British hardcore seems to be stronger than ever, but one band is threatening to take the scene by storm and burst from its ranks with their latest EP A Horrific Accident. London’s aptly named CHAOS REIGNS are a furious ball of energy taking influence from your favourite bands from the late-noughties onwards; THE GHOST OF A THOUSAND (RIP), CANCER BATS and EVERY TIME I DIE. The result is a band with a familiar sound but with an injection of the chaos of 2019.
Immediately we’re confronted with the tumultuous Fight/Flight which gloriously channels the rawness and quick pace of THE GHOST OF A THOUSAND (listen to album New Hope, New Demonstrations) but CHAOS REIGNS slap their own spin on it resulting in hardcore pandemonium.
Far Off And Like A Dream has a whiff of EMPLOYED TO SERVE about it with its more intensely delivered approach. The riffs are bold yet simple, creating a strong foundation for this storming song. CHAOS REIGNS’ attitude sounds utterly unforgiving, reminding us they mean business and will take no prisoners.
Fellow British hardcore hopefuls MTXS have also been creating a stir in the scene, with vocalist Paul Collins featuring on A Horrific Accident‘s lead single Swan. Collins brings his own ruckus to proceedings and the gang vocals heighten the ferocity of the track. One thing to add regarding CHAOS REIGNS is their brilliant mathy riffs which give their sound a DILLINGER ESCAPE PLAN-esque flourish. It is awesome guitarists Joe Griffin and Lorinc Meszaros can pull together their influences yet keep it fresh and fundamentally punk.
Wasted Breath has a sickening old school punk stance which is a breath of fresh air compared to the stale and overly polished muck some bands pass as art these days. Things get really interesting from the middle onwards as it dips into a mathy frenzy and ends with a stomping riff. Bassist Billy Padmore keeps things rumbling along smoothly as the song gets even darker. One of the most diverse songs on the EP, Wasted Breath causes an uproar before the final track.
Their inner EVERY TIME I DIE bursts through in Digital Lives, the blistering finale of A Horrific Accident, with its whirring riffs and disorientating warbles. The chorus switches to a Birthing The Giant-era CANCER BATS style featuring a roaring pace and a sludgy riff. The hard-hitting lyrics and abrupt ending act like a mic drop to their anthem. The EP is anything but a horrific accident. Frontman Daniel Tolley is an unstoppable force, never once losing power or screaming without heart. With infectious energy, songs full of rage and an intense live show to boot, CHAOS REIGNS are proving themselves as future stars of the hardcore scene. Watch this space.
Suffolk – home of CRADLE OF FILTH, Aspalls and…ED SHEERAN, but now there is a new staple of the county. Ipswich heavy metallers KILLERKORP (or THE KILLER KORPORATION as they’re also affectionately known) have been tearing up the local scene since 2017 and are threatening to take the rest of the UK by storm with their debut EP, Pain.
The band don’t mess around on opener Nightstalker. With its fast pace and crushing groove, the band are clearly wearing their influences on their sleeve; imagine LAMB OF GOD with straight-up riffs and a hardcore attitude. The production is nothing to be admired but this just emphasises KILLERKORP’s potential as the song still slays. Frontman Benjamin Lyddiatt is clearly an asset to the band as his screams cut through with monstrous affect.
Survival of the Fittest is undoubtedly KILLERKORP flexing their love of black metal; with the muddy riffs, ferocious drumming and machine-gun pace, it’s a surprising track but one executed with aplomb. The blackened groove is akin to LEVIATHAN and is an absolute delight. The stomping riffs at the end give it a hardcore feel. Blackened hardcore? Yes please. Luckily the band deliver more blackened punky goods with third track Hysterics. With a distorted sound which just screams THE MISFITS in a crypt, KILLERKORP are providing utter filth with this track.
Things take a thrashy turn with Deadly Nightshade which would normally fill me with despair as this sound can come across as extremely amateurish and is what separates local bands from the wider world, but somehow KILLERKORP add their own twist to proceedings with their groovy stance and the impressive Lyddiatt.
To Be The Hunter is a bit of an unfocussed mess and could have been left off the EP but the menacing riff and chaotic yaps at the beginning show promise. Last track, Pain is anything but disappointing as it’s half a minute of delicious hardcore punk. Reading this sentence will probably take longer than listening to the whole of the song.
Pain, the EP as a whole, proves KILLERKORP are anything but another run-of-the-mill thrash band from East Anglia. Even though their sound is sometimes sprawled across genres, they are still creating something no one else is churning out in the region and that is very exciting. With a bit more experience under their belts and a bit more focus in their songwriting, hopefully by the next release we will hear more snippets of a distinct KILLERKORP sound. The components are there, the formula just needs fine-tuning.
Metalmance is well and truly back after a well-deserved break. There is so much to catch up on, this year is proving to be a corker of a year for new albums. In the coming months Roundups will also include releases which have captured my attention and singles you might have missed. Links to features this month will also be shared as well as a gem from the archives. This month I’ll start with my Top 3 releases of July and then feature some of my favourite albums of 2019 I’ve been enjoying on my break. Thanks for reading, see you next month!
Metalmance’s Top 3 Releases of July
This month has been a death metal paradise with regard to releases. With the scorching heat wave and the wave of brutal tunes, it’s been feeling like hell with a devilish soundtrack! My top releases of this month reflect this, so without further ado here are my Top 3:
WORMED – Metaportal EP. Release date: 19 July 2019
I don’t know how I’ve completely slept on WORMED until now, but goodness me am I happy I’ve discovered them. The Spanish sci-fi tech death troupe sound like all my favourite extreme metal bands all rolled into one. Metaprotal is an insane little record. One which you wish was a full length, but perhaps it is better off this way because you can savour each of the four tracks until you’ve consumed all the brutality. Songs like Bionic Relic boast DECAPITATED-esque riffs (cirqa. Organic Hallucinosis) while Cryptoubiquity harks back to the filthy days of BERZERKER, but it is E-Xystem://Ce which has a contemporary dissonant air about it (imagine if NIGHTMARER wrote Carnival is Forever). These four songs are enough to strike plenty of damage, approach at your own peril.
DISENTOMB – The Decaying Light. Release date: 12 July 2019.
One of my most anticipated albums of 2019 finally landed this month and it was well worth the wait! Brutal death metal Aussies DISENTOMB have returned with the spectacular The Decaying Light and if they weren’t on your radar, then they sure as hell will be now! The dissonant tones which run underneath their ferocious tunes give it an extra menacing edge. The production is as murky as the depths of despair which is a good thing when you want to spread your misery. The pace is relentless throughout the album and vocalist Jordan Phillip is continuing to impress as one of the scene’s most unforgiving guttural merchant. If you’ve yet to venture into the depths of DISENTOMB, then tread carefully.
Thy Art Is Murder – Human Target. Release date: 26 July 2019.
It’s easy to say Human Target, the fifth album by Aussie death metal merchants THY ART IS MURDER could be the raucous soundtrack to our inevitable dystopian future. Truth is, Human Target hits home in the dystopia which is the world TODAY. Never a band to shy away from sensitive topics or worldwide scandels, THY ART IS MURDER channels our sick world into some of the most brutal metal of our time. Human Target is arguably the band’s most blackened material to date and the results are outrageous. There’s oodles of CABAL-esque desperate despair as well as the predictable nods to politics today (Make America Hate Again) but with this album you can really feel every word and every note of misery played. The band are angrier than ever which means the state of the world is even worse, but it’s good news for us because we get an even more relentless steamroll from THY ART IS MURDER.
Metalmance Catch Up
As I said above, there’s been plenty of releases I’ve been jamming on my break and so many I want to share with you! This month I’m sharing some of my top albums which dropped in the Spring.
PORT NOIR – The New Routine. Release date: 10 May 2019.
Much like the title of the second track of this album, The New Routine is indeed Flawless! You might remember Swedish rockers PORT NOIR’s last album Anyway The Wind Carries was my second favourite album of 2016 and it’s felt like a long wait for this third album. Now signed to Inside Out Music I’m glad the band are amongst a progressive roster as PORT NOIR’s music is tough to pigeonhole and needs a label which will let them grow and fly. I was worried their new direction might be a lot poppier and it is in a way, but there is still such an appealing organicness to their music which is irresistible. I love they’re a trio with a huge sound and they really do get their groove on with this album. They sound like DEATH FROM ABOVE but sassier and bassist/vocalist Love Andersson is sounding as delightful as ever. The riffs are on point and the melodies are so smooth and sexy it will make you dream in velvet. Hot stuff, check them out before they get huge.
BRUTUS – Nest. Release date: 29 March 2019.
I bought Nest just on the basis of falling in love with a live video of BRUTUS’ song War. At the start I thought it was just going to be folky rock (which isn’t my cup of tea) but it developed into an intense, raw display of power and they blew me away. They’re only a trio but they create such huge walls of sound and blistering soundscapes they can be lumped in with post-rock bands as well as your conventional alt-rock groups. They’re signed to Hassle Records so you can expect an element of chaos to what they do. They chuck a lot of styles and influences into the pot yet they create their own BRUTUS sound; black metal riffs, punk energy and shoegaze visions all make an appearance on Nest making it unpredictable yet fresh. Stunning stuff.
EMPLOYED TO SERVE – Eternal Forward Motion. Release date: 10 May 2019.
This album goes bloody hard! EMPLOYED TO SERVE’s Eternal Forward Motion is absolutely devastating! I wasn’t expecting the brutal pace and relentless ferocity. I really liked their last album Warmth of a Dying Sun but this new album is something else! It makes me stomp around with the ugly riff face, exactly what I like in a record! There’s been a lot of hype around this band for a few years now so if you still haven’t checked them out or seen them live, then you’re really missing out.
From The Archive…
After reviewing the band’s second album Render earlier this month (link to review at the bottom of this Roundup), I was curious to revisit my first review of Bristolian proggers VALIS ABLAZE back when they released their EP Insularity. Here’s a snippet of what I had to say…
VALIS ABLAZE – Insularity EP. Release date: 30 January 2017.
“To push themselves to the forefront of the scene the band should focus on nurturing and fine-tuning their own sound, as the band have proved with this EP they already harness the talent and passion to potentially become a leading force themselves.”
This is exactly what I’ve been waiting for from VALIS ABLAZE. After reviewing their EP Insularity back in 2017 and then their debut album Boundless last year, I’ve always had high hopes for these Bristolians but they were yet to reveal their full potential. Render, the band’s second album to be released through Long Branch Records, showcases a band who have finally hit their stride. After numerous line-up changes and career defining shows, Render is the sound of VALIS ABLAZE ready to unleash their powress and put their stamp on the progressive scene in 2019.
Mesmerising riffs and an alluring depth entice the listener with opening track Neon Dreaming. This track also introduces what their previous material lacked a little bit – ‘oomph’. This confident appeal oozes through the rest of the album. Second track Hollow Heart is a prime example of VALIS ABLAZE’s newly found vigour. This glorious track is the best single the band have released to date and is an absolute belter. The staggering climax and triumphant riffs fill our hollow hearts to the brim.
The Convincer is an interesting beast. The jerky riffs and shimmering notes are shadowed by a dark undertone, yet the devastating chorus will make the track one which you’ll remember for a while. Speaking of memorable tracks, Ascent is an absolute corker of a song. The upbeat and infectious energy which punches at the beginnng is unlike anything we’ve heard from VALIS ABLAZE before and it’s flippin’ fantastic. The cheeky screamed vocals raise the song even higher. This track shows how versatile vocalist Phil Owen has become with his incredible vocal talent. If you think Ascent cannot get any better then the inclusion of MASK OF JUDAS’ Sam Bell just tips it over the edge. Absolutely outrageous.
After that triumph, next track Saturation provides a haunting and offbeat song which makes for a perfect interlude for an album full of unexpected twists and turns. States of Decay is another dreamlike and modest track which has stuck itself in my mind considering it’s quite laidback. The quirkiness continues with Infinite World with its opening notes which might deceive you into thinking you’d accidently skipped to ANIMALS AS LEADERS. The track continues with fresh energy and a few surprises; the 3 minute mark will blow you away. I’ll say no more.
Album finale Elevation is a mini masterpiece. The band don’t mess around here; immediately there is an impact at the beginning followed by a fast-paced chorus with a commanding energy throughout. The song elevates (sorry) with the breathtaking performance by Danish beauty WHITE DOVE, whom provided guest vocals during the band’s Tech Fest set last year, so I’m thrilled she’s back on a recorded track for Render. This conclusion is a stunning effort by VALIS ABLAZE.
Render is the band’s biggest achievement yet, each song has its own vibe and own story to tell. If they’ve improved and progressed this quickly between albums, just think of what VALIS ABLAZE will be capable of by album number three! If you’re still yet to check out this band (I’ve been blogging about them enough) then don’t wait any longer!
I’m not shy to admit this is my favourite release of 2019 so far. wilt & blossom is a suitable title for an album featuring euphoric highs and devastating lows. This album moves me like a blackgaze album would, and CARTOGRAPHS use fragments of blackgaze in their crushing debut album. The Danes borrow from post-rock, experimental and ambient rock, black metal and folk, amongst others to create their own brand of atmospheric music – with dazzling effect.
wilt over time broods as the atmosphere gradually builds up to a CULT OF LUNA-esque passage. The turbulent moments also remind me of Origo-era BURST, so you can probably gauge how powerful CARTOGRAPH’s material can be. There is a post-hardcore edge to the vocals which gives the music such a heart-wrenching and intense dynamic – you can’t let go. ever scaling latches on with its delicate post-rock beginning, exuding the light atmosphere of the first rays of sunshine after a harsh winter. It continues on the rise before lapsing into MAYBESHEWILL-esque riffs; bewitching, captivating…beautiful.
You might remember I wrote about lead single peace was never mine to be found in my last Roundup, stating it as a “stunning example of what’s to come” and it’s reassuring to discover I’m not wrong. The brooding passages and modest intensity is utterly mesmerising. Wearing their ambient metal influences on their sleeve there is a vein of nostalgia running throughout this track and wilt & blossom as a whole, but there is a crisp freshness to CARTOGRAPH’s take on post-rock, threatening to reinvent the genre.
Charming acoustic notes draw you into through the garden gate before a raucous 10 minutes unfold. The climatic riffs are unforgettable, taking you to stratospheric highs before plunging to urgent depths. The pace and execution is perfect for a track of this epic length. When you think you’ve recovered, they hit you with THAT riff again and you collapse into your own despair. CARTOGRAPHS wouldn’t be as heart-wrenching without the raw vocals of Joachim Jensen, but each member is a pivotal component in the CARTOGRAPHS experience.
Second single more string than pearls is another breath-taking example of how the band gel all the textures and instruments into one flawless wall of resounding vehemence. Things calm down a tad with in teal and that irresistible acoustic guitar. Dramatic yet serene, this album is all about opposites clashing together to make something utterly spellbinding.
The song title blossom under leaves conjures the image of hope hiding until the opportune time. The gentle opening minute does reflect this before the optimism is hindered by some spectacular blackgaze. The track continues to climb then dive before it reaches a constant state of post-rock enlightenment, making it a stellar conclusion to such a stunning debut. Last year I raved on about how Danish metal was leading the race, but with the likes of GHOST IRIS and now CARTOGRAPHS releasing excellent albums this year, Denmark might just hold onto the crown for one more year.
California’s AENIMUS have slowly been on the rise since their debut album Transcend Reality, but one thing’s for sure, second album Dreamcatcher will only propel the progressive metal band to new heights. The technicality and ambition on display here will make you think you’re listening to a band well into their metal career, making AENIMUS that little bit more exciting to listen to and to watch grow, because in reality they’re still honing their sound! In an oversaturated scene of so-so bands, groups have to really churn out something special to stand out, luckily AENIMUS have upped their game with this album as it really packs a punch.
The phrase “start as you mean to go on” springs to mind when Before the Eons bursts in. It’s a really technical track but extremely listenable, and the album continues in the same manner. The band channel their inner OPETH and BLACK CROWN INITIATE while BETWEEN THE BURIED AND ME-sounds provide the quirkier moments. An uplifting riff and epic solo storms the middle. Delicate guitar work provides a darkly soothing interlude, making this opening track a mesmerising feat. A blistering start.
Eternal sounds like the lovechild of CABAL and SHOKRAN – a terrifying lovechild. The song boasts the first of the spectacular clean vocals on Dreamcatcher. The vocals haven’t been chucked in for the hell of it, oh no, they ramp up the coloassal intensity of the track. This brilliant intensity continues into The Ritual which is a song which would please BEYOND CREATION and BLACK CROWN INITIATE fans. The bass really comes to the fore here, making this track a real progressive and technical beast.
The fantastic orchestral and oriental My Becoming is another one for SHOKRAN fans. Not only do AENIMUS nail the technical aspect of their sound, but they could easily be the masters of melodic tech death if they so wished. This is an absolutely huge track of epic proportions. Next song The Dark Triad is also a bit of a belter. Beginning with a big ol’ groovy riff, this is one song I’d like to see live! The darkness and rich textural depth matches the artwork for Dreamcatcher, you’re also never quite sure what monstrous element is around the corner!
Between Iron and Silver is an ambitious song which is beautifully executed. The dark, brooding moments collapse into passages of sheer magnificence, this won’t be a song you’ll easily forget. The instrumental and orchestral moments on Dreamcatcher are brilliantly composed and deserve a special mention. It is the dark soundscapes such as the ending of Between Iron and Silver which complete the album. We are violently brought back to our senses with the face-ripping riff and ferocious drumming on The Overlook. The vocals almost have the same impact as ARCHSPIRE at the very beginning, the intensity of the whole track is terrifying.
Technical death metal takes over in Caretaker which is one of the heaviest songs on Dreamcatcher. The heavy technicality of AENIMUS is flawless and when the breakdowns crash in you’ll be running for cover. Second Sight is another relentless track. The melodic moments remind me of DISTORTED HARMONY but the illusion is soon shattered by the trenchant end.
Penultimate track Day Zero provides a violently perfect start to the album finale. The terrific title track brings Dreamcatcher to a bewitching and storming conclusion, exactly what an album of this calibre deserves. If you haven’t been blown away by a record yet this year then Dreamcatcher will change all that. AENIMUS seem to masterfully mix progressive and technical metal with elements of deathcore and melodic prog metal into one exciting and unforgettable package. Outstanding.
Denmark’s GHOST IRIS never disappoint do they? 2017’s Blind World was a superb album and I had no doubts in my mind that the band’s third record Apple of Discord would be anything but spectacular…but bloody hell this record blows everything the band have ever done out of the water. This record is insane!
Apple of Discord begins with the title track, an instrumental song with a classic GHOST IRIS riff and a huge and crisp production. The dreamy riffage is soon obliterated by the absolutely storming The Devil’s Plaything. If there is one thing to note about this album it is frontman Jesper Vicencio’s vocals and how his cleans have become utterly colossal. His outstanding vocals plus the cheeky djent and the intense breakdowns make The Devil’s Plaything an excellent choice for a single. The track and Apple of Discord as a whole sounds a lot more serious and intense than their previous work, and even though there is a decent dollop of melodic passages, it all feels a lot heavier in general.
The riffs are another level on this album and next track Final Tale is no exception from the rule. It is a darkly groovy beast heightened by the catchy chorus. GHOST IRIS have oodles of appeal and seem to be channelling everything that works into a brilliant and concise record. The chunky riffs continue in After The Sun Set Pt. II which will certainly get a few bodies moving when played live. A proper bouncy and ferocious number with an epic chorus – this track is pure fire.
Beauty in Expiration is already potentially my favourite song of 2019 so far. There is a real ISSUES edge to it in terms of melodies. A brilliantly executed track, Vicencio’s vocals reach new heights and the instrumentation is perfect to say the least. It has the right balance of skull crushing riffs and delicate notes. Everything is just spot on. The same can be said for The Rat and the Snake which is one of the heaviest songs on Apple of Discord with its crushing CABAL-esque atmosphere. This is GHOST IRIS at their most brutal and it’s a truly thrilling experience.
The energetic Heaven Was Pure Hell is a triumph from beginning to end with its huge and catchy melodies and savage breakdowns. The tech fury continues with the brilliant Cowardly Pride. This track wouldn’t sound out of place on Blind World but its awesome melodic death leanings make it more like Blind World 2.0. GHOST IRIS surpass themselves once again with Magenta Moon which is a perfect modern metal song with a brilliant pace and lift to it. The uplifting riffs with the blistering breakdowns creates a masterpiece of a track full of striking contrasts.
Album finale Virus is well and truly an infectious track. A fabulous bouncy and groovy riff greets you before the brutal vocals threaten to tear your face off. It’s a good ol’ stomper which provides a monumental conclusion to a phenomenal album. GHOST IRIS are and remain one of Denmark’s most talented metal bands, but their crossover appeal and incredible talent demonstrated with Apple of Discord will surely threaten the big players worldwide.
Back in 2016 when they released breakthrough album True North, Japan’s CRYSTAL LAKE were a little speck on the tech metal scene. In my review of True North I predicted the album would “propel CRYSTAL LAKE into the metal stratosphere”. The band did indeed progress into the greater metal realm, with worldwide tours and a slot on the main stage at last year’s Tech Fest. The band are slowly but surely getting bigger and gaining momentum and new album Helix will most certainly launch the band to wider audiences. Compared to its predecessor, Helix is a real tour de force with its ferocious consistency.
Whoa! Whoa! Whoa! springs to mind when AEON kicks in. The programmed effects are spot on in this song and Helix as a whole. The opening minute has everything; blast beats, blackened passages, deathcore moments and dark TED MAUL moments. The sound is HUGE. AEON has already surpassed anything CRYSTAL LAKE have done before. So much happens yet it all flows seamlessly, but nothing prepares you for the slamming deathcore riffs and beats and the relentless tech metal at the end. Unbelievable.
Next track Agony is a bit more of a ‘typical’ CRYSTAL LAKE track (think Omega from True North with more melodic moments). The drumming and programming are once again insane, yet the ending is unexpectedly but welcomely soothing which enables you to process the brutality of the album so far. The rap returns in +81 but it’s executed perfectly making the track a disgustingly fun listen. There are some FAITH NO MORE-esque passages with the funky bass and seductive vocals. This is a real party metal anthem and will be stuck in your head for days.
By the time Lost in Forever bludgeons your ears it’s become clear CRYSTAL LAKE are sounding more focussed and mature with Helix and this track continues the brutality but with a more melodic slant. The jumpy riffs sound very much like the energetic guitar work of THE ROYAL which makes for another song to bounce to. Something a bit more unusual happens with Outgrow, with its FAITHLESS-esque passages and the slower pace, but it’s good to catch your breath during a high-octane album.
With its big ol’ swagger of a riff and the distinct vocals, Hail to the Fire becomes a bit of an unforgettable track. There is a real groove straight out of KILL THE KONG before it lapses into more slamming deathcore territory. Lots more interesting snippets happen in Devilcry which is a solid track with a catchy motif. The brutality and melodicness are perfectly balanced here making this track a bit of a dark horse to be Helix‘s best track.
Just Confusing is more ISSUES than CRYSTAL LAKE but somehow it works! The chorus could easily upset some old school BRING ME THE HORIZON FANS (if you get what I mean). CRYSTAL LAKE can even master the new wave of emo and I’m not even mad. The bouncy, tech riffs return with Apollo along with the ferocious drumming. It’s not a particularly memorable track but it’s a fun track all the same (especially with the DISTURBED moments…you’ll see what I mean).
Sanctuary makes sure Helix gets the storming send off it deserves. A straight-up, no-nonsense song, the urgent energy of Sanctuary gets the job done. The riffs are stratospheric and the hypnotic end brings the album to a dramatic close. The crossover appeal of CRYSTAL LAKE cannot be ignored. This is their secret weapon and the biggest threat to their contemporaries. Every metal style they attempt to capture they expertly execute. The quality of their work just keeps on getting better and better. What will the band achieve by their next album? One thing’s for sure, you won’t want to be late to the CRYSTAL LAKE hype.
This is already a contender for nastiest album of the year. Canada’s MINORS are set to release second album Abject Bodies and it’s the finest slab of noisy, sludgy hardcore you’ll hear all year; it would even make the likes of CONVERGE and WILL HAVEN weep from the bleakness of it. It begins with the dismal title track – a doomy and dissonant instrumental before second track Consumed rips you a new one. Powerviolence bludgens you at the start of the song along with its urgent ‘chorus’. The brilliantly punky vocals make for a more intense listen.
Meanderist continues the angry-as-fuck intensity with its ferocious groove. It really does sound like the lovechild between CURSED and NAILS. It’s a white knuckle ride throughout. The noise seamlessly meanders (pun intended) into Flesh Prison which is a deliciously morbid and darkly groovy track. The sludgy riffs topped with powerviolent tendencies is fantastically striking, making for an all-rounded assault.
A chaotic, grindcore punkfest ensues with the magnificent Boneyard. It sounds exactly what you’d expect a boneyard to sound like; crushing, ugly and complete with unexpected blackened passages. The last half is a stunning chunk of devastating riffage. An outstanding track which is followed by an entirely different beast in the form of Erode. Beginning with a soundscape akin to ISIS or PELICAN, it slowly develops into the sludgy opus it turns out to be. The slow start heightens the sense of incoming catastrophe. The down-tempo continues with the addition of the tortured vocals, making for a downright filthy penultimate track.
The brooding finale Garden of Dismalism is back to the dark and distorted textures. The contorted soundscape builds up to create a chaotic and claustrophobic climax. Abject Bodies is anything but a relaxing listen with an uneasy tension throughout. One thing’s for sure – MINORS are more than an angry hardcore band…their sound is mature, calculated and terrifying. Listen at your own peril.
A NOVELIST is something of an eclectic project. Formed of vocalist and multi-instrumentalist Ben Nugent and drummer Alex Babineaux, the quirky duo are on a mission to expand the idea of what death metal can be through free and uncompromised expression. Now, I don’t mean to be a genre snob or anything, but I’d argue the Louisiana-based band are primarily progressive metal as they chuck all sorts of musical styles into the mixing pot. I guess this will make A NOVELIST a talking point in online forums for years to come… Genres and labels aside, second album Folie is a disgustingly impressive effort and each listen exposes a new nugget of intrigue.
Eerie opening track Folie Noire sounds like a hybrid of MARTIN GRECH and KARNIVOOL while the quieter moments of THE FACELESS look on. The slow build up bursts into a dark eruption that DARK TRANQUILITY would be proud of. It’s an interesting start to proceedings but next track Exteriors changes tack. It sounds like I’m listening to mid-noughties Victory Records bands again. The parallels to DARKEST HOUR and BETWEEN THE BURIED AND ME cannot be ignored. Just when you think you can guess the direction the song is going in, a new element is thrown in keeping you on your toes.
Third track Tombeau is a little chaotic. The uncomfortable guitar work at the beginning clashes with the harsh vocals but once the song really gets going it is the riffs which carry the song. They truly shine and twinkle here and when the snippets of clean vocals peep through it ends up becoming a bit of a thrill! A similar thing can be said for next track, Apparitions with its mesmerising riffs and hypnotic vocals. It’s an ambitious track with the inclusion of a plethora of weird sounds but it sounds more jazz metal than death metal. If the song was a bit more focussed it would be a masterpiece. The clean vocals really come to the fore here making Apparitions a stunning listen.
Electric organs and harsh vocals shouldn’t really mix but in Acacia Crown somehow the mad genius of A NOVELIST make it work with aplomb. There’s a real energy to this song which is addictive. The energy manifests into a crazy beast in Caveat Lector which begins with EDITORS-esque riffs and jazzy overtones but soon erupts into BETWEEN THE BURIED AND ME territory. I would have liked to have seen A NOVELIST push the jazz elements a little more, but they’re forgiven once the smooth vocals croon over the chaos.
Stockholm Blues is much of the same with its groovy jazzy undertones. The riffs in this track and Crestfallen stir a sense of nostalgia in me. There’s something about the guitar work and the vocals which remind me of metal from the late noughties but with a fresh, metallic crunch. It could be the production, it could be their influences, who knows, but it works and it sounds like a passionate endeavour. This is followed by Learning Paralysis which is an outstanding track. Probably the most ‘whole’ song on the album, it has a distinct beginning which returns throughout the track, making it consistent and focussed.
The pace slows a tad for album finale Interiors, but this somehow emphasises the emotions exposed in the song. The vocals have an air of HOPESFALL about them (hence the nostalgia perhaps?) and lots of interesting components throughout the track pile up for an exhilarating conclusion. There is an exciting and unexpected blackened interlude with intense drumming which brings in a new element in Folie. This, along with the stellar vocals make for a thrilling climax.