Andrew Kline Berthold City Q and A

In 2017 I heard Berthold City, seeing a flyer when I ordered from WAR Records, Miracle Drug 12". I had not realized it was Andrew Kline of Strife on Vocals. Stripped down Hardcore as opposed to the metallic inclination of Strife. Kline gathered some OGs of LAHC for this (Allegiance, Internal Affairs, One X Choice, Final Fight) . A full on nod to Gang Starr with the title and sample. Love this sound. They are coming next week with Kill Your Idols and Fireburn to NYC, Boston, and Philly. Andrew was super cool to talk with and was hyped on this. For good reason. It's killer. Pick up the 6 track EP here.

How long have you guys been a band? How did it all begin?

I started the band in late 2016. I’m always writing songs… I had a handful of songs that were more Youth Crew inspired, and a bit of a different style than either of my other bands. I got together with Adam (our drummer) and we spent a day in the studio working on the songs and tracking the drums for the demo. I played bass and all the guitars on the recording, and then went back a few months later started tracking the vocals.

Once the songs were finished I started putting the lineup together for the band. I have known Dennis McDonald for years since he played with one of my best friends, Corey Williams, in Internal Affairs. I have always been a fan of his energy and stage presence, and he was the first person I had in mind to join the band. Dennis knew John from his old band Allegiance and brought him into the mix… John brought in Devin.

Memorable shows?

Our first show was at Programme in Fullerton with Decline, Drug Control, and Dare… Programme has done so much for the Southern California hardcore scene in the last few years, so I feel like it was a perfect place to play our first show. I am singing for the first time with Berthold City, so it was a pretty unique experience.

We did a short run with Terror and Regulate at the end of December and that was a great run as well. We play San Francisco this weekend with Judge, and I am really looking forward to that.



Plans for 2018?

Our debut 7” comes out in April on WAR Records.  We are playing United Blood fest in Richmond, and we are doing a short East Coast run with Kill Your Idols and Fireburn to support the release. We have already started recording some new material, so hopefully we will have another release out by the end of the year. Aside from that, we just want to play as much as we can.



I see 3/6 songs are from the demo. Were they re-recorded for this EP?

We recorded all 6 songs from the EP in the same recording session. We wanted to release a demo before we did a record, and we really wanted to let the word of mouth about the band spread organically. We sold a few hundred cassettes, and the demo is the top seller in a few categories on Bandcamp including “Straight Edge” and “Youth Crew.” The response has been amazing, and I thank everyone for their support.

Side A will feature the three songs from the demo and side B will feature 3 new songs!



Recording: Producer? Duration? Process?

We recorded with my friend Aaron Jamili (Alpha Omega) at Wormhole Studio in Santa Clarita. He is a really good friend of mine and he was easy to work with and made the recording process painless.

We had the record mastered by the legendary Don Fury as his studio in upstate New York.

I always wanted to record with Don Fury as he is responsible for recording some of the most classic hardcore records of all time. I knew that he was doing a lot of mastering, so I reached out to him.  He did a great job, and added that extra little bit of energy into the tracks. We could have mastered the record elsewhere, but I really wanted to work with Don Fury as a little nod to some of the classic bands that inspired us.



New songs are killer. 

How does the vinyl look? WAR always does a sensational job. Plans of colors?

The record looks awesome! Our good friend, Jeremy Dean, who happens to be one of my favorite graphic designers, did the layout and design. He designed our logo and our first shirts, and I jokingly told him he was our Raymond Pettibon. I really want to keep the aesthetic of the band uniform, so I am really glad to be working with him again.

The first pressing will be on clear and translucent blue with a very limited hand stamped version available for preorders.

LISTEN

Rock Mecca Ironworld Review

Rock Mecca

Ironworld

Soulspazm Records

Review by hutch

This spring, Rock Mecca has released his second album, Ironworld, both being on Soulspazm Records. His flow is laid back but rough, like Lord Finesse or EPMD. But, entrenched in the slow flow is deep knowledge and desire to spread hope and encouragement. Layered production from Jake Polumbo of SPACELab paints gorgeous and musical tapestries. Polumbo has crafted beats for Rock and Pawz One on their recent killer LPs; mixed and mastered Shabaam Sahdeeq’s Keepers of the Lost Art along with credits on work for Sean Price, Royce Da 5'9", Roc Marciano, Ras Kass, Tony Touch, Smif-N-Wessun, Sadat X, Masta Ace, El Da Sensei, and The Beatnuts.

After an intro, we get into “King of Kings” which contemplates a Dead Prez/PE approach to the system’s mind control tactics. While I find the music underwhelming for an opening cut, the precision and sharp delivery of the lyrics is the prize here. While I think of Jimmy Cliff’s “King of Kings”, the opening sample lays the mindset as it hears from street level graffiti kings to those preparing for Jesus and Mohammed. Out the gates, Mecca spits “Make your idols your rivals, challenge ‘em for my first title/ I enter the ring prepared for battle/ I triumph with my science, bring your Bibles and your rifles”. Afterwards, mecca states a sweet flip Cube’s classic “Steady Mobbin’” prelude into a list of positivity with “Rodney King, Martin Luther King, and all the kings in Africa”. That’s powerful. Very impressive. Mecca kills it with wordplay and vengeance intertwined with one phrase, “we’re back for back pay and payback”. God damn. Flipping words in the second verse continues the mind massage:

“What if some of these MCs were government agents

Their record labels program us through entertainment

The CEO was the CIA and the A&R (A n R) was the N.R.A

Give them guns so they can flash ‘em on their ads in print

Make it rain but gotta bring it back to US Mint

On the back of the album you see the FBI logo

Against piracy because they working for the Po-Po”

The title of that joint does set the tone for the peppered Jamaican/Rocksteady/Reggae references and musicality which will follow; which I appreciate deeply. Never mind having Jamaican born Canibus on the penultimate joint.

Next up is “One Man Gang”. Rock Mecca touts “OMG – One Man Gang – Oh My God – On My Grind”. A dope chop with choral vocals and hi-hats while Mecca reflects upon fighting his entire life. Mecca consistently punches lyrical allusions to the concept of a fighter throughout Ironworld. ‘Life is a constant struggle’ is a salient theme with the many wrestling bars and Mike Tyson ‘90s quotes plus check the song titles: “Survivor Series”, “One Man Gang”, “Stone Cold”, “Gladiator Schools”, “Prizefights” and “Coliseum”, which nods to not only George ‘The Animal Steele’ or the line “Haile Selassie meets Freddie Blassie” (“Stanley Cups”). The end of “One Man Gang” also uses the glorious The Education of Sonny Carson clip: “sucka think he good. sucka think he can whoop me. I know he can’t whoop me… hey boy (his) whole style chump”. So good.

The third track, “W.A.S.C. (Rebel Anthem)”, belies my description of Rock Mecca’s laid back approach. It’s no coincidence he references Willie D and Bushwick Bill in the first verse. This is an explosive track; exhilarating energy bursting from the speakers. Mecca matches the energy of the first GB album here. Triumphant horns blare while scratches build the excitement which is exponentially amplified when accompanied by the track’s samples. Joseph Simmons’ iconic “Run, Run…” and Chuck D’s “the rebel, the rebel”, and Busta’s emphatic “Powerful impact – BOOM! from the cannon” comprise the hook. The third verse even has Rock Mecca borrow from Uncle L’s “Mama Said Knock You Out”. Clearly made for older heads that will appreciate (and get pumped) from these classics. Rock’s words invigorate.

After some words from Iron Mike, sultry saxophone and strings are placed over rough drums for “Stone Cold”. This loop is dope. The main hook is a quote slowed the f down, “in the belly of the beast – will I survive to tell the tale.” Again some Rocksteady nods with “Tougher than Tough” (Derrick Morgan) and “Rough Rider” (Prince Buster) are embedded in his lyrics. This track is a chilling perspective, with tone set by Tyson’s callous evaluation, on how to maintain. Mecca ends with:

“This awkward, odd beautiful struggle/ On my job like a single mom tryna juggle

Walking on thin ice while situations get thick/ Play the corners if you wanna

Can’t afford another abysmal dismal year/ Playing the rear

Stay all cried out without ever shedding a tear / Live on a prayer”

Mecca finally gets to uses hi lyrics in story mode for a dark, unforgiving world, “Tunnel Visions”. Maybe the title is an allusion to dudes leaving NYC after the clubs, hitting the Tunnels to go back home; while doubling as a metaphor for the myopic vision of what fame offers discarding the outer reality. The harsh visual proposed by Mecca illuminates:

“Before the sun rises / Before the one night stands, the after-parties

Before the flyers litter the floor / Before the bottles on chill

Become glass shards and liquor spilled / Before breathalyzers, broken rubbers, discarded pills

Before the velvet rope turns to yellow tape / A few hours before the drunk girl awakes to holler rape

Before he pops the trunk, stumbling drunk / Parking lots become a Western

And groupies head to the Westin”

Next, “Gladiator Schools” takes its opportunity to give some knowledge from someone who has seen the struggle. Mecca implores to any lost in the system, while they are in the “school of hard knocks, take rocks and make jewels – show and prove even if you born to lose … in the gladiator schools”. Never accepting excuses, Rock imparts that supposed victims don’t let their negative circumstances define a negative life. Born into a shitty life doesn’t mean you have live a shitty existence. “Gladiator Schools”, in fact, is the single of Ironworld (powered by a dope Kool Keith rally cry for the hook), its cover shows a pair of black hands extended through prison bars reading a book, a stunning image. There are not many situations that make you start from the bottom more severely than coming out of jail; marred with a record and rebuilding after being dehumanized. A felon’s existence, having been forged to react with the basest of human instincts, does not translate into ‘normal’ society. But, it is a reality for many.

Here, Roc Marc does his thing. Bomb as always. Mecca spits deadly with lyrical maneuvering dope shit, getting deep in the mental. Some life advice with a cool hook about hard times. Production is layered and smoky anchored by a trumpet line that goes beyond 4 bars; weaving in and out. We hear punching snares and a repeating swelling of lower horns and some other high pitched noises in there. Cool sample at the end to talk of pursuits.

“Prizefights” is another banger, with somber flutes contrasted by boom-bap snares and other instruments. Mecca’s flow speeds up dropping many jewels while Ratigan spits fire dancehall toasting for the hook. Sirens and screeching sneakers are woven in the music bed as we exit the track with an APB call. The somber track ends with a downer.

“Coliseums” returns to that slow delivery, almost chopped and screwed, lol. Nah, but it is a slower BPM - I feel - than the lyrical fury deserves. A minor note. The horns are killer. A spazzing drum track builds tension as it pulsates under the slower instruments. It opens with a verse from the Queens legend, Tragedy Khadafi; a dope track that will having you thinking while energizing you. I mean, I am reviewing this sober. No doubt that as slow as this beat is, as is the later track, “Killa”, the faxed organ (or melodica) riding low and is dope as fuck when you’re lit. The vibes and reverb and spacey tones panning, the sound is, well, killer. In between is Ron G “Stanley Cups”. I like the chosen music elements; sick long over-lapping guitars and horns.

Rock carries this album practically solo, the first half is all him with Ironworld on his solitary back. He then laces side B with guest appearances; but practically one per track; highlighting the tracks guest spot with exactly delivery. And actually, one appearance is that Ratigan joint, who is solely on the reggae hook and one is DJ Ron G. This aids in allowing the listener to embrace the quality of guests; Roc Marc, Tragedy, and Canibus; and Kool Keith with Vast Aire. Guests only occupy a verse on 4/12 tracks. That’s bold these days where every track is jammed with other MCs. Again “Killa” boasts Vast Aire (Cannibal Ox), Kool Keith, and Mach Hommy. It utilizes that Celph Titled (well, Buckwild) sample of Peter Tosh decrying the “Bumbaklatts” and “the fuckery out there” invading radio speakers with knowledge and rebellion instead of “darling, I bloodclot love you” and “shaking their booty”. Definitely for smokers; the wandering guitar lines while the drums are plodding among lots of echo and reverb. Fun as hell.

Ironworld is a captivating release. Rock Mecca and Polumbo have some slower beats and some upper-tempo ones, not simply relying on boom-bap aesthetics. But the maturity and perspective of the lyrics are solidified as wiser. Rock Mecca came hard for his second full length. Mecca approaches his audience as a hardened warrior ready to fight some more. And willing to persevere until the bell rings.

RIYL: Saigon, Ruste Juxx, Q-Unique, U-God, Masta Killa, Dead Prez

Rock Mecca bandcamp

Fucked And Bound Suffrage Review

Fucked And Bound

Suffrage

Atomic Action! Records

Review by hutch

Released 3/2/18

Just a warning, because you will need to buy this record. When you google “fucked and bound”... even with adding the descriptor, “hardcore”; the action will not render the band’s material. Quite different of a result will be yielded. Maybe pictures and websites which are already in your cache. Not my business. But when the inevitable fervent search for Fucked And Bound’s music is imminent, be sure to include the term “band”. Members of He Whose Ox Is Gored of Seattle have formed this treacherous, confrontational hardcore punk band, Fucked And Bound. The name echoes the lyrics and screams to shock and retain your attention. They are not just a heavy hardcore punk band. Suffrage, their first release, embodies politics and declarations regarding today’s female perspective in this society and scene.

Suffrage’s song unabashedly incorporate a rock swing and groove feel while still being rough and coarse. (early) Coliseum and Trap Them all come to mind. FAB may venture into d-beat but that is too limiting a term. The swing of Despise You is paired with the brash impact of Fucking Invincible, Heresy and Dropdead. Suffrage has amazing production, heavy on the low end. The rumble in the bass and drums rides dirty and low. Suffrage was tracked and mixed by Robert Cheek at Electric Wall Studios and ExEx Audio and mastered by Blake Bickel at Dynamic Sound Services. Cheek and Bickel took this quartet’s sporadic spasms and eclectic amassing of influences and molded quite a finished product. Some of these songs take grander, pulsating moments with angular indulgences (the third track, “Dead Bop”, is the first to tease this; “My Love” again visits this.). Some slower sludge parts peperred throughout give the album the variation and refuses to be repetitive. Twelve songs range from 30 seconds to 2 minute; ending with a four minute joint as the thirteenth track.

Lisa Mungo has a combative pair of lungs and a scratchy throat. Her commanding vocals charge forward above the thrashing riffs and blistering drums. And while feminist issues are presented, do not brush Suffrage’s lyrics with a single stroke. The band’s approach to feminism expounds into every citizen’s duty to question the established paradigms of Western culture. Extrapolation is a tool. Fucked and Bound – beyond its jarring sexual connotation – is a perfect name for the band, because it encapsulates their cynical viewpoint of the average person’s condition. The nihilistic response may be bleak but fuck me if it doesn’t give us a killer record.

BUY AT ATOMIC ACTION
LISTEN AND BUY on bandcamp

Wake Misery Rites Review

Wake

Misery Rites

Translation Loss

Out Feb 23 2018

Review by hutch

stream album at NOISEY 

Wake has been lingering in the background of larger bands for a while, continually astonishing grind fiends. Coming from Calgary, Alberta, Canada in 2010, Wake has released something each year (save 2015); including three LPs, one EP, and three split EPs. From the first release, the 2010 LP, Leeches, I was hooked. Almost all have been on separate labels, including respected mainstays such as Sentient Ruin and Give Praise. Here on Misery Rites, Translation Loss (on an amazing streak) presents a blistering example of how grandiose yet compact and succinct grindcore can be. Wake deliver atmospheric haze over the tightly produced material. Wake decimates with speed but also taut precision; adding chaotic elements that all synergize to a punishing product.

Guitarist, Rob LeChance, spearheads the writing and Wake’s direction. When handing Misery Rites to production, the band decided to streamline by having the album recorded, mixed, and mastered with Dave Otero at Flatline Audio (Khemmis, Primitive Man, Cobalt). This process, and a larger vision, has added to this band’s impactful canon. While Wake has proven repeatedly that they can crank out the relentless hammering of grind/death with stunning results. On Misery Rites, however, Wake grasps at more. The opener, touting lyrics, “the cycle starts”, prepares the listener and Misery Rites maintains a ravaging atmosphere until the seven minute closer. Having played the album on repeat in succession many times, I can vouch for the intended cycle of pacing. In between, Wake plants a treacherous mid-section of slightly longer tracks (“Paradigm Lost” at 3:38; “Exiled”, 2:49p); as they plod and stew and fester. Even the shorter blast-driven tracks writhe in a much heavier, stagnating, burdensome and miserable miasma. This salient vibe lends to Misery Rite’s cohesion.

Song titles definitely follow (or implement) a chronological flow to the album. Adding to the lyrics mentioned, referencing the “Cycle”; the death related journey ushers the listener with: Exhumation, Misery Rites, Embers, Rot, Paradigm Lost, Exiled, Rumination, Bitter Winter, Burial Ground. “Burial Ground” lays Misery Rites to rest in two parts. First, Wake gives us a black metal scorcher that speeds through with tragic implications. Then, a climactic proclamation stands, with slow rhythms, for the final four minutes. Ball’s declarations of regret, “I never change” echoes and repeats. The audience is dragged down, descending into filth, blackened loathing and madness. Josh Bueckert’s dynamic control on his drums is impressive here.

The grandiose appeal of the production, the low tuning, and the apocalyptic mastery all add to aiming higher in songwriting and fucking nailing it. In about 26 minutes. 7/9 tracks are 1:30 to 2:30. Blastbeats and thunderous fills from Bueckert on drums carry this monstrous album to victorious heights. “Embers” has a cool 10 second reprieve with a looming angular guitar string twitching in the middle, but mostly the track bangs away. Penultimate track, “Bitter Winter”, which leads to the meandering, foggy final, ends its duration with a minute of mid-paced pounding. But let me not relay a slower Wake. This album rips and tears with hammering riffs from Arjun Gill and LaChance under Kyle Ball’s commanding vocals.

Playing in headphones for over a month, Misery Rites has not grown weary. The one-two punch of the title track and “Embers” tantalize each play. Even after two hours of consecutive plays. It is impossible to not think of recent Napalm Death with music, production, and vocal delivery, but that is some reverent praise! This brutal gauntlet of riffs and beatings, Misery Rites should move Wake across the States and Canada (they tour 3.10.18 to 4.11.18) to pulverize welcoming eardrums.

RIYL: Napalm Death (especially last 4), Rotten Sound, Nasum, Lock Up, Kill The Client, Implore

PreOrder Vinyl

Jan 2018 Splits Reissues Compilations EPs

SHORT LIST

REPRESSES

Holy Terror Total Terror Box Set Dissonance Productions

Holy Terror Terror and Submission Back On Black BOBV512LP

Out Now

Holy Terror was a Los Angeles band that savagely represented thrash. Their two first albums are legendary. Submission (1987) and Mind Wars (1988) are heralded in the cannon of US thrash, although mostly to the passionate fans that dare to dig beyond the common names. But, that hunt just became easier. Dissonance Productions presents Total Terror which will be available to North American headbangers on February 9^th, 2018. Holy Terror’s entire catalog is on 5 CDs. Terror And Submission (1987), Mind Wars (1988), El Revengo (2006), live album Live Terror-Live In Dendermonde, plus a rare DVD featuring multiple live shows and videos. MetalReview.com called the band, "faster than Slayer, heavier than Exodus, and more melodic than Megadeth." Terror Submission comes on vinyl in white and red splatter.

The Ocean Precambrian Pelagic Records
Late Feb 2018

The Ocean's Precambrian was released in November 2007. An impressive post-metal trek, a la Neurosis, Converge, Gojira, and ISIS, The Ocean presented a challenging album packed with tense riffs, looming heaviness and angular guitars played concise and sharp. The schizophrenic dynamics of this milestone mock any attempt at classification beyond ‘metal’. Strapped with vocal conviction over chunky bass lines, Precambrian relies on intellect as much as grit. Seven albums deep, tours with peers like Mastodon, BTBAM, Opeth, and Kylesa show The Ocrean’s growth and impact. The Ocean refer to themselves as a “collective” leaning on a constant rotation of contributors and artists.

Precambrian cherishes the metal tech wizardry as much as raw emotion and delivery of hardcore.  Precambrian itself embodies variety with guest appearances by Caleb Scofield (Cave In, Old Man Gloom), Nate Newton (Converge), Tomas Hallbom (Breach), Eric Kalsbeek (ex-Textures), and musicians from the Berlin Philharmonic Orchestra. This tenth anniversary edition of Precambrian (released on March 16th, 2018) relishes in a re-recording of ten-minute "Rhyacian"; played by the current lineup of guitarist Robin Staps, vocalist Loic Rossetti, drummer Paul Seidel and bassist Mattias Hägerstrand.

To celebrate, The Ocean will play the entire Precambrian with a headlining set at Doom Over Leipzig Festival on April 21st, 2018.

Each of the three packages is limited to 250

LP1: ultraclear w/black and orange smoke; LP2: beer w/ dark red smoke; LP3: transparent orange w/ black and dark red smoke.

LP1: silver and clear, A-Side / B-Side w/ black splatter; LP2: brass & beer, A-Side / B-Side w/ black and red splatter; LP3: gold and clear orange, A-Side / B-Side w/ black & red splatter

LP1: beer in ultraclear; LP2: transparent orange in ultraclear; LP3: transparent red in ultraclear

Unearth The Oncoming Storm Metal Blade
Jan 26, 2018

Metal Blade Records will re-issue The Oncoming Storm. This was the album that propelled Unearth into the forefront of the resurgence of American metal. As the band’s (and the scene’s) writing was growing beyond the formulaic (but still loved!) metalcore. This went beyond beatdown riffs to start a pit in a local venue. Metal was shedding its dirty word status and embracing the dynamic song structures, melodies, solos, and musicianship of the records the hardcore kids had back home. Massachusetts sure spat a few out of note. Unearth have always kept it humble and honest. On The Oncoming Storm fans can revisit the classic sound that saw them transition into the revered beast of later days.

VINYL: 180g black; orange-brown marbled, 300; "flame" splattered, 200; pumpkin orange marbled, 300; root beer marbled vinyl; 300; gold / black split, 700.

ALESTORM Captain Morgan`s Revenge – 10th Anniversary Edition Napalm Records
January 26, 2018

In 2008, Alestorm secured a large fan base with their mixing of storytelling and catchy metal. Sharp guitars and clean production and rowdy lyrics ensured waves of attention. Here, Captain Morgan`s Revenge is resurrected with “a fresh remix and remastering by original producer Lasse Lammert at his LSD studios plus rejuvenated artwork.” The Live At Summer Breeze bonus disc is included as well. Alestorm combine meaty riffs and raging rhythms with folktale aesthetics and symphonic metal grandiosity. Their tales are alluring when paired with punctuated production and mesmerizing guitar leads revisit the beginning of Alestorm!

Nebula

Let it Burn
Jan 26, 2018
400 on yellow transparent w/ multicolor splatter; also, black vinyl/ Digipak CD/ Digital

To The Center
Feb 16, 2018
400 on red transparent w/ multicolor splatter; also, black vinyl/ Digipak CD/ Digital

Dos EPs
Mar 02, 2018
400 on transparent w/ multicolor splatter; also, black vinyl/ Digipak CD/ Digital

In 1997, Nebula was spawned in Los Angeles when guitarist, Eddie Glass, and drummer, Ruben Romano, left Fu Manchu. Arguably, their final sound would not be much of a departure. But, in fact, audiences can hear the rise of the musicianship above just riffs. Romano and Glass revel in a freedom and exuberance that, whether roiling or simmering, allow each to mark their artistic territory. Capturing the essence of psych/stoner rock, this power trio (after recruiting bassist, Mark Abshire) encapsulate the volume and songwriting of Alice Cooper, Black Sabbath, and Hendrix; but also cite The MC5, The Stooges (check the cool strut of “I Need Somebody” on To the Center) and bands like TAD, Skin Yard, and Mudhoney. The unfettered expressionism resort in variety, such as laying back for seven minutes (“Fly On” on Dos EPs) as well as the reserved Hammond on “Smokin Woman” (Dos EPs). Nebula lead you through expanding your third eye (“Fields of Psilocybin” on To the Center) or trudging heavy riffs on “Dragon Eye” and “Devil’s Liquid” (both scorchers on Let It Burn). Nebula’s three releases here utilize the silky leads and fuzzy bass and raucous drums of stoner rock; plus instruments like the sitar, piano, and organ. They expand the impact of their songs with the usual psychedelic filtered effects; soaking in flange, delay, panning, reverb and wah-wah to lead an audience’s mental and aural attention. Each reissue presents the full album Dos EPs being the split and on gatefold (or 6 panel digipak on CD) plus two unreleased tracks. This is a gorgeous way to celebrate twenty years of Nebula.

SPLITS

Windhand/Satans Satyrs split 12” Relapse Records
Feb 16, 2018

Richmond, VA present two of their macabre darlings. Windhand resurface after the glorious 2015 LP, Grief’s Infernal Flower. Clayton Burgess’ brainchild, Satan’s Satyrs, have not released anything since 2015 either. This 12” positions its balance on Satan’s Satyrs’ raw riffs and gusto with Windhand’s musicality and challenging of paradigms. The five tracks demand a 12” format. Windhand, always prolonging their heavy psych-doom, open with “Old Evil” at six minutes. Afterwards, the extensive, 14 minute (ain’t nothing new for them) “Three Sisters” is unleashed. Dorthia Cottrell’s vocals are pushed more forward than usual, above the swirling dense tones; drenched in emotionally draining hooks, hammered slowly. The heavy droning riffs are coupled with a haunting organ, riding slow waves of plodding drums.

If lulled by Windhand, Satan’s Satyrs side is a jolting slap. While still sinister and ominous, Satan’s Satyrs uses rambunctious rhythms and raucous ‘70s riffs. This is big volume contained under four minutes. The closer, “Ain’t That Lovin’ You, Baby”, is a stripped down rocker, echoing the opener “Alucard AD 2018”, with its glam-inspired strut, The mid jam, “Succubus”, is darker depending on atmosphere and a gritty tension.

VINYL: 2500 on black; 400, metallic gold; 300, baby pink with mustard; 300, bone white and purple splatter; 100, black and metallic gold merge with white and gold splatter.

Endorphins Lost / Osk split 7" Rotten To The Core Records/ Delusions Of Terror Records/ Agromosh Records/ You All Die Records/ New Age Pyrate Punks Records
Feb 1, 2018

Seattle’s Endorphins Lost captivated fans with their punishing grindcore just over a year ago, in November 2016. A caustic debut, Choose Your Way, on Six Weeks Records, portrayed Endorphins Lost’s version of old school crusty powerviolence. Done with bombastic, crisp production, this fevered punk is served again with four new tracks on this split 7” EP. Spanning from 12 to 90 seconds, Endorphins Lost kill tracks in the vein of Napalm Death, Spazz, Despise You, and Phobia. “Mercy for One” is a beast and its fits of rage into a slowed down thick groove breakdown is explosive. This is grind or powerviolence whatever to perfection. The sound and unrelenting power is one of the best of recent years.

Canadian grind/hardcore band, OSK, add three crushing tracks. The vocals are more abrasive. OSK fly through minute and a half long spurts with some contagious fervor. “Let’s Play A House Show” adds a slight groove to its crunch. All three songs are handled with a pummeling low end, emphasized by big punches from the bass drum. Tough as nails stuff here.

Fistula Splits with –(16)- + Come To Grief Patac Records
Out now

Fistula / Come To Grief split: Ooof. Come To Grief’s “Take Me in My Sleep” is six minutes of bludgeoning, low-tuned, sluggish despair. Jon Hebert’s raspy growls relay the song title’s desperation. This is not a frantic, sweaty desperation, but one profusely embedded in hopelessness and defeat. “Take Me in My Sleep” is a brutally miserable onslaught of loathsome attrition; chiseling at faith in restitution. Fistula follows CTG’s pace with their track, dragging in at six minutes as well. “There is no hope, there is no reason why – we should go on – we should not die” are the lyrics sung by frontman, Dan Harrington. Fistula distinguish their imprint by sectioning their duration. At two minutes, the riff changes slightly in tone and tempo but not pace. The growls still spew vitriol at “fakes and liars, hypocrites”. Then at 3:25, a distinct crisp groove enters the picture; with a –(16)- or even Helmet or Fudge Tunnel (Creep Diets) type stomp. Heavy as hell and twisted and misanthropic. Bad ass song of fetid fury.

150 copies of silver metallic cassette; 100, Clear Vinyl; 150, Transparent Red/Black Smoke Vinyl (PATAC exclusive); 250, Black Vinyl

-(16)- / Fistula split: Here –(16)- grabs a classic Killing Joke track from their debut LP and extracts the spirits but churns the track with its own imprint. –(16)- utilizes their sludge stamp but highlights the melodic guitar line for contrast against the driving, fuzzy bass “Complication” becomes darker and more sinister than its parent song. Fistula hone in on Devo’s punk pith for their cover of “Mongoloid” and nail it. “Mongoloid” fits Fistula’s oeuvre all too well. And they conjure the inner spite while eschewing any pop or electronic elements. Heavy reverb bass and down tuned riffs, strengthened by Harrington’s screams shape the ugliest beauty. “Mongoloid” becomes a tarnished, twisted track of rocking punk. 

100x Clear Vinyl; 150x Aqua Vinyl (PATAC exclusive); 250x Black Vinyl

“Fistula will unveil four more splits with Hemdale, Bloodsick, Fister, and one final band to be announced at a later date. Additionally, the band will issue a vinyl version of 2016’s Longing For Infection with a bonus etched seven-inch from the recording session.”

https://www.patacrecords.com/

Iron Reagan / Gatecreeper split LP Relapse Records
March 2 2018

Stomping into 2018, Relapse Records give the world two raging bands on one slab of wax. Iron Reagan’s scalding crossover and Gatecreeper’s punishing death metal have impressed fans globally. Relapse Records cemented classic status by having the two bands attend the same studio, the lauded GodCity with Kurt Ballou producing. Both bands are hitting the road with one off shows and fests immediately in January 2018. Relapse posted a track from each on YouTube: Iron Reagan’s two minute “Paper Shredder” is one of their five tracks on side A; Gatecreeper’s “War Has Begun” is one of their three which pummels eardrums for four minutes. Unique shirts with both bands logo and the artwork are available in black or white. Available on CD and vinyl: 100 on bone white and blood red merge with black splatter; 300 on bone white with blood red + black splatter; also, black vinyl. 

EPs

Flytraps Outro Records
Out Now

The Flytraps have been a quartet of all female, with a surfier, reverb sound. Now, with three ladies and a dude, the band is darker and faster and more straight-up garage punk. Whatever the formula and combination, this new 7” captures their snarling swagger with three punchy tracks. The L.A. quartet gives us “All Talk”; “He's Been Around” - a fast-paced, jangly lo-fi classic- and “Doin' It Right”. The Flytraps play dense garage punk rock with slithering female vocals and attitude that flaunts meandering bass, tight guitar licks, and rugged drums. 100 on red vinyl; rest on black.

Hell Bent Demo EP (Cassette) Self-release
Jan 12, 2018

Rhode Island’s Hell Bent spews three-ish minute tracks that combine searing elements of thrash, d-beat, crossover, and hardcore – if you need a label beyond “whoah”. Hell Bent boasts the menacing vocals of long time screamer, Aaron Badger, of Straight To Hell, Ulcer, and Paindriver. Other members have spent time in Dropdead and Neon Bitches. This demo was released last year on a very limited cassette version aside from digitally. Kicking off the New Year proper, they are repressing with a more expanded run on cassette.

Hell Bent execute furious, dark metal. Six tracks here exhibit speed-driven riffs with catchy time changes and powerful bass. The brash guitars and pounding drums push and push behind the experienced lungs of Badger. “Yeast” is a blistering opener. These are hardcore thrash songs with taut riffs and more dynamic parts in the songwriting; blazing tracks anchored by breakdowns for the pit. “Bastard Curse of Abraham” starts with a slower, trudging pace which gains momentum, then ebbs into the mid-tempo, building the anticipation. After 90 seconds the final minute, spazzes forward again with tight thrash riffs. Rest of the demo has infectious, energizing tracks that move into dark, down-tuned thrash. See these dudes live if you get the chance. Killer honest metal/hardcore with a voracious hunger. And the bite to match

Silver print on black cassette, deluxe edition comes with an embroidered patch and sticker.

Pissed Regardless Feed the Birds Creator Destructor Records *(Earsplit PR)
February 16th, 2018

San Diego-based thrash purveyors, Pissed Regardless, are releasing their dark, negative take on hardcore based crossover. Feed The Birds is thick and powerful. The condemning ferocity of the vocals match the brutal music. Incensed vocals and frenzied drum patterns switch on dimes to bring pulsating respits and breakdowns (bordering on grind at times). Heavy riffs accompany slick chops and relentless double bass drums bellowing disdain for a rotten world. Pissed Regardless call to influences like 90’s Earache and 80’s NYHC to currents like SSS, Ramming Speed, and This Is Hell. Again, heavy.

Gnaw Bone Scorched Earth Auris Apothecary
January 15^th, 2018

Indiana’s malevolent trio create treachery and devastation with a new four track EP. Their names and duties are recorded simply as B, Rhythm & Voice; R, Thunder & Voice; S, Noise & Voice; the mysterious aspect adding to the chaotic atmosphere of their blackened doom sludge. Enmity and sadism are instruments as much as any guitar. Four to six minutes each, tracks like “The End” (which begins the EP) revel in noise and sonic abstraction. Thick and pounding, the EP conjures spiteful snarling and disdainful cynicism. Limited edition vinyl is on ultra-heavy 180 gram vinyl, on crystal clear transparent vinyl, a double-sided insert, and a heavyweight 24pt jacket. Deluxe edition includes crushed bones pressed into the wax. *Includes digital download

COMPILATIONS

Americas Hardcore Vol 4 Triple B Records

Ships Jan 26, 2018

Continuing its beloved series, Triple B – who had a spectacular 2017 – deliver Volume 4. This installment visits us with upstarts, Brother (New Bedford, MA) – Negative Approach-style female fronted hardcore with new bassist, George Radford (She Rides, F.I., Dropdead); Krimewatch, old school, abrasive, punky hardcore with a mix of NYC and Japanese members and lyrics (3/4 female as well); Line Of Sight, DC SXE revival with mosh friendly two step rhythms and ferocious guitars; Glory, infectious Boston Youth Crew Hardcore; Pure Disgust, punishing DC thrash; the metallic frenzy of Primal Rite (LP coming on Revelation 2018); Free, new track after their stellar 2017 7” of eclectic influences; and big wigs like hardcore super group NYHC style, World Be Free and Baltimore’s titans, Trapped Under Ice. 

“Each band also designed and submitted their own pages for a 20-page, 12" x 12" insert booklet included with each record. LP includes digital download. These will ship in January. All copies come with a free immediate download.”

Aqua Blue, 700; Purple with White Swirl, 500; Red White Blue Tri-Stripe, 300.

Hell Bent Review

Hell Bent

Demo EP

Self Released

Dewar PR Haulix

Releasing on Jan 12, 2018

Review by hutch

BUY THIS

Hell Bent hail from Rhode Island. This band conquers by spewing three-ish minute tracks that combine searing elements of thrash, d-beat, crossover, and hardcore – if you need a label beyond “whoah”. Hell Bent boasts the menacing vocals of long time screamer, Aaron Badger, of Straight To Hell, Ulcer, and Paindriver. Other members have spent time in Dropdead and Neon Bitches. Their demo, which is this, was released last year on a very limited cassette version aside from digitally. Kicking off the new year proper, they are repressing with a more expanded run on cassette.

Hell Bent execute furious, dark metal. Six tracks here exhibiting speed-driven riffs with catchy time changes and powerful bass. The brash guitars and pounding drums push and push behind the experienced lungs of Badger. “Yeast” is a blistering opener. The one and a half minute scorcher is just fast; powerviolence/hardcore, again, if you need to slap on a genre tag. “Desert Death Lord” follows with all the same aspects except leaning toward more a thrashy jam, with taut riffs and more dynamic parts in the songwriting. Still blazing. “Canis Lupus Superion” also travels at blinding speed with a crossover nod in the riff; repeating and charging. Badger’s growls are beefy and penetrating. The breakdown ¾ way through gives a good chunky space to embellish in its two minutes. Made for the pit. 

“Bastard Curse of Abraham” starts with a slower trudging pace which gains momentum, then ebbs into the mid-tempo, building the anticipation. After 90 seconds the final minute, spazzes forward again with tight thrash riffs. The great titled “Condemned to Life” follows, with an infectious, energizing into that moves into dark, down-tuned thrash. Badgers commanding vocals are gnarly.  This is a catchy hardcore feeling track, damaging and angry. Pounding fast, the closer, “Scythian Horde” rides that trash gallop for the verse while other parts utilize a sharp charge forward of hardcore speedy riffs and double time drums.

This is a great demo I have been enjoying for over a year. Happy to see it get some wider distribution. The bands mixing of genre attributes are invigorating. I do look forward to a tighter production on a proper release to pull off the trashier parts (I sometimes want the drums to be more crisp, succinct). But this is raw and vicious. It’s a minor criticism that could be fixed on a non-demo release. See these dudes live if you get the chance. Killer honest metal/hardcore with a voracious hunger. And the bite to match.

Silver print on black cassette, deluxe edition comes with an embroidered patch and sticker.

85 incredible metal albums of 2017

METAL: 

Fucking hell. It was a ridiculous for metal and all its hyphenated, nerd arguing, split genres.  This is no order. And i didn't want to split hairs in comparing genres - but then did not want to pick 5 from each.... Basically this is 100 awesome metal albums of 2017. maybe more. i lost count.

I even broke up the spoitfy lists: Part A and Part B

NOTE: if forced to choose a top 10 or 50, I’d have to whittle down and that would leave some great shit out. Also – I am not a musician – sometimes ‘best’ to me means impact and energy; not technical proficiency.

DIRTY BLACK N ROLL:  8

Craven Idol The Shackels of Mammon Dark Descent (next level noise evil gritty metal)

Malleus Storm of Witchcraft Blood Harvest - Boston madness! Probably my #3 of the year.

Midnight Sweet Death and Ecstasy Hells Headbangers -  little different, slower songs, still amazing

Goatwhore Vengeful Ascension Metal Blade - another banger from them! Just flawless

Tombstalker Chaotic Devotion Boris 7” - only wish there was more. Black metal foundation with Thrash Rock – well produced. could be my #2!

Implore Subjugate Century Media - drums are like if Jerrys Kids played satanic metal. Caustic delivery, BM riffs.

Moral Void Deprive Translation Loss - straight forward, no frills. Stripped down brutal ugly metal. Fast as fuck. Songs like “Bereft” and “Dust”: clear black metal, but its thicker and more captivating to me

Wormwitch Strike Mortal Soil Prosthetic – again just such a great blend of styles. Punches hard

THRASH – Dbeat and Misc...whatever i can't keep up with all these distinctions: 10

Kreator Gods of Violence Nuclear Blast *brutal from the best

Power Trip Nightmare Logic Daymare - #1 with Loudwire, MetalSucks Readers + Writers, BangerTV Viewers; #37 Decibel – below Converge, Integrity and some others. I have loved these dudes from day one. Cuz i love hardcore and metal and all in between.

Iron Reagan Crossover Ministry Relapse – infectious and energetic after many listens – simple formula that works. Momre hardcore than thrash. Took a friend who hadn't heard them yet. He's 43 and said "this is the new DRI! This is perfect." I prefer this to new MW.

Lurking Fear Out of the Voiceless Grave Century Media played this frequently. Swedish supergroup (holy fucking line up) that grabs its opportunities and nails it.

Vallenfyre Fear Those Who Fear Him Century Media side project get d-beat/swede Death fusion – loved it all year.

Blood Feast The Future State of Wicked dirty underground – blackened thrash stood out to me Love this album after repeated listens

All Out War Give Us Extinction Organized Records - Decades ago, hardcore guys unabashedly made a Slayer record. No one matched their ferocity. They are back. Classic line up delivers best LP in years.

Wilderness Dream Paralysis Rise Creator Destructor -  raw sludge USDM with vocals llike Human Fuirnmace of RIngworm - i listen to this a lot. Great band.  2-3 min songs. Probably one of my favorties, i just know it is not technically superb or whatever. But actually it is rather fucking sick! Good hardcore feel like Ringworm or All Out War.

HON MEN: 

Odious Icon Planet of Immense Decay Negative Vibe - new thrash but not too clean, little darker smoking tracks. I love the tuning and tone. Just uh, again, not ground breaking. Maybe it's not thrqash and I want it to be more thrash. It's not polished enough or guitar focused to be 'pure thrash' which IS WHY I LIKE IT. Still worth a listen or five. @ - 3.5 min songs and a heavy hardcore sound, just with death metal vocals.

Havok Conformicide Century Media - little choppy for me – but when the go forward, they do it well. Been a band I liked for awhile

Warbringer Woe to the Vanquished Napalm

Witchery I Am Legion Century Media -- very like a Skeletonwitch – just blends thrash and black metal so well.  Produced clean and fierce.

DOOM:  14

With the Dead From Love Rise Above - droned out cavernous despair, Lee Dorrian‘s nihilistic perfection. Triumphant!

Spirit Adrift Curse of Conception 20 Buck Spin - glorious. Better than Pallbearer to me. Clean Vocals; spot on 70s riffs with crafted intentional doom

Loss Horizonless Profound Lore - painstakingly slow – but gorgeous. Epitome of melancholic funeral doom

Paradise Lost Medusa Nuclear Blast - back. True doom, growled lyrics. Continue their upswing of the last few years.

Beast Maker Inside the Skull Rise Above - from the look to the hook; riffs and lyrics and aesthetic make this one the best records in years on a stellar label. 

DOOM Hon Men:

Demon Eye Lies and Prophecies Soulseller Records - NC's finest hit the target with their third brilliant LP.

Elder Reflections of a Floating World Stickman 4x 11 min songs then 2 9 min. Crafte dwell – great rhythms and guitars. Bluesy at times – like early Graveyard… Lots of layers of sounds. Smart men

Bell Witch Mirror Reaper – always liked these dudes – and now a 83 minute one track. Epic (a duo) – with drummer/vox guy died – Adrian Guerra and got a new, first time drum/vox guy Jesse Shreibman

Temple of Void Lords of Death Shadow Kingdom - monolithic plodding but death metal riffs

Unearthly Trance Stalking the Ghost Relapse - another staggering return.

Northless Last Bastion of Cowardice

Tongues Hreilia I, Voidhanger Records

Omotai A Ruined Oak Ruined Carnage - AZ trio of dirgy punk-doom; rebellious, smart, weighty

Ditch and The Delta Hives in Decline Battleground Records – killer sludge doom – about to tour w/ 

Conan

DEATH:   12

Cannibal Corpse Black Before Red Metal Blade - a fuckin monster. thank you, CC

Necrot Blood Offerings Tankcrimes - yep. nailed it. Dark and evil.

Acephalix Decreation 20 Buck Spin - another great one from all these Necrot and Vastum related people.

Dying Fetus Wrong One to Fuck With - Relapse Nasty. Powerful. Genre defining; heavy but clean production with the weird guitars (not a musician but that high pitched noodling)

Obituary s/t Relapse - mid-paced, hardcore like - and fucking great. Listen to it a bunch.

Exhumed Death Revenge Relapse *Concept album of drunken serial murders. Great LP

Cannabis Corpse Left Hand Pass Season of Mist - call them a joke or whatever. But as ecibel review said - other bands lauded as genius rehash (pun intended) subjects of war or Satan again and again. SO their thing is weed. The music is bonkers.

Incantation Profane Nexus Relapse - just a personal favorite. so grimt, just down and dirty death metal. More on thick riffs and loos production than tech wonder.

DEATH Honorable Mentions:

Decapitated Anticult Mystic *tops Blood Mantra, killer record overshadowed by horrific claims - now vindicated.

Extremity Extremely Fucking Dead 20 Buck Spin 3 chicks & a dude; member of Vastum (Shelby); Swedish style. 

Entrails World Inferno Metal Blade  - down to the logo, this is intentional Entombed worship – handled flawlessly. (Gruesome: Death / Entrails: Entombed)

Black Dahlia Murder Nightbringers Metal Blade – Death Metal that the HC kids love

GRIND:   6

Haemorrhage We are Gore Relapse - From Japan. Been around awhile but this is their most realized release.

Friendship Hatred Southern Lord - scary shit from Japan

Expulsion Nightmare Future Relapse *literally Exhumed Matt Harvey + Repulsion Matt Olivo. Add Danny Walker of Exhumed, Intronaut, and Phobia. Damn find grind.

Phobia Lifeless God Willowtip - classic road dawgs snuck in the under radar to gift us this gem

Lock-Up Demonization Lifeless  - All Star line up (Nicholas barker, drums, Shane Napalm, Kevin Sharp – brutal Truth, VC) this is when Death/grind gets fun and invigorating. Angry and political. Big death metal stomps and breakdowns.

HON MEN:

Complete Failure Crossburner Season of Mist - sludgy dark spazz grindcore. Nasty

SLUDGEY/NOISE: 5

Ledge Cold Hard Concrete Translation Loss - Heavy Chicago shit, tough plodding like Harms Way – dude from Spine/Weekend Nachos – doom/industrial hardcore. Heavy and ugly and depressing suicidal shit.

Primitive Man Caustic Relapse. Sometimes I am in the mood – sometimes it’s unlistenable. Ugliest doom out there.  Misanthropic

Iron Monkey 9-13 Relapse - reconstituted with new/old members as a trio – but captures the spirit and sound. Gnarly.

Livid Beneath Shroud The Earth Erodes Prosthetic - oomph. slow as molasses. and fucking good.

HON MEN:

Rig Time! War Innerstrength - pretty much straight hardcore (like this year's great Left Behind) but they like Eyehategod too. Smart social lyrics.

Blackish:  Note the "ish" 5

Low Estate Covert Cult of Death Flenser – best new surprise for me. Chaotic metal + splashes of AmRep/NY noise. Unsane meets black metal; rough n tough and low-fi.

Cloak A Venomous Concept Season of Mist - this split a lot of people this year, but most endorsed and gave at least a 7/10. I enjoyed this immensely and they are getting big tours now. Well deserved on a well crafted album. Good production. Not first wave black metal, but not that symphonic shit. Thick riffs still played with well rounded production. But structure is often black with a classic metal feel. I like it much.

Chaos Moon Eschaton Memoire Blood Music/Fallen Empire - 6 - 10 minute tracks, produced not tinny but still with early black metal aesthetics. Grandiose atmosphere with muted production, i guess. Ebbing and flowing song structures. Dandy. Double bass insanity with high tones meandering - i have it as background music and i suddenly realize how depressed I feel.

Tombs The Grand Annihilation Metal Blade - another bomb ass record by these Brooklyn dudes. SO full. It takes many listens to appreciate, I feel they are one of those bands who set the bar so high early - that in their 4th and 5th LP you're like "yeah, of course it's awesome". But then you don't dive into it. I need to dive into this again.

Scour Red Housecore - I don't really know if the TRVE KVLT BM scene poo poo these cats as tourists - but i think it's amazing musicians killing black metal. Phil Anselmo [Vocals] (Ex-Pantera, Superjoint, Down, Arson Anthem), John Jarvis [Bass] (Fulgora, Pig Destroyer), Chase Fraser [Guitar] (Animosity, Continuum), Derek Engemann [Guitar] (Cattle Decapitation, Unmerciful, Covenance) and Adam Jarvis (Misery Index, Pig Destroyer) on drums. Jarvis is one of my favorite drummers. I think its big and focused and fucking dark.

SPLITS:  3

Livid/No Funeral Live Fast Die Recordings - ugly satanic doom

BLK OPS/Cave Bastard accident prone - black metal doom noise

Hands of Orlac/Wandering Midget Cruz Del Sur - 15 min doom songs but super good)

STONER ROCK: 4

Summoner Beyond the Realm of Light Magnetic Eye - dudes can write. Big bendy riffs with thundering delivery. Witness the madness. 4 - 6 minutes tracks with clean vocals mixed evenly. It ain't pop. It ain't Mastodon or Sword - but hella approachable. Solemn and heavy shit.

Here Lies Man Here Lies Man Riding Easy – riffs, fuzz; stoner rock with afro-beat rhythms. One of the most original albums this year. Thin Brown Sabbath doing original tunes.

Atomic Bitchwax Force Field Tee Pee Records Stoner Rock per se but done on hyperspeed in 2- 3 min songs. Killer riffs, guitars blazing leads, spaced out 70s jamming.

Duel Fears of the Dead Heavy Psych Sounds - dusty desert tunes for muscle cars and Harleys. Love it. One of my faves this year. More 70s rocking than others in this list. If Earthride didn't growl or tune as low at times; then they switch to boogie a la Trouble / The Skull. Dark and occulty.

Honorable mentions:  16

Integrity Howling… Relapse expanding their sound. Solid LP, love the addition of Dom Romeo. I loved it. Then I was bored. Some straight USBM stuff, some hardcore, then the slow and 'profounbd' spoken shit. Metallic. Felt like a collection of songs rather than one cohesive album. But ya know, divebombs.

Unsane Sterilize Southern Lord - what an album! great stuff. could use slight more variety - but still a crusher. This sits in this list more becauseit does not have peers, less than its quality.

Darkthrone Arctic Thunder - pretty good. I'd like better production. I like their classics of course. But I also love FOAD, Sardonic Wrath, Cult is Alive, Dark Thrones and Black Flags. I like variety and their experimenting. So with this, i just wish it packed more of a punch. But I will certainly throw it on.

Taake Kong Vinter Karisma - its hard to top Striden Hus

Pallbearer Heartless Profound Lore - a damn fine record. may be i am just have a stick in my craw over the hipster hype. But i also get kind of bored. and it's super polished music and clean singing. Again, i am not a musician so maybe i miss the genius.

Ufomammut 8 + Godlike Snake Neurot – Italian doom guys; psych mind expanders. Samples, electro, noise static and riffs. I know it's amazing but after 7 LPs of this (and EPS) you have to be in the right space. And again. more elctro shit in this one. Still brilliant.

Rope Sect Personae Ingratae + Proselytes Caligari Records / Iron Bonehead – dark, macabre rock

Godflesh post self Avalanche - I loved the return last year with Lit - but i just didn't get tiime for this. Still growing on me.

Sepultura Machine Messiah Nuclear Blast - best Derek Green yet; trashy, gnarly. I just wish they would just change their fucking name. But Machine Messiah is a great album. I definitely appreciate the cerebral lyrical shit; I liked A-Lex and Dante concepts. This is cool too. Often i just want them to play faster - like it needs to move forward, sometimes they reside in the stale bounce too frequently ("Alathea"). But i do like the layered percussion on "Resistant Parasites". Andreas and Paulo still kill. New kid on drums is nasty. Green's voice is commanding.

Cavalera Conspiracy Psychotic Napalm surprisingly good – old tight chaotic thrash – better than average – better than expected still a 3/5. Max's lyrics are still that of a ten year old tho. I love him in Sepultura - never git into SOulfly - i liked Nailbomb - i liked last CC and this one.

Converge The Dusk In Us Epitaph - meh, another genre challenging, boundary pushed milestone. meh.

Full of Hell Trumpeting Ecstasy Profound Lore - aggressive. and different. sometimes just too abrasive for me. And i was on that early bandwagon, i ain't fronting. It's good as fuck.

Old Iron Lupus Metallorum Good To Die Records - Bad Ass sludge. Really good, just not ground breaking

Belphegor Totenritual Nuclear Blast -  Love these guys. Back again. satanic thick Blackened Death Metal; super fast drums with staccato plodding riffs on the opener. Then others are just thick USDM.

Shambles (Thailand) Primitive Death Trance Blood Harvest 

MISC:

Quicksand ? not for me... yawn... 25 years later and it's an indie shoegaze album. Best part of QS was the dense tension, the pressure  and frustration. I would not expect them to make  QS part III. Use a new name!

Electric Wizard Wizard Bloody Wizard Spinefarm  - fine 60s rock but decidedly average

Melvins A Walk with Death & Love Ipecac - I will always love the Melvins. Best part is if you don't like this one, next year will be another installment in their supreme legacy. Still rocking this as i work once in awhile. But doesn't grab my nuts. I'll try again and maybe change my opinion. Again - just did not give it enough time yet.