Singularity- A labryinth of an album


I remember first seeing Singularity in 2010 live at Tempe Tavern and I knew they were going to exact a presence in the metal world it was just a matter of when. Each time I saw them, I remember saying to myself that with a properly marketed full length, this band will be huge. The talent was already there in the form of a young longhaired wizard bearing a guitar as his staff. However I don't want to say that Jack is this band as I'm not a fan of bands that are essentially one person. This wizard, also known as Jack Fliegler has assembled an excellent team to ensure that the band is firing on all cylinders and has added keyboards which adds an even darker element. There is no reason not to find this album entertaining as the listener is continuously assaulted by a formidable assembly of talent consisting of not only Jack Fliegler (guitar, vocals) but also Nick Pompliano (keyboards), Nathan Bigelow (drums), and Adam King (Bass).



A withdrawal of salvation is a perfect introduction to the menacing fortress of sound that is this album. The drum intro sets a good groundwork in creating a visual of this fortress, much as the album cover created by Molly Smith displays. The masterful guitarwork and keyboards provide a beautiful yet dark ascent up the path to the space fortress engulfing the listener into a postapocalyptic vibe. The postapocalyptic vibe is a common metal theme yet what puts Singularity ahead of the curve is their ability to intertwine all musical elements in a manner that doesn't sound like noise. The song ends in a fantastic guitar vortex that sends the listener into a temporary vortex in the form of the track Remnant of Stellar Evolution. You have now entered Singularity, a land where "stars and planets have been devoured" by white sound. In this land lies the Monolith, a giant slab of metal that will aurally destroy you. Holding the grooviest of riffs, Monolith also is one of the heavier and longer songs on the album. Via the Throne of Thrones, we arrive at the nucleus of this white emptiness and the climax of our journey. Catchy keyboard scales, riffs, and rapid fire drumming combined with scientific themes of space, death, and extinction create a beautifully scientific death metal symphony in Desert Planet. Desert Planet is my favorite song since i'm from...well..the desert. Utopian Flesh covers the topic of the reconstruction of a new species after the death of the universe leading to a new species domination. In the last tracks (the Descent, the Ascension, and the Resolution, we arrive at the beginning of the end and are given a labryinth of intricate musicianship to close. This album is blackened scientific metal and is as epic as that musical genre name sounds so order it at


Megadeth: "Super Collider"


Megadeth Super Collider 2012 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.


Scott Kelly and Noah Landis of Neurosis Interview


Honor Found in Decay Neurot Records Age and experience have a way of tempering the most impassioned people. In the case of Oakland, California titans Neurosis, their personal growth seems evident when paralleled with their musical output. In the ‘90s, rumors swirled about their personal and substance abuse issues, and correspondingly all of their releases up until Times of Grace (1999) were infused with seriously repressed aggression, exercised through intellectual engagement. As a result – and I recognize the term is somewhat trite – Neurosis is transcendental. Overpowering and uplifting, with soundscapes that crash and lumber, driving tribal drum displays contrasted against angular riffs and lion howl vocals… it’s no wonder they launched a thousand imitators. With age came a calmer side, and after 2000 the band’s releases indicated that personal demons were being conquered. A somber and mature side of Neurosis emerged. Over 25 years of active engagement has resulted in the band’s tenth full length, the cathartic Honor Found in Decay. On the record, they’ve cemented their 2000 era musical “formula” that utilizes gloomy folk passages and purposeful sampling. Here, the integration of beautiful and ugly is seamless, and emotionality cascades through every note. As a result, Honor Found in Decay is Neurosis’ best album since 2001’s A Sun That Never Sets.

A track-by-track review is hardly necessary. Neurosis has never been a band that changes dramatically; instead they’ve developed organically. Correspondingly, their lyrical focus features natural themes. Musically, the listener will hear what has now been dubbed “post metal”, but given that the band originated the genre (which peaked in mid 2000 and has since tapered off considerably), they’ve never been entrenched in its standardized quiet/loud dynamics. While it can be said a few tracks on the record suffer from unnecessarily long lengths, the idea here is the slow burn, the eventuality of a crescendo that incorporates more than your standard guitars, drums, and voice. No track better embodies this aberrant method than centerpiece “My Heart for Deliverance”. The aching spoken word interlude brings the pace to glacial as a woman speaks, “We follow the earth. The earth follows the stars. The stars know their way. And though the body dies, the stars will remain, like the waves of the sea and the restless wind”. With that, crashing percussion, wavering violin samples, and billowing guitars that interweave throughout are unleashed. Film by Lena Haberberger Review by Sarah Kitteringham Interview by Paul






RATING: 4 out of 5 Deschutes

Neurosis new album available via Neurot Records and Relapse Records

Film by Lena Haberberger

Review by Sarah Kitteringham

Interview by Paul


Sarah's Metalifestyle Best of 2012

Metalifestyle Best of 2012
Sarah Kitteringham

1. Mutilation Rites – EP & follow up Empyrean (Prosthetic Records)

After seeing Mutilation Rites crusty blend of black metal in a tiny bar in Austin back in March, I was hooked. Their four track EP – on a tape adorned with a Baphomet whose “program repeats on both sides” – has been on perpetual repeat in my shitty old Mazda truck for the past several months. Contained inside is miserable, hair raising black metal, minus the kvlt posturing and Satan worship. The four-track tape features a dose of thrash metal, rumbling doom, and sloppy crust iced with blackened screams and battering percussion. New York black metal is lame no more! To make things even better, their full-length follow up Empyrean made good on the potential that oozed from that tape.


2. Dragged Into Sunlight – Widowmaker (Prosthetic Records)

I know: Hatred for Mankind made fankids blow a collective load. Raw, primal, and evil as fuck, the record unveiled England’s enigmatic troupe to the world. Three years later, Dragged into Sunlight came back and that subterranean merging of black, death, and crusty grind was largely gone, replaced by sweeping movements, skillful transitions, and an obvious doom influence. Widowmaker is Dragged Into Sunlight all grown up, and is it ever beautiful.

3. Grand Magus – The Hunt (Nuclear Blast)

You know the type of heavy metal – often, tunes that came from the New Wave of British heavy metal in the ‘80s – to which you pump your fist, scream along, and mosh with your buddies while beer soaks everything? Grand Magus makes music like that. Although their early days were dubbed as “doom” influenced, they’ve always featured sweeping, operatic choruses and galloping leads straight from the Iron Maiden/ Rainbow/ Judas Priest handbook. To make things better, their performance at Noctis Metal Festival was perfect. BLOOD WILL SPILL!

4. Swans – The Seer (Young Gods)

In its schizophrenic opener “Lunacy”, Alan and Mimi of minimalist rock act Low chant the soundtrack to a breakdown as Michael Gira and co. lay on the atmosphere suffocating and oppressive. “Hide beneath/ Your monkey skin/ Feel his love/ Nurture him/ Kill the truth/ Or speak his name/ LUNACY LUNACY”. It’s enough to make goosebumps rise on your skin, and sets the tone for a triumphant Swans album Gira claimed was “30 years in the making.” I believe it.


5. Evoken – Atra Mors (Profound Lore)

Doom in all factions exploded in 2012, and the marriage of death/doom was no exception. Nowhere was it done as skillfully as on Evoken’s Atra Mors. The Jersey act’s fifth full length was five years coming, and worth the wait. Crushing, dirgy, glacial paced… mmm, mmm, good!


6. Deathspell Omega - Drought (Season of Mist)

This band demands your attention. Artful, original, extremely philosophical black metal with a transcendental, yet incredibly Satanist bent, their music is challenging and nearly unreachable. They don’t play live, they don’t do interviews, and they don’t release shit. Drought is part two of the EP package that followed 2010’s incredible Paracletus; though it has sidestepped the form of it’s predecessor it features all of the rage,


7. Gojira- L’Enfant Sauvage (Roadrunner Records)

Clearly, I like my metal with a slab of “pretty”. Gojira has always made “pretty” technical death, but with L’Enfant Sauvage they perfected their assault. Every song on the record is a groovy and precise with crystal clear production. Plus, I’ve finally found a metal band that cares as much about recycling and flying whales as much as I do.


8. Witchstone – Witchstone EP (Self released)

I’ve said it about 600 times, but for the sake of consistency, I’ll say it once more. Calgary quartet Witchstone sounds like the child of Black Sabbath and Sleep, and their live performances are consistently tight. Can’t wait to hear what comes next from this band.


9. Napalm Death – Utilitarian (Century Media)

After over 25 years of grinding it out, Napalm Death still sounds relevant. Scratch that, they’ve made their best record since 1996’s Diatribes. A saxophone solo with John Zorn, odd vocal experiments, and metronomic blast beats sweeten the deal.


10. Saint Vitus – Lillie: F- 65 (Season of Mist)

Mournful Cries was my first Saint Vitus record, purchased on a whim a couple years back due to the fanciful cover art. Dragons are always good in my books; the music contained within was perfect and incited a pre-1988 Saint Vitus buying spree. Lillie: F- 65 harkens back to a time when Vitus was still touring with Black Flag to the chagrin of hardcore punkers; this was when Pentagram’s Bobby Liebling was snorting and huffing his life away. Actually, the opening track from the record, the haunting “Let Them Fall”, could be the soundtrack to such misery. The doom progenitors are back.


11. Enslaved – RIITIIR (Nuclear Blast)

It takes about five listens for me to stop hating a new Enslaved record. Then, as it flowers, I start obsessing over it, banging out the rhythms on my dashboard, and losing my mind over the insightful lyrics and arrangements. This extreme metal band is completely unique; RIITIIR is another part of their impressive legacy.


12. Gaza – No Absolutes in Human Suffering (Black Market Activities)

Gaza makes ugly music for an ugly world. Crusty, grindy, and full of hate. Just the way I like it.


13. Neurosis – Honor Found in Decay (Neurot Records)

Scott Kelly, Steve Von Till and co. have grown up, and channel their seething anger through subtly and nuance. Despite Honor Found in Decay being quieter than most Neurosis records, the conjuring of complex and contradictory emotions has never been so poignant. Second track “At the Well” personifies this duality; raging tribal rhythms and quiet acoustic segments play side by side.


14. Ahab – The Giant (Napalm Records)

Mad Captain Ahab’s tireless quest for the white whale has been explored countless times by metal bands, but nowhere as fitting as in Germany’s Ahab. Dubbed funeral doom, the quartet slowly rumbles, as relentless and endless as a violent storm raging through the night. On The Giant, there is absolutely no progression to be found from their previous releases, but given the tiny niche the band belongs to, that’s beneficial, rather than a hindrance.


15. Pallbearer – Sorrow and Extinction (Profound Lore)

The only reason this record is sitting this high on the list, rather than at number one, is because I listened to it too much. WAY TOO MUCH. After discovering the band in February and seeing them at SXSW, I got a bit obsessed with the “Candlemass done better than Candlemass” of Pallbearer. It seems everyone else has caught on, but I’m giving the record a rest till further notice.


16. Mares of Thrace – The Pilgrimage (Sonic Unyon)

This ferocious Canadian two-piece creates a tremendous racket. Thanks to the skillful combination of screeching noise, galloping death metal, skillful jazz percussion, creeping doomy atmosphere, and throaty howls, The Pilgrimage is simultaneously a huge step-up from their previous outing The Moulting and a huge middle finger to the naysayers who pretend women can’t rage.


17. Witch Mountain – Cauldron of the Wild (Profound Lore Records)

Uta Plotkin is what makes this classic doom band shine. Sparkling and varied, her honey soaked voice transforms from growling and guttural to soaring and clear while her bandmates crash and groove all around her. Check out “Beekeeper” and you’ll instantly understand.


18. Converge – All We Love We Leave Behind (Deathwish)

If any band is a benchmark for consistency, it’s Converge. Once again, they’ve made a walloping record. I can’t say much that hasn’t been said, so I won’t.


19. The Devil’s Blood – The Thousandfold Epicentre (Metal Blade Records)

Another record that shines on the basis of its vocal gymnastics. Farida Lemouchi, who is popularly known as "F. The Mouth of Satan", has the perfect voice to accompany her brother’s occult tinged psychedelic rock. The result of a fast aging process for the band makes The Thousandfold Epicentre the most realized album by The Devil’s Blood.


20. Hammerdrone – A Demon Rising EP (Self released)

Calgary act Hammerdrone makes driving blackened death. Music to mosh to, to dance to, and to kick some random stranger’s ass to. Listen up!


Six Million Dead's Indiscriminate Misanthropy


I saw Six Million Dead open for Eternal Decay a while ago. The band really blew me away as far as energy on stage and I'm not referring to onstage antics that seem to be the norm now. I'm referring to the intensity of their playing. You really can tell the constitution of a band by their live presence. Some are heavy because of who they are. Other times it is pretty easy to tell if they are posers (ie orange county metalcore bands). Six Million Dead's new album is called Indiscriminate Misanthropy and let me tell you, you will be left trembling in its wake.

The first track is entitled The Face of Annhilation. Most notable are the blisteringly fast drums and mean riffage that hits you right in the ballsack. What is particularly unique about this first track is that 3:42 minutes in, we are shown the most effective way to close a song ever.

The second track, Suicide Cultist showcases Hell-bert's punishingly fast battery. It is similar to a death machine that has gone out of control and whose scientists have ran for cover rather than rectifying the problem. Transitions are not crappily done. Bert blasts through the drumrolls like courtney love does with a line of coke. The attitude and fury that we as metalheads have can be felt through certain types of drumming. It's so tiring to hear all of these tech drummers out there. It is nice to hear a guy who focuses on quality rather than quantity. He is not concerned with musicianship but with punishing your ears and that is what brought me to extreme music in the first place. Ironically, only a true musician can portray this type of  message with such intensity.

Consequently, this provides a lofty task for bassist Tony Garcia who keeps up in impressive fashion. Backline is tighter than screamo kids' pants at a metalcore concert. Providing the distinct SMD sound is Jose Gutierrez, a mastermind of riffage and an influential member of the underground Phoenix metal scene playing in Sadomasochist, What Dark Creates, and Black Pathology.

The third track, Abominations, requires that all treasured and memorable objects are stashed away prior to pressing play reason being that it's been known that your inner beast that has lain dormant will be awakened by the grotesque spewing of Rob Reyes' vocals. You will find your house , shit shack , studio, couch, or car left like Pamela Anderson backstage at a MotleyCrue concert. It is obvious that Rob has an affinity with crushing eardrums and trying to separate California from Arizona with earthquaking screams.

This keeps getting better and better. Indiscriminate Misanthropy is the fourth track. It highlights the creativity that Jose has. I mean this is the band's paragon of metal perfection. It has caught the attention of many and with that often comes radio airplay attention achieving exposure on Arizona's radio station 98 KUPD. Best heard live, the song has a beautiful melody and the inclusion of another guitarist (not featured on the album), Javier Sauceda (vocalist for Sadomasochist) allows these melodic parts to shine.

I will end this review with the fifth track as it is my favorite- God and Civilization. At 2:41 begins the heaviest part of the album. The main riff throughout the song is accompanied with a melody that brings tidings to all that is grave. This combined with a solid rhythm section and a naturally gifted vocalist offers a pavilion of pleasure to any metal fan.

Every metalhead needs to pick up this gem to discover what true Arizona metal is. The recording in itself is a work of art. Ryan Butler of Arcane Digital Recordings demonstrates his studio sorcery yet again and had done a superb job at accentuating each note.  The album is instantly one of Metalifestyle's top albums of 2012. Six Million Dead's last show is tomorrow night at 910 Live with Septic Flesh, Krisiun, Melechesh, and Inquisition. They go on at 6:50 PM. I suggest picking up a ticket and album tomorrow night before they are the classics of yore that you wish you had.