Scarve "Luminiferous" (2002)

 
Stepping back from the exciting discovery of Irradiant, we unsurprisingly encounter perceived familiarities of the musical journey. Decreased production fidelity, unrefined identity, a vague rawness. These initially hold back the music but it only takes a few spins. With Luminiferous we have another intriguing exploration of the early djent influenced European metal scene. Labeled Technical Death Metal, yet experimental, progressive and showing similarities to the "Future Fusion Metal" label yet to emerge.

A far cry from where the extended guitar range sound has landed today, Scarve explored low end discordance, rhythmic treachery and sporadic shifts of blasting drums with a agitated stride. Exchanging guttural roars and raw heathen singing, a dualistic vocal dynamic emerges. Together they traverse an ever unsettled metallic construct beneath, taking a burley limelight, brooding within the ceaseless chaos.

Toying with trading tensions and dances of dissonance is a tricky game. Somehow, these bumpy rides converge onto peculiar gratifications. The ever violent percussion channels their artistic extremity through its Grindcore akin patterns, shuffling them consistently. Its the guitar leads that provides relief from this unending frenzy. Usually in intriguing arrangements, a melodic resolution ties up these unusual soundscapes.

On the other hand, the rhythm guitars stand out too, deploying dated polyrhythmic power chord chugging reminiscent of old school Meshuggah. On Luminiferious' ever animated journey, the ceaseless nature of its energetic lashings make it hard to determine where one is among the wretched, mangled metallic landscape. That is at least the vibe often similar to Mnemic yet not exploring the bombast they offer.

The record evades a sense of peaks or valleys, just a continual unravel of curiosity one moment to the next. Somehow, despite my many spins, its riffs and motifs haven't embedded a solid identity, one it clearly has. Futile resilient and The Day After stand out for their acoustic leaning soundscapes. As do brash moments of punk influences when the band venture into simpler drum drives and power chord strumming. Between the obvious influences, a tangled web of ideas that entertains. All in all, a great listen!

Rating: 6/10

Clown Core "Toilet" (2018)

 

 

Predecessor to a similarly structured Van, Toilet's waning novelty grounds its impact, having listened Van prior. Elapsing from crunching bursts of garbled Grindcore mania into esoteric Jazz and beyond, the blaring toy horn, jolted timing stunts and frenzied ghoulish growls sadly fall short. On a joke turning stale, the moments of musical magic shy from a curious wonderment achieved in its successor. The many pivots into bass drum grooves or scenic Smooth Jazz interludes have charm but lack a maturity.

Toilet, possibly recorded in a porta-loo, reeks of youthful adventure. A bold plunge into a vision, mostly realized but leaning on its own oddities too much. Jarring synth noises and unhinged blast beats drop all to frequently, the counteracting moments of gratification only mediocre. Although I have hindsight tainting my perspective, it really feels as if Van is a rework of this piece, going back to the architecture for a redo.

Rating: 4/10

Clown Core "Van" (2020)

 

Sudden bursts of paranoid Cybergrind madness and muddled demonic screams on its opening pair of tracks may paint a crude, unhinged impression of these nightmare-fuel circus buffoons. Setting their intentional ugly, hellish jokester veneers aside, this anonymous Clown Core duo splice spicy Saxophone leads and lively, animated Jazz Fusion ideals between bizarre rhythmic renditions and comical timing antics.

Early on the pair toy with foolish bicycle horn jives, an oddity to spin in your musical favor. Progressing, stiff toned drum and snare grooves rattle out keen rhythmic wonders, driving the record along. Freakish synth machinations accompany, often in syncopation with the drums, these eerie, ghoulish tones lurch as Sax melodies take focus. A subtly unsettled soulful interludes finds home too, among its many anomalies.

Existence culminates all its elements to play a twisted descent, erupting mid-way to double down on its clownish madness for a peculiar ending. End then indulges us in smoky ambience on a roomy soft piano piece, only to pivot yet again as we embark on a cheesy, upbeat 80s daytime TV Show melodic romp. Somehow... it makes sense?

Van, possibly recorded live inside a van, is a musical outlier that just works. Twisting many strange ideas to its will, the seventeen minute ride still feels fresh after many spins. Its a gratifying experience, even if delivered through a distorted haze of strangeness, its grooves and melodies come through with magnetism, forging a unique and baffling realm to call its own, fit to entertain oneself with its odd curiosities.

Rating: 7/10

Napalm Death "Resentment is Always Seismic" (2022)

As the uncompromising titans of extreme music, now spanning five decades of music, news of a Napalm Death will always have me excitable. One can rely on them for quality, their fervor and tenacity an enduring quality continuing to yield fantastic releases to this day. Somewhat alike Apex Predator, I came off this thirty minute EP a fraction lukewarm. If its a maelstrom of ferocious aggression or uneasy atmospheres of burden and disgust, Napalm deliver swiftly. Navigating around a couple of cover tracks the following songs don't quite deliver the edge of its opening numbers.

Kicking off with Narcissus we steadily drift, steamrolling without breaks, a runaway train accelerating steadily and perpetuating the madness of its dizzying speeds. Riotous power chord riff machinations and pummeling blast beats flex of the groovy interchanges, culminating in a stomping conclusion. The pace evaporates immediately as Resentment Always Simmers takes a brooding stroll into the darkness with its stripped down percussion and tremolo guitar lick churning away at the dissatisfaction.

The following original songs lurk in the shadows of the ideas explored here. The choppy assault of Harris's frenetic power chord splaying, Barney's "osculating larynx" and the powerhouse rhythm section never quite scale these peaks again. People Pie is an interesting cover, mostly its lyrical proposition of animals eating humans provides food for thought in a disturbing atmosphere led by massive rumbling basslines of might and gristly texture. Don't Need It stands out for its blitz Thrash Metal guitar chops, wild unruly Slayer akin guitar solo and screechy vocals.

The closing title track too, a Burial Dirge of haunting vocals, unwelcome synths and heavy gloom makes its mark too. The key take away for me was how the covers stood out as the other songs circled similar ideas to that of the opening. With a lot of albums circling the thirty minute mark these days I can see why this is actually labeled an EP, perhaps in the bands mind not reaching the threshold of quality reserved for full lengths. Either way, its always fantastic to tune in with Napalm and hear what they are up to! Resentment is Always Seismic offers up interesting ideas worth your attention.

Rating: 6/10

Bolt Thrower "In Battle There Is No Law" (1988)

I was looking for some contrast in Bolt Thrower's sound and I've certainly found here on In Battle There Is No Law. It is the groups debut record, a primitive affair of early Death Metal muscle and Grindcore grit. Yet to find its coming Military theming, it does have the rare moment of tempered groove resembling the likes of Mercenary and beyond. This is no half step away though, they are an entirely different band at this point. Given the name, I expected to find Power Metal at their roots but alas we have something more akin to Napalm Death at that era in time.

Its a muddy, messy assault of extremity borrowing ideas from Thrash in lead guitar solos and Punk in the rhythm section but mostly its steeped in an the early Death Metal sound. The production is dire as many records of this age were. Record producers had yet to figure out how to handle those riotous blast beats and so the drumming blurs technical fretboard thrashings into a discernible mess. The spirit gets through tho, the music often rigidly shifting in tone between its melodies, guitar thrashings and "plunges" of Grindcore battering that feels like the least exciting aspect as its pivots lack a sense of progression. The songwriting just feels without direction, sections stitched together and barked over by the monstrous growl of Karl Willets.

Its a typically hard to enjoy album for me, Its dated ideas bloom in the ugly, drab aesthetic and the whole thing lacks a charm or spirit you might occasionally find here. Even in company of other extreme records from this era its ideas just sound stale. To give them some credit they did record with John Peel beforehand, often a sign of greatness but on this one I don't hear the appeal and the evolution to come isn't obvious either. If I had started with this record, the journey would of ended here too.

 

Rating: 4/10

Napalm Death "Throes Of Joy In The Jaws Of Defeatism" (2020)

Despite relative disappointment with proceeding Apex Predator, I'll always be one excited for a new Napalm Death record! The British Grindcore legends have entered their fifth decade as a band with Throes Of Joy In The Jaws Of Defeatism, their sixteenth full length record, remarkable! The EP Logic Ravaged By Brute Force released earlier this year didn't exactly hint at what was next for the band but I am happy to report the albums kicks off a boot to the stomach and fist to the teeth as its opening plunge into choppy fretwork chaos and pummeling blast beats gives that much needed adrenaline shot to the heart this group deliver on so often. Its pivot to a tense, dark and atmospheric guitar lead with Barney roaring in vitriol "get a looser grip" sets its sights on the records two halves.

The next couple of tracks continue to tear into an unrelenting energy fueled by anger and frustration. Crushing percussion batters away, dizzying riffwork assaults and venomous screams hammer down on the listener for a riotous ride. Contagion acts the link, darkly choral voicing chime in to brood the mood between a collection of stomping riffs loaded with groove and intensity. Jole De Ne Pas Vivre then breaks the intensity for a maddening atmosphere as echoing noises of destruction paint the crunching, clunking baseline that propels the song forward as vocalist Barney wretches his chords for an artful performance. Its a moment in the record to play up the two sides that deliver in various degrees running through the next half of the record explored with plenty of intensity.

This time around Napalm Death have found a balance in ideas that play out with continual excitement. The dark atmospheres conjured are both curious and enticing. They provide relief for the sonic assaults led by Mitch Harris's unending arsenal of riffs and reinforced by the battering sticks of Danny Herrera. The record has a fine production, all elements audible and synchronously smothering. The guitars in particular have texture and fidelity best exposed in noisy Post-Punk riffs that crop up on a couple of tracks. At forty two minutes it does well to hold attention with consistency as songs to not stand out from one another however plenty of individual compositions and "moments" will be sure to grab your attention, for me mostly with the half step drum grooves and plunges into hellish sounds.

With such a large discography and long history, it can't be overstated how fantastic it is to have these musicians still pumping out gold. Plenty of the music here feels akin to their high standards which took a fumble in my opinion last time around. The five years between records has been worth the wait, the gods of Grindcore are at it again! You may also miss out on a fantastic track with Feral Carve-Up somehow only making to the b-side material as a bonus track. Thinking on it further, the other bonus song was remarkable too. Great record! A must listen for fans of intense ear torture.

Rating: 8/10

Napalm Death "Logic Ravaged By Brute Force" (2020)

My excitement brews as alas it would seem the British Grindcore legends Napalm Death are inching closer to a new full length after line up changes and delays in coordination. Its been five years since Apex Predator, a record that has remained a disappointment in my mind for being all to sterile and lacking some mania and chaos that often sparks the magic in their music. The good news is this two track teaser EP shows promise! Although it only has the one original song, a grim, visceral cover of White Kross by Sonic Youth. It is a fitting match to this new tone and musical balance the group have brought together for their newest installment of madness.

Logic Ravaged By Brute Force plays to the bands strengths and atmospheric ability. Dissonance and a bludgeoning wall of sound brings about a crushing sound that doesn't over state itself with crisp production or over pronounced instruments. The drums are dense, a thick tone thats punishing, striking without overpowering. Beside them guitars navigate through the weaving of plucked high strings and snaky low end riffage that is forever unsettled. Its vibe is restless, below the music is driven by its baselines, pounding things forward. Above it all Barney howls in unending fury!

The song doesn't reach a conclusion, it bubbles and boils but no outbreak or slamming riff arrives, instead it revels in the tension. The bands aversion to chaotic moments of outburst are one of my favorite distinctions however with this track it feels like the right call. The songs tension simmers away as its brought to the edge. Its only one track but my reaction is that Napalm Death have pivoted to an atmosphere driven approach of tension and unease. With this powerful studio production the aesthetic is firmly in place to produce a fine record with this teaser track mustering my apatite!

Rating: 3/10

Anaal Nathrakh "A New Kind Of Horror" (2018)

I first heard of this band through the ripples of the UK Metal scene as a contender for the Scandinavian Black Metal outfits who blossomed the genre, while us islanders had little to offer. Ive never paid close attention since their early records but felt an itch to see what they are up to. They have evolved, as has the times and with some truly extreme ideas. Its a Black Metal record at its core, dressed up in disgust and depravity as the Birmingham duo push their musical vision downwards with harsh menacing aesthetics to raise the stakes in this conjuring of decadent, violent filth.

Its a tried and true Black Metal record with flavors of the American scene but it grabs attention for the vile extremities that first confront the listener in a cacophony of blast beats and grinding guitars accompanied sinister string sections and other various assaults of dissonance. As it builds its presence I can't help but notice how distinct the vocal style is. It plays this way throughout the record, roaring screams, blunt and raw yet somehow decipherable. They constantly peak the volume for effect and quite often spiral out of control into literal primal screams of anger and hatred. It can grow a little tiresome given the unrelenting viscous force the music exhausts.

As the record gains momentum the aesthetic experiments play like torture. Maniacal sounds and shrill possessed singing akin to Mercyful Fate soar with ferocity. When we arrive at Forward! the sounds of Glitch, Dubstep and Djent collide in an obnoxious pummeling of groove aligned to the firing of machine gun fire and shotgun blasts. Its a riot and from that point everything feels a fraction behind this peak of insanity. The record then brings in some symphony and melody to soften the blow as some drilling tremolo picking leads, power chord arrangements and chugging Djent grooves take spotlight as the aesthetic overdrive becomes far more expectant.

A New Kind Of Horror is a real race of the cliff. Vile and malicious it pushes hard at the hardened listeners with its overwhelming flood of evil noise out to punish everyone in its way. It lacks moments of respite and without truly captivating melodies or riffs it circles its own waters, each song failing to reach some sort of peak or rise to wedge in the mind but that is preference and overall I think its a fair effort. Reminds me of Cavalera Conspiracy in ways as there are ideas here that also push things forward in an obvious way. Its a dense record, lots on offer, great if it clicks with you.

Rating: 6/10

Napalm Death "The Code Is Red...Long Live The Code" (2005)

It not the first time we've talked the legendary Napalm Death and it wont be the last! Hoping around through their discography we arrive at the bands eleventh full length and the first of three successive records that have received significant critical praise. Somehow the band continuously reinvent their frenetic, invigorating sound over and over and without loosing the intensity or excitement these octane riff fests bring. "The Code" is a moment where their sound comes full circle, feeling closer to their original Grindcore chaos without the tropes of Groove and Death Metal becoming a stylistic determinant in the wake of guitar led violence.

Riff eccentric and structured as such the album rolls through the motions in a constant state of alert as riff after riff perpetuates a dizzying unleashing of ferocious anger directed at the path of the listener. Its on a war path and your standing in the way, the drums bearing down around the rhythm guitar with a consistent battering on the snare and blast beats thunder between high tempo grooves. There is little break from this formula, a very occasional tempo slowing and winding down of the thrashing lets you come to the surface for the occasional gasp of air.

Vocalist Barney is right on the mark with the voice of fury and frustration, leading the charge with savage barks, shouts and growls. On the records opener he utilizes a memorable bellowing ewww scream that gets me every time, wish he'd pulled that card a few more time as it has a true distinction to it. A couple of guest vocals add some spice, Jello Biaffra of Dead Kennedys and Lard makes a decorative feature but its Barney who takes the work load.

The records mix and tone is fantastic, getting an apatite amount of clarity from each of the instruments, finding the right spaces for them to collide, keeping the overwhelming wall of sound in just the right measure for it to retain its edge. Like most Napalm records it comes down to another riff fest of sliding power chords and evil tremolo picking. In this case all the stars align for perhaps their most consistent if not a personal favorite. The closer "Morale" showcases the bands musical talent with a slower, atmospheric track and Barney's archaic chanting leaves one wondering why they don't do more of this, they can certainly pull of more than the deathgrind they have become masters of.

Favorite Tracks: Silence Is Deafening, The Code Is Red... Long Live The Code, The Great And The Good, Pledge Yourself To You, Losers, Morale

Rating: 8/10

Repulsion "Horrified" (1986)

Ive been meaning to get around to Michigan based Repulsion's debut and only record for the longest time. When researching Grindcore and Goregrind I often come across "Horrified", cited as a classic record in the genre's early days which despite being recorded in 86 wasn't actually released for another three years. Taking oneself back to that year, Metallica's Definitive "Master Of Puppets" had come out and the first few Death Metal tapes were circulating the states. Napalm Death has started to beef up their sound with blast beats during line up changes and the birth of a new sound was upon us. Although it wouldn't of assaulted ears for a few more years to come, Its quite possibly the "heaviest" record you could find of the time. That's why I had to check it out sooner or later.

Despite being an "old" record its abrasive demeanor took me a few listens to adjust. The hideously ear piercing ride cymbal making its mark on a loose and chaotic aesthetic where low, dingy guitars grind away at linear, one dimensional riffs with temperate grooves as the drums come crashing down around them with mosh steady beats. Vocalist Scott Carlson's screams are not much of a charm. Its a rougher, harsher form of Thrash Metal scream that has the fast and frantic delivery of Grindcore lyrics but yet to evolve into the deep growl so many other bands would take up. The base guitar most likely a mirror of the guitars but sounds somewhat non existent in a mix that constantly peaks the mid to mid-upper ranges.

In there moments, the blast beats crash in with full intensity, the ride cymbal smothering the tone, overloading the accompanying guitar riffs. The band have the measure to break it up with slower tempos, punk and thrash sections that turn the dial from eleven to ten. The riffs are simplistic, easy to follow and employ some techniques and styles that would become commonplace, the grinding of low strings and using snaky note progressions. On the lead guitar front Thrash like solos seem to crash into the mix at regular intervals with a fast and frenetic unleashing of notes that spiral around the listener before dropping out as quick as they came in.

At thirty minutes its a great length where a rather abrasive collection of short, frontal songs don't take themselves to seriously and outstay their welcome. Initially I was impressed by its age but dubious I would really enjoy this record given the length of stylistic evolution that laid in front of it. A few listens warmed me up to the sound but it was hard to make more than a retrospective impact. It was however worth my time, a coy enjoyment and an interesting piece of music poised slightly ahead of its time despite the delay in being released to the rest of the scene.

Rating: 5/10

Napalm Death "Fear, Emptiness, Despair" (1994)

Birmingham's Grindcore legends Napalm Death have an extensive discography of seventeen full length records and that makes for quite the interesting experience. When cherry picking what too visit next this release caught my attention as the first to incorporate elements of Groove Metal into the bands sound. Consisting of the "classic" lineup established on the previous record, "Fear, Emptiness, Despair" captures the chemistry and elements I like most about the band in its infancy.

The result is a harrowing, dark and gloomy atmosphere where the Death Metal tone still lingers as the grooves are yet to be emphasized and at the forefront of attention. The guitar tones are maroon, dense and thrashy, poised for both bludgeoning and bouncy riffs. Barneys guttural shouts get the best out of this style of screaming, not to rough to distort his words but carrying plenty of weight and menace about them. His performance has a tempered variety as the occasional break from the norm makes great use of echoing reverbs, shrill screams and distorted spoken word to spice up an otherwise limited style.

The records tempo has its flairs on tracks like "Remain Nameless" but mostly its a slower, mid-tempo setup where brutality is conveyed through atmosphere and tone, rather than needless blast beats and fast playing. The drumming has its hand to play with beats to compliment the riffs rather than hammering down hard to create intensity. The song structures are seemingly creative however the consistency of records tone masks a fair bit of its creativity when it comes to such things.

In its darkness, a morbid atmosphere of lifelessness and depravity, the record unfortunately plays down its own brilliance. Its loaded with creativity but much of it feels subdued as the energy of the guitars is set back by its dense tone and many fantastic riffs sound a little muddy when the drum are blasting. Drum patterns too do lots of interesting things rather than conform to simplistic beats. Its mood and tone does give the record a consistency that's enjoyable and that would be the word, enjoyable. Its a great listen but tweaks and changes could of unleashed a more frontal beast.

Rating: 7/10

Favorite Tracks: Twist The Knife, Hung, State Of Mind, Armageddon X7

Nails "Unsilent Death" (2010)

Pushing the Grindcore sound to its groovy extremes, Nails are an American underground band from California who Ive been noticing over the years have built a bit of a cult reputation. Ive sighted them frequently mentioned as one of Metal's most extreme sounds. To my ears they have re-invented the wheel, taking the core Punk and Metal values of Grindcore and reinvigorating the attitude with a dense claustrophobic wall of sound production that will have you foaming at the mouth in the wake of its aesthetic intensity. Formed in 07, "Unsilent Death" is the bands debut "full length" clocking in at just under fourteen minutes across its ten songs.

And so the album opens like a flood of water bursting through the seems. Our ear drums are pelted with a ruthless pummeling blast beat, furious throaty screams of anger and strangulating guitars that smother and creep into every each of sound with their monstrously dense distortion tones. Its disorienting, fast and nauseous but as the smoke settles and one adjusts a quite simplistic set of grooving riffs emerge as the musical backbone. With hints of Thrash, Punk, Hardcore and Groove Metal the riffs alternate between different intensities and in their short life cycles they steer clear of wearing themselves out. It plays like one big song that's forever shifting gears as the burdening aesthetic intensifies all that's on display.

The records most interesting moment comes on the title track as screeching guitar feedback sounds intimidate over the top of a gorgeously low and textural bass guitar that groans in its over driven tone. It leads into an effective but primitive breakdown that has notable influences from the Deathcore scene and trends of the time. Beyond that its business as usual, with nothing out of the ordinary. Nails's strength is in the aesthetic which is certainly something to marvel, behind it a rather atypical set of riffs that don't defy expectation. They are like Napalm Death on crack, so much so hearing some of their records with this aesthetic would be an interesting treat. The bands overwhelming sound intensifies what might not be as impressive in a regular setting, either way its a fun listen to get you fired up for some carnage and hand banging which ends with a monstrous riff in the closing moments of "Depths".

Favorite Tracks: Unsilent Death, Depths

Rating: 6/10

Napalm Death "Enemy Of The Music Business" (2000)

Drawn in by the short, hyper-aggressive and grooving track "Thanks For Nothing" I think Ive found what may just be my favorite Napalm Death record. With thirty years to their name and a dense catalog of records its hard to figure out whats for you in the many varying forms of Grindcore and Death Metal on display. "Enemy Of The Music Business" strikes me as the refocusing of adrenaline charged Grindcore with the better remnants of their Groove Metal records like "Diatribes". In this balancing of influences Napalm capture the pummeling style and frenetic energy with moments of groove and mosh friendly break out riffs that just works perfectly for me.

As to be expected with this band its a constant barrage of shuffling arrangements innate with aggression and anger firing out at the music industry in a time of its peak stranglehold on record sales. Barney's raging growls bark out with occasional moments of comprehension often relating to the records title. Behind him the drums rattle and rumble with intensity and snare heavy beats steer the songs into calamitous moments of blast beats and heavy pedal manipulation. They are relentless, never quieting down for pace keeping and always being and the front of an unrelenting storm. Just like the records Groove sensibilities they have moments of bounce between grinding intensity.

The song structures are best heard in the guitars and accompanying drum patterns as they quick and swiftly burn through riff after riff of dizzying power chord thrashing and brutal guitar shredding. These songs surge with an intensity from guitar work that plays with discords and tremolo picking as they continually switch and turn with every passing moment. Its a collection of loaded riffs thrown together in a maelstrom of violence that build up to short bursts of unrestrained aggression in the form of a song, usually with at least one key return to riff to hold it together.

The first half of the record throws plenty of groove and break out head banger moments into the fold and that's what makes each of these songs work for me. In the second half the mood intensifies and the blast beats, dark and snaky guitar riffs don't always surmount to a breakout moment with a few tracks. The records production is decent, its a noisy affair but the snare has bite, the kick kicks and the guitars are ripe with a sharp tone. Maybe the bass is a little buried beneath the chaos but it all comes together for the records purpose, to vent frustration, hate and aggression.

Favorite Tracks: Next On The List, Constitutional Hell, Vermin, Thanks For Nothing, Cant Play Wont Pay, Conservative Shithead

Rating: 8/10

Iwrestledabearonce "Hail Mary" (2015)

I'll be blunt, I went to skim over this record with low expectations. I skipped straight to the middle of the first track and the hooks sunk in immediately. Astonished and blown away, I had to double take, Is this really Iwrestledabearonce? To be fair it was their sound, the maniacal over the top noise shredding was present but this was a focused assault vehicle of grooving brutality breaking the speed limit. Iwrestledabearonce came out of the naughties Deathcore scene as a directionless mismatch of genre mashing thrown together with a thick slice of cheese. They produced a fantastic hit with "Tastes like kevin bacon" but from the get go showed a lack of vision and came across as a group simply in the moment, mixing ideas and bipolar sounds together while not taking themselves or the music seriously.

Fast forward to 2015 and the band have been through some lineup changes across the last six records and most noticeably the replacement of their singer with another female vocalist who drops in the occasional strong clean vocals and sounded very familiar to her predecessor, although its been some time since I'd last listened to this band. Initially the aesthetic change didn't feel that drastic with this record but going back over their previous releases the change is massive and the most distinguished characteristic that survived is the frantic noise oriented guitar shredding, no doubt the result of the only surviving member lead guitarist Steven Bradly.

"Hail Mary" opens up with the fade in of chaotic noise shredding before throwing us in the deep end with tight, choppy rhythmic drum blasting and discordant riffs, steadily transitioning into a bouncy groove riff that sets the tone for a vigorous session of furious noise militia hurtling toward the listener with plenty of coordinated grooves and mosher riffs in the design. Its these break out moments that give the record continuity and refreshment that makes the textural onslaught manageable alongside these head banger moments. The consistency runs from start to end with every track delivering something unique and interesting in comparison to one another, its a fruitful offering of which listen after listen is yet to tire on me. 

Breaking down the groups sound it becomes apparent it revolves around the guitars almost exclusively, with drums providing an accompanying punishing strike and singer LaPlante's screams becoming an inoffensive layer of rhythmic noise through her discernible screams. On "Wade In The Water" some strong electronic noises surface through which makes one wonder how much of the crazy frenetic noises are made with the guitar. Either way the textures are delightful on the riff fest that plays up tireless bizarre guitar squeaks and squeals at lightning pace between modern metallic riffage ranging a broader spectrum of grooves and styles that come into play between the colorful chaos.

Initially I felt the clean vocals were a little unnecessary, but after countless plays they have crafted some of the records best moments with LaPlante's best coming from her strong harmonious leads. My excitement for this record still hasn't died down after many listens and I have very little to criticize. This was a refreshing metal record of the "Math Metal" variety that doesn't let up, however the production despite being a modern craft of audacity doesn't quite sparkle as much as some other records Ive heard this year. A big surprise and if they can improve on this record then the future is very bright for them. This has definitely left me in anticipation of the next release.

Rating: 8/10

Napalm Death "Words From The Exit Wound" (1998)

Here we are again with another Napalm Death record to consume and digest. Having recently covered their newest release "Apex Predator - Easy Meat" I continued, based on a recommendation from a friend, with another record from their 90s era of experimentation with incorporating elements of Groove Metal and Hardcore into their sound. Just two years after "Diatribes" I was expecting a dose of groovin grinds, slamming blast beats and head banging hooks, which the opening track "The Infiltrator" delivered like a hit to a fiend. Excited for the rest of the record, I found the mood and pace to shift direction, and within a few tracks and this album had a harder substance to divulge and after several listens I've grown fond of this record, which although feeling similar to Diatribes, its quite a different beast.

By the third track "Next Of Kin To Chaos" the tempo is calming and a slow grinding tremolo picked riff guides the song too discordant notation and progressive leads that focus on developing a mood and builds up an intense atmosphere thats not orchestrated by dizzying blast beats, or pummeling aggression. From this point forward Naplam feel co-ordinated and expressive through guitar riffs that contain tempered grooves and chugs, instead of blunt force brutality. Theres a subtle Hardcore vibe at work in the guitar rhythms that resonate tightly with themselves as the drums keep pace. This feels especially emphasized on "Devouring Depraved" as the orcherstrating drums build up suspense by crashing down on the toms with tribal instinct, for a subtle, powerful and chugging riff to slam in with the songs climax.

As the record plays out the group play through a variety of ideas that let the guitar speak for itself, aswell as bring in some "clean-ish" vocals in places. "Incendiary Incoming" is a track worthy of mention that sees Napalm step to a southern vibe with slick pinch harmonics and a bendy, shuffling groove rhythm guitar reminiscent of Dimebag. The tighter guitar and composed attitude of this record makes for one that offers more than "all out heavy". The mood and vibe of each track becomes bigger than its peak or "break out" moment, and an array of interesting compositions emerge in the quieter moments, many with a subtle Hardcore tinge to them. A strong album that does not show its colours without several listens through.

Favorite Tracks: The Infiltrator, Next Of Kin To Chaos, Cleanse Impure, Devouring Depraved, Incendiary Incoming, Thrown Down A Rope

Rating: 7/10

Napalm Death "Apex Predator - Easy Meat" (2015)

The new year gets rolling with another release from a favorite band of mine, the legendary Napalm Death who's legacy and importance in extreme music is undeniable. With a career spanning over 30 years the group are still capable of outputting relevant and impacting extreme music. This, their sixteenth album, is the latest in a string of quality and consistent albums that have established a definitive sound since their groovier experimentation in the 90s. Having digested a lot of this band in recent months I was excited to hear about the release of this album which establishes its theme and inspiration through the album title and cover alone.

It was no surprise to hear the group stick to their guns, theres barely a shift in tone or style from the last few albums and serves as another dose of what most fans are after. The album opens up with a diversely different song to start the record off, vocalist Barney bellows a slow, deep series of lines that drive in the theme this album wants to make very clear. Some tribal, borderline industrial drums chime in as Barney delivers some snarly leads for noisy discordant guitars to rise up alongside the angering percussion. As the song intensifies and ends we are throw right into the pit, fast swirling riffage, blast beats and angry brutal screams unite to burst out into a bombastic groovy riff. Its the formula that works, carnal aggression and energetic brutality leading into a tangent of grooves or "breakout" moments that this album didn't quite have in the quantity of previous records. As a whole the record seemed to focus on the overall intensity of the songs which were relentless and grinding as ever. It saw the groove element pushed to the side in favor of those blasting circle pit riffs that they delivered in quantity.

The aesthetic of this album is chugging and dense, a lot of the mix happens through the midrange giving the kick plenty of room to breathe alongside the bass as the guitars and vocals cram up alongside each other, the design is executed exceptionally well and gives the guitars an aggressive edge in its higher ranges. Its a terrific sound matched by some great brutal music. With a large discography of records and songs Napalm have to compete with them-selfs in some respects, and Apex Predator holds up well in their catalog, which despite its quality wasn't quite what I was hoping for. Having enjoyed a lot of Napalms groovier records my apatite wasn't quite met and my personal enjoyment of this one doesn't really reflect a great record which has a lot to offer anyone in the mood from some intense, pummeling grind.

Favorite Songs: Apex Predator - Easy Meat, Smash A Single Digit, Hierarchies, Adversarial - Copulating Snakes

Rating: 5/10

Napalm Death "Diatribes" (1995)

Napalm Death are a legendary, British and massively influential band in the world of extreme music, I'm quite unsure as to when it was i first discovered there music, but over the years i have grown very fond of there music and have found their discography to be quite varied. In the early days they were pushing the boundaries of sound with their sonic noise oriented Grindcore, and over the years they have dabbled with Death Metal, Grove Metal and other extremes. This was a record i had initially avoided after reading negative reviews, but having now grown to love this record i realize the negativity mainly stemmed from fans unhappy with a change of direction in the bands sound.

The album is not the most sizable of shifts in sound from 93's "Fear, Emptiness, Despair", a much darker, punkier vibe. Diatribes shifts to a clearer, more approachable mix, the drums are calmer (for Naplam) and adds some real kick to the grooving riffs that pop up throughout this album. Groove Metal may be the best genre to describe this record but doesn't give Napalm much credit for the variety this album offers.

There are many grooving head banging moments, but also its fair share of snaking riffs, atmospheric tracks like Cold Forgiveness and general variety in approach and style from track to track that gives this one a lot of replay value. Theres plenty to enjoy here for a fan of Metal and i have to mention a track "Finer Truths, White Lies" from the Greed Killing EP. Probably there best track of this era, a real bouncy thumper. I have no idea how i didn't make it onto the LP.

Favorite Tracks: My Own Worst Enemy, Just Rewards

Rating: 6/10