Abnormality "Mechanisms Of Omniscience" (2016)

My excitement for the news of Abnormality's sophomore record was high but faded quickly upon hearing it for the first time and many listens hasn't warmed me away from that initial disappointment. I discovered this band through their video for "Monarch Omega", a brutal onslaught of catchy demonic riffs and blinding blast beats. Their debut "Contaminating The Hive Mind" didn't quite deliver the same energy on every track but showed a lot of promise for a band who weren't trying to rewrite the rule book but carve their own style into an already heavily saturated Death Metal scene.

"Mechanisms Of Omniscience" hasn't left me with much to remark on other than a consistently flat feeling from one track to the next. Its hardly offensive, out of touch or missing the mark and the record is a consistent flow of tight and precise Death Metal from the ever rattling sonic drums to the frenetic guitar work and deep guttural vocals. With the exception of one track nothing in the record seems to break away or feel remarkable, its a constant drone of colorless brutality and dissonant guitar works that shifts, transforms and effortlessly flows through its arrangement of riffs that never culminating emotionally. The production and instrumental performances are on point but nothing meaningful emerges and even in its heaviness that adrenaline surge you'd expect is nowhere to be found. Its to much to be critical of that but no matter how many times I gave it a spin there was very little to be excited about.

Favorite Track: Synthetic Pathogenesis

Rating: 4/10

Download Festival 2016 Top 10 Performances

That's it! Ive officially been going to Donington for a decade and as always music festivals are a wonderful experience, Download being one of the best with three days and four stages of heavy and hard music to get stuck into. This years was the most subdued of all Ive been to, the rain came down as heavy as the metal and really affected the freedom to rock out, head bang and mosh to your hearts content, at least if your me and are not fond of being soaking wet and cold. So cocooned in my waterproofs and ponchos I did my best to stay dry while enjoying some great performances.

(10) Ho99o9

Hailed as a Hip Hop / Punk crossover Ho99o9 are often talked about with Death Grips in mind. This duo take their raps to dark, noisy and aggressive places with sampled punk guitars and a crazy rebellious persona. I only got to catch half there set on the forth stage but it was a blinding riot of aggression, noise and attitude that blew me away.

(9) Rammstein

 Not the first time Ive seen them live and probably not the last. You can count on Rammstein to put on a good show fueled by fire, pyrotechnics and an absurd amounts of fireworks. They were fantastic however I wasn't keen on their cover of Depeche Mode's "Stripped". An energetic show loaded with their classics.

(8) Megadeth

 

Thrash legends Megadeth came out playing a solid set with a few tracks from their latest album "Dystopia" which sounded fantastic live. Loaded with classics like "Hanger 18", "Trust" and "Countdown To Extinction" there was little they could do wrong.

(7) Havok

A classic Thrash Metal band I had not heard of before spotting them on the lineup. Glad I chose to watch them, very fast and energetic thrash like a cross between Slayer and Testament with many climatic and intense moments in their songs to head bang to.

(6) Amon Amarth

An undeniably great Viking Metal band of which Ive never quite clicked with. Their latest record "Jomsviking" was a decent listen and seeing them certainly helped me appreciate them more. Fantastic stage presences with dragons heads and rune stones plus plenty of fire!

(5) Korn

I've not been in the mood for Korn in a while but when they walked on stage I was sucked in. Playing a few more songs than usual from 2003's "Take A Look In The Mirror" their set felt a bit chunkier than usual and I enjoyed every minute of there performance. So good to hear them again.

(4) Periphery

This band well and truly won me over with last years double release of "Alpha" and "Omega". Their performance was tight and flawless with a thick and dense wall of Djemt coming from the four guitarists. It was an infectious performance of groovy head banging that sounded to big for the stage. Set was a little short but that's just because I didn't want it to stop!

(3) Deftones

Probably both the best and worst performance of download but at no fault of the band. Promoting their new record "Gore" I caught them a week back at Wembly warming up for the big stage and they sounded fantastic. On the day though the rain poured and soured what would of been a memorable show, Deftones lined up their more emotional and atmospheric tracks for the sunset slot on the main stage and in the downpour it still sounded fantastic but the weather sucked the life out of the crowd.

(2) Babymetal

Babymetal also suffered the rain with bursts of heavy showers delaying their set for over half an hour. When they finally took to the stage the crowd loved it and so did I! They are even better as a live act and the bands modern compression heavy production sounded sublime on the big stage. The girls danced along with metallic choreography and smiles to fire up everyone's spirits. Definitely would of been in the pit if it wasn't for the mud and rain.

(1) Black Sabbath

The most influential and important band in Metal history would always make it a historic occasion when they play, as part of their farewell tour the band get ready to close the curtains on their history spanning six decades. It was a flawless performance with Ozzy who can barely string a sentence together having no issues hitting all the words and notes while inspiring the crowd with momentary bursts of energy before shuffling back to center stage. Toni Iommi and Gezzer Buttler sounded sublime with the best guitar tones to grace the stage. The stand in drummer got a fair spotlight with a tame and lengthy set of drum solos leading into Iron Man and hearing "Into The Void" really made my evening. It was one to cross off the bucket list and I'm so very glad I waited out the rain at the front of the crowd to see them.

Vektor "Terminal Redux" (2016)

With an epic, intergalactic cover art of lush alien planets and mysterious alien spacecraft deep in the cosmos our tongues are wet in anticipation of an ambitious piece of music set to rival the imaginations the cover inspires alone. Unfortunately the guitar tone and narrow, raspy, grisly vocals took the edge of what is truly a record to remember, a space opera of metallic magnitude. Vektor are an American Thrash Metal band with Progressive elements from Arizona and given there young age could be considered part of the Thrash revival seen in recent years. "Terminal Redux" is their third full length, weighing in at seventy three minutes it is quite a lot to chew and an ambitious piece of art.

Vektor sound like they could of come straight out of the 80s. A true sense of the Thrash spirit exudes from these songs however with twenty years of maturity they take the traits of Thrash guitar work and execute them with an intensity and blinding precious that will have all sorts of rampant shredding taken to new speeds and technicalities, the fast fretwork interwoven with frenetic drumming that takes no moment for granted. These songs move in a constant sense of progression with dense arrangements shuffling in all sorts of directions and occasional turning back on themselves to repeat a theme. Nothing feels out of the ordinary but its execution is remarkable and many riffs push the boundaries with lightning speed and creative use of old techniques. Its quite the drool in awe fest if your a fan of the classic thrash sound.

The album plays to a bigger concept and all the songs tie together. That much is apparent but within the last three or so tracks it really comes together as the record reaches its climax and the music pushes even harder at those boundaries. In these moments the Thrash sound is transcended in spirit as the songs become bigger than themselves. For all that's fantastic I have my gripe with the vocal and guitar tones. Firstly DiSanto's narrow, raspy shouts are a constant turn off that I failed to warm up to. The guitars do admittedly sound fantastic as could be said for the entire production of the record with a near perfect drum sound and tight baseline but I found the tone slightly plastic and flat in the higher ranges. Its actually what gives the guitar tone its charm and there is where I find an understanding of whats not working. There's little emotional connection here, its a finely tuned metal machine pumping out blinding songs but it ends at entertainment. "Terminal Redux" Is a remarkable record on one level but there are only a few moments where I feel any form of deeper connection. Music doesn't always have to hit you on that level to appreciate it.

Favorite Tracks: Charging The Void, LCD, Recharging The Void

Rating: 8/10

Eternal Lord "Blessed Be This Nightmare" (2008)

Well, its all over now. "Blessed Be This Nightmare" marks the groups first and final full length record, at the time I found it to be a stinker, a real disappointment. After revisiting their fantastic, stylish and unique debut EP "Eternal Lord" I set out to listen to their discography. Their two track "Split With Azriel" showed promising signs of a symphonic direction for the band before their 2007 "Demo" took a turn for the worst. There are no twists and turns at this point, the album takes off where the demo left, with the tracks that featured on the demo only sounding a hair better on the full length in terms of production. 

The record suffers the fate of the Deathcore cliches and fails to make itself more remarkable than the breakdowns every song seeks out. Chugging palm mutes and crashing china symbols pound away the same routine with various variations, mustering no more than the occasional palm muted discord to spice it up. Its far from terrible or offensive, something to bob along to and forget the next minute. Between it the band show signs of trying to expand there horizons but it all feels aimless and unfocused. Acoustic guitars crop up in "I Am The Deciver" and "Amity" with a vastly different vibe that are only to be dispelled by pummeling Deathcore brutality in the songs next phase. Some creative guitar work and riffs do momentarily pop up, "Set your Anchor" has some interesting melodic guitar leads but again just falls mercy to incessant Deathcore cliches.

If you not giving it your attention it may be half entertaining but ever grace it with thought and consider whats going on its little beyond hap hazard ideas lost in a generic brutality fest. Its ironic that its strength is in what holds it back, the Deathcore is well executed, just no longer to my taste. Any signs of breaking away from that are far from interesting. This record wasn't for me, Its not awful but I think I'm just tired of this sound which is now a decade old!

Rating: 3/10

Thorns Of The Carrion "The Scarlet Tapestry" (1997)

My interest in Doom Metal was recently peaked with Candlemass's "Nightfall" and at the whim of youtubes algorithms was suggested this unheard of video with next to no views. It was this forgotten and obscure bands second album and hooked in by the striking record cover I listened to the opening tracks which where certainly interesting. Thorns Of The Carrion are from Ohio, USA and may have been a somewhat of a local scene band in the 90s with a string of demos and two independent released records of which this is the second. Only active for ten years they have little reputation in the Metal world.

Far from terrible but lacking in charm, "The Scarlet Tapestry" suffers the fate of its own doom and gloom themes as the mood and atmosphere created in this sorrowful record often drift into a lull of morbid guitar drones and soft airy key lines dragging through unhurried tempos. Demonic guttural growls grimace with a lack of oomph and interchange with screams similar to Dani Filth. Clean vocals are also delivered in a deep and teary tone which gets a little to much with moans of "Why Am I So Alone" over and over. This record dives into love and heartache with melancholy and a touch of gothic romanticism which doesn't manifest well in lyrical form but the instrumentals do have a cohesion to define a unique blend of depressive, wistful and slightly morbid music fit for a foggy, human form of darkness.

Bar the introduction track the album opens up with a fair stir of energy and tempo as thunderous horns scale up and down reminiscent of Graveland's "Prawo Stali". It transitions into a begrudgingly sluggish dragging of guitars and much of the record follows this theme of slowness with moments of energy and life splashed in unexpectedly. If not in one of these sporadic bursts of life and movement the records next best output comes from the timid and lonely flute melodies, occasional pianos and thick gothic organs. Other than that the record feels lengthy and unfocused with minimal ideas being draw out of proportion and its atmosphere isn't immersive enough to make that sluggish pace meaningful. Enjoyable to hear something different but far to flawed to return to again after a handful of listens.

Rating: 3/10

The Underachievers "It Happened In Flatbush" (2016)

I was very excited to see this record pop up in my inbox. The Underachievers are one of my favorite modern Hip Hop acts and their last full length "Evermore - The Art Of Duality" really made its mark on me. The first half of the two sided release is loaded with deep and meaningful messages about achieving in life and keeping on top of your goals. Its a record I frequently turn to when running and working out. Unfortunately "It Happened In Flatbush" isn't on that introspective wavelength and is stated as a "mixtape". Essentially a less focused and shorter release to tie fans over.

Initially this sounded fantastic. Tight spacey, dark beats and deep cutting baselines but a few tracks in the lyrics were tiring me. Gone is the insightful, thought provoking, life changing lyricism. In come the blow trading, braggadocios flaunt raps loaded with violence and threats. With much talk of gun play, settling rivalries and street warfare the mood is ripe for these dark atmospheric beats however Its not what Ive been in the mood for from the East Coast duo who won me over with their honest lyrics and positive attitudes. If the subject matter wasn't to my taste I couldn't deny their flows were pretty solid throughout and at times elevating with technical prowess. On the flip side there are a few singular rhyme flows cropping up with the word niggaz that gets nauseous repeating it over and over and over.

After a few banging beats at the start the album drifts into a continual setting of gritty, deep sub baselines grooving under spacious minimalist leads with flickering trap beats. With violent raps the atmosphere is tense and intimidating. With a lack of lyrical charm it simple wasn't my cup of tea and the most interesting thing beside the instrumentals were references to Master P and Silkk The Shocker of No Limit Records. Always fun to pick up on name dropping in Hip Hop.

Favorite Track: Al Capone

Rating: 4/10

Emperor "IX Equilibrium" (1999)

Third times a charm or so they say but for Emperor the bar had been set unseasonably high by their iconic debut "Into The Nightside Eclipse" and 97s "Anthems..." which transformed the bands sound with remarkable vigor. "IX Equilibrium" stands in the shadow of its former with little evolution and a tamer set of songs in the second half that don't amount to the same level of musical astonishment. Its a step up in production, tighter, crisper but still a menacing wall of sound that pummels away with moments of equal intensity and lightning blast beat tempos faster than ever. The album crashes open with the thunderous and mighty "Curse You All Men", ripe with melodies of empiric glory entangled in agile, enduring guitar shredding while Nordic group shouts call in the distance and the horns of warfare are sounded.

With "Decrystallizing Reason" the symphonies of war and wonder gleam brightly before the song erupts into mayhem with cascading blast beats somehow finding room to intensify the already blistering wall of sound. The song moves through its motions and the returning war horns signify a climax I feel the song was searching for but didn't quite find. "An Elegy Of Icaros" follows, a song which may be one of their finest. I developed a great appreciation for this song learning to play it on guitar and reading all the instruments. Its a fine example of Ihsahn's intricate musicianship, with every instrument playing a different line of notation to form a woven piece of music that shifts through original and interesting riffs to culminate in a beautiful song laden with splices of melody and aggression, climaxing in a splash of color and wonder in the songs break out moment. With a lack of relenting blast beats and calmer tempo I wonder if this is the direction this album should of looked for as it offers far more in the reflection of "Anthems..."

"The Source Of Icon E" returns us to dizzying drums and spiraling aggression that stands apart with a flair of startling high pitched vocals similar to King Diamond. I believe that perhaps the bands cover of "Gypsy" by Merciful Fate comes from the same studio session given this vocal performance appearing on both. The bands other cover of Bathory's "A Fine Day To Die" also has echos on "Warriors Of Modern Death" with its guitar solo being identical in tone and notably similar in composition and delivery. All had been fairly strong to this point but with "Sworn" and the following tracks the record seems to shift gears and the musical complexity is traded in for simpler power chord shedding controlling the progression of these songs. 

"IX" comes close in moments and falls far in others. Some of its arrangements and intricate compositions don't quite hit on the same emotional level. Sometimes its progressions feel more transitional than natural and overall its shortcomings lie in repeating itself. Where it retreads the waters it isn't as remarkable however it is still a dose of extreme music from one of the genres finest bands. It makes for a cracking listen and is a great record in the shadow of greater ones.

Favorite Tracks: Curse You All Men, An Elegy Of Icaros

Rating: 8/10

Amon Amarth "Jomsviking" (2016)

Given the ever growing hype around Amon Amarth and there continual rise in the Metal scene I decided to pick this one up. Its the Swedish groups 10th full length in over twenty years as a group. With themes of Norse mythology and viking warfare they have been hailed by some as thee Viking Metal band. Amon have unfortunately never done much to captivate my attention as other bands in the genre had. I can hear whats distinct and unique about this band but it doesn't get me fired up or create an atmosphere I can absorb.

After many listens the same flat, mediocrity of neutrality emerges. I find myself feeling rather indifferent to its presence. "Jomsviking" is aesthetically soft and sterile with crisp guitar distortions, dense baselines and punchy, balanced drums forming a warm and approachable mix of crunchy toned down Melodic Death Metal. Hegg's vocals are the heaviest aspect of their sound, he growls and bellows meaty screams with a vibrant texture that doesn't get overbearing, probably an easier tone for a newcomer to digest.

This album progress through the motions with simple song structures and prominent guitar riffs that outline the songs directions and build the Norse themes. As much as I can hear "it", their is no stir of emotion within me in response to their riffing style. The guitar leads drop into particular tracks with bright colorful tones and melodies sometimes reminiscent of Iron Maiden. Together they steer the ship with a sense of destination in sight. The themes however are particularly uninteresting to me with a lack of poetry or sense of scale delivered in the lyrics. They often culminate with a simple use of words and basic rhyming pattern that has the words steered by matching rhymes in favor of visionary word play.

Its all a matter of preference and as much as Id like to get into this record It just doesn't stir me. Looking forward to seeing them at download though, seeing a band live can help it "click" which is yet to happen for me. Ill stay neutral on this one, there is a couple of tracks with a bit of spark but equally some that bore me too. One thing I can say is nothing here felt out of place or obscene, its a well rounded record.

Favorite Track: Wanderer, Raise Your Horns

Rating: 5/10

Tame Impala "Currents" (2015)

Hailing from the other side of the globe, Tame Impala is the musical output of Australian musician Kevin Parker who writes, composes and records all the bands music before taking a crew of musicians to hit the road on tour with him. In the eighth year since its inception Kevin released the third full length which caught my attention some time ago with its intriguing record cover and critical acclaim to peak my interest. It took a few listens to click but has since become my addiction, full of good vibes, luminous music and easy going, laid back atmospheres of psychedelic wonder.

I'm rather inexperienced with Psychedelic Rock and Tame Impala to my ears dwarfs anything Ive heard before it in comparison, as if the genres climax in the 60s and 70s was just a precursor, a prototype for the magic within this record. It oozes, ebbs and flows within an organic tapestry of sounds from electronic and natural instruments formed in a modern production that makes fantastic use chorus pedals, phasers and pitch shifts in its psychedelic moments. The opening track "Let It Happen" drops in a couple of beat skips before breaking into a stunning moment where the beat loops like a CD skip repeating over and over before thematic synths roll in and take over the direction in a moment that felt fresh and unexpected. Its this use of electronics that makes the music glimmer like the summer sun, dense synthesizers weave in and out between the guitars and a solid drum machine with dance kicks, claps and snares hold a solid back bone that in the occasional moment resemble a dance floor beat. 

The music stays true to a warm, heart felt inspiration of summer sun, fresh air and care free good times that radiates when Parker puts his voice into the frame. He has a stunning high pitched and soft tone that breezes through the reverbs he layers his voice with. Its reminiscent of MJ and with his ability to write a solid hook makes for some truly mesmerizing moments where the songs are sparkling like a dream. Together they sound so lush and intricate with layers of sound often trumped by a bright and simple melody to keep it easy going, yet one can peers deeper into the layers of sounds that form into something so effortless to enjoy.

In between the main tracks some trippy interludes crop up and with "The Less I Know The Better" Kevin rocks an olskool Rock / Funk groove on the guitar. Sometimes the drums have a little Hip Hop groove and even a Trap hi hat crops up. This albums flexible and although it doesn't steer far from its core so many things pop up through the record that make it so interesting when examining closer. Its a record for the warm climate, summer music, for good times and with the magic Kevin delivers good times will be made. Its such an impressive record, especially considering he did everything here himself. Writing, recording and production. Hats off!

Favorite Songs: Let It Happen, The Less I Know The Better, Cause I'm A Man, Reality In Motion

Rating: 9/10

Messenger "Threnodies" (2016)

Back in 2014 I found myself sitting in a the pews of a quaint chapel in London, humbled by this band who were opening for Devin Townsend performing his "Casualties Of Cool" record. After the show I picked up the bands debut "Illusory Blues" which won me over swiftly, perhaps being the most impressive Progressive Rock record Ive heard in recent memory and with time that impression only strengthened. Messenger have echos of the greats while standing on their own two feet and subsequently had me hyped for this release which promised more of the same, another seven tracks spanning 46 minutes it continues where its predecessor left off.

Opening with "Calyx" the group set the precedent for a collection of songs that seem so uninhibited by structure and form with music that unfold at its own leisure, moving through the motions with no urgency, creating an indulgence that starts with a calm and tranquil motif that's got a surge of unrest beneath it. With a calm before the storm a lone electronic lead brings us into a shift in momentum that leads to a grand climatic guitar riff that's got glory in its soul. The following "Oracles Of War" thickens the atmosphere with a galloping intensity and the guitars and drums thunder forward with classic prog organs laying the density. The momentum slowly unwinds into a lush calm of serene acoustics soaking in a soft ambience and light pianos accenting the soft, dreamy vocals of singer Lowe who shines bright in every moment of this record and takes it to some sublime peaks with his grounded harmony. For all of its lush tranquility, every moment flirts with a darkness that's forever fleeting, never surfacing and in its immediacy can sound rather sorrowful and sombre. As the songs flow and progress the whole affair becomes rather entrancing in an effortless manor that makes enjoying a breeze but analyzing becomes allusive as no part of its charm lies on one riff, melody or hook but the overall journey these songs draw you into. This is best heard in its strongest melodies which can often drop in from the quieter region of the sound, rather than being immediate and upfront.

"Threnodies" is another self realized and inspired creation that is perhaps a little bolder and more adventurous than its former. Again its persuasive with its atmosphere and draws you in closer when your not looking, which is part of what makes writing about it so hard. Putting music into words is a challenge but you can never do that music justice, and in times like this you feel as if you cant ever come close. The production is sublime, the instruments are rocking and vivid. Lowe's vocals are enticing, reminding me slightly at times of Thom Yorke, and the drums where particularly more expansive this time around. I adore this record, cannot wait to catch them again on the road and I'm sure this one will not tire like that last has yet too.

Favorite Track: Calyx, Balearic Blue, Pareidolia, Crown Of Ashes
Rating: 8/10

Kvelertak "Nattesferd" (2016)

Prior to this record I had never heard of this Norwegian six piece band Kvelertak. It would seem that they have had a significant success selling records in their homeland and have been praised by critics for a unique blend of Rock n Roll and Black Metal. On "Nattesferd", the groups third, much of the black sounds like a hangover heard in singer Hejlvik's rough, tonal screams and guitar distortions that are a touch more visceral and thick than whats warranted for the Rock N Roll core of their sound. They are not the first too fuse the two sounds together but maybe the first where the artistic intention comes from a much brighter and expressive place than the scornful fire and hate filled noise of Black Metal.

The sounds of a generation gone by echo through this record 70s Rock and Hard Rock leanings reminiscent of Thin Lizzy, see "1985", and other acts of that era make up a large portion of the sounds between the occasional blast beat and shredded guitar riff. Its fluid, organic, full of twists and turns led by solid guitar riffs often accompanied by bright acoustics that accent the rhythm guitars direction. These songs have a fantastic sense of direction and expansion as they evolve through many riffs and progressions that become pretty captivating when in the mood to enjoy whats on show.

With this they certainly carve a unique identity for themselves on a gorgeous sounding production that breaths a ton of life into the guitar tones and strikes a sweet balance with the drums. Everything sounds peachy except for two things which I always found dispelling. I'm not a fan of the vocals, they feel out of place, a little raw and flat and for the most part become tiresome when in the music. As well as that some of the guitar tones get a little weighty and aggressive which feels unnecessary. With that said there are plenty of blacker moments in this record that flow very well between its counterpart. There is artistic creative and vision in abundance but the way it comes together just isn't quite for my taste all of the time. Despite my annoyances I still think its a fantastic record.

Favorite Tracks: Nattesferd, Heksabrann

Rating: 7/10