★★☆☆ I’ve gotta tell you: this album starts out strong. The production is top-notch, and when the band cut loose, they’re heavy as fuck. And then they go and get all experimental. Some of the experiments pay off (the Rush-like “Criminal Conversations”, featuring In This Moment’s Maria Brink is the album’s high water mark), and some don’t (“Want It All”, “Revolución”). See the rest here
★★☆☆ Musically, this feels like Opeth playing Ghost covers. Which isn’t necessarily a band thing, in small doses; a full album’s worth overstays its welcome a wee bit. The real problem here lays in the gross grindy vocals, which are at best vaguely ignorable. See the rest here
★☆☆☆ There is a surprising and unwelcome degree of guitar wanking on this album. In similar but worse news, Dave Draiman is still singing into a microphone. Everything else on this album — the riffs, the musicianship, the songwriting, the overproduction — exists merely as a backdrop to these two guiding lights. See the rest here
★★☆☆ This is a very serviceable 35 minutes of grindcore. Solid riffs, good darkness. The songs do tend to belabor their respective points, which is a weird thing to say for such a short album. See the rest here
★★★☆ There are two kinds of music on this album, both seemingly from a sleep-deprived night in a house much too big for comfort. The first type of music is fuzzy and bassy and sumptuous and perfectly disorienting, familiar with but still unlike Godspeed, Sleep, Russian Circles, V.A.S.T., and St.Vincent. That stuff is pure win, and a must-listen. See the rest here
★★☆☆ Seeing as there’s a new Terminator movie in the theaters, it must be time for a new Fear Factory album. So what if there’s not a lot of evolution to the band’s sound; they got that out of the way with “Demanufacture.” And there are a few moments on here that inject new energy into the proceedings. See the rest here
★★☆☆ No surprise here: the best parts of this album are the parts that don’t have Max Cavalera’s heavy hand all over them. There are some gusts of freshness in here, but they are quickly smothered by your usual brasilishit. But hey, if that’s your cup of tea, have another swig. See the rest here
★★★☆ You might as well call this “Monolith Of Inhumanity v2.0″… and I mean that in the best way possible. The band have taken the best parts of that previous album, and expanded on what worked before. This is a cohesive, self-assured blackgrind with plenty of twists and turns, but also tons of technical shredding. See the rest here
★★☆☆ When this album succeeds, it does so by distancing itself from its obvious bedroom recording djentisms. In this regard, the latter half of the album outdistances the former, which can’t help but feel like a collection of TesseracT B-sides. See the rest here
★★★☆ From an instrumental aspect, this album is metal as fuck. The pacing is excellent, and the extremes are as extreme as I could ever ask of a band with a hard rock pedigree. But vocally, it lies somewhere between King’s X and Saliva, and that’s hard to not hear. Still, this ill-fitting formula works really well when the metal eases up a bit, and the more emotive songs on this album work a kind of retroactive magic on the more jarring fist-to-face tracks. See the rest here
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