✦✦✧✧ There’s a well-considered trajectory lurking within the formulaic confines of this sludgy album, almost bordering on the progressive side. Mostly, the plotted journey is a morose one, meandering awkwardly between Deafheaven and Isis. There are, however, tasty moments throughout that make it a worthwhile listen. See the rest here
✦✦✦✧ This album cements Kvelertak’s position as the new kings of the black ‘n’ roll subgenre. More than ever, the band establish an hitherto unrecognized middle ground between Emperor and Rush circa “Caress Of Steel.” On this, their third album, Kvelertak made the inspired choice of substituting producer Kurt Ballou with Nick Terry, which serves to lend a clearer focus to what the band’s all about. See the rest here
✦✦✦✧ This is almost a very good album. You’ve got an intriguing blend of sounds here, from Deafheaven to Ufomammut to Indian to Isis to Zombi, and with a maximum track length of 5:30 you’d think that this would be the perfect sludge album for me. Sadly, the pacing here is a little too brief for my liking; promising ideas are not always given enough time to germinate, and song endings tend to come quickly and from out of nowhere. See the rest here
✦✦✦✧ At first blush, this latest missive from Testicle is a slightly more polished retread of familiar Bay Area thrash territory. But it doesn’t take long into the first listen to realize that this is actually the sound of a band reinvigorated. Definitely the best thing that Testament has done in years (although the transition from Killer to Filler after track 6 could not be more obvious; skip that shit, unless you really, really want to voluntarily listen to a tune called “Canna-Business”). See the rest here
✦✦✦✧ This album is so ambitious, coming up with descriptive comparisons is itself a daunting proposition. But here goes: take the constituent parts of this supergroup (namely, Animals As Leaders, The Faceless, Veil Of Maya, and Animosity), then pervert those elements with equal parts Intronaut, Meshuggah, Gorguts, and Disincarnate, and then sprinkle in a little EDM-inspired jazzmetal. See the rest here
✦✦✧✧ You know, I don’t hate this! Jamey Jasta’s voice is irritating as always, but the music behind it is more interesting this time around (or at least less repetitive) than on their previous album. Of course, this is notably faint praise, which only gets you so far; in my case, it got me as far as the first 5 tracks. See the rest here
✦✦✦✧ Everything that was ever great about Immortal can be found on this album. But it’s no mere retread or victory lap. Instead, you get a real sense of fun coursing through this tour of true (as opposed to trve) black metal. I couldn’t help but smirk appreciatively the whole time. See the rest here
✦✦✧✧ I really should stop listening to Opeth. This album is even further removed from progressive metal, and much closer to what I’d expect from Leprous or Ghost. Or the more expositional tediums of Dream Theater. It’s really not until “Will O The Wisp,” fourteen minutes into the album, that the band revisits familiar musical territory. See the rest here
✦✦✦✧ Another blistering slab of thrash from these modern masters. No one track stands out here as a career definer (as opposed to the band’s eponymous 2013 masterpiece), but what you do get here is trademark Revocation doing what they do best, with a subtle leaning toward more emotional variety. But don’t let that stop you from listening with a gleefully slack jaw. See the rest here
✦✦✧✧ There’s nothing complicated or earthshattering here… just good, old-fashioned, material for a good sweaty slamdance. The band are tighter than ever, and even Cyco Miko’s vocals sound a little more polished (but only a little). The album ends illadvisedly with two back-to-back ballads; I’d skip them if I were you. See the rest here
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