Knocked Loose "A Different Shade Of Blue" (2019)

 

Ever evolving, plunging deeper into metallic influences, Knocked Loose follow up their debut Laugh Tracks with this menacing beast of a sophomore record. Sinister in tone, its shouted angers and growled frustrations lurch within a darkly atmosphere well encapsulated by its album cover. A Different Shade Of Blue leans into discomfort, bleeding unsettled tensions into rhythmic groove and bounce. Dissonant, angular, shady guitar licks play interim on a stifling path to release. Strings of muddling riffs craftily pivot into thudding grooves and stomping halftimes, gratifying upon arrival.

Its thirty eight minutes entertain thoroughly. A consistent, non-linear onslaught of aggression. With dreary mood, the music seemingly stumbles its way into the wild throws of beat down magic over and over. A simple concept for release that somehow never unshackles its dingy looming dread. This characters the record with a sense of artistry where typical ideals are twisted to the will of this hallowed, enraged vision.

The metallic influences present are unshakable. In both tone and composition, these echos of Sludge, Groove and Melodic Death Metal ripple through more obvious Metalcore stylings. Many riffs and moments have an uncanny reminiscence but to what or who specifically I am never quite sure. This is testament to their creative expression. Influences heard all over yet never encroaching generic plagiarism.

My ultimate takeaway is my favorite sort, a solid record. Something that plays in service of its next song. Barely a peak or valley, just a consistently exciting venture along its meandering foray of gratifying aggressive oddities. Mistakes Like Fractures jumps out at the mid point but other than that its really hard to pick favorites as each track delivers on both its wretched mood and punchy spurts of head banging bliss.

Rating: 8/10

96 Bitter Beings "Return To Hellview" (2024)

This entry in the journal is less "review" and more of a footnote for myself and any of you reading who are fans of CKY. Former band-mate Deron Miller, also of Foreign Objects, split with the group in 2011, leading him to form 96 Bitter Beings. The project fels like a branch of the same tree, this release enforces that notion with authority.

 

Selecting some of the best tracks from An Ånswer Can Be Found, Infiltrate Destroy Rebuild and one off Volume 2, Deron stamps his mark on these classics, re-recording them in modern glory. The performances are tight, production bold and chunky, instruments don't shy from being heard. He and his band mates really do them justice.

Carrying the energy and charisma of its originals in stride, extra layers of synths can be heard on a few tracks. Occasionally sprucing up some passages with additional harmony, the added creatively is mainly reserved for the end of songs, fills or transitions that get a redesign. Its fun to spot the differences, they don't spoil a thing.

I can't help but feel I might gravitate to these re-recordings when in need of some CKY nostalgia. They are simply really well done and Deron's voice is key to that. His performance glues it all together and gives this project a seal of authenticity.

 

Rating: 7/10

Mnemic "Passenger" (2007)

 
Laying the ground work for this post, yesterday I wrote of The Audio Injected Soul, a now timeless record from the latter of my formative years. Their follow up, Passenger, was passed up upon release. All I recall was a dismissal based on the departure of Michael Bøgballe. Now a maturer listener, I venture back with an open mind.

My first observation was one of confusion. Bøgballe's replacement, Guillaume Bideau, has such similar tone and demeanor that he could be mistaken for the same guy. Singing with mirrored intensities, rhythmic cadences, dropping in snarls and quirky shouts akin to the record prior, he lands a seamless transition for the band.

Passenger can never compete with the immortality of youth. My growing familiarity with this record yields the same emotive stimulus though. At this stage, the iron is still hot for Mnemic, forging another array of chaotic fusions. Chugging jolted grooves collide with passionate dystopian melody across a post-industrial wasteland.

Playing with a touch more sludgy rhythm and distorted dissonance in the low end, the albums production admittedly sounds aesthetically like a minor step back. The prior tightness is lacking, its mostly the drums that feel looser. Guitars lean more towards aggression with a notable tilt in sharp edged riffs and slabs of shunting power chord noise. It aids an overall flavor that doesn't steer far from their established identity.

I'm going to continue chewing through these songs but so far a couple of favorites have emerged, usually where flushes of color and lead guitar compliment a song. Carcass's Jeff Walker drops brief but fantastic demented snarls onto Psykorgasm. Passenger doesn't pull any big surprises but competently builds on what they were known for. I'm gutted we passed this one up, these songs could have easily stuck too.

Rating: 7/10

Mnemic "The Audio Injected Soul" (2004)

 
Here lies an ecstatic throw back to the days of youth. Discovered through Nuclear Blast Records magazine, this Danish outfit captivated our attentions with rhythmic grooves adjacent to Meshuggah's records of the time. Residing in the infancy before Djent took on its current sanitized form, Menmic's gritty Industrial polish and flashes of electronic textures morphed them into a memorable metallic beast.

Born in the hangover of Groove and Nu Metal, roaring shunted riffs collide against subtly dystopian melodic leads in search of new ground. I recall this particular scene once being referred to as "Future Fusion Metal" but despite the endless iterations of sub-genre, this name never took hold. One can hear echos of Melodic Death Metal and Industrial Metal but its most notable distinction are the elasticated "poly-rhythmic" guitar arrangements that make for frequent headbangers break outs. Chunky assaults on the fretboard that frequently flirt with a choppy, charactered ferocity.

The band don't overstate any component but weave together its most aggressive assignments and tuneful tangents. These arrangements emerge chopped and changed, not through complexity but variety. The pace at which an average track cycles through its sections is refreshing. It gives them character, as its swings and sways feel unpredictable, even after the album has been etched into ones memory.

Its offering can't be overstated, a fantastic range of soaring melodies to rhythmic slabs of low end force, melding through a creativity that never felt forced or intentional. The bellowing roars of front man Bøgballe often illuminates the energetic trajectory the instrumentals traverse. It could be passion of youth but I think this record is a lost gem, a cracking collection of momentous songs that any fan of Metal could find a favorite among its ten lean cuts. Still a favorite after all these years...

Rating: 9/10

3TEETH "EndEx" (2023)

 

Competently entertaining yet lacking a defining feature, 3TEETH returns, armed with a force of subdued aggression that gets wrapped up in its own mechanical dystopian aesthetics. Their fourth effort, EndEx, plays out a string of songs, ambling through intensities, wandering aimless along a disgruntled landscape of urban decay.

 Collaborating with Mick Gordon of Doom soundtrack notoriety, their combined chemistry yields little obvious beyond the siren likes synths that blare distress behind chunky guitar riffs. It feels like a missed opportunity to elevate the musical blueprint. Perhaps his influence goes beyond its credits as the whole record feels cohesive.

On first listen, EndEx felt like a flop, passing without grabbing my attention. Repetitious listens unveiled a lack of hooks and "bangers". This record has mood, aesthetics and atmosphere. It lacks songs, memorable moments and biting lyrics. Riffs are found within its arsenal, often disconnected from the music it emerges from.

Its most memorable moment goes to Ho99o9, the duos energy injecting much needed novelty to latch onto, their shout raps fitting the distress of the guitars. I'm left with little to say, a fun listen but lacks a command of ones attention to force its artistic intent.

Rating: 5/10

96 Bitter Beings "Camp Pain" (2018)

 

Yes, that 96 Quite Bitter Beings, CKY's best known song! Taking on its classic name to signify his artistic intent, Deron Miller went solo a year on from when his former band mates produced The Phoenix. Often credited as the brain child of Camp Kill Yourself's unique persona, my impression of CKY without him was an adequate one, yet with Camp Pain you firmly hear the creative source in action once again.

Although this record wanders into a few odd curiosities, acoustic tangents and Cavalcade Of Pervesion's odd sample snippets interchanging with a synth jam, its mostly a rocking set of songs. They firmly strike the charm that made CKY so charismatic and unique compared to other metallic Rock groups of the time.

Its oddities muddies the pacing, along with a brilliant cover of Micheal Jackson's classic Beat It. Not the first metallic cover, yet they nail it with attitude. Wedged in the middle, it breaks the albums tone as mood is suddenly shifted, rather than being a little icing on top nestled at the end of its runtime like a cover might normally be.

Not to dwell on its inadequacies, Deron's guitar style pairs wonderfully with starchy synths that boldly punch in tuneful contributions, as do his mingled lead and rhythm riffs that ebb and flow with groove and melody. Megadextria nails their early tone, vocals harmonizing with a breezy pace not found to often across its thirty minutes.

Deron's singing comes across a little rugged and aged in patches, not landing like it once would. The Whipping Hands is another track echoing former glory with memorable choppy, galloping melodic riffs, yet not firing on all cylinders. Ultimately, Camp Pain is solid, yet somewhat mixed in the shadow of legacy. It's well worth a listen however, plenty to be enjoyed between compositions less fruitful.

Rating: 6/10

CKY "An Ånswer Can Be Found" (2005)

 

 

Fond for a touch of nostalgia and youthful memories, I thought I'd give this overlooked Camp Kill Yourself record another try. Released amidst the years discovering Extreme Metal and darker sounds, An Ånswer Can Be Found fell wayside among a group of friends who adored the CKY videos and soundtracks. With matured ears, one hears an intelligent craft through thoughtful songs falling mercy to its mid tempo pacing and calmly subdued temperament. Experimenting further with channeled guitar effects, their tuneful leads retain a distinct character encroaching on an electronic tinge.

The emphasis on a warm gooey vibes gives its mood a welcoming tone but sucks away some of the sporadic energy previously associated with the band. Frequently do its unique melodies ride upfront, exchanging harmony with Deron's competent singing. In doing so, its chugging guitar grooves drift by, plodding along with murky intent and lacking intensity. This chemistry is why I think the record once went amiss. Now I rather appreciate its balance, which gives illumination to their melodic expression and especially the slick, gorgeous, often brief, guitar solos that dazzle upon arrival.

When the guitars shift into tandem mode, the classic CKY grooves croon again. Their dynamic sway, traversing rhythm and melody simultaneously, sounds ripe on Deceit Is Striking Gold yet elsewhere it lacks the spark. Again, another addition to the initial disappointment, a muddied step into a refinement of sound that matured in its lack of bombast and explosiveness. It comes across soft yet has quite an endearing comfort as one gets to know the better malf of its songs. A fun listen! Perhaps An Ånswer Can Be Found is one that would grow on me with more exposure.

Rating: 6/10

Type O Negative "World Coming Down" (1999)

 On initial exposure, a singular overt obvious influence and echoes of October Rust's Gothic glory hung overhead, looming like a curse. Type O Negative seemed to have hit a snag, one of stagnation. Having wholly won over my admiration, I persisted. With repetitions familiarity, their gloomy Gothic themes explored last outing grew on me. As did the Black Sabbath fervor reveled in by Hickey and Kenny, who's decent into the menacing grip of grueling Doom Metal lethargy, carves many unshakable riffs.

The buzzing, thin and fuzzed guitar aesthetic seems hard to justify on first contact. Riffs drift into the ether as Steele's manly darkened voice broods alongside bright punchy synths that channel 80s gothic cheese into stunning emotional splurges. Of course, this is actually their brilliance, great song writing in action. Swinging from gloomy theatrics with flashes of cold colors, dramatic lunges of rhythmic sway consume one. Powerful notes and bends play off one another, shuffling down the fret-board with measured persuasion on its groovy, sludgy march of Doom Metal prowess.

The thematic tone is rather dark as title and song names suggest. A looming gloom seems constrained to Steele's struggling lyrics and strife dwelled upon. The rest of the band come through with familiar strides in terms of theme, Steele directing a once Gothic allure to something grave. Despite this, the music still encroaches on the mid 90s melodic glory of past, among its diverse set of songs. Less experimental, more instep with their established persona, its Sabbath influences that shine brightest.

It sharper gravitas swings into gear when bluesy grooves bustle a rhythmic might. Pyretta Blaze kicks off with lengthy, sludgy low end riff to die for. Each time it comes back around is a pleasure. White Slavery, Who Will Save The Sane & World Coming Down all contrast Tomi Iommi riffs with ideas not plucked from this metallic world.

This underpinning comes to ahead on the closing and sublime Day Tripper Medley. Some how, this Gothic oddball group fused The Beatles and Black Sabbath together without a hint of irony. Sung with sincerity and heart, the odd fusion of sludgy groove and classic Pop Rock songs coalesces brilliantly under a haunting cawing of crows.

Technically cut short, its a special note to bow out on after a lengthy CD filling runtime. Its oddity tracks and interludes run intermittent with natural flow. They tie its rather grim lyrics to bodily constraints of mortality. As a whole, it plays wonderfully without filler yet some of its lengthier tracks do linger. Not quite as sharp as before but on World Coming Down Type O Negative still spark a bright, fascinating flame.

Rating: 8/10

Machine Head "Of Kingdom And Crown" (2022)

Flying on the spirited shoulders of front man Rob Flynn, Machine Head's one soul surviving member, a renewed lineup embark on a mission of defiant intent, to reaffirm their iconic demeanor boldly again. Pulling no crafty surprises, Of Kingdom And Crown rekindles the throttling metallic edge explored over their now lengthy history. Sadly, it arrives on shores of apathy. as my diminishing interest in the Metal treadmill grows. Its song writing may be cunning, the attitude ripe with passion and riffs as intoxicating as ever but a lack of originality breeds only serves a familiar serving.

Its one defining encroachment seems fitting to fail. The "woah-oa-woah" chorals, intentionally epic in shape and crudely catchy in execution just happens to be a cliche I'm not keen on. More commonly heard among cheery Electronic tinged Indie Rock of the last decade, Rob weaves it well into the aggression. As for everything else? A typical assemble of Groove and Thrash, woven in with iconic obnoxious fret harmonic abuse. It serves to paint its climaxes in a stale familiarity, fun but lacking freshness. Although wonderfully directed songs, catchy with steady progressions, the satisfying structures assemble an arsenal of riffs thoughtfully. Yet they blunder, as rehashing classic riffs from past records sours the potency of these peaks they strive for.

Where the record crumbles is in its mediocrity. Only a handful of tracks partially navigate these momentous intentions. Its darkly interlude muster little excitement and Rob's political resentments seem contrived, emerging as stiff frictions between words and the musical attitude. Of Kingdom And Crown may have octane aesthetics and lively execution but its contents are bamboozling, a case of deja-vu intent on a frothing urgency dulled by a lack of something new to say. Sure, one can have a good head bang and enjoy the energy, but ultimately its the same old Machine Head.

Rating: 5/10

Slipknot "The End, So Far" (2022)

 

Breaking from lengthy absences between their prior two efforts, Slipknot storm back onto the scene with haste and inspiration afoot. Reestablishing themselves on We Are Not Your Kind, the nine mature into comfortable territory, able to deliver the goods and encroach on new ground. Adderall beautifully misfires the record start, a torturous lyrical piece on drug abuse juxtaposed by gentle melancholic pianos and Post-Rock guitars. Uplifted on the march of its warm baseline, a pivot into bluesy gospel chorals tinged by shimmering, wailing guitar texture states intent for something different.

One has to await these finer wines as swiftly we crash ashore on maniacal aggressive batterings Slipknot are known best for. A smattering of triple percussionist force punches out classic grooves on uncanny familiarity with The Dying Song and The Shapeltown Rag. These are the crowd pleasers, with bite and vitriol at the ready, the hounds of frightful frustration are unleashed among bouncy infectious brutality.

As the record matures, so do its broody atmospheres and textural treats between the swaths of metallic onslaught, mostly cunning guitar riffs and stomping drum breaks to headbang along with. In this expressive space, Slipknot thicken the fabric of their identity, exploring the creepy, unruly dimension that blesses their distinction. Cracking crates ajar, unlocked are new depths of this mid-tempo, mood led focal point. Explored in degrees, an overlap with convention yields quite an enjoyable variety.

So far, The End, So Far, has been spun without a single skip. It ebbs and flows, leading to a grand conclusion with De Sade and Finale. The former proposes gratifying links between ends as texture, aggression and Corey's clean emotive singing unites different extremes. Venturing then into a string of exchanging classic Metal guitar solo stylings, the fiery energy deconstructs itself, dissipating into silence.

It sets the stage for a grand bow out, Finale offers sombre strings and graceful pianos on slight unease to brood into an emotional climax as Corey declares emotional attachment to his darkness. Its expressed through catchy wordings, to get stuck in the mind. Again, a textural experience. The song breathes alongside its creepy choral chants. Expanding and contracting, it feels like a link to the albums opening.

Consistently does one feel a sense of expression and inspiration. Perhaps loosening the shackles of expectation, Slipknot gracefully venture onto new lands. The production is sublime, a typical modern marvel, managing to cram in nine loud voices in its loud onslaughts. Best of all, I felt Sid Wilson's input was made visible. Often you can hear the turntable textures working in a little extra magic at no expense to anything else. This has been a delight. The best since Volume 3 as it stands.

Rating: 7/10

Damageplan "New Found Power" (2004)

 

"We are Damageplan and we have a plan for damage". A cheesy pun and awful introduction to this wrangle of young Metalheads who imidiatly turned up the nose. That's all I remember of my friendship groups stance on the Paul brother's then latest band. With the recent enjoyment of Reinventing The Steel, it occurred to me, the late, great Dimebag had more in the arsenal that I was yet to experience.

Uniting with vocalist Patrick Lachman and bassist Bob Zilla, the Paul brothers embraced a then rapidly fading Nu Metal approach to Metal. Although received to lukewarm receptions at the time, age has served it well. New Found Power embraces the cultural accent fondly and injects a smoky southern flair. Vinnie eases off the gas with percussive might focusing on syncopation with his brothers power chord grooves.

As repeated spins made their craft known, it became clear that much of the Pantera persona remains with Dimebag. However, he aptly slows his playing, a shift in tone and easing of pace re-texturing his style, a subtle disguise but the southern steel is still their. His shrill squeals, bouncy bends and slick slides are all among the architecture. Dynamically, he flexes between simplistic Nu Metal alike grooves and lunges of guitar manipulation, fleshing out a soft aesthetic madness to indulge with.

Patrick Lachman does a fine job upfront, a powerful voice, one perhaps singing from the shadows. The likes of Layne Staley, Jason Popson, even Anselmo on occasion and Corey Taylor who features on a track too. Essentially, he brings a fine sound for the times but lacks his own identity. Because of this, much of the record fits the mold without breaking form as its character nails the downtrodden tone of the time.

Damageplan play the sound well but on occasion they drift into another lane. Blink Of An Eye has an unmistakably Korn distinction to its mimsy lead guitar melody. Even though New Found Power lacks a strong distinction, its execution is excellent. Very interesting to hear Dimebag nail another scenes guitar sound so well. There are even dense moments that felt as if a DJ's adding a layer of noise to the mix. Its actually Dimebag wailing on his strings. Glad I checked it out, a fun record for rocking out!

Rating: 7/10

Soulfly "Totem" (2022)

 

 Four years back Ritual failed to make a lasting impression with me. Prior to its release Max had caught my ear again with Cavalera Conspiracy's Pyschosis, a powerhouse of a record. Tuning in once again, I find a lack of distinction for why this should be called Soulfly, in comparison to Max's other projects. Long gone are the bounce riffs and Nu Metal hallmarks that defined the name. All that's left now is the distinctive cultural sounds of its twelfth self-named instrumental track Soulfly XII.

Totem is in essence another fiery sprint of razor-wired metal dashing across the danger fields. Foaming at the mouth with rage, Max roars forever youthful. Intense, ceaseless drums chase along a dense wall of thrashing guitars that pound out beastly riffs. Its a riot of energized aggression. A veteran pulling out the old stunts with renewed vigor and an infectious spirit. Little is new, novel or even surprising but the execution is hounding, throbbing with attitude. A lot of fun when in the mood.

Like with Pyschosis, its the production that raises the bar. These riffs and atypical arrangements could be rather stale in a different environment but the dense, smothering tone simply engulfs all in its path. Max churns through the motions with Death and Thrash riffs leaning on chunky stomps of palm muting and chugging, occasionally drifting into a bouncy groove, although these are always short lived.

Rot In Pain and Ancestors have flashes in the pan textures, hailing Sepultura's Roots record. They are among a string of competent songs firing with firm intentions. Then Soulfly XII offers up its dreamy acoustic flavors and the tone is reset for Spirit Animal. Its the albums best song, soaring in with tribal entanglements and going out on a high as it unravels into a weary mess. Not Max's best output but consistent and fun to spin.

Rating: 7/10

Pantera "Reinventing The Steel" (2000)

With a so called Pantera union on the mind, my attention naturally wandered to the legendary Texans final output. Reinventing The Steel is the one record I'd never payed close attention too, despite knowing all its songs from parties and good times with friends. Among fans and critics alike it maintains a mixed reputation, one of the reasons I'd rarely give it a spin. If I recall the lore, its creation was born as Phil and the Paul brothers were drifting apart with Anselmo continuing to prioritize side projects.

 Its easy to see why a mixed reception came about, a soft sense of autopilot, or formulaic writing permeates its mood. These songs shuffle out all the Pantera tricks we love in just the way we know. Despite the lack of flash in the pan, a romp of fist pumping, head banging metallic bangers play out with spirit. Phil rocks a plethora of catchy lines and hooks to get stuck in your head and the whole thing plays cohesively through an arsenal of stomping groovy riffs and Dimebag's electrified signature solos.

In a departure from the trajectory The Great Southern Trendkill's offered, the group ease off the gas when it comes to extremity. Hellbound may kick off with dense guitar grinding, pummeling drum beats and the harshest of screams in its chorus but much of what follows leans on smart song writing, putting curated hooks and riffs front and center with Vinnie and Rex housing the wild spurts of catchy, groovy aggression.

Its a real riff fest, Dimebag clearly not slowing on ideas and inspiration as he chews through all iterations of axe grinding. This is however, the first time new ground isn't broken. No surprises are in store as all its components have a link back to prior songs and ideas. Vinnie Paul does stand out with a stiff, hard hitting presence. His unsubtle performances lacking variation in velocity, pounding away like a machine set to max.

This percussive style may also contributes to a somewhat sterile production. All the instruments miss an acoustic ambience. Lacking depth and reverb, a sense of environmental texture is absent. Despite this, the talent of all personal thrives. Although Reinventing The Steel may not have the youthful vitality or spark of urgency its predecessors had, the attitude is still present. This is a matured band, still capable of performing their stunts, something which may of tired had they routinely pumped records out after this but sadly, this would be their final works together.

Rating: 7/10

Exhorder "Slaughter In The Vatican" (1990)

Reminded of thee band who helped shape Pantera's sound, it was time to revisit an old record I only knew of briefly upon learning about their influence on fellow southern metallers. Released later in the year than Cowboy's From Hell, the claim to originality, in terms of a Groove Metal style and the Phil Anselmo singing vernacular, lies within Exhorder's late 80s demos. At that time, the Abbott brothers were living out Kiss inspired fantasies in the local scene, with self produced Glam Metal records.

Slaughter In The Vatican is not the killer blow to Pantera's genius. Having studied its form, this is clearly an "of the time" hybrid of Death and Thrash Metal, pulling a few cunning ideas along for the ride. Its hard aesthetic, a dulled battering of low end guitar tone and clicky percussion is a pale aggression tiring from a lack of aesthetic vibrancy to spice its metallic rhythmic chops. On first gasp, quite the beast, lunging in hard with guitar grinds and drums bordering on blast beats, but the brutality lacks endurance. Its tone quickly narrows as the keen distinctions in groove are lost among an endless stream of atypical extremities lacking catchy hooks and memorable songs.

Its best song could just be Desecrator. Weathering the storm with its better riffs, it concludes with a dazzlingly lean and dark, swiftly osculating riff I'm sure Pantera have lifted somewhere in their later discography. Moments of distinction like this are far and few between. Not to dwell on comparisons but the point would be this, Slaughter In The Vatican is a rather typical record for the broader extreme music scene. Although a fun spin, on all fronts it lacks a spark to become spectacular despite its competence.

Rating: 6/10

Exhorder "Mourn The Southern Skies" (2019)

 

If anyone had a claim on Pantera's era defining sound, these neighboring Louisiana's had the framework for a new metallic approach locked in years before Cowboys From Hell. Having disbanded in 94, I was shocked to hear them in rotation on Spotify with new material decades later. More so was the similarity to the "Phil Anselmo" breed of groovy Southern Metal. With a foggy memory I returned to Exhorder's debut, Slaughter In The Vatican. A brief reflective listen had me in awe. Kyle Thomas's cunning vernacular a blueprint for Anselmo to emulate. It's been quite the historical reminder and undoubtedly I'm gonna have to dive into those old records again.

Mourn The Southern Skies is a ripe affair. Reviving classic groove oriented, fist pumping power and might, the southern swagger scales atop fiery momentous. Kyle rides the waves of crushing guitars and battering drums with attitude as they burn through iterations on the arsenal of techniques accustom to this sound. Its secret weapon is quality. With little in the way of innovation, the band churn through sludgy stomping rhythmic grooves. Baked by southern humidity, it oozes style and persona. Guitar solos dazzle but unsurprisingly, can't charm like a Dimebag. Reasonable in theatrics, a couple leads take a more dynamic roll in musical direction, a niche touch.

 

A competent production aesthetic serves its purpose with a touch of rawness, possibly brought on by budget constraints. Exhorder have never been a big name in Metal. Its kind of remarkable to hear they have been sitting on such talent and inspiration. However this return has influences in reverse as the last twenty plus years of Groove Metal's legacy can be heard throughout. A great record but it can't claim originality this time out. Final thoughts? Listening to this record feels like stepping into an alternate reality given the back story. Looks like I'm adding nineties Metal to the playlist next!

Rating: 7/10

Puppy "Pure Evil" (2022)

Sophomore albums can be tricky and after soaring high on their debut The Goat, the trio return with a mixed bag of treats. As the Pure Evil name suggests, one can find a through line of esoteric themes prying into witchcraft, occultism and nightly mischief. With the tone of their music, the lyrics comes across with a toying playfulness as they avoid all the cheesy exaggerated tropes usually associated satanic oriented music.

Opening with the sludgy, brooding Shining Star, the band establish the doomy aspect of the records tone, only to curtail it swiftly with The Kiss. The song alone is a masterpiece unto itself. Capturing rays of sun through shapely, hazy riffs, a summery Smashing Pumpkins magic is birthed again. Its quite the contrast as a uplifting song peaked by groovy pinch harmonic riffs and a delightful gleaming guitar solo.

My Offer and Wasted Little Heart continue on, subtly darkening the path, the later offering up some beautifully crafted moments of space for a chunky guitar palm mute to inhabit with its delightful texture. Its from this point on that Pure Evil starts to wain as the moody, brooding side of their sound takes a stronger presence. With less flash and flair from the guitars, the tone increasingly focuses on its own colorful gloom.

 

This feels emphasized by the vocal harmonization of Norton and Michael, the duo have an interesting chemistry built on honesty and a strained sincerity which excels when the music is bright and colorful. Being slightly off key and raw, they provide an exciting contrast but as the record shifts into a darker string of shadowy, nefariously themed songs, its potency ends up drained and sucked into the rainy tone.

Despite this, there are plenty of exciting riffs, evoking nostalgia for 90s Alternative, Grunge and Metal, always standing on there own legs. Sometimes their ideas don't quite land. The tempo pivot on Wasted Little Heart throws hails to Thrash Metal but doesn't go anywhere. They try a similar trick on Spellbound and land it wonderfully with an epic but brief wailing guitar solo. Its a minor blemish but there are a few two many musical ideas that don't seem to follow up on the shown potential.

All in all, for this listener the theme wasn't enough to spark some magic out of the gloomy tone this record explores. When luminous and bursting with energy the music is captivating. Its dreary side, although wondrous in patches like the dreamy, ethereal, acoustic gloss of Dear John, gets a bit tiring. The riffs stale, the existing chemistry gets stretched. Far from terrible but a half step back in my opinion.

Rating: 7/10

Dagoba "By Night" (2022)

 
Having enjoyed the relative mediocrity of lead single On The Run, the bands newest and eight full length offers little more than the same tone set by its lead up release. By Night might parade past with a few scenic interludes and Synthwave adjacent electronic sparkles but the core of its music is as to be expected. The group aim sights on the more approachable spectrum of modern metal with simple song structures, attempting catchy hooks. Front man Shawter's rough and ragged singing struggles with them at every turn, his screams during aggressive stints competent but when reaching for cleans and melodic his ragged delivery lacks both tone and ability.

The record plays into a typical Synthwave theme, the nightlife, lit by neon lights which the lyrics quite explicitly state on one of the songs. It gives the music an easy vibe, something that passes by swiftly with little effort as the sways between jolts of stomping groove and moody, drawn out power chord strumming. The latter is where the main melodies hinge, often with the aid of subtle electronics that reinforce the vision through aesthetic. Its somewhat weak however, not finding a magic.

I've enjoyed each listen but I have been far from impressed or even excited. At this stage the band are in a comfort zone, lurking in the shadows of Metals drive into more Pop adjacent sensibilities. On all fronts its mediocrity at best. Nothing offensive but lacking any melodies that grab or even heavy grooves as most the bombast and low end guitar riffing ends up cornered by the mid tempo drives the album cruises on consistently. What their trying to achieve beyond proven means isn't paying off.

Rating: 4/10

Corpsegrinder "Corpsegrinder" (2022)

 

Although not their original, long time vocalist of Cannibal Corpse, Corpsegrinder, has stepped out on his own with this solo effort. Presenting his stage persona with a classic gory gruesome Death Metal album art, he boldly sets an expectation met on this self titled debut as a solo artist. Fans of Cannibal Corpse will adore, as Corpsegrinder brings his dense gutturals forth again, remaining as ripping and ferocious as ever. Its a typically blunt force barrage, a one dimensional performance that has his growl consistently groaning at the same resonance with next to nothing to offer in the shape of experimentation or variety. These lyrics too stick to his typical template, a slew of murderous fantasies depicting all sorts of horrendous nefarious activities and violence. The wording lacks anything not heard before, his plain faced descriptions hinge on ridiculous concepts of mental derangement and necrotic desire.

As a fan of his style, its tolerable on this thirty minute stint. Its his band mates that make the record charm. You might expect a meat and potatoes Death Metal experience, diving into the hardest hitting sound however the group frequently steer things more towards the subtleties of groove and bombast. Guitar riffs lead and drums reinforce, not always hinging on a blast beat. The chemistry is ripe as these mid tempo rock out tracks throttle through a keen arsenal of riffs. They gallop with bounce and energy between the grinds of snarly aggression. A similar experience to Bolt Thrower, using momentum and compounding groove as its heaviness, the kind of Death Metal I'm more responsive to these days. The song writing quality is pretty consistent too, you'll probably pick out a handful of favorites after a couple of spins. The massing force of Corpsegrinder screaming "There's no running from the punishment coming" and the slamming guitar riffs a favorite moment of mine.

Rating: 6/10

Dagoba "What Hell Is About" (2006)

After writing about this French Metal outfits latest release On The Run, I realized I had already checked in with them a few years back on Black Nova. I'd forgotten much of that record and this one too, until a couple of spins had the nostalgia jogged with memories rushing back in! This was one me and my friends enjoyed on rotation during the heyday of the Deathcore scene, which they were not part of. With ICS Vortex lending his voice on a song, I suspect the discovery was related to Dimmu Borgir.

The bands aesthetic is a sonic assault of elasticated exaggerated grooves, playing out on seven string guitars. With a rhythmic battering from the pedal clicking drums and the aggressive roaring shouts of Shawter, the band have an intense sound constantly erupting head banging riffs. The ace up the sleeve has to be the synths that frequently shift in and out of focus, often layering in simple chords or single notes to beef up the musics atmosphere with an astral coldness. The precise mechanical slugging of brutal rhythms in between help play up an Industrial Metal component too. This chemistry is ripe for the elusive Future Fusion Metal genre label that never stuck around.

These songs are well written, balancing out the aggression with an uplift and respite as melody and "cleaner" singing work there way into some tracks. It gives the record pacing as it can't rely solely on chugging stomps of low end guitar djenting and pinch harmonics for its forty four minutes duration. The production is very much of the time, clicky drums and dense guitar tones making progress in sounding clearer but still a ways to go compared to where we are now. Give it some volume and it will sound great. Revisiting What Hell Is About has been a blast! It is always nice to unearth forgotten records and get a dose of nostalgia in the process.

Rating: 7/10

Dagoba "On The Run" (2022)

 

I'm not overly enthused about this release. Its more of a passing curiosity for a band name I was surprised to hear are still going. Its was back in the early days of the Deathcore scene that my friends and I also listened to these French metallers who were in a different lane, the "Future Fusion Metal" breed that never really took off. Melding an earlier take on Meshuggah's chunky Djent guitars, blisteringly fast mechanical drumming and an atmospheric helping of electronic synth, they caught our attention. They have since seemed to of escaped my interest... Perhaps I should revisit that record? Take another walk down memory lane! Music is always infused with memory for me.

Anyways, On The Run consists of two tracks still in that vein, modernized and toned down in intensity. The opening title track however goes for an accommodating temperament, a duet with an effeminate voice fit for more than just Metal. I couldn't find a name, but she has a style that steers the music into the classic European scene of decades past where women really started to get a foothold in the scene. The soft blare of trance synths nestled in the mix gives it quite the pop appeal. Initially it felt a little contrived but its an easy going song with a darker leaning that's grown on me.

Its following songs get meatier, shifting emphasis to big stomping grooves erupting between rough shouts and screams. The synths tend to play accents on the unfolding momentum but too get moments to shine and play up the Trance and electronic club scene vibes. Its a decent chemistry that doesn't amount to anything spectacular but does no harm either. A little astral in places, they distantly remind me of Aeons Confer. This has been a reminder of how enjoyable Metal can be, even if not much out there feels fresh or different.

Rating: 2/10