Adoration Destroyed - Ritual Damage (2016)

Despite the unexpected and unfortunate passing of the band's bassist John Gilyeat shortly after, this latest album from this Texas based Industrial rock act is certainly worth checking out, especially for fans of acts like Celldweller, The Dreaming, Mortiis, Deathstars, Nine Inch Nails, The Cruxshadows or Marilyn Manson. Now the cover looks like something you might expect for an etheral/darkwave act like Dead Can Dance, Unto Ashes or Inkubus Sukubus, but this record is definitely not that kind of experience. Which was perfectly fine for me, it was an unexpected and surprisingly intriguing. The most interesting part about this album for me was how close frontman Eric Gustafson actually hits Marilyn Manson territory, even covering classic “Coma White” to near-perfection. I'm extremely anal-retentive regarding covers of this classic because of my connection to the lyrics, (I'd been pushed through the pharmaceutical system for many years as a child – so I know what “a pill to make you numb, a pill to make you dumb” and “a pill to make you anybody else” actually means. As a matter of fact, it was just a few months ago that my current doctor told me that what I had been going through was indeed a “pill doctor” trying to exploit me for the benefit of the system, and apparently it is common in the industry. I suffered numerous side effects from the drugs, far beyond what Manson discussed in the song of course.) and I've heard several so/so renditions having tracked down numerous covers of it myself.

Though other than making a tribute to what I believe is one of the best-eras of the long running shock rock act (Mechanical Animals is my favorite album from the band, after all), Adoration Destroyed manage to pump out several great numbers in their own right, like the Black Tape For A Blue Girl meets Depeche Mode with a touch of The Cure influence in “Voices Carry” the thumping “Never Mine” which takes us on a bit of space travel, and the unexpectedly harsh vocal backed electronic flair of “Nothing Left” which also features Cynical Existence on said abrasiveness. Normally the music here tends to vocally lean towards an emotionally depressive (but certainly not whiny) nature, but with the inclusion of Cynical Existence, it almost makes me think of early Grendel. I also need to mention “In Elegant Decay” and closer “Both Of Me” because they definitely capture the very best of what this genre has to offer, along with the kind of catchy choruses that will surely make Adoration Destroyed an act to remember. I find it odd that the band would choose to put one of their catchier numbers (worthy of being a single in it's own right) towards the very back of the album, but at least it allows the disc to go out with a bang, considering the tracks that follow are a short instrumental outro alongside some fair remix numbers by 16 Volt and Mr. Kitty, respectively. They come with the album at no extra cost, which is always a wise idea in my book. I never liked the idea of making a customer pay extra for a disc of remixes that may very well be hit or miss, as several (not naming names here – but you're aware of them) other industrial/electronic acts have done in the past.

Breaking the band down on an instrumental level, Adoration Destroyed utilize everything from slow electronic dirges to bouncy europop, but never with even so much of a tinge of happiness. The Cruxshadows are actually more light-hearted than anything you'll hear here, which just goes to show you the amount of emotional depravity you're walking into. There is very little rock influence, but Gilyeat's bass is still a rather notable part of the band and brings in the heavier sections when necessary. Eirik Ashe performs the live drums that you'll hear on some sections of the album as well, which again brings a sort of heavier rock tone to some of the cuts here. There's nothing on the record that emulates acts like NIN or Marilyn Manson at their heaviest, but Adoration Destroyed are not interested in that kind of sound so much as they are a more deep-spirited and fragile series of moments; which will definitely meld with listeners looking for something more genuine than furious bouts of hard rock. Adoration Destroyed were not in any way the kind of band I thought they were judging on the extremely pagan-influenced and occult cover. Nor do their lyrics seem to mention anything in those realms. These lyrics seem to come with a much more personal effect, which might relate more to those struggling with relationships or identity than those looking to summon something. Even so, it's a great listen and I hope you'll find something in it. I do feel again, that the album cover is a bit misleading for the music, but maybe those expecting a dark/etheral experience might find that they really dig the cold and bouncy electronic atmospheres found here anyway.

(13 Tracks, 52:00)

8/10

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

Precipitation - The Power Of... (2016)

The debut from this uncanny German melodic death/metalcore act definitely surprised me. But that's because Precipitation simply don't follow the rules. It's not always melodic death metal, it's not always core and it's not always metal, period. As a matter of fact, the record begins with blues and doesn't shy away from that. The Power Of... is simply a mixture of different styles that all culminate together to make a pretty interesting experience. It goes without saying that all of these guys are new blood, even though the band have been together since 2013. Sometimes it takes awhile to craft a record and this one is definitely the result of fine craftsmanship beyond anything that I would have ever expected. I asked for quite a bit of physical submissions to review over the past week and don't even remember this being one of them. That wasn't a problem though, as it actually turned out to be my favorite of the three.

If you listen to “Unavoidable” for example, it's basically crunchy melodic rock with some proggy touches, yet fronted with a hefty growl that you might not expect for the genre. There's also a clean vocal moment, which isn't the only one to appear and to be honest – they get better. There are some very strong clean vocal moments on the disc, which I'll mention later on in this review. Precipitation also take on a seven-minute monster called “Dazzled” which is pretty unexpected for a record like this, even though it is a re-recorded cut from their 2014 demo. You can hear as much classic melodeath as you can hear it retooled through the American incarnations of the genre. Yet as I stated in the genre description, you are getting some core moments as well as some breakdowns and whatnot. Though you should expect that, as these guys don't really play by the rules and in some places can come off with an unexpected amount of intricacy. The sound veers into almost progressive metal at times, though can also feature the kind of bluesy-solos that you might expect on a Zakk Wylde album (but are nowhere near as good as Zakk himself, of course.) One of my personal favorite cuts comes right after, called “Cosmic.” The band also tries very hard for some sort of space-faring sound as well which features a very strong clean vocal chorus as well as what almost looks to be a Devin Townsend inspired take on metalcore. Keep in mind, this song is a little over six minutes long and comes pretty early on by which point the song lengths start to normalize. I don't know why they decided to put some of their longest and most-textured tracks at the beginning of the record. This one would have made a great centerpiece and “Dazzled” would have done well to replace album clunker “Insane.”

As we move into the album, we start to notice even more progressive leanings of which I'm quite a fan – I would just have never expected it. “Alone” even tries for a slightly gloomier approach, but nothing like album closer “Last Breath” which is kind of rough to listen to. “Hideout” pounds out hard rock with hefty growls, while “Philosopher's Stoned” sounds like progressive death with a little bit of hard rock influence to it as well. I'd definitely consider it one of the disc's best tracks, as well as several others here. Once again, these guys just popped out of nowhere and impressed me beyond what I would have expected from the band. You can't even tell what kind of genre they are, or music they might play by looking at the album. If you look at the below image and think that you're getting “space black metal” than you've already flunked. Though I've honestly heard enough “space black metal” in my life and I'm quite pleased with the kind of band that really doesn't show boundaries. These guys could have thrown it out to the mainstream years ago, like several other German acts I've reviewed for larger labels; but the fact that they didn't cut out the extremities or textures from this record makes it something of a diamond in the rough.

The album's last cut is “Last Breath” which as I explained, was kind of tough to listen to. It's a serious song about death and one's final thoughts before they die, which can almost be a gut-wrenching experience. It is most definitely a funeral doom inspired moment, even though some of the melodies might be a little more upbeat than what we'd expect on a funeral doom record. It still might come off a bit poppier than some might be used to but it certainly isn't the kind of track that you'd expect to hear on an album like this one. At the end of the day, I really hope that we'll hear more from Precipitation in the future and there might REALLY be something here. This is the sound of a band that has loads of musical potential, but they also have the potential to sell out and make millions or the potential to be a relatively strong force in the underground. It simply depends on what these guys want to do and I'll support them either way. Even if the next record isn't to my liking, I certainly won't forget this unexpected German metal treasure.

(10 Tracks, 51:00)

9/10

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

Buzzard Canyon - Hellfire & Whiskey (2016)

Rolling in like a mix of doom, blues and rock n' roll, we have the warm and fuzzy sound of Connecticut's Buzzard Canyon. The quintet seems to offer a slew of catchy choruses, but there's also a great deal of thickness insofar as the compositions are concerned. “Louder Than God” actually allows for quite a bit of atmosphere, showing that the band can achieve a bit more than the bits of blues rock that you're getting for the majority of the album. Vocals on the record are actually doled out between a strong female frontwoman and a admittedly tough to hear male backing vocalist. Sometimes he takes over the vocal duties himself, especially during one section of the disc where he attempts a little bit of Danzig. If you'll listen closely, you'll hear some harsh vocal elements in the back as well. This kind of adds a bit more bite to the disc, but again – it's tough to hear. The frontwoman sometimes utilizes the same harsh vocal elements, which you can of course hear a bit better in the mix. Often these two duet, but you'd never know it because the male vocalist's mic is so low in the mix for a reason that escapes me. Also, the band is a little lower in the mix than it should be. I'm hearing my bluesy doomy thumps, but the vocals are just too clearly heard over them, which kind of kills the atmosphere that they were going for. It sounds like they were recorded in another room apart from the music (which is sometimes the case) but Buzzard Canyon like any good doomy bluesy rocky act, is more of a live band. You want the kind of feeling where maybe the lyrics aren't so audible because the thick thunder of bass and drums work to drown them out sometimes. When you see these guys live, you're going to experience just that. They currently only have one live show planned right now for December 3rd in their hometown, but maybe next year they'll really be able to take this show on the road. 

Again, this is a relatively stout and overly groovy little album, but it's definitely going to stand out much better on the stage along with some Sabbath and Manilla Road covers, perhaps. Buzzard Canyon aren't bad at all and this is a pretty good debut from my observation. It obviously has some rough edges, but that will be ironed out when these guys come back to the studio for the next one. Hellfire & Whiskey definitely contains some pretty impressive moments as far as some of the leads and solos are concerned, but there's not enough of them to really stand out right now. Again, this is literally the Connecticut act's first major musical output and I'm sure that they'll only get better with time. I do like that some of the harsh vocal moments are quite out there in the open, really pumping in some unexpected moments of groove and animosity where I honestly would not have expected it. Definitely give them a listen, but it's definitely going to work better onstage.

(8 Tracks, 35:00)

6/10

Army Of The Universe - 1999 & The Aftershow (2016)

Italian born (now based in LA) Army Of The Universe are back with their first record in three years, even though just by judging from the band's last album title The Hipster Sacrifice (2013), I'm going to have to go back and check that one out. Getting back to the recording, I find that it seems to be a mix of electronic dance music and rock, much in the vein of earlier Prodigy. Yet then again, there are some more gothic moments as well, like we'll hear on “Late Detroit Nights.” Yet then again, we'll hear some rather annoying dubstep influence in the background on “Down Till Dusk.” Thankfully, that's the only song on the record that really contains that kind of influence, or as least so much of it. I can do with a little dub, but too much is too much. There are thirteen tracks on this disc though, so one dubstep track isn't exactly going to kill it for me and the band offer enough of a varied mix of styles to keep me interested.

“1999” might come in like a roaring inferno, but most of these pieces seem to take a little bit more of a groovy and more dance-laden KMFDM nature, which definitely keeps the listener's attention as there's nearly something for everyone. When you pick up this disc, you're not getting the same song every time and it'll often sound like several different types of electronic acts. On “Another Escape” we get electronic Europop with nary a guitar riff in sight, which might turn off some fans, but that's okay. It's pretty catchy and shows that they can do more than electronic rock. “Digital Slag” comes in right with guitars however, certainly reminding me not only of KMFDM, but E1M1 from Doom. It doesn't stay that way however, as beats come in and the piece takes a more commercial vibe. That's fine though, as this is the kind of commercial electronic pop-rock I can stand. Also, those small clean sections (they have a watery feel to them) played by the keyboards almost have that spacey Super Metroid vibe which reminds me in part of the game's intro theme right after you start a new game (this is essentially the music that plays during the briefing section of the game and describes the events of the past two titles) which is something that might even surprise the band when they realize how close those keyboards sound to the piece. I'm not sure if this is intentional or not. We also have “The Aftershow” which has radio single written all over it. That chorus reverberates more than is entirely necessary, but I'd be a fool to tell you that I didn't enjoy it. Perhaps some of the verse material there is kind of filler, but they have to throw something in there to balance out the chorus.

“Snake Was Right” seems to be an anti-censorship cut, and in the age of PC culture, we could very well use it. Unfortunately, it's not really so much of a song as it is a long interlude with KMFDM inspired spoken word pieces. “Nobody 2.0” gives off that kind of electro-goth feel, which once again comes off a bit unexpected, as with anything else on the album. I can't say that I'm crazy about the disc's last track, “The Albert Hotel” but I can't say that I loved everything on the disc either. I will say that I found the majority of it easily digestible and for the most part, it's a solid act who've been at this for a long time. I can't really talk about their prior releases, so I don't know if this is departure from that kind of material or not, but I can say that I'm quite pleased with such a uniquely diverse electronic act. Metropolis has a great one on their hands, that's for sure. Check these guys out if you haven't.

(13 Tracks, 48:00)

8/10

Teorema - Teorema (2015)

Since nobody gave a shit about this Mexican duo, it's my turn to give it a proper review. First of all, Teorema is a raw, but audible death/sludge kind of like Acid Witch. Sometimes they even introduce more rock elements into their music, like with “Damned Country” which sounds like groove-rocker backed with furious grunts. Sometimes the grunts are in the background, but it's still the kind of disc I can behind. That's because I can tell that these musicians did the best with what they had. This self-titled is their debut and currently only release, which actually comes attached to a label (Lxs Grises). So I don't really know what happened or why when I type the band's name in, all I can find is some film by the same name. I will say that this oddly entertaining mix of death/sludge, rock and what can even become a sort of atmospheric soft-rock, is something worth checking out due to the sheer sporadity of it all. “Saint Place” might starts out rather burly, but it calms down to almost a meditation level. “Spiritual Madness” sounds like sheer death metal, but it also allows for psychedelics. Even “Times Of Sin” sounds a bit unique in composition, playing on some progressives. Seriously? You people aren't hearing this? I'm astonished. I know that the drums might sound a little far away at times, but these guys took a bit of a fuzzier and more organic route with their production. Again, I think they were just doing the best they could with what they had. Though in listening to this wildly textured release, I can't say that that is such a bad thing. I would have never expected such an airy cut as “Fuegos Fatuos” nor would I have expected such an intriguingly bleak closer in “Abysmos.” The guitars and drums were played in such a fashion to create the illusion of a vortex, adding in some unexpected drone to a disc that has played with death metal, groove, sludge, atmospheric soft rock and more. It makes me rather upset to see that there aren't any real English language reviews for this release, and it's definitely worth a listen for those of you looking for something a bit more from your sludge. I really hope that a lack of reviews and promotion doesn't serve as a detriment to these guys creating future albums, because there's something rather interesting in this one and I'd implore you to go seek it out.

(8 Tracks, 37:00)

8/10

Noyades - Noyades (2016)

When I first heard this recording from France's Noyades, I honestly thought they were terrible. The production was very raw and it just sort of sounded like a poorly-recorded live performance from a small venue. Though as I continued to listen to the disc, the band managed to take me on an unsuspecting ride through realms that I cannot accurately describe. There is a definite factor of trip here, but it doesn't become apparent until a little bit after the second cut, “Bear Rider” in which the band pull out all the stops and just jam for about fifteen minutes. Yet when these get to jamming, well... they really jam. The experience of “Reflections” is something akin to being on LSD without actually being on LSD. It takes you through the same kinds of realms that musicians first discovered when they began tripping on acid and writing this kind of music, which has successfully made it's journey from the 1960's all of the way to 2016. That's nearly sixty years of trip, and hopefully it'll equal out to another sixty years of the same wonderful approach that doesn't require one to be under the influence to enjoy. At least for me. These hypnotic, proggy compositions are what intrigues me the most about the act and made me quickly change my tune. That's why I try my best to listen to every album I receive and make sure to give them all a thorough overlook before I decide on whether or not to write a review. Noyades are definitely worth it for those looking for something a little “out of this world” and wish to take a little bit of a trip without ever leaving the house. Reality is a bit overrated anyway.

(3 Tracks, 23:00)

7/10

Howling Giant - Black Hole Space Wizard Pt. 1 (2016)

Hailing from Tennessee, Howling Giant are the kind of stoner metal act that pushes the genre a little further than most. With a wonderfully catchy vocal end that features elements from all three of these musicians, as well as four distinctly different songs that take off in ways I wouldn't imagine, Howling Giant might be one of the best up and coming stoner/rock acts in the state right now. There is an obvious commercial edge to pieces like “Mothership” and “Clouds Of Smoke” but in my eyes, that follows in the same kind of territory as Mastodon's more accessible Crack The Skye release and I'm not complaining one iota. The band are able to craft what I'd consider rather complex, keyboard driven hypnotic atmospheres that even feature a little bit of H.G. Wells thrown in for good measure. Fans of various stoner acts, as well as stuff like Mastodon, Kyuss, Floor and maybe even Tool will find something here, but just keep in mind that there are a hefty amount of doom riffs to be found on some of the cuts here. I've listened to it probably around five or six times now and can't wait for the second part!

(4 Tracks, 21:00)

9/10

UFOsonic Generator - The Evil Sonic Possession (2016)

I wasn't really sure what kind of album I was going to get with this one, but it was actually pretty damn groovy – and really listenable. The band considers themselves a type of “Heavy Wicked Drunken Doom & Roll From Outer Space” and are influenced by bands like Pentagram, Uriah Heep and Lucifer's Friend as well as Candlemass and Cathedral. But I hear far more of that Pentagram and Uriah Heep feel to the music than I would Candlemass or Cathedral.

Unfortunately, I don't know much about the band other than the fact that the email contact I have for them here is Italian, so I'm guessing they are also an Italian act as with many Minotauro releases. But there's an interesting tidbit on the band's Facebook profile that considers frontman Gojira, “lustful screams from Japan.” I won't look too far into that however, because it's probably a bit foolish and I strongly doubt he is Japanese, even though that would quite surprise me. What you need to know about these guys is that they jam in the same vein as Orange Goblin or perhaps even something like The Sword. This is traditional Sabbathy jam-doom, and it's not all that foreboding. But it does make for a good time.

As far as Gojira's vocals are concerned, his wails are hit or miss and don't really matter as far as the rest of the performance is concerned. When I'm faced with the disc, I mainly hear the thick heavy bass with an additional drum front and some rather nice lead melodies from time to time. I'm often reminded of acts like Wolfmother even, just because of the whole rock n' roll tendency that seems to suffuse through the album. These guys love to rock and they love to roll, which is what this record proves pretty well. You have to appreciate the music before you come into it though. This is a decidedly older approach to the doom genre and doesn't contain all of the bells and whistles of more modern acts. There aren't any metal extremities or electronics, no female vocals or shoegaze riffs. It's pretty much the same sound that you grew up with, only filtered through the lens of even older music like Blue Cheer or Mountain. It's old, folks – but that doesn't mean it's outdated or broken. As I've heard it said; “being old is not a crime” and that's what I feel that UFOsonic Generator substantiate rather well with The Evil Sonic Possession.

There's even a little bit of a “heavy hippie” mentality here, which is I guess where the whole trip factor comes in, even though there aren't any huge atmospheric drug trip moments like you might expect. Many of the songs sound quite similar though, and the album seems to be the kind of disc that you can just play any cut from and get the same experience. I could easily hear Ozzy on the vocals here, which is what makes this collaborative effort of doom and rock courtesy of D.D Morris (guitar), Miguel Bell (awesome bass riffs), S. McManchester (drums) and Gojira well worth checking out.

I think I've listened to this disc about three times now and it was a very fluid listen the first time around. I found myself unexpectedly bobbing my head to the music, so one could say that it spoke to me. I'm not really sure about all the occult and Satanic terminology here, but I'd treat it the same as any Sabbath record really – it's all about the performance. Ozzy was so drugged up out of his mind that I had no idea what he was singing about half the time, and I'm pretty sure that he didn't either. Of course, I'm in so much physical pain right now that a disc like this certainly seems like good medicine. I'm not a doctor, but maybe it'll make you feel a little better too. It's definitely infectious, but in a good way. If you love music, that is.

(7 Tracks, 38:00)

9/10

Etrusgrave - Aita's Sentence (2016)

If you're a fan of traditional heavy metal in the vein of Judas Priest, Iron Maiden, Saxon, Virgin Steele or UDO, then you will certainly love Italy's Etrusgrave. The band have been around since 2004, but released their debut record, Masters Of Fate in 2008. They haven't released an album since 2010's Tophet, marking Aita's Sentence the band's first album in six years. It is also interesting to note that their name is a combination of the terms “Etruscan” and “Grave.”

Not much has changed since the band's last record, aside from the addition of drummer Stefano Giugioli which means that these guys are pretty much the same band that they were six years ago. I really can't say, as this is the first release I've ever heard from them. Yet I can certainly accrue something from the listen – they're not bad. Not bad at all. As a matter of fact, they have some real staying power and will appeal mainly to those looking for a style of production that feels a little bit more organic. When I listen to this record, I can tell that there are actually musicians in the studio, recording their instruments live with little to no edits during the mixing process. As it sounds raw, perhaps frontman Tiziano Sbaragli won't quite hit every note perfectly and maybe Fulberto Serena's guitar will have a little bit more feedback and hiss than necessary. But those are just the sort of things that you should expect with a warmer performance, which almost echoes what the band can undoubtedly offer in a live setting. Fortunately, Aita's Sentence is a record I would love to hear in just that kind of setting, with the Priest meets Saxon feel of opener “Anxiety” or the Virgin Steele influence apparent in “Festering Slash” (yes, Sbaragli can hit the kind of almost feminine tones that David DeFeis is known for and it is sometimes to a startling degree) as well as the Queensryche aura that I'm getting from the album's title cut. Maiden riffs seem to appear “Coward” as well, showing that Etrusgrave are a heavy metal act who have done their research into what made the genre so memorable in the eighties.

Aside from Sbaragli, we also have quite a bit of compositional research coming right from the direction of Serena's guitars. The man can clearly play, and in so many different styles that I would say range from traditional heavy metal all of the way up to progressive and classic rock music. There's no doubt that listeners are getting a wonderful performance in this area, which is only peppered by the extent of his mind-guitar solo efforts. Yes, I said mind-boggling and I truly meant that. You will just have to listen to the disc yourself to verify that, and by all-means, a guitar solo nut like myself will challenge you to that.

Most of the time, I open up my mailbox and have no real idea what kind of records I'm going to receive when I open the packages, so there's no expectation in the very beginning. I don't even know what kind of bands I'm getting sometimes, so you just have to hope for the best. This one, well... it was pretty awesome. Not only does Serena play up a storm, but Sbaragli hits some extremely high and unexpected notes throughout. Most listeners won't even expect the degree of vocal perfomance that they're getting here and it's even more reason to check it out and give it a listen immediately if you're a fan of metal in it's golden age. I'm not even bored by the record after a long time listening to it, because there's just so much that I've noticed and I've liked about the performance. 

Admittedly to some, the record might sound a little thin and the bass isn't very thunderous in the mix, neither would I say are the drums. Though both seem to keep up a relatively decent pace and I wouldn't fault bassist Luigi Paoletti or skinsman Stefano Giuggioli for this issue, as they are merely crafting the tempo and building the foundation upon which the vocal and lead guitar end of the act truly soar. I don't think listeners will be checking this one out for either of those instruments, and feel that they would probably sound better performed live along with the proscenial elements of the act which altogether feel like they would truly take wing on the stage. Without a doubt, check it out. 

(7 Tracks, 48:00)

8/10

High Priest Of Saturn - Sons of Earth and Sky (2016)

A four-piece mix of doom and heavy, psychedelic rock from Norway; this release marks the quintet's second since their demo in 2011. “Aeolian Dunes” comes on pretty thick right from the start with it's obvious Sabbath influence, but then Martin Sivertsen (guitars) and Ole Kristian Malmedal (keyboards) take it right into proggy Pinky Floyd territory, where trippy whirls, light keys and soft guitar nodes make for a trip through the subconscious. Andreas Hagen (drums) follows in tune along with bassist and frontwoman Merethe Heggset, as the band bring us right into church organs and groove that send us straight into the fourth dimension. When I first heard the piece, it sounded kind of like any female fronted doom (Demon Lung, for example) but when the band opened the window and let the air in a little, I had no idea that the wind was going to blow so strong that it pulled me literally outwards into the fucking stratosphere. It's also a pretty safe bet that I liked that feeling and hope that the other thirty minutes of this record will deliver the same or at least a similar feeling to that ten-minute metaphysical monster. “Ages Move The Earth” has a lighter vibe from the start, with an odd trippy effect coming from Heggset's vocals that make her feel like she's trying to communicate from another dimension entirely. There are still some thick parts to be had, but nothing that takes away from the atmosphere, which is most important. “Son Of Earth and Sky” continues to totally chill me out, while “The Warming Moon” has a little more thump, which doom fans will appreciate. Despite the fact that there are doom fans here, you've really got to accept the fact that most of the material here is really trippy, proggy and psychedelic as hell. There are comics I'd like to read while listening to this kind of stuff, just to enhance the trippy and metaphysical nature of them. When we come to the end, we're faced with another very slow moment in “The Flood Of Waters” which I can certainly say will extend your journey. The disc itself comes in at about forty minutes, so it's not quite a full hour of psychedelic doom/rock fare, but you're definitely going to appreciate what has happened here and I'd definitely consider it one of the best psychedelic experiences I've heard from a doom act in a while. If you liked that Tusmorke I reviewed earlier, pick this one up for a little more meat coupled with yet another amazing trip.

(5 Tracks, 40:00)

8/10

Beelzefuzz - The Righteous Bloom (2016)

If you're looking for a sound that brings to mind acts like Uriah Heep, Black Sabbath, Pentagram and Deep Purple, you'll definitely find it here in the sophomore record from this Maryland based blast from the past. The first thing I want to stress is that the record actually has a pretty clean production value despite the obvious “fuzz” (see there, I made a pun) but it doesn't take away from the value of the work as a whole. Just from the album's opener “Nazriff” I'm already well-aware of what to expect and wouldn't wish for anything else. When the thicker “The Soulless” comes immediately after, I'm still getting a very jammy, groovy, proggy feel and it's not one I'd turn down with a good joint (if I had one) as the band's sound in style definitely falls under a bit of a stoner category for me. But that's okay, because they're doing a very commendable job here and even dish out some rather well-meant guitar solos in addition to the glassy clean vocals and mounds of bass fuzz. I'm currently listening to the album at a volume level of 78 and can't really hear the fuzz as much as I can the cleaner sections, but this could be due to my tuning or some other factor. I can't say for certain that the same could be said for your listening device or preference. In any case, the quartet have certainly focused quite a bit on the vocal elements as they are undoubtedly raised highest in the mix and are heard far before everything else. I don't know how many will sit with this, but it certainly can be said that their frontman has a rather passionate and classically trained approach that makes his lines come off in a pleasing manner. Not all of the songs here carry a pleasant tune however, with some pretty dark nodes coming in around tracks like the doomy title track and “Sanctum & Solace” which actually brings in some funerary elements in areas. I think this gives the band a bit of well-needed variation, though I'll admit that I'd rather hear a bit more darkness from an act by the name of Beelzefuzz. Even so, there's still enough for fans of doom, stoner and jam rock to really jump into and I'd certainly recommend giving it a listen. Just in my short time with it, I can tell that The Righteous Bloom is a product of hard work and that's what you're getting when you buy the record.

(11 Tracks, 46:00)

7/10

Tusmorke - Fort Bak Lyset (2016)

Norway's Tusmorke are back and I've been waiting a long time to review this one, because like their last, I really enjoyed it. One song that really got me into these guys was “All Is Lost” a track I don't think I'll ever forget. I've played it several times and it always elicits the same feeling every time I do so. But truly every song was worth listening to on 2014's Riset Bak Speilet.

Running in at about forty-five minutes, Fort Back Lyset is just about as long as we'd expect for these guys and certainly feels much longer than that with all the trippy parts that occur on this record. The band combine folk rock and progressive music together here, which sometimes lifts you up and takes you into another world altogether. To me, that's one of the best feelings that you can have in a non-metal act and if I wasn't such a big metal head, it's assured that I'd be a damn hippie. In any case, “Et Djevelsk Marenitt” definitely brings us into that funky psychedelic world, and it comes along with flutes to add a bit more Tolkien flair to the performance. Keep in mind that the song itself starts out like something you might hear in a fairy forest before it drops LSD, but I'd seriously have it no other way. Once we get past that point, there's no going back as “De Reiser Fra Oss” works to remind us that the trip has already begun and if you're not seeing the floor melt by now, you soon will. As well as the ceiling and the walls. The rest of the world might indeed look like a Dali painting doused with a hint of Tolkien or George R. R. Martin. Imagine Game Of Thrones if the production team were taking hits of acid during the design phase, or hired Lewis Caroll on Laudanum.

Other than really trippy atmospheres that make the walls and ceilings turn to butter, the band also offer plenty of catchy moments. Even though the lyrics are all performed in the band's native Norwegian this time around, these sections are so catchy that it doesn't even matter. I don't even know what “yar” means, but let me tell you, I was certainly singing right along with them during the opener “Ekebergkongen” and the disc's title track. In addition to this, there's also a little bit of a lighter piece in “Spurvehauken” which seems almost like a forlorn ballad with a psychedelic injection. The way that these guys combine psychedelic funk music with Norwegian folk is something that I think is unparalleled, and just one listen of this stellar album is all you need to be convinced of their talent. If you're looking for a literal folky trip, then please give this one a listen. There's no one out there quite like Tusmorke.

(7 Tracks, 44:00)

8/10

Diamond Head - Self-Titled (2016)

As a first time listener of Diamond Head, I know very little about them. I had a tough time getting into their earlier work, but most of what I heard from them were singles on satellite radio ages ago. I was still a teenager and my tastes in music hadn't quite matured to what they are now (even though I'll admit that I still enjoy a lot of stuff I listened to as a teenager.) In any case, I wasn't expecting a heavy metal album from these guys, and it's not what I got from them either. Diamond Head come from the days when bands like Motorhead, Black Sabbath and even Mercyful Fate were just considered rock n' roll. Lemmy never considered himself a metal musician and he never thought of the band as a metal band. Motorhead were always rock n' roll and that's what Diamond Head has delivered here, flawlessly.

Now I've been reading the Metal Archives reviews regarding the bands last couple of albums, and never have I seen lower scores for an act. They're in the twenties and thirties, which is practically unreal. So I'm not sure what happened, but given the eight years after the band's previous release, What's In Your Head (2008) it would seem that they've gotten their shit together, as a bit heavier sound that's quite reminiscent of Led Zeppelin seems to have formed out of this one. Interestingly enough, the band was poised to become the next Led Zeppelin and failed miserably in that after being signed to MCA Records many years ago. But one thinks, if they'd released an album like this, they might have had a better chance. Simply put, Diamond Head is the kind of record that just sounds like the formula done right.

I'm hearing dozens of solos, loads of memorable rhythms, and a vocal performance from new frontman Rasmus Bom Anderson that I'd just consider pretty mind-boggling. There's absolutely no denying the classic Led Zeppelin influences here, and Diamond Head may as well have made another classic-era Led Zeppelin record with this album, but I think it's the kind of thing that will find a lot of appeal. As I said, you're actually getting riffs and solos here, especially on near-epics like “All The Reasons You Live” and the meditative trance, “Silence.” Yeah, I know. I'm already waiting for it – a reviewer is going to hear “Silence” and immediately think that the band might be completely ripping off Led Zeppelin, but even if it's obvious that things have been borrowed, it still sounds very good. It's like playing a very good fan made game, which manages to come in as as strong (or sometimes even stronger) than the original product. This record even features the orchestrations and oriental soundscapes that we'd expect from the band they're emulating, which isn't a terrible thing. If you're going to copy Zeppelin, at least be sure to do it justice, which has been done here.

As I said, I'm not familiar with the band's first two NWOBHM albums, Lightning To The Nations or Borrowed Time, so I can't talk about what they used to do or how great of a band they may have been in their earlier, heavier era. But what I can say here, is that the listener is getting a 100% classic rock-fueled record that feels very much like Led Zeppelin in their prime. It goes without saying that this is more or less what the band was attempting to do almost twenty years ago, and I'm really glad that they've finally been able to pull it off after a nearly forty year existence. Andersen is a fine new fit for them, as Brian Tatler and Andy Abberley play up an absolute storm. I went into the disc not knowing what to expect, but I found my toes tapping and fingers tapping along while I was buying groceries, and I think that several other listeners will find the same things happened to them. It's just good rock n' roll and it's done right, with the essence and spirit that make the genre what it is today. I'd definitely give it a listen, as it simply has to be better than the last couple of releases they've put out.

(11 Tracks, 48:00)

7/10

Duck Hunters - Extinction Road (2015)

I like France's Duck Hunters for some odd reason and I can't quite tell you why. There was just something rough and sludgy about this thumping fuzzy rock that had me jamming from “Killer Croc” all of the way to the unexpectedly lengthy, “Hands Of Doom.” But it also might be that these guys love their blues and I can definitely get down with thick blues rock/metal stuff. To say that it was “really groovy” wouldn't be doing it justice, especially when these guys have their share of doom moments here and there, especially on the aforementioned closer. There are also some nice melodies intertwined here, which make the music a little more entertaining than some might think at first glance. The vocal approach might not sound that great at first, but Manu clearly has a lot of power in his lines and I can hear that. These guys also love their instrumental soundscapes, where they pump in psychedelic jam sessions, which go perfect with the grooves already featured on the disc.

Surprisingly, these songs are pretty thick too. I'm not just talking about grooves and doom riffs either. We've got that already, I'm talking about in terms of meat and texture. There are a lot of sections on cuts like “Last Broadcast” and “The Bill” which goes almost into prog rock territory. Duck Hunters might sound like a bunch of really thick stoner/doom rockers and they probably are, but there's still no denying that all of this comes off entirely listenable. As you can hear from the disc, these guys really put a lot of hard work into it and that also gives the listener a lot of unexpected surprises. “Killer Croc” is a great, catchy little song – but it doesn't even help to explain the whole album or what these guys are truly capable of. That being said, there is an odd little ditty called “Exile” which makes me think of an Irishman leaving his homeland as he tips his hat and walks off towards... well, England I guess. Do Irishmen tip their hats?

In any case, if you're adventurous enough for stoner/doom rock experiments, then you're really going to love this one. Lyrically it might not be quite as lighthearted as you'd expect, especially on “The Bill” which can get about as gritty as some of my lyrics can be. Sometimes you just have to sing what people need to hear, and not what they want. In my opinion, there's too many songs out there telling people what they want to hear as it is. Extinction Road is pretty powerful stuff and I definitely recommend it. This is one of those records that caught me by surprise and maybe it'll do the same to you. Great stuff, don't let it get buried under the sea of other releases.

(8 Tracks, 39:00)

8/10

Resurrection Kings - Self-Titled (2016)

There's a lot of people out there who say that rock is dead, and at sometimes you can get a little overwhelmed at the lack of rock rock guitars in mainstream music these days. Yet when I hear a record like this one from California's Resurrection Kings, I soon become aware that all that has been told to me is wrong, and that rock n' roll music is far from it's final days. The band is a project from Craig Goldy, who used to play guitar for Dio and also features Chad West (Foreigner, Bonham, Tree Of Gypsies) on vocals, Sean McNabb (Dokken, Quiet Riot) on bass and Vinnie Appice on drums. Resurrection Kings certainly seem to do just that with this self-titled effort, as they're literally bringing back the spirit of the eighties rock n' roll kings in a big way. I never tire of these classic rock acts, because it's a style that I find is almost infectious – songs like “Livin' Out Loud”, “Wash Away” and “Had Enough” are just a few of the awesome cuts you'll hear here, where big huge choruses are the main standpoint, coming in with as much force as one might expect from a guitar-powered steamroller of rockin' might.

While it's true that some of the younger generation out there might throw out the dreaded “dad rock” and “old man rock” terms, many of us know that this is the way the music used to sound, and because of the dedication to the craft, it still does. I still feel that there are a lot of people out there who would enjoy this music if they knew that it was still being made today! So maybe the electronic effects on “Fallin' For You” sound a little more modern than what we might have had back then, but you're still hit with pumping power chords, and one of the most awesome chorus lines I've heard in a while. It's pretty simple, but the way he belts it out – that's what really gets me. Then we have a simply awesome solo piece, as if the song couldn't ascend to any greater heights. That's the magic of real rock music, folks – it's certainly not lost on me.

Resurrection Kings is not the kind of record that requires about four or five paragraphs to describe, and I'm sure not going to break it down that way. Any fan of rock from early Bon Jovi to Aerosmith to Rainbow to Motley Crue to Whitesnake will find something to like here, and that's more than enough for me to recommend it to you. We have our ballad “Never Say Goodbye” of course, and several thumping tracks right on top of that, but the whole listen is ultimately solid and full of what I remember from the genre back when I was just a boy. There's a reason that I didn't become a hip hopper or whatever they call them, and I think it's because I discovered the magic of rock n' roll music at a young age. Revolution Kings are single-handedly bringing back that magic and really hope that people will check out this record and allow that awesomeness back into their life. The eighties are far from over as far as I'm concerned, and this album proves it.

(11 Tracks, 53:00)

8/10

The Road Vikings - Requiem Of An Outlaw Biker (2016)

The Road Vikings are a crossbreed between metal and rock, but to me it just sounds like classic heavy metal and I love it. Coming straight out of California, (San Francisco to be precise) these guys have a hell of a lot of promise with this stunning sophomore album, which I'd recommend for fans of Judas Priest, especially when Tim “Ripper” Owens fronted them. Now there's also a hard rock semblance here, but it's nothing that I haven't heard on newer Priest records and is delivered with enough bite to matter. Seriously, these guys have got it and someone just needs to take note of that. Dan Bryant is the mastermind behind this project and he certainly can play just as well as he can sing (remember, he sounds like Ripper) which is why several of these cuts simply explode with frantic fretwork that you'll have to hear to believe. “Black Magic Knights”, “Full Moon” and personal favorite “I Burn In Hell” are examples of some of the best that this record has to offer and that's not just in the lieu of catchy choruses, which they all deliver pretty well on – it's also the song structure utilized, which you'll catch after listening to the disc for just a few minutes. As “I Burn In Hell” is literally the album opener, you're already going to bare witness to the sheer majesty of Bryant's playing skills, which are downright astounding and again, need to be taken note of. I don't care who you are, you can't tell me that this man can't play and exceptionally well. Not to mention that there are some keyboards and other things in the mix that bring a little bit of unexpected prog to the compositions and I'm certainly not going to turn that away if it'll put meat on the songs. I hate to say it, but not even Priest really delved into that territory as has been done here. Dan Bryant has been through literal hell trying to get a project off the ground, but with this one I dare say that he has has it.

I also need to mention that the thumping bass riffs here are performed by Lisa Tonra who also heads up the backing vocals. These can sometimes make for strong duets on a few pieces like “Live To Ride” and “Lovebound.” We also have Dave Dab on drums, who adds that extra punch to these performances and makes his presence known just as much as anyone else. I will say that there's a sort of oddball in “Headwind” which sounds a little less thunderous and more like the prog-rock of Hawkwind, than some of the more piss n' vinegar anthems you'll hear on the disc, but it was obvious something new that they wanted to try out and you'll either love or hate it. As I said, progressive rock is as much of an influence here as the crunching metal side of things and I think that you'll appreciate that just as much as I have. What's not to like about tracks with more to chew on than just a verse and a fucking chorus? But if that's not enough for you, then you'll need to listen to the harmonica shredding on the record's title track. I think it goes without saying that The Road Vikings are something that the world of rock and metal needs to keep it's eyes firmly glued on, and even though I wasn't expecting much at first, I soon became blown away beyond all logical expectation. The record is ten dollars on CD Baby, but you can pay a little more for a physical copy. Either way, these guys are well worth supporting and promoting. Requiem Of An Outlaw Biker has a real sense of purpose, and that's what makes it stand out among the rest of the pack.

(10 Tracks, 46:00)

8.5/10

BAK XII - Aut Caesar Aut Nihil (2016)

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

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

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

(14 Tracks, 60:00)

9/10

The Erkonauts - I Did Something Bad (2016 Reissue)

Formed from the remains of industrial melodic death metallers Sybreed, The Erkonauts don't quite make the kind of music that you might have expected. Originally this thing was released in 2014, but I sure as hell didn't know about it and chances are, neither did you. Both of those 2014 pressings sold completely out and it's easy to see why. First of all, the label (Kaotoxin) has these guys pegged as sounding like Primus, mid-90's Suicidal Tendencies and The Offspring. But maybe someone over there must have not heard the black metal influence in “Tony 5” and the Emperor/Borknagar/Ihsahn inspirations particularly, which are painted all over it. These guys have always fucked with a bit of black metal, particularly on “Lucifer Effect” which is still one of my all-time favorite Sybreed tracks. Speaking of Sybreed, the band features former vocalist Ales Campanelli who also tackles the bass, along with their former drummer Kevin Choiral. Guitarists Sebastian Puiatti and Adrien Bornand are completely new, but are just as talented. These two definitely command catchy grooves amidst the industrial feel that still manages to exist somewhere within the confines of this formula. This being said, there is definitely some catchy blues to be found here as the leaflet claims, and it's quite like what you might expect from a band like Clutch or Down. I Did Something Bad really is a mixed bag, so you never know what to expect.

Right now I'm listening to a toe-tapper by the name of “Nola” but just before that came the rather sappy (but keep in mind this is coming from the same band who wrote “Next Day Will Never Come”) “All The Girls Should Die.” Out of most of the tracks here, that one seems to resonate with me the most and I'll no doubt add it to my personal play list. If we keep listening, we'll run into the High On Fire/Superjoint Ritual influenced “Dominium Mundi” which also seems to toy around with darker territory just a bit. It also works to remind me a lot of mid-era Gojira. Rest assured, the piece certainly doesn't sound “silly” and instead seems a little more heartfelt, albeit gut-wrenching. But that's just the kind of musical passion I'd expect from Campanelli and I'm really glad to see that that hasn't changed. When I first read the press release for this one, I almost choked a little. I was a bit worried that perhaps the guys would take it a little too comical with songs like “The Great Ass Poopery” and in the process end up killing what they really do best. Yet I am aware that this isn't Sybreed and it should stand as a replacement for what that band meant to me. Nevertheless, I'm really glad that what I remember and love most about Sybreed is still here in The Erkonauts, just flavored a bit differently. It works and I personally enjoy it.

When we get into “Hamster's Ghosthouse” which also takes on a slightly darker approach, I'm again reminded of the power in such an act like this. Take the use of the thick Gothic organs mixed in with the proggy Pink Floyd inspired blues on this same track, and you've got a noteworthy act from the start. I don't think it's necessary to discuss the entire album and spoil it for those who haven't heard it, but I will talk a little about the bonus tracks, as they are exclusive to this version of the album. The first one of these we have definitely feels a little more robotic, as such it is titled “Machine.” There will also be a video for this one upon release of the album. As for the song, it almost feels like a Sybreed cast-off with a much different vocal approach. We could compare it to something from Fear Factory or Gojira. The second song is actually quite long and feels like maybe something from Godflesh with a cleaner vocal approach. You could compare it to Killing Joke, but I think it's too slow of a number to tie it to Fear Factory again. But when I even utter the words, “Killing” and “Joke” that should be enough to already get you interested. In the end, both tracks are actually really good. They both stand out on the disc and are not mere filler. I actually feel kind of bad for those who bought the earlier version of this record, because these tracks are very good and it seems a little unfortunate that they have to buy the record again to get a copy of them. The band really should have just held out to put these on another record. It would have been worth the wait. If you don't already have the DIY pressings, then please go pick up this album, especially if you like Sybreed, sludge, post metal, groove and acts like Fear Factory, Gojira and The Killing Joke. As the leaflet said, there are some silly moments here, but there's more passion and conviction than comedy. I like the sound of that. It almost feels like ending Sybreed was the best thing these guys could have done, because The Erkonauts just feels far more inventive and tasteful. I felt that the final Sybreed album, God Is An Automaton really said it all and that The Erknonauts are a necessary evolution. Let me know what you think.

(11 Tracks, 54:00)

9/10