Chron Goblin - Life for the Living
- Created on Friday, 13 September 2013 01:18
- Written by Sean Kopeny
CHRON GOBLIN - Life for the Living
So here’s a rad new release by Chron Goblin. I have no previous knowledge of the group and this review is based solely off of the music I am hearing.
Track 1- Deserter. Right away I am reminded of the Sword but that isn’t a bad thing. The band sounds tight and heavy. The production is good for the genre they operate in. The vocals are familiar but the band clearly loves this kind of music. I like the dynamic from fast and heavy to slow and lumbering for the outro.
Track 2- Dry Summer. Again, killer hook- the riff is heavy-catchy. Vocal performance is excellent, like Quicksand met Kyuss in a bar brawl that ended up just being a bunch of bros tilting back brews together. Nice lead guitar and drums.
Track 3- Lonely Prey. The singer is unhinged and melodic at once. Right around 2:20 they lock into a groove that can’t be denied. The whole song has a heavy, catchy groove. I really dig this genre when it’s done well.
Track 4- Big Baby opens with the sound of a motorbike and some gnarly harmonica. They’re branching out here and I love it. The production is layered and the energy reminds me of Clutch. Unique guitar reverb? Whatever it is, it sounds rad, then it settles into a hoover-groover of a progression. It’s high energy Rock.
Track 5- Give No More- Mind expanding intro reminds one of Kyuss and space rock ala Monster Magnet with a nice 70s rock styled vocal. Lots of classic rock soul propels us into the main riff, which is delivered heavy and FAST. Lead guitar is excellent and used sparingly, which is a refreshing sign of restraint. This band just wants to come in, kick ass and then hit the road in a blaze of riffs, rock and recreation
Track 6- Anesthetize- Are these wah-infused guitar riffs? I don’t know for sure but it sounds awesome. Vocals verging on hardcore here, but it all fits and works for the song. Atmospheric guitar and weird progressions keep this fresh and interesting. Oh, and don’t forget the heavy; they deliver it every time.
Track 7- Life for the Living- The intro is “the epic heaviness continues.” I like how big and roomy they sound here. Confidence meets atmosphere in a cloud of smoke-filled riffs and sun-filled soundscapes. Like usual per Chron Goblin, this always gives way to speed and aggression and then finds a path to way of righteousness that is for better or worse, stoner rock.
Track 8- Blood Flow- Hardcore punk influences are absolutely welcome in this genre; this one reminding me of when QOTSA would speed things up and have Nick Oliveri on vocals. The “Fuck You” attitude of the song is totally infectious. Yes, I used “Fuck You” and “infectious” in the same sentence.
Track 9- Control- Sorry folks, it ain’t Joy Division. Nothing wrong with Joy Division, but this is a horse of a different mileage. Pummels you with rock again. The reckless abandon of the singer reminds me of Drunk Horse. Just saying. It’s a melodic heavy rocker. They’re got they’re work cut out and they know what they are doing.
Track 10- Any Day--- In classic rock album format, they save their big, slow weird one for last. Not a ballad by any means but definitely a sign of artier things to come in the sophomore release. The production quality is a lot of fun here, with lots of cool effects and echoes. The capper at the end reminds you again that is rock and it rules.
Overall, I enjoyed this release by Chron Goblin. It’s very accomplished rock and this would probably make for an energetic live performance (although you never know). I would have liked to hear the band linger on some of those psychedelic grooves for longer and really harnessed some trance-like rock. But that’s not what they’re about—this is aggressive stoner rock bordering on metal with some disparate influences that I thought were cool. They wear their influences on their sleeve and bring it into a cohesive whole. Good for any night of the week when you just feel the need to Rock.
La Division Mentale: Totem Simius
- Created on Monday, 22 July 2013 00:02
- Written by Paul
All of us know, that to keep the metal land from becoming barren, there needs a challenge to the status quo. Someone who can enrich the land. Back in 1998, Cypher stepped in to harvest it. Years later, Eymeric came into the artistic fold, gravelly vocals and all. La Division Mentale takes aspects of industrial, death rock, and black metal. Most underground black metallers mock genre fusion. Yet this band set foot into the land of stubborn sameness and instead of following the sheep, they show their teeth giving us Totem Simius and L'Extase des Fous. While containing parts with experimental guitar work, the album has control and structure, allowing for a direct penetration of the psyche.
1) The album starts with Halcyon Days, a wave of hell's bells followed by spoken word and crafty guitar work that drags you into the abyss of mental disillusion. A very potent track to start off with.
2) The goth/death rock/industrial definitely comes out in The Eye. Think Sleep Money and Kommunity FK playing metal. The power of Eymeric's vocals is subhuman. With The Eye, you are clenched firmly within its sharply pointed teeth.
3) The gravelly vocals and clever riffage in Totem Simius, the third track, submerge you deeper into confusion. Maniacal spoken word at the end adds to the trepidation.
4). With the Faithful, the guitar riffs trot with the persistency of a tank and well at this point, you've probably listened for too long and have already secured your ticket to the mental division and as for myself I don't know if this review is even coherent anymore.
If you are looking for a band in full swing, take a gander at La Division Mentale. If you find yourself falling asleep to the newest cavernous, wintry, kvlt album then take a shock to the system with the sounds of four walled obscurity. It is like a small stream that is found after immense stretches of mountains.
Suffocation: "Pinnacle of Bedlam"
- Created on Thursday, 28 March 2013 08:39
- Written by Sparky
Pinnacle of Bedlam
“The broken ways, as I walk through the emptiness. Lost souls as empty as mine...”
NYDM founding fathers, Suffocation have let loose their 7th album onto the metal world. “Pinnacle of Bedlam” marks the band's second release with Nuclear Blast Records, following their last release, “Blood Oath”.
This album does not venture too far away from the signature sound Suffocation created and nurtured for many years. And unlike Devourment's newest release (See my previous review), which came out the same day as “Pinnacle of Bedlam”, Suffocation managed to still keep it fresh and exciting.
The boys from Long Island hit us first with the track, “Cycles of Suffering”. Right out the gate with guitarist Terrance Hobbs' often imitated but rarely duplicated guitar sound. Every move in Hobbs' bag was used in this song. Palm-muted rhythm, tremolo licks and hammer-on riffs.
The drumming on this album was handled by Dave Culross (Malevolent Creation, Incantation), replacing Mike Smith, who left the band for the 2nd time, the first being after the “Breeding the Spawn” album.
Some stand-out tracks in my humble opinion include the track “ Sullen Days”. This song kicks off with a soft melodic guitar intro, something I can't say I've ever heard from Suffocation before. This track also has a pretty sweet harmonic riff that rises above the rest of the song. It's closed out with more of the clean melodic guitars.
I also really dug the title track. This song has some great guitar solos that were intelligently placed. They weren't just dropped in for the sake of having a solo. They also lay down a palm-muted break down that doesn't over do it and makes you bang your head.
This album has a more thrash sound at times. This can be heard on “My Demise” and “As Grace Descends”. In fact the opening riff of the latter sounds like a riff from Exodus.
The last track is a re-recorded version of “Beggining of Sorrow” from their Breeding the Spawn album. Mike Smith is listed as a “Guest Drummer” on this track.
As a fan of Suffocation, as everyone who has the sack to call themselves Metal heads should be, this album is right on track with what Suffocation created 25 years ago. It is more polished than the first 3 albums, but carries the same technical brutality that has garnered Suffocation respect from their fans since the days of Human Waste and Effigy of the Forgotten.
4.5 Pentagrams out of 5. Definitely a must own album.
Megadeth: "Super Collider"
- Created on Thursday, 13 June 2013 23:25
- Written by Sparky
This album sucks. This album doesn't just suck for a Megadeth album, this album sucks for anything ever put to recording. I've made better thrash music in my bedroom with a $99 B.C. Rich Warlock with no high e string and a bowed neck.
The only reason it gets 1/2 a pentagram is because I'm too lazy to make a plain black square.
Garbage. Utter, complete garbage.
Devourment-"Conceived in Sewage"
- Created on Tuesday, 26 March 2013 09:35
- Written by Sparky
Conceived In Sewage
The “godfathers” of slam death metal, Devourment, have released their 4th album via Relapse. “Conceived in Sewage” brings forth their slow, crushing sound to a more mainstream death metal label.
I've never been a fan of “slam” death metal. Both the term and the bands that make up the sub genre haven't really piqued my interest, aside from a few bands, like Devourment, Vulvectomy and Internal Bleeding. To me it started to become just a heavier and deeper version of all that god damn chug-a-lug metal core shit that polluted the metal world a few years back.
Some bands have figured it out and execute it to a T, Devourment's “Molesting the Decapitated” and “Butcher the Weak” are some of the finest examples of this. However, I think this ship has sailed with their newest offering.
There is nothing inherently wrong or bad with “Conceived in Sewage”. It just lacks...zazz, for lack of better words.
“Conceived in Sewage” isn't as memorable as their first 3 albums. Maybe that is because there is only so many ways you can construct a palm-muted, down-tuned guitar riff.
This album kicks off with a track entitled, “Legalize Homicide”. Tons of fast paced riffs in the first part of the song lead to the cliché Devourment sound.
The third track, “Fucked with Rats”, features guest vocals from Cattle Decapitation's very own Travis Ryan. Though if you didn't know this, you'd cruise on past this track with out an inkling that there was another vocalist. Ryan brought deep and guttural sound with him that matches up with Matt Majewski's. It's a shame there wasn't more depth to the this song that could of exhibited Ryan's bad ass range.
The next track, “March to Megiddo” is just a diddy with snare drums and an air raid siren punctuated with a repetitive short burst of guitar.
This leads into the track “Today We Die, Tomorrow We Kill”. The vocals give me vibes of Suffocation. Coherent and audible death growls that you don't have to grab the liner notes to decipher.
All in all. This album is standard Devourment. I guess I was just wanting more, I will admit, it's grown on me the past few weeks I've been playing it. My first opinion was it was a boring, run of the mill album. It's picked up a little. At least for me.
Sparky gives this one 3.5 out of 5.