Alice In Chains "Facelift" (1990)

Recently Ive been on a timely nostalgic, heart aching Alice In Chains kick. It happens every now and then, I simply delve into a riotous binge that gets the adrenaline pumping. This time around I found myself rediscovering their debut record, it felt fresh and in the face, many of the songs seemed almost new and with some thought I realized its probably been over a decade since I last heard it. When discovering the band it was Dirt I was most drawn too and has thus established itself as one of the go to records alongside their post Layne Staley records. Facelift had been left neglected and what a gem its been, sitting here all these years unscathed, awaiting me again.

Its such a powerful debut from a new band helping to spearhead the Grunge movement. From the get go Alice In Chains have the Heavy Metal infusion integrated within their sound. Paired with the harmonization between Staley and guitarist Jerry Cantrell, its a two pronged attack, making a unique breed of rock and roll thunder, fit to move a crowd and also display a genuine emotional side too. The band have a habit of brooding an internal vulnerability and then unleashing it through swooning guitar grooves along with the haunting soar of Staleys notes or even eerie acoustic guitars that build painful tensions and uneasy atmospheres between the soars of energy.

For a debut record, not an inch sounds frail or as if they are finding a footing. The Seattle group fly out the gates with a frightening authenticity. The twelve songs give up a healthy variety and range within the sound. Slams of crunching guitar grooves, scores of erupting, electric solos and all temperaments of established Rock and Metal influence the grunge tone. There is a magnitude in the other direction too as a dynamic mix of darkly acoustics shape up the energetic rock with deeper meanings.

 

Love Hate Love and Confusion explore this shadowy side wonderfully, the loose drumming styles perfectly emphasizing the disjointed and exposed feelings these tracks start off with. Put You Down and I Know Something expose the Southern and Funk Rock styling among many other influences that detail Cantrell's unique riffing. In that aspect its a little rawer on this record but it is still fantastic how despite hearing their roots, one can experience something completely new blossoming from it. Utterly brilliant album, another 90s relic to behold! I love this decade.

Favorite Tracks: We Die Young, Man In The Box, Bleed The Freak, Love Hate Love, Confusion, Real Thing

Rating: 9/10

Devin Townsend "Empath" (2019)

On occasion one may ponder the powers scarcity and availability has towards the seduction of an artist. Perhaps a life taken early leaves one divine piece of work behind illuminated and in the case of those blessed with good health and abundance of opertunity, quantity is an excellence. In the case of this Canadian musical genius, we have been spoiled rotten by decades of continual output. From Strapping Young Lad to Casualties Of Cool and back to the Devin Townsend Project, his band and solo adventures has made it feel like every year is graced by something new. After the disbanding of DTP, Dev has taken a short two year hiatus to return with no shortage of inspiration and an almighty seventy four minutes, a collection of his most diverse sounds and extremities that I admittedly had a slow time coming around to.

My problem was simple, I know his music all to well and admittedly little within Empath surprised me on the first few spins. Perhaps I was expecting some new frontier to be conquered, a turn of the path. Thus I found much of the music reminding me of the parallels to his other works. The production however was immediately impressive, a most luscious and crystal clear, perfectionist craft. His best to date. The gravitating walls of sound deliver delicious slabs of glossy sound, distortion guitars and synths expressing weighty grooves and movements in tandem. Devin deploys his typical range of styles again with an added exuberance that reaches into the extremes, both of the entertainingly ugly and not so skin deep pretty aesthetics.

Through the record Devin reaches back to the blistering mania of SYL, occasional demonic gutturals are ripe with a textural fortitude unheard before. On the other end of the spectrum his ever powerful and grandiose voice soars to new heights imploring a range of serene and beautiful melodies. It is in this calmer side of the music that he makes his biggest progressive stride, creating stretches of unbelievably beautiful, glossy soundscapes that have a natural tone, the soundtrack to the animals of the cover. This may be prompted by the inclusion of cat meows and dolphin cries at certain milestones of the record. There are also many colorful, exotic bells, xylophones and whistles that drop in another dimension to his chunky rhythm led music. Its sense of theater and classical composition also takes strides with stretches of orchestral thematic music taking center stage on a wildly diverse album that can flip the switch on its opposed ends in an instant.

It is with the last few of my many habitual listens to Empath that it occurs to me barely a second of the record hasn't lost my interest. My familiarity with what to expect perhaps blunted its blow at first. Even now much of the music feels shades beyond my memory of it but this is something new to cram into a crowded space of classics this man has forged. I now go into my second decade of spins feeling like this may only have the potential to grow on me. Much of what I love is spread across its wide pallet and I do think it has pacing issues where its direction changes. It feels more like a spin of the bottle but its continued exuberant energy also lets it make total sense. Its just all a little overwhelming, Empath is all of Devin's work rolled into one with a cool new breeze thrown in. I should think less and enjoy more!

Rating: 8/10

Living Colour "Vivid" (1988)

The magic of shuffle kicks off another journey as a track other than Cult Of Personality plays and captivates my attention. Its the perfect spark to lure me in and over the past couple of weeks Ive grown to adore this record! When first digging the mood and vibes I thought about how much I loved nineties music, of course this record was a couple years before that decade but Its shades of Alternative and Funk Metal now sound like a precursor to what would blow up in the coming years. You could even trace back Groove Metal back to some of the stomping riffs that appear on this record too. Its been a revelation in some ways, another piece in the puzzle, a key one too.

The group formed in New York a few years prior to this debut album and they arrive on the scene with a really powerful and well formed sound that fuses elements of the aforementioned genres with a Hard Rock baseline, some flavors of Funk and periodic upbeat inflections of cheesy eighties Pop vibes. They pull it off well and roar out the gates with the timeless Cult Of Personality, beyond it an impressive set of songs bring a diversity of well executed ideas thanks to a solid rhythm department. Its led by slamming drum beats that have a little Hip Hop sway to them and alongside punchy baselines that get a couple of songs to step up and flex phenomenal bass playing.

Singer Glover has a fantastic range and pulls off some immense high pitched notes at key moments, he is a well rounded voice at the forefront, lively and emotionally invested. The guitar work is sublime, a range of styles even spanning as far as a Country tang give the songs there tone. The lead playing lines many of them with electric guitar solos that erupt and roar, bursting to life with electricity, showing off technical prowess and slick inspiration. They also drop in with hard hitting riffs and grooves that will have you slamming your head back and forth on many an occasion.

To me, the record walks on many paths and feels like a journey round the world as it explores many ideas, tones and temperaments. The lyrical content and theming also hits a diverse collection of thoughts and problems having personal perspectives, strong feelings and a outlook towards social situations and political problems. The two aspects gel together fantastically and make for a record I can't help think may be somewhat lost to time. I wouldn't say its a classic but it really has a pivotal feel to it, a stepping stone towards the immense music I adore from the early nineties.

Favorite Tracks: Cult Of Personality, Desperate People, Open Letter, Broken Hearts
Rating: 7/10

Puppy "Puppy" (2015)

Fondly reminded of teenage obsessions with music, I have found myself in adoration of Puppy's latest album The Goat. I went back and gave it a ten, as I simply cannot get enough of the record. I also remembered that they had another EP before Vol II, somehow I forgot about it! Another four tracks of their glorious and inspired mash of Alternative, Metal and Rock tones that this time around show the particulars of their heritage with some guitar styling drawing obvious parallels to other artists.

The four songs are a sweet fit for their sound, another exchange of monstrous guitar grooves, sunny yet sombre emotional intersections and beautiful singing with the occasional peaking harmonization. The songs hum an energy within simple structures as the intensity ebbs and flows, often led by the gorgeous guitar tones. I can't help but hear strong echos of Iron Maiden within their Heavy Metal alike melodic riffs. In the vulnerable sung sections backed by hazy distortion guitars its Weezer I can feel.

Like with all their music, the links are keen and its hard to not feel the presence of these other bands yet it comes together in the most gratifying of ways, inspired and far from intimation. They sound more so like a logical successor and that is considering this is their first record. The Great Beyond will probably grab your attention as the flag song for the EP with its main riff shaking the ground each time it rolls around. I really enjoyed this considering how I want nothing but more from this band right now!

Favorite Track: The Great Beyond

Rating: 6/10

Puppy "The Goat" (2019)

Could it be that this new year starts with its best release? If you needed something to sweep you off your feet then The Goat is it. I'd been keenly awaiting English trio Puppy's debut album after adoring their EP Vol II. Id also heard a few of these new songs live at Download Festival and other shows. Now with the music put to wax I hope a spark is lit for them, its become increasingly harder for small acts in the shrinking world of rock music to get noticed. Even with an utterly fantastic debut record like this it may not be enough but this album is a success of its own making.

With an ear for Alternative Rock moods, the stature of Classic Rock licks and momentous sways of Groove Metal's simple bombastic grooves, Puppy electrify through their brilliant guitar work. It requires no exaggeration through dense distortions or cheap thrills. With a sublime vocal presence the album rolls out like a perpetual riff fest that will tug on your emotions and give you a soar neck. The setting is ripe and fond, a keen production that brings the trio together with a crisp crunchy flavor illuminated by harmonious layered vocals that frequently culminate together.

Opening with a Nu Metal syncopated groove to roll back the years, album opener Black Holes gets the record rolling as an example of the dynamism heard throughout. Swaying between crunchy stomping riffs and joyous, emotive chord arrangements the arsenal of riffs lead into a beautiful, earnest singing as it does over and over through the twelve songs. It never tires! This record has been on repeat since its release five days ago and I'm drowning in my adoration for the magic moods it conjures.

As the album progress it feels like the more varied cuts stack up in the second half. A different vocalist on I Feel An Evil, the emergence of a blast beat and a couple of heavier drum patterns keep the records momentum swinging after the timeless sonic grooves of Entombed from Vol II goes by. It holds some of the heaviest riffs and a couple of guitar leads too. It makes for two excellent halves of a whole.

The Goat is never dramatic, self-indulged or too serious. Its continuously fun, uplifting and light hearted yet its music comes from a genuine source of expression. The continual unleashing of riffs will have you writing off lists of bands, riffs and fond similarities, mostly from the 90s decade. As a band they wear their influences loud and proud yet have a dynamite chemistry to express themselves with an originality that can only be known as Puppy. The punch of Metal, the class of Rock, the emotions of Alternative Rock and even a little Grunge ferocity in moments, they have it all.

After a couple of spins a more current, and now obvious parallel, revealed itself. Singer Howard has beautiful vocal range with a tone not far from Papa Emeritus of Ghost at times. Once I made that link tracks like Poor Me sounded uncannily alike in a handful of instances, that and the darkly interpretation of religion in their artwort. There is something similar at work in these bands reinventing the old and its wonderful.

I cannot get over how good this record is. If I had anything to be critical of it would be the formula of the songs. Puppy have such a riveting presence and arsenal of riffs it almost feels as if the music is pegged back from spreading its wings and exploring progressive tangents. The band stick with straight forward structures, three to four minute song lengths and it serves them well but my taste would delight in this group daring and experimenting however its their first record and I shouldn't get ahead of myself, this promising young outfit have well and truly delivered with The Goat.

Favorite Tracks: Entombed, Bathe In Blood, I Feel An Evil, Demons

Rating: 9/10

At The Gates "Slaughter Of The Soul" (1995)

Another musical journey comes to an end! It has been well worth the time and Ive come to understand why this band are so revered. They sit like a jewel in the heart of Melodic Death Metal, though it has to be said, The Red In The Sky Is Ours and With Fear I Kiss The Burning Darkness are praised more so their third and this. It is these two that possess the classic sound many bands have re-spun to their own flavor, a far brighter, palatable sound, easy to enjoy with gleams of melody between aggressive aesthetics. Slaughter Of The Soul is essentially the same sound as Terminal Spirit Disease, however it is an actual album lasting over the thirty minute mark.

With a string of fast and keen songs lingering around the three minute mark the music sprints its way through a deluge of riffs on a slick, crunchy, tearing guitar tone fit for chugging rapid rhythms and splicing infectious melody into the fold. Simple song structures and a keen ear for dynamism between groove and melodic surges let the music sway between the two worlds. It has to be said a lot of the riffing styles steer away from the brutality of Death Metal and sound more along the lines of Proto-Metalcore. I'm guessing these guys has an influence on that scene too given the similarities in riffing techniques heard on this record and before.

The aesthetic is pleasing, it comes together with a touch of gloss yet on closer inspection their is some grit in the guitar tone. Singer Lindberg's screams are the same crass, raspy howls as before yet something about how they are mixed in let his barks chime in, more so than tear through. This makes them quite likeable. The drums sound fantastic and snappy on a great sounding production that has held up over the two decades since. Obviously the music itself is king and At The Gates nail their style here. They also show off a little dexterity with a folk-ish acoustic guitar interlude, Into The Dead Sky, and a symphonic outro track lined with a drum beat. It shows off the genuine talent behind the music. Fantastic record!

Favorite Tracks: Slaughter Of The Soul, Suicide Nation, Unto Others

Rating: 8/10

Strapping Young Lad "The New Black" (2006)

Its been a real pleasure to dive back into the SYL discography. Its been over a decade since I last binged through their records and now we arrive at the final chapter. Despite having a vivid memory of getting this album and listening to it on a work break, not much of the music has stuck in my mind bar a few songs. In a similar way to their Self Titled release, The New Black doesn't come close to the apex of City. Its essentially a Devin Townsend record shaken up with many spices of aggression and occasional comedic measures. Arriving straight of the back of Alien I suspect this record had much to do with filling contract obligations as Devin decided to disband the group in co-ordination with its release and their final tour as a band.

The record gets off to a roaring start with fast paced tracks. You Suck sets a tone for comedy that makes many returns as the premise of the song revolves around saying a band "fucking sucks". Typical Devin humor! The New Black has a slightly withdrawn approach, a fun yet aggressive template with plenty of stomping guitar grooves and frantic, intricate drumming that can go full pelt on the listener or focus on the musicality. The records crisp production strips back the wall of sound feel even though its a fairly bolstered sound, a collection of overwhelming collisions of noise where everything is dialed up get through but despite this, the record just feels lighter and that is probably due to its meandering second half where the moods expand.

In the first we have Wrong Side, a very domineering tack with its heavy synth presence and with Dev's soaring clean vocals it launches itself into Ziltoid territory which he was working on at the time. With Far Beyond Metal we have a studio version of an old live song from No Sleep To Bedtime. Its an anthem, fit for headbanging and giggles! After that the side of Devin we hear more in the solo material comes to light. Almost Again being a keen example, it sounds like Holgen had to really ramp up the drumming patterns to make it feel at home. One can hear the disproportion in balance as Dev's glorious singing pulls it in another direction. When he does erupts with roaring screams Holgen gets frenetic trying to match the increase in intensity, its quite impressive to hear him keep up.

Compared to the rest of their discography this feels like a clear ending point as Dev's other musical directions strongly influence the lengthy thirteen tracks. Its also a great example of how inspiration can be channeled through different aesthetics and approaches as many moments are interchangeable to differing intensities from the all guns blazing mentality SYL usually have. The big point to make is the obvious directional shifts don't detract from quality and give the album a depth in variety others don't. It also has a fair few unleashing of the signature mania where the music gets so loud you can hear the frequencies drown each other out in the wake of massive sub drops. Its a fine note to sign off an amazing journey on.

Favorite Tracks: Antiproduct, Wrong Side, Far Beyond Metal, Fucker, Almost Again, The New Black

Rating: 7/10

In The Woods... "Cease The Day" (2018)

It was a huge surprise to learn of an In The Woods... reunion two years back. After sixteen years on ice, three of the original band mates reunited to create Pure, a close contender for My Top Albums Of 2016. I was pleased to see them write a follow up so quickly but disappointed to learn the Botteri brothers both quit the band, leaving just the drummer left. How much influence Anders Kobro has over the music may be irrelevant. This in no departure of style and a record I have enjoyed my time with. Cease The Day scales up its progressive scope, builds scenic pagan atmospheres and makes hints to its themes with an Elk stranded among the city lights.

Once again Fogarty's voice serves as the human spirit to soar above with a heathen heritage calling. Its an authentic performance, honest and striving, retaining his imperfections and charming with his strengths. He is central to the musics direction, chiming in with many of its peaks and the general flow. Its more occasional that other instruments become the central focus. Cloud Seeder lays down some narrow groove guitar licks before unleashing a ear worm melody with effects soaked lead guitar that wails in different keys. The songs chord progressions remind me fondly of Baroness.

The eight tracks are mostly lengthy epics that don't outstay their welcome and unfold with steady captivation. I'm astonished as to how often subtle tone shifts are within their expansive pallet, even some that call upon their past. Somehow between Psychedelic overtones and brooding atmospheres can they splice in Black Metal guitar riffs with a chirpy, jolting distortion aesthetic that hails back to their debut record. The same can be said of the synths using similar choral and choir chords which arise in an instant to enrich the scene at hand.

On casual listening one will be sucked in to these vivid soundscapes and journeys. Yet on closer exception you may notice the organic experience is comprised of rather jarring and bold shifts in both tone and style as the eclectic links at work here jostle in variation along with its instruments. Strike Up With Dawn opens on a rotation of power chord rock guitar before flicking a switch and hurtling into a shrill tremolo shredding of darkness as gloomy synths arise. In another flick they drop and we move into an estranged, lone groove guitar lick reinforced by horned instruments.

This is just one example of what occurs frequently throughout, many yearnings of influence and musical approaches mashed into one form that feels very natural and pleasing. For all my enjoyment I never felt any big peaks, crescendos or exceptional moments. Perhaps Transcending Yesterday comes close with its monstrous opening riffs and howling screams but my attention is often diverted to the mix of a live audiences cheers into the song, ending with a chant of the bands name. I'm just not sure what exactly I'm supposed to make of it. Really solid album, hard to pick favorites, its great as one long big song.

 

Rating: 7/10

Strapping Young Lad "SYL" (2003)

Needing an outlet to vent his post-911 emotions and anger, the Canadian musician reunited the band after a four year hiatus. The resulting SYL, effectively self titled, is the most notably akin to Devin Townend's solo records. Its heavy on the electronics in a layered sense as many guitar riffs are backed by beams of bright synth erupting through the wall of sound. With a lack of Industrial grit and maniacal energy, bar an explosive dose on Rape Song, it occasionally looses the unique Strapping vibe as some guitar sections feel interchangeable with other extreme bands. That's not put the record down, its solid from start to end and a delightful exercise in heavy heavy's sake. The problem is its extremities are not up to par with the likes of City and Alien.

It does however rattle off a timeless classic with Aftermath, a song that strips back groove to its simplest form and hammers it out in repeating cycles of amplified intensity. Its pounding, tribal, primitive and when breaking away from its obnoxious guitar chugging, goes full throttle on blast beats and wall of sound ecstasy. The following Devour is another riot of feverish excess that boasts its own obnoxious one note "breakdown" riff in its mid section. It starts out steady, misleading us as with its temperament before being unleashed. A lot of the record doesn't quite reach thees fiery peaks but it is certainty a wild ride and full of foaming anger.

Across its duration Dev explores a pallet of ideas, ranging from big, dense walls of chorals both blinding and uplifting. His vocals often come of a bit raspy as his delivery shifts. When the guitar is most naked is when the record feels a little to regular for this band and there are a couple of riffs that perk my ears, sounding akin to some techniques and riffing styles heard years later in the Deathcore scene. Its probably just a resemblance Ive picked up on but it makes me wonder about SYLs impact on future musicians as this was their first "commercial success" breaking into billboard record sales charts... only barely. With so much to say about their classic records this one lives in the shadows a little, not managing to match up all of the time.

Rating: 7/10

Favorite Tracks: Dire, Aftermath, Devour, Force Fed

Strapping Young Lad "No Sleep Till Bedtime" (1998)

I thought I might pass this record by as I often do with live albums but seeing the the additional two tracks left over from Heavy As A Really Thing, I figured why not? Pretty swiftly was I reminded of how brilliant live recordings can be. It kicks off on a sweet note as Devin sings us into the madness with a choral arrangement to lead into the opening two from City. Its as vibrant and vivid as the studio records. The guitars, drums, bass and vocals have an exuberant energy, making a ferocious racket! Their performance is swell and behind them a dense layer of synths and industrial aesthetics seem firmly intact, probably the same tracks lifted from the studio. Its hard to imagine that level of nuance and required cohesion working in the live setting.

Our god Devin Townsend's singing is phenomenal. Now a lone voice without production magic at his aid, his fierce screams, leaping roars, soaring cries and immaculate clean singing feels both immediate and necessary as the performance drags you into the heart of the emotional experience he draws from. As the show progresses Devin never tires and between songs when talking to the crowd his comedic nature and ridicule of the spectacle shows fondly with humorous lines and jokes for the crowd. Its most so on Far Beyond Metal, a track from The New Black I forgot used to be a live only track. It is the least Lad sounding of all but clearly more suited for them than his solo material and a vessel for his cheese.

After a riveting seven songs it ends with that song as the tape runs out. A fade out without talk of goodbyes and audience cheers is a bummer but it would been more of a shame to of ruled out the release of this excellent live set. To fill the void Japan and Centipede revere their heads as songs clearly a peg lower on the frenetic, chaotic scale that Dev rammed to the max with the first SYL record. Both are sprawling atmospheric types that subvert their bombastic riffs and sustain a sense of heightened atmosphere. Centipede is the chunkier of the two with a bigger guitar presence and moments of elevated intensity but they both suffer from poor quality as static and peak clipping plagues the crowded moments. Its not too much of a bother, so overall its a really great listen for any SYL fan! Shame the live show was cut short.

Rating: 7/10

Strapping Young Lad "Heavy As A Really Heavy Thing" (1995)

At the time it was musical genius Devin Townsend first solo release under the Strapping Young Lad moniker that would go on to become a fully functioning band by their sophomore album City. I'm astonished as to how far Strapping Young Lad has slipped from my mind, its been over a decade ago since I last binged on them. Its understandable how this embryonic sounding debut has drifted the furthest but Ive had a fantastic time rediscovering these oldies and the calamity of good and bad it is.

Reading into its backstory as the first Dev album, I discovered that it was born out of frustration with working for the likes of other musicians, Steve Vai and The Wildhearts. Devin wanted to write his own music and only Century Media would offer him a five album deal on the condition of making extreme music. The result is this mesmerizing, botched brew of angular ideas that would fail to capture anyone's attention, barely selling any units before future releases would bring retroactive attention to it.

Heavy As A Really Heavy Thing has all the hallmarks of an SYL record. An over the top wall of sound aesthetic. Stomping, slamming, brutal chugging guitars. Fierce and frantic screams, coupled manic roars and the occasional soaring of Devs clean range. Frequently synths wail in to further the thickness. Its a fusion of Death, Thrash and Industrial that has got all the right ingredients but its preparation and cooking is a botched brew. Its hard to praise at its surface but given a few spins there is plenty that's enjoyable and many familiar riffs, lyrics and moments reworked for later songs.

The production is sloppy and chaotic at best, the wall of sound comes together not through craft or design. Its slapped together with deliberate volume wars that more often that not find some haphazard cohesion. Distortion guitars often falter into choppy thuds of sound that loose sense of notation and become like a percussive instrument. Its mostly the ideas that lay themselves bare. When the guitars, drums or screams are being extremified its all to obvious. A majority of these moments tend to not lead anywhere but further into a sprawl of chaotic ideas. It even extending to a cheesy 80s synth beat on Cod Metal King but most his ideas will be heard with far greater execution on following projects.

These criticisms were more apparent at first glance but if you try to love something you often find reasons. Given how much I adore Devin's music it was all to easy to hear the links with whats to come. For a first timer tuning in it will be a much harder task. I'm a sucker for these songs, there is objective criticism all over yet through it I always hear something worthy of charm. Perhaps Drizzlehell is an exception. I really don't get along with that one. Otherwise its all fun, it has a mood, persona and strange vibrations that occasionally descend one into maniacal listening.

Favorite Tracks: SYL, In The Rainy Season, Happy Camper, Critic, Filler

Rating: 7/10

Strapping Young Lad "Alien" (2005)

Brainchild of musical genius Devin Townsend and emotional vent for his negativity and aggression, SYL stands alone as a vessel of extremity that other bands simply can't come close to. He is known as Hevy Devy with good reason, this is his domain where heavy goes above and beyond the sonic expectations of the time. His groundbreaking record City still holds up today and deserves its merit as one of the heaviest records of all time. Pioneering a modernized wall of sound production for Metal music, Devin has not just peaked the aesthetic approach but his unique personality and niche for composition emanates through the music. It puts him into that unchallenged place in the hearts of listeners. Alien is the only other SYL record to give City a run for its money and births one of Metal's best ever songs with a truly epic fusion of sing along hooks and monstrous grooves on Love.

Alien is a sonic experience, a whirlwind of fire and fury channeled through rhythmic grooves, exaggerated in the calamity of instruments howling together. If Dev has a partner in crime its Gene Hoglan. His distinctly jolting playing from behind the drum kit reinforces every strike and rhythm with endless flashes of dexterous rolls, hammering out maddening intricate patterns from atypical beats. He is a perfect complement to Devin's wall of sound approach, as its dirty crunching distortion guitars slam up against pounding baselines and a haze of industrial electronic sounds buried in the loudness. Its all propelled onward by slick pedals thumping in more electricity to the overflowing mess. I'm in awe of Hoglans machine like drumming.

The songwriting is prodigal. There is tandem between aesthetic and music, both extreme in nature, which can easily leave a record lopsided but the frustration and passion in Dev's immediate roars and blunt language, cries of "I hate myself" and the shrieking "fuck you" of Shitstorm mirrors all the emotional immediacy. Right as his scream burns every ounce of feeling, a sonic flood of high pitched synths fill the space as its the textural experience ascends. The path these songs take are sublime, fast turns through soaring heights into dizzying plummets cohesively following a narrative while bringing about an arsenal of unique riffs. When its applied in a more palatable sense with a formulaic song structure and a catchy hook you get the brilliance of Love.

With clattering drums,a scattering of subtle industrial noises and cutting synths the guitar plays a very centralized roll as the instrument pulling it all together. At times thick distortions play power chord arrangements but most impressively is the ramping up of production to extrapolate dense, gurgling chugs from palm muted picked grooves. In time with the guitars direction it can take on Djent like tones as Dev throws in obnoxious riffs that relish in the simplistic pleasures of absurd, over emphasized bends and open string chugs. Its a true head banging delight as its stamina charges through fields of unrelenting madness over and over again.

Alien kicks of with a racket. Front loading its most absurd, attention grabbing songs to then lead us though a more melodic pass for lack of a better word with Love and Shine. We Ride goes all out crazy with a battering of hard grinding riffs to unleash an unusual solo, clearly taking a different approach to the lead guitar that grows into the song. Then Possessions hits another climax with Devin deploying stunning infectious sections and continually upping the anti on them. In those two songs I feel like we hear more of the Dev you might expect on a solo project, except the music is extremified. Two Weeks give us a breather with a gorgeous, exotic and peaceful instrumental, it breaks the flow and the last two songs step in directions that don't quite come full circle.

With every listen I feel like its the type of record that needs to go out with a bang. There is no denying how utterly fantastic this record is and I am humbled to spoiled by rediscovering it. SYL will always be a favorite but with such a sea of music to drown in its amazing how much time can pass distant from music that's truly riveting. Strapping Young Lad where a huge deal growing up and I feel it is only right to do the rounds on their back catalog and cover a couple of records I never quite got to grips with. Looking forward to it. Can never get enough of the genius Devin Townsend!

Favorite Tracks: Skeksis, Shitstorm, Love, Shine, Possessions, Two Weaks

Rating: 9.5/10

Soulfly "Ritual" (2018)

The years roll on by and Metal legend Max Cavalera, approaching fifty years of age, continues onward, devoted as ever to his distinct sound. This time the Soulfly project gets project some love, working with his son Zyon who delivers a battering from behind the drum kit. Much like Cavalera Conspiracy's Pyschosis, Ritual picks up some shared ideas in advancing the aesthetics of a style aging through this era of crisp production. It all sounds good but as the eleventh record of a relatively stagnant Groove Metal fusion, this latest Soulfly record has little in the way of surprise.

Born of the Nu Metal boom, Max's departure from Sepultura had him home in on the Groove Metal charm they helped pioneer with Chaos AD and Roots, while embracing Metal's latest trend of the time. As it died out the Soulfly project found its way through embracing elements of Thrash and Death Metal that solidified a distinct, settled indentity a decade ago. Any record since has felt without progression beyond that comfort zone but there is no denying Soulfly is fun and worthy of a good listen. Ritual however front loads the record with its best song, dropping its most infectious, groovy slamming riffs to bop to right at its opening. The rest of the music lives in the shadow of a cracking song worthy of the classics Max has composed over the years.

Everything else of the record is business as usual with a couple of stand out moments. Typical song structures and arrangements of bouncy, energetic, aggressive riffs go through the motions. Tracks like Under Rapture muster some excitement as the song erupts into fast thrashing guitars, engulfing vocals roar gritty, monstrous cries over a guitar shift, getting sinister with evil tremolo shredding. Feedback goes a different direction with obvious Motorhead vibes but its mostly the Pychosis blunt force approach to aesthetics in "over the top" moments that catch the ear here. Unfortunately its all a little to predictable to become more than the sum of its parts.

Rating: 5/10

Favorite Tracks: Ritual, Under Rapture, Demonized, Soulfly XI

Monstrosity "The Passage Of Existence" (2018)

When I first started exploring Death Metal, the Florida based group Monstrosity were one of a slew of bands that never held my attention for too long. They joined the scene in 92, around the peak of that first wave of bands. Since then they have been sparingly releasing albums every three to four years however its been eleven since their last effort Spiritual Apocalypse. That absence has not hindered their competence as a band in putting together a new record yet for all its decency I couldn't find much to draw me in closer. It has all the crisp and audible delights of modern production but its styling and songwriting is a little lost by the ages. Not to knock it, but It doesn't feel as exciting in comparison to when you hear this approach in music for the first time.

The record is loaded with a constant roll of tight and gnarly riffs. The chemistry between the drummer and rhythm guitarist is fantastic, lots of choppy technicalities lining the assault with brutal flavorings of groove and thrash from the rhythm guitar, always with a rapid, dexterous beat to match. The lead guitar sounds slick and lean, the songs frequent climatic moments for them to rise above and duel in tandem, flexing all the old tricks and wild sounding techniques. That is unfortunately a point of concern. The vocals are a dull drone, the same guttural tone grunts and groans at the same consistency and intensity throughout. It rarely compliments the dynamics of the music itself, even when shifting gears with an elongated roar.

The sound is generally encroaching on the Technical and Brutal sub-genres but given how developed those sounds are nothing comes of with a surprise. The guitar solos are attention grabbing and elaborate but as iterated above, its all been heard before. If you want the 90s sound then here you have got it. As already said, this is a competent band however they are spinning something I am just not interested in. For all the merit I can give it with my observations, It did little to draw me in or get the blood flowing. I can't think of a single song or moment that peaked my interest. Its all just to safe and cliche of the style. Nothing awful or off key, just not for me.

Rating: 4/10

Avenged Sevenfold "Black Reign" (2018)

 

Its that time of year, the shopping season is upon us, perhaps explaining why we see an increase in bands dropping EPs in the months leading up to Christmas. Avenged have scraped the barrel for a B-Side in the instrumental Jade Helm track. Its a strange track of build ups and grooves that have these awful pauses, lasting too long to keep time of the beat and anticipate its return. Maybe vocal rhythms would of tied this space over but without them the song sounds like a bunch of sub par riffs stitched together with shuffling, over involved drum patterns, things left out from other songs.

Before it three songs play that fans may be familiar with. Turns out Avenged have been collaborating with the Call Of Duty franchise for a few years and these songs are from the successive soundtracks of the Black Ops games. The first track Mad Hatter being the most recent stands out as a firm favorite. Its their only new material since the magnificent The Stage, can barely believe its been two years already! The singing style, composition and quality of riffs really reflects the maturity of that record and so we receive a well written track with a luminous mid-tempo break in the middle. It cruises from acoustic guitars into an epic guitar solo, shredding heights and erupting back into the song main riff, riding it like a wave.

I can't speak too highly of the other two tracks, they are from further back in time when Avenged where less appealing to me. A couple of moments appease but what I like of their sound is only present in fractions. If anything the one song is a good sign that they are keeping on track and capable of continuing to write on form. As for the record itself, its simply a stitching of extra songs to promote the new single.

Favorite Track: Mad Hatter

Rating: 4/10

Jinjer "Cloud Factory" (2018)

You know how it goes, once something new roots itself in the mind you often start to see it everywhere, as if it were somehow invisible beforehand. Since Ive heard of this four piece act from Ukrane Ive spotted quite a few of their shirts worn at gigs. Their views on Youtube would also suggest they are gaining rapid popularity in the Metal community. Naturally I wanted to check them out and see what the fuss was about.

Fronted by singer Tatiana Shmailyuk, a duality is forthright as she swings from strong, powerful effeminate singing to brutal, blunt screaming. She mixes in some native Ukrainian tongue too. Behind her the band put together some very likable songs for Metal fans to gravitate towards. Strong grooving guitars play a range of classic guitar techniques from over the years that hail back to Death and Thrash at times. Its mostly situated around Groove and Metalcore while showing some flashes of Djent and Nu Metal. Its neatly structured into a healthy riff fest of revolving grooves and energetic low end shredding that packs each of its songs with a fair helping of head nodding.

Their music is well executed, its mostly rather accommodating Metal thats loaded with familiar riffs. They do little to define themselves and stand out in my mind however every other song or so seems to find a moment to leap away from the page and throw in a crushing riff, brutal scream, or in the case of Who Is Gonna Be The One, both in a memorable breakdown. I might sound somewhat harsh but this record makes me feel a bit like a "Metal Veteran". There isn't a single riff here that's unexpected or unusual. All the techniques, styles, sounds and grooves Ive heard many a time before.

They pull from Metals best and rework ideas in to their own vision, even throwing in short sections of acoustics and brief non-Metal sounds. In the case of Jinjer they straddle that region well above mediocrity but below greatness. If you're new to Metal they will probably sound rather varied, exciting and invigorating. There is a great range of influence on their sound at work but Ive heard it all before. They are clearly talent musicians though and a band worth keeping an eye on.

Favorite Tracks: A Plus Or A Minus, Who Is Gonna Be The One, Желаю Значит Получу

Rating: 6/10

Toska "Ode To The Author" (2016)

I caught the UK based trio Toska live recently at a Plini show promoting their magnificent Sunhead album. It was an engrossing performance, there was an electricity present but I'm not so sure it translates that well to the studio. The roar of mammoth, grooving guitars hooked in the room with there vibrations, unable to escape its grasp. Ode To The Author features a couple of tracks I recognized from the show. Its an entirely guitar led meld of Post Metal soundscaping and Progressive Metal tangents, making for some distinguished moments as the range of riffing leads us into unique places.

Without a vocal presence the guitars really do make up a forward momentum as the bass does little to expand upon its tone or experience. The drums chime in with appropriate grooves and energy to create some dynamism. Even in its moments of intense inflections and intricacies it still seems to play second fiddle to the mammoth presence of Rabea Massaad who dominates the spectrum, making his lone guitar sound like an ensemble.

It has its appropriate moments of calm and acoustics, lush notes plucked with harmony but the main avenue is groove and power beyond the structured formula. Massive shapely, lunging riffs gather momentum in the expansion of tension through minor progressions. It makes for colossal moments born of a careful craft, slowly growing songs that always seem to steadily lure us into a trap of mountainous riffs, cascading with a great weight.

Its all brilliantly executed, its steady build ups and sudden shifts feel organic and natural. It flows like a river and builds an engrossing atmosphere that quickly lures one in with vision as we explore the array of riffs, of which its groove elements even steer close to Nu Metal briefly and more obviously Djent with the occasional polyrhythmic and elasticated riffage. I'm very impressed, with a new album out November I will certainly be getting myself a copy.

Favorite Tracks: Chasm, Illumo

Rating: 7/10

Alice In Chains "Rainier Fog" (2018)

There is so much that could be said of Alice In Chains and their history. To boil it down to some specifics, they are a a legendary band from the Grunge era with a metallic tint in guitar tone who lost the iconic voice of singer Layne Staley to extreme drug abuse. Reforming a few years after his death they somehow found a vocal harmonization with new singer William DuVall that resonated on the same frequency as Layne. It allowed them to continue along the same spiritual path laid out on prior records and after five years their return with their third album of this second stint for the band.

I have a strong fondness for their last two records, the five year wait has been worthwhile but Rainier Fog pulls no new tricks. It may explore some heavier guitar tones and grooves but very much plays like a band who are comfortable with their identity. They have taken the time to reach in deep and curate the very best of their inspirations and form a fine craft of songs that hold your attention and move your emotions for the steady fifty three minutes the ten tracks make up together. If it does offer any new spice, slower tempos hint at some Doom Metal influences but its a side of them that just seems more prominent for this project.

Its pace is sturdy, slow and soothing yet momentous and empowering. The atmosphere they conjure together is sun soaked with a streak of introspection bordering on melancholy. With a gorgeous production aesthetic Jerry and William weave their vocals around one another to constantly illuminate the music in electric tandem. The guitars relish this opertunity to flex in the directions Alice In Chains are known for, finding some laden, steady grooves and stretching to the slow and sombre acoustic epics with all manor of lead guitar breaks stitching in the details. Its a lively, animated record in the energetic moments they often leads too. When in a more subtle position it still retains these big and strong atmospheres that engulf the listener.

With each listen one comes to know the songs better and as each rotation revolves the character and identity of these songs really lights up, especially the second half of the record. This is the kind of curation that can make a known sound exciting however that may be this records only flaw. Its a fantastic set of songs but has no surprises or unexpected directions. The music in no way cries out for it however it makes me wonder if the band can keep making this well established sound work? They certainly have done this time around but you will know what your in for.

Rating: 7/10

Danzig "6:66 Satans Child" (1999)

Arriving at the sixth chapter in the Danzig series we have a refinement of sound, vastly improving upon the disappointment of Blackacidevil which tried and failed at its own unique take on the Industrial Metal sound of that era. Satans Child follows suit in the same genre but takes no risks with erratic experimentation and nauseating drum sampling. Instead the band forge a leaner sound with a rounded, brighter production. They give its guitars a weighty metal punch that unfortunately doesn't manifest the same magic from Danzig, II, III or IV, however we do hear strong echos of that time on songs like Into The Mouth Of Abandonment but the record is a mixed bag.

The biggest sell of this record is front man Glenn Danzig himself who returns firmly to his bluesy style, rising to the center of attention, the double tracking of his vocals has some real oomph that's a nice touch and his emotional burdens find their theater again. With a firm sound and the return of the singer it is the obvious influences that initially took my attention away. In the wake of the Nu Metal scene one may initially hear the syncopated stop start grooves that play thick distortion guitars against their absence and focus on the altered approach to groove however its not really not in that vein. They do sound strikingly akin to other bands on some songs though, the Unspeakable main riff sounds lifted from a classic Helmet record and Apokalips sounds uncannily alike to Swans. For the most part they sound like Danzig experimenting with the Industrial Metal style other bands had mastered at this point.

Once over these humps I could hear somewhat of a slow start to this record, its first tracks roll out and the tone is cramp, the guitar work stiff but as it grows the slow crushing guitars of Doom Metal start to revere its demonic head. Further down the road the welcome sound of pinch harmonics starts to bounce of the guitar riffs in true Danzig style. Cult Without A Name is the first instance but its not until Cold Eternal and the last five songs that the record really blossoms, the closer being a real gem. Its a strange journey that ends well, the music is enjoyable but the infection is only to be found in a handful of songs at the end. I think the band find themselves again here but have a hard time getting the best from Glenn and themselves when they are stepping away from the fundamentals of their roots and sound together. A fair record.

Favorite Tracks: Into The Mouth Of Abandonment, Apokalips, Thirteen

Rating: 6/10

Machine Head "Catharsis" (2018)

 Four years since their last effort Bloodstone & Diamonds the American Groove Metal outfit return with a lengthy seventy four minute record that has divided opinions across the board. I was somewhat unexcited about Catharsis for the aspects that Ive ended up enjoying it for. Machine Head peaked with The Blackening back in 2007, a riot of a record that's worthy of being mentioned alongside the best Metal records ever unleashed upon the world. Since then their output has felt like stagnation, more of the same sound and so I went into this record hoping they would do something new. Whats ironic is there attempts to broaden their horizons are an utter turn off and the predictable Machine Head is here in droves sounding pretty wild and fun!

Stomping, chugging grooves, bendy, bouncy riffs and the razor sharp gleam of stiff guitar leads wail away in their typical uniform. The opening three tracks throw together some cracking riffs held together with lyrics to sing along to. These numbers will fit great into the live show but the next stretch from California Bleeding to Bastards sees singer Robb Flynn attempt to break the mold firstly with his voice, embracing the rougher, grouchy and musky, liquor stained attitude. Plain language, the blunt vulgarity and graphic story telling weighs down the atmosphere with its downtrodden tone. Going into Bastards the instrumental tries to come along with him into uncomfortable territory, reaching beyond their grasp it falls flat.

The soreness of failed experimentation casts quite the shadow over this record as the reasonable portion is great if not atypical of the band who are sinking into a broad range of ideas they have covered before in the past. They do however get their experimentation right on Behind A Mask, echos of Spanish guitars and the gentle build up to soothing, soft vocals, soaring in the moment is wonderful. Given its length and lack of unification in theme, Catharsis is really just a big cluster of songs from a band saying "here you go, have fun". If I were to cut the time in half and fill it with my favorites It would make a killer record, however its bogged down by a lack of filter and purposeful direction they were able to maintain on previous albums.

Favorite Songs: Volatile, Catharsis, Screaming At The Sun, Behind A Mask

Rating: 5/10