★★☆☆ Once this short and sweet hardcore album starts out in earnest, you get an affable what-you-see-is-what-you-get slugfest that’s well-produced (for what it is) and generally smileworthy, if not exactly groundbreaking. On that subject, the opening ambient track is a complete red herring that has nothing to do with the rest of the album, and doesn’t serve the band at all. See the rest here
★☆☆☆ While this is pretty well-executed emocore, it’s still an aspirational Norma Jean replica at best, and something approaching Emmure at its worst. See the rest here
★★★☆ This band have their feet planted in two camps. The first, their Black Dahlia Murder brand of death metal, dominates the first half of the album, in a way that feels familiar (almost to the point of forgettability). But the second half of the album gives way to more of their progressive tendencies, reminiscent of The Faceless. See the rest here
★★★☆ This is a bizarrely great, or greatly bizarre, album. To write it off as a lead guitarist’s solo wankfest is premature and a disservice. If anything, it’s more a showcase of Marty’s omnivorous tendencies, as he deftly through the many styles of his long and storied career. Through it all, there’s sick guitarwork of course… but to focus on that would be to miss the equally deft hand that Marty uses in his arrangements. See the rest here
★★☆☆ Take heart: Alissa White-Gluz does a great job filling Angela Gossow’s formidable shoes in this, Arch Enemy’s latest album. And the musicianship is likewise bankably excellent from the rest of the band. But the songwriting is so slapdash and uneven that, at first, I was sorely tempted to give this album one star only. See the rest here
★★☆☆ This grindcore album isn’t bad per se, but it’s definitely hobbled. The good news is that the aggression is definitely in effect throughout, and several songs feature little flourishes that remind me of Brujeria, Slayer, even The Jesus Lizard and Suicidal Tendencies. The bad news is that a lot of this record is mired down by the same old Midas touch of Kurt Ballou, so much so that the tracks often boil down to an epic struggle between forgettable sameness and the band’s ability to rise to distinction. See the rest here
★★★☆ This album is brutal like an industrial accident. Something like a cross between Decapitated and Exodus, the thrashy death metal on here is unshy, well-produced, and above all punishing. For me, this rivals Vader’s last album “Welcome To The Morbid Reich” (if anything, that album has slightly more memorable moments, but the overall effect is better on “Tibi Et Igni.”) See the rest here
★☆☆☆ Ugh. Every time this album gives you something likable, it turns around and forces two lamenesses down your thought. For example, “Pray For Death” is a pretty sweet chunky thrasher, but then you get to “99 Problems BC” (and how did Jay-Z allow this to happen)? Much as I want to go along with the Body Count party, this is more delusion than delight. See the rest here
★☆☆☆ Boy is this ever sophomoric, even by doom metal’s standards. Small kudos for not being thoroughly unlistenable, piteous vocals notwitshanding… but this was a very long hour for me nevertheless. See the rest here
★★★☆ I’m not sure I’m in love with the lo-fi production ethic going on with this album. On the other hand, a case could be made that the metal herein is so fucking intense that mere mortals wouldn’t be able to cope otherwise. This is Enabler’s most ambitious release to date, a pyroclastic flow of hardcore violence that only the most jaded can resist. See the rest here
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