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

Fister/Teeth - Split (2016)

This split brings Missouri and California together in the name of doom, death and sludge metal. Sounds promising to me just in that regard. It's not a very long split (roughly about thirteen minutes) but these things usually aren't. 

The first act we have is Missouri based doom/death/stoner and sludge metallers, Fister. They come on strong with some extremely pungent nodes, proving the strength of Kenny Snarzyck's bass work as well as Marcus Newstead's (this guy used to play in The Lion's Daughter) extremely melodic, slightly depressive and all around powerful lead work. Opener “We All Die Tonight” actually features one hell of a solo stuffed right into the middle of it. When I say one hell of a solo, I literally mean one hell of a fucking solo, folks. That's the kind of thing that made me take notice. Only problem is that there's about a few seconds after that with what I think is just filler with no real point, unless it was lyrically called. Even so, (and this is nearly a damn first for me) it kind of kills the impact of Newstead's solo work, which should have ended the piece.

California's Teeth are a completely different animal. There's still the doom and death metal elements, but it feels like they wanted to beef these extremities with the magic of post metal. Justin Moore and Erol Ulug (Apparently that's his real name. Perhaps they have a literal cave troll in their band?) both makeup the guitar and vocal end, which seems to meld together to form this inhuman and rather gruff semblance. There's a little bit of crystalline psychosis to these pieces as well, making the approach sound sometimes pretty, but most often insane. To be dreadfully honest, the soundscape is rather creepy and unnerving for an act of this nature, which I find amazing as the hairs prick up on the back of my neck. Two songs and less than seven minutes is more than enough to tell me that there's something very freaky about the music that these guys play. They're the definite winner of the split for me, regardless of the fact that both bands do a great job. This is what I'd consider a great split, just kind of wish these things were a bit longer.

(3 Tracks, 13:00)

8/10

Celestial Ruin - Pandora (2016)

You might wonder why I'm covering a Vancouver based rock and Gothic metal band that has been tagged for fans of Nightwish, Evanessence, Delain, Kamelot, Within Temptation and others. There's a simple reason for that, which is mainly that I found the record very catchy and rather enjoyable. Aside from Larissa Dawn's potent vocal prowess on the microphone, we have the pounding drums of Adam Todd as well as some notable leads and solos from Eriz Crux. Ruben Wijga performs the keys here, which add much of the bombastic atmosphere you'll hear on the disc, far different than what you might expect on a regular female fronted rock record. These guys are actually taking the term “metal band” seriously, which definitely warrants the Kamelot comparison, regardless of how much the Delain tag fits as well. It's actually not too out of character to consider Celestial Ruin a more thrash-influenced and bombastic version of Evanessence, but not Nightwish. There's nothing operatic here, but there are about ten tons of sing-along choruses to be found on a disc that's surely just the start of something larger and more commercial. I would just hope that as Celestial Ruin matures as a band, they won't decide to sand down the metallic elements here in favor of giving people easier to digest fast food music with only the pop choruses intact. It's kind of funny that the single for the EP is “Sense Of Exile” even though “Nevermore” is about ten times more commercially viable and would make the band stick out far more among casual rock listeners. Then again, in listening to the two cuts side by side, I've noticed that the chorus numbers sound nearly identical to each other in tone. But whatever sells, right? In any case, this act is an absolute goldmine and I'm quite sure that it doesn't even need a small site like mine to promote it. After all, there was something of an interview with the frontwoman over at the AXS TV website, and that's Mark Cuban's channel. He has way more fans than I do here, or than I could ever dream of here. He's actually making money, and enough of it to sell me into slavery if he wished. In any case, I actually found this record extremely catchy and I'll bet my bottom dollar that this isn't the last we'll be seeing from this act. An EP today, a Grammy tomorrow... but to do that, they'd have to kill the metal, wouldn't they? Yep. It'll be interesting to see how much they're willing to sacrifice in the future.

(4 Tracks, 24:00)

8/10

Forged In Black - Fear Reflecting Fear (2016)

Attempting to follow in the footsteps of influences like Judas Priest, Helloween, Memory Garden, Grand Magus and more, these UK heavy/thrash and progressive (definitely progressive) metallers have offered up four songs and a little over twenty minutes of new material within them. These guys used to play in a band called Merciless Fail, but decided to kick things up a notch with their new moniker and a much heavier band to boot. That being said, we actually get a lot of little prog-jam sessions and even some Maidenisms that I certainly won't turn away. There's definitely a doom feeling to the music here, reminding me a lot of Candlemass with opener “1000 Wings” and the title cut, which almost sounds like it was ripped right from a Candlemass record. Only difference is that we have a little more attention to detail in the form of the prog, which not only gives these tunes more melody, but also allows them to escape into unforeseen and rather brilliant realms. “Renegades Of Last Rites” explores more thrash, while closer “Shadows Still Remain” adds a bit more progressive influence into what brings back the doom feel of the first two cuts. For some odd reason there's an obnoxious harsh vocal roar utilized on the record that just doesn't fit in with the rest of the material and rubs me the wrong way every time it is used. Though I haven't heard the band's earlier debut, I certainly can't find any other problems with this disc other than the aforementioned and would heavily recommend it to fans of the bands I mentioned above, as well as the doom influences like Candlemass (which I'm kind of surprised wasn't mentioned on the band's press leaflet) and numerous others in that vein. It's good stuff regardless, and I wouldn't pass it up. I'm quite impressed otherwise.

(4 Tracks, 21:00)

8/10

Nocturnal Hollow - Deathless and Fleshless (2016)

Venezuela's Nocturnal Hollow are back with their third full-length album, which sounds like a meat tenderizer in the realms of classic death metal. Think bands like Entombed, Grave, Bloodbath and you've got it. The production value remains classic, but everything is still very audible. Deathless and Fleshless is still a very warm record, a disc that you could use as a heater in most regards and it captures the spirit of old death perfectly. There's some Slayer nods in the solo sections, as well as a slew of doom riffs to mix in with the thrash and pummel of the drums, making for a disc that comes in and does what it's meant to do. Thankfully, all of the songs here don't sound the same and that's going to come as a relief. The disc contains it's share of slow kills as well as quick massacres, as a few melodies are showcased here and there amongst the old-school solos. It's a pretty solid death metal disc in the end and I don't think that many people will be upset with it, even though it doesn't really deliver anything that we haven't already heard before from the genre. If you need another good slab of death, grab this record. If you're looking for something more, than you may want to look elsewhere. That being said, Deathless and Fleshless offers what we expect from classic death metal and it does it without even a hint of modernism. Chances are that you have a lot of records that already sound like this one, however. Maybe you could use just one more.

(10 Tracks, 39:00)

7/10

Perihelion - Hold (2016)

Hungarian post-metallers Perihelion never cease to amaze me, which can certainly be said with their beautiful new EP release. Although it's rather short, there's still enough here to fill the void between their next release and I can honestly say that fans will not be upset with this one. If you don't know much about Perihelion, they can be compared to Thy Catafalque, Alcest, Vintersorg, Solefald and even Borknagar. The only difference here is that the black metal sections of each would be removed, as well as the scowls. Perihelion give us more a mix of powerful lines and melodies, where choruses aren't even as necessary as the verses themselves. Anyone can write a hooky chorus, but how many times can you catch someone's attention with mere set of verses? Frontman Gyula Vasvari challenges that with three strong and entirely memorable songs that wouldn't have changed my score one bit if they'd been added to Zeng. There's nothing here that sees the band faltering, and if nothing else, they're sounding even better. I still can't tell you what these lyrics are about, but it's all so wonderfully ethereal that it doesn't even come as a concern. To think that three men can be capable of such a powerfully emotionally performance is nothing short of amazing. There's nothing threateningly heavy or even dark to be found on this one, even though I do sense some deep emotional pain within the vocals here. In other words, it's a performance that you can feel and that's just not something I can say for a lot of bands. There's just no one out there like Perihelion. Interestingly, they covered “Sycamore Trees” from Twin Peaks (still kicking myself for not having watched that yet) in English, which I believe is a band first. The fact that Vasvari can sing in English I don't feel is a real issue, because it's quite obvious that the performance itself is what's memorable, and if the Hungarian dialect sees these verses and choral lines much stronger, than I'm all for it. I learned long ago that music doesn't have to be understandable in order to enjoy it, which is what these gentlemen perform here again. It's a little short, but I'd be shooting myself in the foot if I didn't highly recommend it. Like many of these short records, I'd rather have waited to hear these put on a full-length but certainly won't complain with the performance laden within. This is probably the third time I've heard this record, and every time it has been just as captivating. Very few acts are able to move me like Perihelion, so make sure that you pick it up if you're looking for a real dose of raw passion.

(4 Tracks, 14:00)

9/10

Dominhate - Emissaries Of Mourning (2016)

Fans of dark and foreboding death metal mayhem will completely devour this new EP from Italian four-piece, Dominhate. The disc is short (or it wouldn't be in the shortlist) but it's quite punishing, throwing us directly into a cavern by which we're forced to sift through all of the dirt and the monsters which lie within it. Doom is very much a focus of this album, with bass riffs that sound so low in the mix that they might be mistaken for the roars of demons along with a drumming performance that feels every bit like we should expect for this kind of music. I'm brought to mind acts like Morbid Angel and Immolation, by which flaming guitar solos rise up from out of the muck and bring the metal pounding right to your face. I've listened to this record twice during the review and I honestly can't find even the smallest issue with it. These four guys know what they're doing and seem to have a good grip on it, which is no doubt going to make for a full-length release that's literally just as good or better. I've heard ten thousand pounds of death metal in the past number of years, but acts like this one are the kind that really stand out. I'd certainly remember Emissaries Of Mourning over bland efforts from others, by which there is no real thought to atmosphere, vocals or composition. The record is certainly a no-nonsense approach and isn't trying to achieve anything new with the genre, but with so much doom and gloom pumped into this oppressive death metal terrorizer, I don't really feel that reaching for new heights is what this band needs to do. Rather, they're doing a damn fine job as it is. If you're a death metal fan, you shouldn't be upset with this one, and if you are, then I'm going to slap you. Suffice it to say, Emissaries Of Misery is definitely an EP worth picking up and spinning a few times before their next full-length, which hopefully won't be too far away.

(5 Tracks, 19:00)

9/10