This is great for what it is. What it is not is metal. There’s maybe 30 seconds of metallish stuff on this EP, and the rest is instrumental jazz with a drummer who’s got double kick drums, more Satrianiesque than ever. See the rest here
★☆☆☆ I’m giving this one star because it’s a fascinating car wreck to listen to. Otherwise, I just don’t get this at all. The biggest problem is that this album features a mix that only Brian Slagel in the late 80s could love. Why the fuck is the synth the loudest thing on this album? See the rest here
★★★☆ This EP is an excellent return from the long-dormant but well-beloved prog metal quartet. Their djent stylings are less front-and-center this time around, which I think is appropriate given the state of the subgenre. More importantly, you’ve got great headbanging moments, interesting chord progressions, and their best production to date. See the rest here
★★★☆ This is a pretty good poor man’s Gorguts. See the rest here
★★☆☆ This album finds the star-crossed band aiming for Mastodon-style sludge… and just missing the mark slightly. The music lands in this uncanny valley where it’s too wanky to effectively grab you the way that great stoner metal usually does, and at the same time too often the music is also sleepier than you’d want from a fun shredfest. See the rest here
★★★☆ My first though, on hearing the typical-for-folk-metal intro, was “God, I fucking hate folk metal.” And then the actual metal proceeded to kick my teeth in. It drags about two-thirds of the way through, but then the band throw a wild curveball with the disco stylings of “Two Of Spades.” See the rest here
★★☆☆ No-nonsense punkthrashrock. As odd as that phrase seems, it’s the best description I’ve got for this album. Once it starts, the ride don’t quit. It’s a bit simplistic and without a huge amount of variety, but it’s excellently executed for what it is. Also, it’s got a good beat, and I can bug out to it. See the rest here
★★★☆ This latest album from Tristan Shone is dystopian in a way that most industrial acts only give lip service to, evocative of Skinny Puppy and NIN at Trent’s most experimental. It’s also awfully heavy, and yet manages to be catchy (just not in a Taylor Swift way). It’s perhaps one track too long for my tastes, but coming from someone with a documented distaste for the terminally slow, that’s saying a lot. See the rest here
I’ve been thinking a lot about your answers to my question. I agree with both of you on some points.
In particular, I can think of plenty of examples of bands that have a shifting relationship with the genre over time. (Hey, we can’t all be Overkill Inc.) And yet, most people don’t talk about metal albums; the categorization happens around the band. See the rest here
★★☆☆ This is some excellently moody doomish metal, but it’s ponderous in length, and after a while I kinda tuned out. I could tell now and then that interesting stuff was happening, but those gems are surrounded by a whole lot of interchangeable plodding. I rate this 2 out of 4 grunts. See the rest here
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