids on nearby planets. It's all very fascinating and like very few other acts out there is the genre, Mesmur is giving doom a facelift.

When Pallbearer came out of Arkansas with a sound in doom that no one's ever heard before, doom purists were quick to tear it apart. They called it everything from “hipster doom” to “poser doom” to whatever else they could utilize in an attempt to demonize something different. But the problem was, Pallbearer was actually a terrific doom act. It wouldn't have mattered how much the small community of doom elitists condemned the record, it was receiving a lot of praise and publicity. Mesmur are in that same boat, but the metalllions at large haven't really heard them yet. So I don't know how that small circle-jerk of doom elitists will actually respond to these guys. At any rate, this self-titled release is a good place to start for these guys and I'm sure that things will only receive more definition and clarity in the future, as they discover what kind of band they really want to be. I still feel that it needs a bit of work, but I feel that it will definitely be a built-upon approach. Even so, I'd still recommend it, but more to fans of the doom/death style than anyone else. Even the doom/deathers might not get it so much, so it is a tough little classification. But there's still no doubt in my mind that Mesmur are delivering just the kind of doom/death that we need right now.

(5 Tracks, 58:00)

7/10

The Lumberjack Feedback - Blackened Visions (2016)

If you're a fan of acts like Neurosis, Pelican and a slew of other post metal acts, then you're going to want to give this one a spin immediately. If you don't remember my reviews of this French acts previous EP's (though I'm not sure if I covered all of them) then you know that I've been waiting quite a while for this debut album. The guys finally decided that it was time to put everything they had together for a full-length, even though we know full well that they aren't afraid to make a forty minute disc and call it an EP. The band, which features two drummers, is still wholly instrumental as they should be. I think they're doing an excellent enough job with these dark and sludgy atmospheres and the hard-hitting bass riffs will speak louder here than any vocal approaches ever could. That being said, I can't literally tell you how much I agree with the Pelican comparisons, as this is the kind of record that sounds almost just like Australasia and that makes me smile with glee. I actually used Australasia quite a bit as vocal practice, which definitely helped my chops and showed me where vocals can go on these types of records. Once again, not that they need it. Nor would I say to buy this kind of disc so that you can practice vocals to it – even though yes, instrumental music approaches do help very much for that sort of thing. But let's not take this too far out of context, because I'm not heading down that road with Blackened Visions. What I really mean to say here, is that like Australasia; you'll find the disc to be just as crunchy as it is melodic, just not in the pretty kind of way. Instead, the melodies here seem to allow for a larger flow, which keeps the record far beyond that of just simple doom and sludge, which we can all map out. There's even a few lighter sections in “Salvation” and closer “Mah Song (Horses Of God)” which allow for slight breaks and even slight psychedelics in the formula (unfortunately, where most of these really begin to take off is where the album ends.) Said closer also contains the album's only solo, but it is ever so awesome. This is actually a guest solo from Agressor (formely Loudblast) axeman Colin Tocquaine.

For the most part, you're getting hefty sludge and doom with a level of theatrics that is just intriguing enough to keep you entertained. They don't go into black metal, or death metal or anything other than what you see described before you – but we didn't ask them to either. These guys got together to play the kind of music that they wanted to make and after finally releasing this debut we can see that they're still just as good at it as when they started. Blackened Visions is not without it's little experiments, which keep our ears glued and ready for the next section to come into play. I don't really think of it as a series of songs so much as one large piece that exercises several different layers within it. It's like a dark and musty old cake with a lot of sludge in the middle and maybe some sugar in the melody section. At times the album can even be a bit haunting, even ominous as “Dra Till Helvete” displays right before an unexpected face-pounding. Dark, ominous, experimental and likely to cause earthquakes, Blackened Visions is truly top notch. These guys are definitely doing a better job with this style than their worn out peers, who've done very little to impress me in recent years. Yes, The Lumberjack Feedback are the ones to beat this year, so to all of the other instrumental sludge, post doom experiments out there, I say to you – bring it.

(8 Tracks, 44:00)

8/10

Ravensire - The Cycle Never Ends (2016)

Portugal's Ravensire bring to mind herculean marches of manly metal might like those from Manowar as illustrated by Frank Frazetta and written by Robert E. Howard. While I don't recall if such a thing ever happened in the world of heavy metal, I definitely feel such a statement applies here. Rick Thor's thunderous bass riffs doubled with F's drumming bring about that mighty feeling of doom, yet there's also a great deal of classic heavy metal here; which is basically the kind of act that it boils down to. I'm also a bit reminded of Hansi Kursch in early Blind Guardian when it comes to the vocal approach here, which makes Thor's performance feel ancient, even legendary. The band also employ two guitarists, Nuno Mordred and more recently Mario Figueira who just joined the act as of this album. It's Figueria's first record and from what I can tell, it's a fine performance that seems to emulate everything that this genre of metal stands for. It is the fire and the dragon, it is the titan and the column, the sword and the spell, the battles between gods, demons and mighty men. It is filled with pounding solos, just the way your mother used to make in the warmth and fire of eighties metal. I'm not sure if the current generation of metalheads will get into what they call “dad rock” but don't even let me get started on that again. I should have had kids years ago and would probably end up being a stepfather in any case, so maybe this stuff is for me after all. But scratch that – children should grow up with Howard and Lovecraft, I think. I'd have treasured them far more than the stories I was reading at such an age, not having known of either man prior.

In any case, this is the kind of record that comes with might. It's like picking up an album and gaining immense strength just from holding it. It's like Conan's sword, which is far too heavy for you to pick up. These gentlemen even have a three-piece epic about the majesty of architecture and ancient temples called “The White Pillars” which seems to further cement their awesomeness as it shows what they're really capable of instrumentally. In particular, the solo section in “Temple At The End Of The World” is absolutely fascinating as it demonstrates the kind of awesome solos that I remember hearing from this genre. Altogether, The Cycle Never Ends is filled with monstrous doom riffs, a powerful vocal performance and about fifteen hundred pounds of testosterone. This is man's metal, for men by men. I'm just glad to see that it's an approach not lost and I wish Ravensire the best with this one and future efforts. I definitely think that fans of Manowar, Manilla Road, classic Blind Guardian and even Iron Maiden will find something to like here and you're sure to hold your axe highly to this one. Speaking of axes, I'm also reminded of Golden Axe with this one, which again describes the atmosphere perfectly. Not only is it mighty, but it's finely crafted and has the spirit of the metal gods looking over it from high above the horizon.

(8 Tracks, 43:00)

7/10

Septagon - Deadhead Syndicate (2016)

This German speed/thrash act formed from members of A Crimson Trail, Lanfear and Atlantean Codex (particularly Atlantean Codex's awesome frontman Markus Becker) is definitely worth your ears, and I truly mean that. This is one of those albums that caught my attention the very first time through and I knew I was going to cover it immediately, without hesitation. The record itself isn't that long, but who cares? This is the kind of disc you're going to play over and over again, with speedy riffs, memorable solos and catchy choruses that remind me of classic Anthrax. If the six-minute opener “Revolt Against The Revolution” doesn't get your attention, then I'm quite sure that you'll be singing right along with “Exit... Gunfire” which had me singing along right from the beginning. Yet while we're at it, listen to that muscular guitar composition, especially the instrumental section right in the middle of the song. That's how you make memorable thrash, there's no doubt about it. The chorus is really good, but they don't hang on it. Instead, the five-piece show why there's two guitarists in the band as both Stef-Binnig-Gollub and Markus Ulrich prove their worth beyond what I can even explain in words. Listen to “Ripper” and it's amazing Egyptian inspired melodies, that sound like something right out of Iced Earth's “Birth Of The Wicked.” Keeping in mind that Iced Earth also covered this same topic on “Jack” I'm kind of torn between which version I like better. Both are well-written and have choruses I'll be singing in my head for a few days, I'm sure.

“Septagon Conspiracy” (shouldn't it be “The Septagon Conspiracy?”) adds in some robotic vocal elements, as well as a rather rocking solo, making for an interesting thrash experiment. The title track is another one that popped right out to me. If not for the strong chorus, the progressive riff infusions most definitely. It's not a song where the chorus is heavily embraced, but as I've said – Septagon have enough musical might behind them that they don't have to rely on such a commonly used pop maneuver. If a song here is longer than what the radio might accept, then you can bet that these guys have the right kind of instrumental backing to keep your ears entertained the whole way through. The disc ends out with the oblong “Secret Silver Panorama Machine” which is a bit vocally oblong, but has a wonderful chorus number that certainly seems to show the world that there's more in store from this little act. If this conspiracy-laden thrash treat doesn't get your attention, then I think there are few things this year that will. Now obviously, despite the fact that the disc is quite pleasing, it's still a bit of a rough effort – as in, they'll get better with time. I think Septagon are only showing a fraction of what they can really pull off and the band's next output should be even further realized. Even so, I'd still recommend picking it up and it's definitely the kind of disc that has several cuts you'll want to play over and over again. This is how great and intriguing thrash metal is made. Without question, I'm already ready for the next offering.

(9 Tracks, 39:00)

8/10

The Bloodhound Gang - Hard Off (2015)

A bit of an oddity, I'm sure that nine out of ten people are wondering just why in the hell we're reviewing an album from The Bloodhound Gang. Well, I've been a fan since they debuted way back when and haven't heard a new release from these guys in several years. As a matter of fact, I think it was 2005's Hefty Fine which was the last I'd heard from them and that was a full decade ago. So what in the hell kind of record did they make this time? As you may have expected, it's just as experimental as their previous record and '99's breakout Hooray For Boobies.

The first one we've got here is “My Dad Says That's For Pussies” which sounds like a melancholic emo-era Blink 182 track, except for the fact that it's a bit hilarious and full of the level of potty-mouthed humor that we'd expect from these guys. The next one, “Dimes” is actually more like the group's hit “The Bad Touch” which takes an electronic/nerd rap approach. It's actually really good, but what really interested me here is that the electronic melody utilized here somewhat resembles E1-M2 from the first Doom game, or “The Chemical Plant” stage. You'd have to really listen to it, but it certainly seems like it's there. An obvious dance track, it works pretty well and the rhymes are spit with a nerdy sort of humor that is pretty much classic Bloodhound Gang. The ending section of the track changes the style up, making for a better dance track than what I hear in the majority of modern Hip Hop music. “American Bitches” is a weird melancholy acoustic that seems to be both depressing and comedic at the same time. “Chew Toy” brings the electronic rap back, but with a more simplified sense that actually works for them. The song is obviously comparing a woman to meat, which is obviously problematic and oh noes, but it's pretty damn funny to hear “When I see you, I see steak” as the main chorus number. “Uncool As Me” features Joey Fatone who adds backup vocals to the cut, almost making it like a comedic duet. There's definitely some Weezer influence to be found here, as most people will notice.

“Clean Up In Aisle Sexy” goes back to electronic rap about sex, bringing along more of a dance/rave atmosphere as well. “Diary Of A Stranger” finally changes things up to allow for a New Wave piece. I'm quite a fan of the style and obviously the genre revival, so I was a bit glad to hear this one. The lyrics are all comical, but at least the musical element is there. “Socially Awkward Penguin” continues the melancholic rock style, which seems to poke fun at emos. Unfortunately, it seems to come off as a pretty decent piece as well. What really surprises me is that these guys are what, forty now? These are the kinds of lyrics I'd expect them to write when they were twenty. Very bizarre. I'm guessing there are notebooks full of this stuff from the past and that's where this material came from. “Think Outside The Box” is another electronic rap track about a guy who's considering having sex with a groupie or other woman of ill-repute. “We're Gonna Bring The Party To You” is definitely a tribute to one of the band's biggest influences, The Beastie Boys and it's a pretty good way to end what I'd consider a rather awkward listen. There's one more piece here, which isn't even worth mentioning. At the end of the day, I still have to ask the question: Can a record be comedic and musically proficient at the same time? Musically and even vocally, the record seems to deliver exactly what it wants to. But the lyrical fodder is so much chaff that I don't even know if it's suitable for human consumption. Bit too late for that, as the record's been out for a while now, but if you're a nerd or geek and a socially awkward penguin yourself, you might find something in this. I will say that it was much better than I would have expected from a band at this stage and after ten years of dormancy, I've heard far worse. At least they didn't ruin what worked for them and it certainly sounds like a Bloodhound Gang record. Just keep in mind that it is comedy.

(11 Tracks, 38:00)

7/10

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