Secret Cutter : "/// "

This cult sludge band is back with more angry battering. The aggressive guitar hits you with a very deliberate wall of overdrive. For a three-piece, they always bring an intense density. This album upholds that tradition. I have always stuck to the fact that sludge is what happens when punks try to play doom. There is more anger than melancholy. These guys are obviously punks of the ore hard-core variety. The drummer is the one who seeks to push things more in that direction. The blunt force trauma they seek to inflict becomes more of a formula when the throb of the second song is not unlike that of the first. Then they break from this to prove by punk point with "Humanoid". There are grind-core tendencies with indications that they took notes from Eyehategod growing up. 

There is more groove to "Destined to Fail". The vocals can be a bit one-dimensional, but they work as an accent on this one. To their credit, they are more of a shriek and less of your typical gruff howling.  "Feeding the Gods" is another heavy grooving song that will win over fans of sludge with its seething intensity. "Charging Bull" is an adequate description of the assault that follows. It blasted with a grind-core frenzy, though it does lock into a half-time riff in a few places that works. With bands like this, it is impressive they cram so much into two minutes. "Siren Song" follows a similar blasting path. 

They allow for a more deliberate setting of the mood going into "Ghosts of Our Youth". Though the song really just hangs on to the one theme. They end with more blasting chaos. I can appreciate what they are going for here, but in terms of songwriting, it could be more dynamic as it feels like there is a lack of melody and it's all gnashing of teeth. I will give this album an 8 as it's not something I would listen to since when I am in the mood for this sort of thing would go for Full of Hell, but the band's fan base should be pleased which is why I am scoring it so high given the factors stated in this review, though it also falls in line with the score I gave them for the last album we reviewed by these guys, so they are consistent. 

 

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Abyssal Vacuum : "s/t"

 

This is the French band's debut album. They play a unique style of atmospheric death metal. There is a fair amount of blasting and rumbling, but monks chanting and weird space sounds decorate this cavernous mix. The vocals vary throughout the main narrative; on the opening track tends to be a low growl. They are not trying to pay tribute to death metal's golden years but are stirring a dissonant cauldron sound. They do employ some black metal influences. They are most often heard in the drumming. The second song finds things in more of a half-time swing. The guitars are playing along by employing some tremolo-picked melodies to add to the blackened glaze over things. 

The songs hint at occult intentions in their delivery and the mood created here, though the lyrics are obscured as the vocals sit in the back of the mix. This leaves the vocals as more of a frequency. The choir of monk also factor into the ritualistic feel. By the third song, it's evident that their attention to atmosphere and melody is their strength, along with actually writing songs. The songs flow well, and the more explosive outbursts from the drummer do not take things off the rails. However, they come close at the beginning of the fourth song. Oh, yeah, and none of the songs have titles, just coordinates. The fourth song ebbs back and forth from a more weeping cascade of guitar that feels more black metal to faster, almost rushed blasts. 

Five songs in and a hurricane of double bass brings in a devastating tide of straight-up death metal, that might provide the hammering that your average death metal fan has been waiting for if that is what they listen to music for. Not sure the sampling guy is making the most of his time as it just sounds like he left the water running in the bathroom sink here. They also end things with a bigger, more death metal sound. It sounds great, but is also more conforming to the standard death metal expectations, and while effective, it does not display their strengths as much as the first four songs did. I will give this album an 8.5, they are onto something cool here for their first effort out, and I hope the future finds them diving deeper to the darker atmosphere this album captures. This album drops on Signal Rex May 2nd. 

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BURNDY : "s/t"

 

This trio from Chicago has chosen to make music with an unorthodox combination of instruments. They are armed with bass guitar, bassoon, and ukulele. The first song is a minimalist noise piece that finds the bassoon holding down the dreary melody. The second song has a more industrial cadence, as vocals are intoned with a chanted drone. The songs begin to run together, yet the vocals to "Burn' " make it stand out with the sing-song hook of the vocal line, which still adheres to their avant-garde approach, which they are unwilling to compromise when it comes to their artistic vision. In truth, it reminds me of a more obtuse version of Rasputina, but with less dramatic vocals and the lack of cellos. 

The programmed beats on this album could stand to come up in the mix, as it might give a heavier backbone to things. They are less committed to songwriting and more committed to toying around with abstract poetry translanated to their unique blend of instruments on "Breathe".  I am not asking them to become Primus, but something can be said for groove. It allows for a song to flow with ease rather than being forced into place here. The arrangements are rather crude; they hang on whatever the theme of the song is and just drone on it rather than employing dynamic transitions  

I appreciate where they are trying to go, I think the execution needs some work, and they would benefit from having an actual drummer, as the bass player is not holding things down on her own here. It is almost hard to call "Cinder" a song, but this is how they choose to release the album, so I will judge it accordingly. The overdriven effects on the drums for "Mask" are the kind of studio magic they needed earlier in the album. The bass line plods a little, but overall works well enough. "Static' tries to just ride the bass line, but it is not substantial enough for it to really go anywhere. It does build into a more Killing Joke-like chaos in the song. This carries over into the more punk feel of the last song. I appreciate what they are doing, the execution needs work so I will give it a 7.

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TETRAMORPHE IMPURE : "the Sunset of Being"

 Damien from Mortuary Drape is helming this project. If you don't know who Mortuary Drape are, then we have bigger problems than allowing you to delve into funeral doom. Do you know what funeral doom is? Think My Dying Bride, who, if you are still coming blank, this is the wrong blog for you. This opening track feels more like death doom thanks to the relentless hammering of double bass, though the guitar does allow things to breathe and create a sense of atmosphere. The vocals have a commanding growl, rather than being the kind of despair-filled gurgle that normally comes from funeral doom. Record labels are the last ones to know how to market a band and call their bands all sorts of things they think are buzz words. These guys are pretty heavy regardless of the genre and give a shit about the songs which is even better.

There is more melody to the guitar line that opens the second song. The drummer is pretty amped up to get things going in a more death metal direction, and that is where his playing sends the song. The more languid chords that would set the sorrowful doom mood are in play but not allowed to simmer for too long. What they are doing here works, but after the first song, there are fewer surprises here. "The Spirit of Gravity" is a more foreboding stomp. To the band's credit, they are not content with just pummelling you. There are some sparse sung vocals buried in things. 

The last song finds the band charging right in with death metal's hyper aggression, though once they settle into the verse, a more melancholic guitar tone comes in. The overall feel is death doom, as the double bass starts getting kicked up again midway into this song, which sprawls out at 1 minute. Though six minutes into the song, they seem to have touched on all the major themes you might expect. They end up going into a clean guitar melody that sounds like something Metallica might have played around with as an intro. I like what they are doing here, the transition into the swell of dynamics is pretty flowing, though, could they have reined this song into something more concise that was eight minutes max, yes. But over all this album is a success and they take the death doom genre away from its normal Peaceville roots into something more aggressive. I will give this album a 9, as it's a fun listen.  

 

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Black Country, New Road : "Forever Howlong"

 This is the third album from these British indie folksters who flirt with rock music less, and indulge in more woodwinds and jazz-tinged passages this time around. The vocals are what anchors them in indie rock, as the more folk notions lie in the poetic melodies that run the center course of their songs.  Most of it flows really well and seems like how things just progressed. There is a more Beatles-like tone to things on this album. It reminds me of the more quaint pastoral moments from the White Album. The vocal lines on "Socks" wander around a little more. The production quality is the most notable growth as the mix balances all the layers of strings and woodwinds. 

Kate Bush could also be an influence that peers through in some of the more odd vocal phrasings that dance around the instrumentation, think her "Lionheart" era here. If this album gets the proper push, it's already evident in the first three songs that this band could break into a bigger audience with this album, as this could be embraced at local coffee shops everywhere. The arrangements also show great maturity in how these songs evolve. "Salem Sister" does a more delicate dance against the harpsichord and strings. The lyrics feel a little more abstract this time around. I would not say these songs are all that hooky, though impressive in the scope of what is being accomplished. Dynamic in a manner that most indie rock is not. 

When things take a more balladesque turn on "Two Horses," there is a slight wink to Joni Mitchell. The bass line to this one creates a 70s groove. It does take you on a more unexpected adventure than what the beginning of the song suggests, with plenty of jazz infused into it in a very progressive rock manner. "Mary" is a more straightforward folk song. Guitars with a more rock intention creep into "Happy Birthday' to further the Beatles comparisons. 

They go back into a more folky feel with "For the Old Country".  Normally, any song over the five-minute mark on this album finds the band embarking on a wild excursion. This one proves to be dynamic, but it does not venture too far from the main theme.  "Nancy Tries to Take the Night" finds a more jazz embellished wandering being embarked upon with some great drumming to propel it. "Maxwell's Sliver Hammer" is the best point of reference for the direction it heads. The title track is a more subdued folk musing It almost makes me think of something Bjork might due in one of her less experimental moments. 'It's fitting that "Goodbye" should close the album. It's more of a romantic pining with a slight country element to it. It's a pretty solid song, less wandering and abstract, that has a clear narrative rather than elusive bits of abstraction.I will give this album a 9 and see how it grows on me, despite the brilliant compositions I did not rate it higher due to the stream of consciousness vocals that could have hooked me in a little more , but hard not to appreciate what they are doing here. 

10.3

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LEAVE : "The Cost of Compromise"

 

Germany has embraced metal-core, and the brand of Myspace spawned emo-metal mid-2000s, which found the rise in popularity. This band would be huge if they came from the UK or America. "Dead Dreams' is your typical nu-emo anthem, but the moodier verses to "When I'm Gone" prove to be more impressive dynamically. The nu part being dug into with the more hard-core riff they dig into as the song progresses. "Pull the Tooth" finds them continuing to use broad strokes of atmosphere and melody that play to the favor of their songwriting and sets the stage for their more pop punk choruses. It is hooky and well done, so there is something to be said for what they are doing. It might not be the most original thing I have heard in the bigger picture. It is impressive that the singer sounds like he is from California, and this is done in a manner where you might never suspect these guys are from Germany. 

"Perfect Trajedy" is more upbeat, and sounds like it came from the pop punk days of Myspace with its bigger arena rock guitar sound. Not my thing mood-wise, but they are doing a good job of creating it, and the vocals have more nuance to them. This nuance is a pop inflection that might be overdramatic for some, but it works for what they set out to accomplish here. It's around "I Just Feel Worse" that things begin to sound the same, causing the songs to run together and increasing the need to go back and give another listen to find the more standout elements. "I Just Feel Worse" starts off with a Sleep Token mood and ends up closer to Volbeat. On one hand, this means there is a big well well-produced quality, on the other hand, it's not that heavy and more accessible. 

Much of this has to do with the songwriting formula the band is invested in that offers more melodic possibilities leading into the song, then explodes into stadium-ready pop punk. I begin to notice a Post Malone-like tremble in the vocals during the more emotive sections. Some nu-metal-like riffs creep in. Despite the almost rapped-like cadence to the vocals on "Coma" things being to feel a little bland. "Phantom" starts off more like a ballad. Sleep Token comparisons could be drawn in this regard. The chorus vomits Lisa Frank all over the mood, and feels like they are conforming to a bigger picture. 'Am I Awake' is a nu-metal power ballad for Gen-Z. The song is poppier with programmed drums, and an emphasis on the vocals in the verse with a big chorus, which might have dynamics but also follows a formula to the letter. These guys are good at what they are doing, for my tastes as this album progresses, what they do grow further away from what I am into so I will give this album an 8. 

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SCOWL : "Are We All Angels"

 I watched all the videos leading up to this release, after the first one, I saw hooked me in as they have grown away from being a punk or hardcore band and making catchy 90's alternative music for 2025. First off Kat Moss only uses a harsher, hard-core flavored snarl as a point of accentuation. Her main style of delivery is a slacker croon that has more in common with Veruca Salt. The second song, "B.A.B.E," is more upbeat on the verses in a punk fashion with a more deliberate hooky chorus.  With bands like this, I have learned to steer clear of interviews. When I even get peeks of it, there is plenty of stupid pandering with tangents about hardcore being more inclusive, apparently so much so that it includes music that isn't hardcore at all, with songs like "Fantasy" that would have been all over the radio in 1994.

This feels like it is who this band really is, as their attempts at punk often felt like they were trying too hard in the past. Production-wise wise this album has the slick sound of Turnstile's last album, but without all the bells and whistles. The hooks stand up on their own and need little bolstering to make them effective.  All the songs are quick three-minute ditties. Some of the more quirky expansions of their sound can be heard on "Tonight (I'm Afraid)". It is about as punk as the Offspring, with Moss' voice sounding its best. "Fleshed Out' has a more angular groove that the vocals smooth out. Her voice is given a little more love in post-production, and it pays off as it is the centerpiece of this album. 

"Let You Drown" is the first song that kinda coasts along, and does not hook me in like the previous songs did, but at this point, we are six songs into the album so they have had a pretty solid winning streak. "Cellophane" has more of a grunge grit to the guitar. Her vocals glide over this with little aggression to them, but this contrast is what makes these songs work so well. The harder riffs that lead into these songs begin to find a formula in place as the verse, when the vocals come, find them on the loud-to-soft blueprint bands like Hole used. In fact, the riff to "Suffer the Fool" reminds me of Everclear. 

When you think of grunge, what stands out is that those bands came from a punk background, and they evolved into something with more moods to color their angst, which is this album's strength as well. "Haunted" is the second song that does not connect with me on my initial listen, and the second listen did not find me really warming up to it, though it feels like Weezer in how it gives a grunge chug to 50s pop. The growl of the bass rumbles its way into the last song, which is another more uptempo stab in the punk direction. I will give this album a 9.5, as it's an improvement in song writing that displays a commitment to melody, and takes the band in a more honest stylistic direction that makes for some great post-grunge. 

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ButcherBird : "Drought / Deluge"

This hardcore band from London has a metallic groove to their feedback-squealing attack. The vocals are the most straightforward thing about the overall sound, as they are delivered with the kind of angry shout you expect from hardcore. They throw some breakdowns at you, but they come from less expected places, so they work. Despite the jerking whiplash of the mathy riffs, they are more straightforward in a more rock n roll manner than, say, Full of Hell. They are willing to give into the atmosphere, with unwieldy sections of choruses colliding at you in a manner that reminds me more of Rollins Band than Black Flag. Though the mood is more celebratory than "The End of Silence" was for the more sullen Henry. 

"Be the Rabbits " finds them balancing out songwriting with confrontational explosion. It does remind me that in the 90s, hardcore was much more willing to be experimental than it is now. Midway into this song, there is a little more brooding introspection that adds to the album's overall dynamic flair. Their vocalist actually sings here as well. 'Dead Cat Strategy' finds a burly bellowing set against the sinewy tension, as they wind their way around simmering resentment given catharsis here. "I've Walked in Space" finds more nuanced guitar expanding the album's emotional range. 

The last song is more high-energy energy in your face. Their drummer is certainly earning his pay on this one. There is more of a noise-rock temperament, set against urgent outpouring to spit these lyrics in your face at the high volume they can find. Lyrical, it's more experimental than the typical let's all unite and be tough together to get through this unfair world garbage, you get from your average hard-core band which I was never a fan of I always wanted hopeless depressed apocalyptic hard-core which is why bands like Bloodlet, Starkweather and Integrity always appealed to me but I can get down with what these guys are doing as well.  They do it so well that I'll give this album a 9.5, as I see how it grows on me, it will likely get a fair amount of rotation since I am not sure what I did with my old Rollins Band albums. 

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mclusky: "the world is still here and so are we"

 

The first album this trio has released in 20 years. They emerged from the 90s playing a noisy take on tongue-in-cheek punk. Vocally, they adhere less to punk and shout random thoughts. The comical tone is heavy on the first track. They employ dissonant guitar lines and churn an angular battering under it all. "way the exploding dickhead" works better than the first two songs when it comes to making things memorable, as the chant is infectious. There is more of a slacker vibe to the more deliberate "The Battle of Los Angelsea"; it brings Helmet to mind. 

"person person" feels like it is more pounding, a more emotional pulse. Though this does not mean that it has as many dynamic twists as some of the other songs. At times, these guys remind me of King Missle. "the Compotent horse thief" being one of those times. The pace picks up for "kafka-esque novelist franz kafka".  "the digger you deep" finds the band indulging in more clever wordplay, as the bass lends weight to the drone of the song. It's like Primus without the funk. This formula works better on some songs than others, as things begin to sound rather uniform by the time we get to "autofocus on the prime directive". 

They solve this problem by dialing things back for "not all steeplejacks". Then after this they are back to some times pounding out bouncy grooves , and at other times colliding powerchords against one another to vent frustrations. They veer more in the indie rock side of things for the last song. I'll round this down to an 8, not a hug fan of the vocals, but I get why people are into these guys as they are good at what they do so giving it an 8, as they made the album they set out to make and their fan base should be pleased by it. Ipecac is releasing this May 9th. 

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LIK : "Necro"

 When I hear the term Swedish Death Metal, I used to think of something more in line with At the Gates, but now it seems like the phrase is code for 'we love Entombed', and by the band's own admission, they wanted the opening track to sound like Entombed. They succeeded. I dig Entombed, not really a band I listen to as much now as I did in the 90s, but they have a distinct sound. Hopefully, the rest of this album finds this band showcasing their distinct sound and not becoming an Entombed tribute band. Though the guitar melodies seem to convey they are paying tribute to a wider range of Swedish death metal, as it is more At the Gates, in its aggressive delivery. Truth be told, I might like the first song better. Around the two-minute mark, a pretty killer riff comes in, but they just solo over it. Even then, the rule here is "cool riffs alone does not a good song make". 

"They" is more deliberate and marginally darker. It hits a pretty solid "Wolverine Blues" era groove. It might be the best song so far. This is the band's fourth album, so they know what they are doing production-wise and have a sound dialed in, even if it is not the world's most original sound. One thing that plays to the band's favor is their economic songwriting that finds them keeping things around the three to four minute mark. With a song like the rapid fire "Worms Inside" they got straight for the throat and leave little time to fuck around and let things sprawl out. Their formula at this point seems to be to throw the best riff in at the two-minute mark to switch it up. The growl of the bass leads the way into the grind of "Morgue Rat". It's a darker, more throbbing song, which is a sound I prefer over feeling like things are being rushed by momentum.  Granted, this drags things out into the five-minute mark, but it's time well spent, and not a droning jam. 

They pour on the speed for "Shred into Pieces".  In doing so, it pretty much turns into a rumble that sounds like everything else in this vein. Their drummer is a beast, but you have to be to play death metal. They cast a doomy shadow on things with "In Ruins", though step on the gas once they are into the verse. Nik Holmes from Paradise Lost lends his voice to the song. But he is pretty much buried in the layering of vocals, until they break things down enough for him to give a goth mumble over it. The overall vocal performance on this song seems more intentional than most. The rushed thrashing of "the Stockholm Massacre" finds interesting lyrics lost in the frantic delivery. 

"Fields of Death" is another speed fest, that at this point is getting dynamically tiring, as it feels like you are being hit with the same blunt force straight to your eardrums. There are some who are going to be a fans of this sort of thing. The last song is doomier, and works better to establish a mood than the thrashing ultra violence they kept hitting us with. For this reason I will round this down to an 8, they are skilled at what they do which is a specific flavor of death metal that is not always my thing. This drops on Metal Blade. 

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Fractured Fairytales :" Parasomina"

 

This band reminds me so much of Lollipop Lust Kill that I had to click around online to see if there was any connection. There was no connection to Narcotic Wastlands, if you are into bands in the "Where Are They Now?" files. These guys meet at that weird intersection of the 90s where nu-metal and death metal met. The song is reasonably catchy with the vocals mainly barked with a nu-metal pseudo goth vocal sometimes chanting around the bark. This might appeal to Jauggaloos, as the vocals are sometimes almost rapped. I am a fan of the fact that it is not upbeat or trying to bring the party, but making a feel-bad album. 

"Hate is All You Need" finds the songwriting not as hooky or nuanced, making it the first song to lean more in the direction of filler. Maybe it's a flux?  "Shadow in Hell" has more of a groove to offer redemption, as the vocal goes from rapped to more of a Marilyn Manson-like croon. I am not sure if this album is going to be something I need in regular rotation as I own a great deal that already meets these needs, but it's entertaining, and I am glad there are bands out there doing this sort of thing. Though I think pouring on the speed is not something that plays to the benefit of what is being done here, and it's the creepy grooves that work best. 

This can be heard on the very deliberate riff that drives the verse of 'Snow Angel". There are varied vocal approaches and guitar melodies that show the willingness to dig into songwriting that have to be respected. Just being heavy is not good enough for this album; there have to be things to hook you in, which it excels at, even if it is not the most original assemblage of sounds, it works for what is going on here. "the Unmaker" perhaps leans to heavily on the Marilyn Manson influence. It harkens back to the "Portrait of an American Family" era that was more rooted in rock guitar riffs. "Somewhere Else" is the first song where it begins to become apparent that there is a formula taking shape with an industrial march accompanied by a multitracked chorus of monster-like vocals chanting in mean-spirited unison. 

"A Reflection' takes this formula in a heavier direction. "Wither Psalm". "All Fall" uses the drone of guitar to lock into the chant of "live to die another day," which is catchy enough to work. I will give this album a 9, since it does pay tribute to 90s goth rock pretty heavily, but they make an effort to write catchy songs which makes for a fun listen. If you like goth-infused nu-metal, then you are their target audience and will like this album.  

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KARDASHEV - "Alunea"

The last album I reviewed by these guys, and there were some Dream Theater-like elements I did not like about it, so going into this one, I am hoping those elements are toned down. They blast into things here with a more blackened aggression. The sun vocals come at the chorus to tone things down in a bad cop/ good cop manner. The vocal melody is not very Myspace, making it more tolerable. The harder vocals vary from a more black metal snarl to a lower growl. The clean vocal they continue to shift into over more fragile and a little less dramatic than the last album, though they begin to head in that direction for "Seed of Night". 

Still, the dynamics technically offer some range, in terms of melodic qualities, the formula they are working off of finds the songs beginning to run together. The moving parts of 'Speak Silence" flow smoother, and it sets itself apart more as its own song. Then the album begins to get a little bogged down, as if it wants to be Opeth, but unsure of what era, though the songs continue to ebb and flow from the most intense to least intense, when just some grooving or memorable riff might work better. 

"We Could Fold the Stars" starts off like your average blackened death metal band, before dying down to the counter tenor vocals. It's more original than what we have heard from them, but not that hooky. The last song is more of the same, though sticking closer to their heavier side. I will give this an 8.5, well done, but not really my thing, though fans of progressive death metal who also like Sleep Toekn will dig this for sure. This comes out April 25th on Metal Blade. 

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March's Top 10 Albums

 It's time for March's top 10 albums. Staying abreast of the month's highlights might help casual readers see what they missed and check these artists out. I am not writing little blurbs on them; I am just linking the reviews. Inclusion here does not mean that these albums have been released this month, but it is a list of new or upcoming albums I have enjoyed the most. I have albums in my inbox that are not coming out til June, so I am normally way ahead of the curve in this regard. They are ranked in order of what I have listened to the most. This month, there is a wide variety from Crust Punk to Prog Rock, so you may find your new favorite among them. Here are the Top 10 albums of  March 

10-Staticlone- "Better Living Through Static Vision" 

Crust Punk 

https://abysmalhymns.blogspot.com/2025/03/staticlone-better-living-through-static.html

9-Jason Isbell -"Foxes in the Snow' 

Folk 

https://abysmalhymns.blogspot.com/2025/03/jason-isbell-foxes-in-snow.html

8-Gaahls Wyrd- " Braiding the Stories" 

Goth Metal 

https://abysmalhymns.blogspot.com/2025/03/gaahls-wyrd-braiding-stories.html

7-Spiritworld -"Helldorado" 

Thrash 

https://abysmalhymns.blogspot.com/2025/03/spiritworld-helldorado.html

6-Ancient Death- "Ego Dissolution" 

Progressive Death Metal 

https://abysmalhymns.blogspot.com/2025/03/ancient-death-ego-dissolution.html

5-Idle Heirs - "Life is Violence" 

Post-hardcore 

https://abysmalhymns.blogspot.com/2025/03/idle-heirs-life-is-violence.html

4-Messa - "the Spin"

 

Prog Rock 

https://abysmalhymns.blogspot.com/2025/03/messa-spin.html

3- Kazea- "I, Ancestral" 

Sludge

https://abysmalhymns.blogspot.com/2025/03/kazea-i-ancestral.html

2-Deafheaven _ "Lonely People With Power" 

Black Gaze 

https://abysmalhymns.blogspot.com/2025/03/deafheaven-lonely-people-with-power.html

 1-Spiritbox-"Tsunami Sea" 

Progressive Metal 

https://abysmalhymns.blogspot.com/2025/03/spiritbox-tsunami-sea.html

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PALINDRONES : "'Chapter 2: The Slender Blade"

This morning I perused the line-ups of this year's " goth festivals," and while I can understand the old school headliners like Frontline Assembly, what I do not get is the younger artists they book who do not have current albums they are touring in support of. It seems like a waste when other artists could use the exposure and are working harder to grind away at their songwriting craft. One of these would be that this  British duo is crafting some emotive electro pop with call and response vocal lines that recall some of the more moody moments in 80s pop. The first song is a banger, so that sets expectations high for the remainder of the album. 

Where the first song flirted more with new wave. The songs that follow are more like atmospheric techno. The female vocals become more of the dominant narrative of the songs.  She shifts through a range of emotions in her presentation, so this works. "The Dark Forest" is more of a synth interlude that blankets you in immersive ambiance. It's counterpoint "the Light Forest". It is more of a grooving synth wave pop hybrid.  It grooves in a manner that brings Underworld to mind with more of a pulse than a black rocking beat. 

"Suli Nan Diathan" is a swathe of synth ambiance that is ghostly and minimal.   It materializes into an actual song around the two-minute mark. There is some dynamic ebb and flow, but it feels more like an interlude to me. "Animus" uses more of a vocal interplay that offers a similar dynamic to what they did on the opening track. The beat is possessed by a little more drive here. "Resonance Factor" closes the album. It goes back into more of an atmospheric techno mode of songwriting with the vocals taking on a brighter tone. I will give this album a 9.5, as I enjoyed it , would not call this darkwave, but it recalls the electronic acts of the 90s who are adjacent enough to keep my interest.Much more song focused than the festival brand of EDM.  

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Twin Shadow - "Georgie"

 

This marks the indie pop singer's 6th album. It's the third we have reviewed here. 'Eclipse" has been my favorite. This album finds another step away from the 80s sounds that made that album great. "Good Times" could almost be any pop artist on the radio, if they go serious, stepped away from hip-hop influenced beats, and used actual instruments. Here lies the problem for an artist who creates a perfect album like "Eclipse". The expectations are set higher since you have shown me you are capable of being more. Perhaps you might have the same level of inspiration or want to be shackled to making the same album twice, which is not what I am asking here. 

In fact, I am pretty content with the minimalist instrumentation to "As Soon As You Can' as the vocal lines work well enough. But I know he can write more breathtaking hooks. He has made more compelling grooves as well. Is it more experimental than his past work? Sure, but that is not playing to his strengths. There is more feeling invested in the vocals of 'Funny Games'. The title track feels like an experimental idea of a song that was never fleshed out. The stripped-down nature of "You Already Know" makes it almost feel more like a demo, though the emotion he invests in the song is what makes it work.

  "Maybe It's Time" is another ballad that seems to be the dominant mood of this album. The song does gain some movement. There is a twang to the guitar on this song that brings the hint of an influence I heard earlier in the album more into the spotlight. "Emily" finds him back in a very similar sonic place, highlighting the fact that this album could use a greater range of dynamics, as he is keeping everything in the same mood/. He is using the ghost of auto-tune as an effect rather than relying on it to stay in key, as we already know he can sing. 

"Permanent Feeling' hovers around the established sonic boundaries he has set for himself on this album. In a different context, it might make a song like this stand out more than being on an album where everything is lingering in this mood. He did not need to do a great deal to switch it up at this point; even dropping a beat would have worked. Meeting at the intersection of gospel and country music is an interesting place for him, but he keeps approaching the songs from the same angle. I'll have to round this one down to an 8.5, as it's dynamically flat, but sung with a great deal of heart. 

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clipping : "Dead Channel Sky"

This hip-hop project breaks away from the more conventional to follow the trail blazed by the likes of Aesop Rock. Not really sure why they have been booked on a darkwave festival, but their grooves are lo-fi and interesting.  "Change the Channel' wants to be "Firestarter" before going into Super Mario Brothers-inspired 8-bit glee. "Run It' comes closer to the status quo of underground hip-hop. The vintage synths will be the key selling point to some, while I am listening to this album to see if the songwriting holds up to the hype. Unlike most hip-hop artists these days, they do not have a team of producers and songwriters to supplement the lack of talent. 

After a few interludes, "Code"  comes back with a more interesting groove. The sci-fi theme works well, as the album has a slight dystopian vibe, though not to the point of being industrial. There is a glitchy, noisy sound coloring the edges of the atmosphere as the pace picks up for " Dodger." The fact that the lyrics are spit with a quickness rather than in a slurred auto-tuned mumble gives these guys an edge over most. Nels Cline adds some guitar to one interlude, but it is not really a song. "Scams" is more like traditional hip-hop, with a minimalist beat. With this comes a more vapid lyrical content. "Keep Pushing" finds a more interesting synth sound powering things, but the lyrical flow is less interesting. 

The album continues to be littered with interludes and soundscapes that toy with a collage of pseudo-futuristic noise. "Mood Organ" is more experimental than, and while there is a stream of consciousness rap to it, things ride the border of being a song, though I think they intend it to be one. "Polaroids" finds the more spoken word feel of the vocals continue to degrade the album's integrity, which is disappointing as the first handful of songs had so much promise. "Madcap" finds some interesting production choices that create a more unique feel. 

"Mirror Shades" makes me think of Madonna's "Justify My Love," which is covered by Cardi B. My comparison to Aesop Rock pays off, as he makes an appearance on "Welcome Home Warrior," which seems to be about video games. His verse pretty much saves the song. The last song finds aimless rapping over ambiance, as if they have no clue as to what worked earlier in the album. A beat does not come in til halfway into the song, and then it does not groove. I'll round this down to an 8, as the album started strong, and it does take more chances than most hip-hop, though that is a pretty low bar. This is out  on Sub-Pop Records 

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Song of the Week - SWARM6IX : "$OCIAL VIOLENCE feat. KUBRICK"

Mixing pop music with metal either works well or falls limp. It seems like the pop elements are played down and the marketing of the artist tries to place more emphasis on the metal part of the equation, even if it is not dominant. Perhaps it's the hype that makes me pass the most judgment, as I went into checking this song with zero knowledge about the artists involved, and it works for me. Granted, aside from the chorus, these guys are a great deal darker than their peers. I get why these guys are called "trap-metal," but I think it is really well-done revitalization of nu-metal. The chorus works for me despite being one of the more formulaic elements, as it's given proper contrast with the verses. I look forward to hearing how this works in the context of a full-length album 

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Born Ruffians : "Beauty's Pride"

 

This Canadian band plays a poppy take on post-punk flavored indie rock. Their album opens with the upbeat single "Meantime' which is dancey and anthemic. It feels like a cross between Arcade Fire and Underworld.  "Too Be Seen" finds the guitars stepping forward in the mix. The vocals have a Brit-pop wanderlust to them. Rather than the bleak baritone, he has a bright tenor. I prefer the groove of the opening track, as this one has a more rambling Ryan Adams feel. Lyrically, it's a little more interesting. 'What a Ride' is a little moodier, though the chorus finds things getting weird and going sideways. They are not as garage rock as the Black Lips, but there is a similar punk meets the Beatles feel. 

Things are a little more laid back, despite the radio-friendly beat to "Let You Down". The chorus is too happy for my personal tastes. The chorus works better than the previous song's. In some ways, they are not unlike DEHD, but that band is catchier in the vocal lines. The guitar placement is inconsistent, but that adds some charm to things. "All My Life" benefits from interestingly auto-tuned production on the vocals that feels more futuristic. This would sound great if you were on drugs. There is an 80s feel to "Athena" , like a slower version of "Turning Japanese". I can also hear how the Talking Heads are a likely influence on this band. 

The more psychedelic touches resurface on the lazy river flow of "Can We Go Now". Maddy Wilde sings on this one, which offers a different narrative voice to switch things up. "Supersonic Man" by the band's admission is their musing on being a baby sent to earth like Ka-El. It's your typical indie rock ballad with a folk guitar strum. "Do" is a better song; it works in bursts of rock guitar, as for this to be indie rock, it does not have much rock to it as a general rule. Without this, it causes things to meander rather than be anchored. "HI" also works similarly, playing in their favor. There is a Beatles influence that becomes more prominent here. "In the Meantime" is a more relaxed Decemberists-like vibe. The last song is less focused; it's not until the final minute that it catches a Shins-like groove. This album works for what they are doing little to upbeat for my tastes, will give it an 8.5, 

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Deafheaven : "Lonely People With Power"

The first song finds the band balancing out the varied elements of their discography, right down to the deliberate chug the song transitions into. Having made their way onto the rock festival circuit, you had to wonder how much playing with big mainstream bands would influence them. Truth be told, when I saw them at Rockville, there was little compromise on their part to win anybody over. 6 albums into their career, I think it is safe to say if they were going to sell out, they would have by now. "Magnolia" is one of the songs I heard before the album's release, and it fits well within the context of the bigger picture here. The more deliberate head-banging riffs are cool. 

"the Garden Route" follows more closely to the "Sunbather" formula, where they take a more sheogazing track, and George snarls over it. There is a great range of guitar tones on this album, and the production is not too different from what we have heard in the past, though the vocals feel like they are sitting further back in the mix at times. "Heathen' finds George's singing voice continuing to improve. It's a more breezy indie rock song that skirts along the dusk, before exploding into the black metal dynamic. "Amethyst" unfolds more like a shimmering post-rock lullaby. At over eight minutes, it's the album's longest song, giving them time to lull you into a trance before the screaming starts two minutes into things. The guitars are well layered to add intensity without having to dig into the bag of metal chugs. They are sonically dense in a very graceful manner here.

They hurtle in a more traditional take on black metal with "Revelator". There is still a distinct sonic edge. The main riff is pretty hooky. The last two minutes take an unexpected turn, which the resistance to formulas might be one of this album's most endearing strengths, alongside the dynamics they delve into.  The most interesting song might be "Body Behavior," which grooves with a post-punk tension, and his vocals are snarled but in a more punk fashion. Their experimentation with sounds really pays off on this one. It does build up into more of a blasting storm than you might expect from them. Of the three "Incidental" interludes the second one with Jae Matthews from Boy Harsher is the most like a song, and the best of the three, which might surprise some of you since Paul Banks of Interpol is on the third one, but it's more of a spoken word over ambience. 

This sets you up for "Winona," that is another song which finds their more experimental nature in the studio paying off again. This entire album sounds great, but some moments are more stunning than others. When this song kicks in it sounds fucking hug, and if you are not already a believer of Daniel Tracy his drumming on this song will make you one. They take you back closer to a more "Sunbather' sound midway into things here. The last song serves as a fitting summary of what they are about on this album, with the sung vocals being used in a less formulaic manner than how most bands employ them these days.I will give this album a 10 might be their most diverse and adventurous album yet.  

 

6

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Tribunal : "In Penitence And Ruin"

 This Canadian band offers a symphonic take on doom with plenty of melodrama. The vocals switch from a dramatic female vocal to a snarled, harsher vocal. The drums could come up in the mix. They make an honest attempt to sound dark enough. Still, after the first song, for this album to win me over, they will have to dig down to even darker places, as it sounds like they are just dressing up for Halloween here; I need to hear some real emotional connection to despair.  

The second song makes me think the singer might just be putting on a performance more than evoking the sense of mourning doom should have. The guitars certainly get this as they are carrying everything here so far. I appreciate the effort of not just going with the growled vocal as that would have gotten old as well. When her vocals sit back in the mix, it improves the overall feel. She has a strong voice, it's not always where she puts it, but the emotion she is or is not invoking to get it there that still finds me on the fence with her.

The songs begin to run together as the formula shifts into more of a call and response between the harsh vocal and the main sung vocal. The riffs to "Armoured in Shadow" have a more depressive mood. The vocals do not contribute much and continue to croon in the same manner they have for the bulk of the album. Even when the growled vocals come in to add more menace, it just sounds like a hundred doom bands I have already heard. 

The last song has more groove thanks to the drums setting things in motion. While I like it better than many of the album's songs, my overall feel for this album is that it does not grab me personally, even though I am normally a fan of their brand of doom. Perhaps this is where the problem lies as these kids are very derivative of other bands that most doom fans should be fluent in, so unless you are really young and just getting into metal and do not know shit about shit, then you might think this is very original. If you are a long-time fan of doom, you more than likely are already into My Dying Bride and Candlemass and do not need an imitation of those bands. Or maybe you just like to masturbate to the idea of girls playing instruments. I am not out to kink shame here, so if that is the case, you might round this up from the 7 I am giving this album. 

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Fractal Universe : "the Great Filters"

Things are changing here at the ole Abyss. There is going to be a formal announcement soon, so this is the informal one we are branching out into podcasts. The blog in this format is not going anywhere, the podcast is just going to supplement the more editorial aspect of blogging, the Podcast will be solely opinion pieces and interviews, while my opinion is just peppered in here as I give a walk-through of these albums.  Before we get into this since we are talking like friends here, I will be honest with you and let you know what has changed here over the years as I have expanded my reach writing for various other blogs which have ranged from Cvlt Nation to Treblezine to Ghost Cult Magazine, is I am often assigned albums I might not check out on my own. 

On my first pass through these albums, I do write up here, where you get more of my honest opinion, which is edited down to play nice with relationships within the industry once I rewrite it for mass consumption. So this is an album that I would not have checked out if it was not assigned to me. I am pretty picky when it comes to progressive metal. There have been some progressive death metal albums I have really dug this year like the new ones from  Sadist and Ancient Death. There have also been bands that incorporate elements of jazz. Progressive metal covers a wide breadth of definitions, Opeth provided an excellent one last year. This French band is in a neighborhood that borders bands like Cynic, but also the softer touch of bands that are not really metal at all like Dream Theater. Thankfully the clean vocals on this album do not sound like Steve Perry. 

What sets them apart is the saxophone solos that find them melding with smooth jazz. Everything sounds too clean for death metal production. The vocals are too harmonized and fine-tuned, They end up sounding more like Weird Al Yankovic. If you are going to listen to everything with a fine-toothed comb to study the sweep arpeggios then this might be the kind of guitar playing you are into.  By the time we get to "the Seed of Singularity," I am pretty bored with what is going on here. If their claim to fam is going to be blending jazz, then they need to be doing it like White Ward. 

It could be argued that "The Equation of Abundance" has a more Meshuggah-like throb. It is less mechanical but also packs less of a punch. 'Specific Obsolescence" plays with atonal passage as the intervals are shuffled around like Pokemon cards. It flows better than some of the previous songs. It is also more melodic with an anthemic guitar solo. "Dissecting the Real" does employ some time signature choices that are effective and for the crow who likes to cross reference everything off a metronome, they will find the counts hold up. None of this conveys aggression being vented through their instruments in a manner that means metal to me.   

By the time we get to "Concealed," they really have not progressed all that much as they are using the same formula as they did at the onset of this album. This album is very relaxing and almost put me to sleep. I will give this album an 8 based solely on the fact it is well made for what it is and people who are into this sort of thing should expect this to fall along those lines when it comes to their tastes for music that they like to refer to as metal, more than the mathematic work of art that people who are into guitar solos will flock to. 

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Drudkh : "Shadow Play"

 2015's "A Furrow Cut Short" was the last album I checked out by these guys. Their drummer was killed fighting Russia last year, so not sure who is behind the kit on this one or if the band is even alive by the time I press publish. It opens with just the guitar ringing out more solemnly. The first track makes you begin to wonder if their studio got blown up as it is just the sound of the guitar and someone walking in the snow. Things explode back into a more familiar black metal gallop for the second song. It's a long song at 11 minutes but I like how it uses atmosphere as it is more of a mood than a formulaic breakdown that works of sounds. 

"The Exile' is more straightforward in its pulsing chug with the scowl of the vocals coming across as more obligatory than what we heard in the previous song. It feels more black metal than some of their previous work. Once we are firmly planted into the stormy sonic frenzy that is "Fallen Blossum' you are hit by a trance of blast beats and black metal snarling that will cause you to zone out unless you are properly rested going into this album. 'the Eve" feels like it is an extension of the previous song as the buzzing of guitars feel like it is being carried over. It's not until midway into this song that things are changed up dynamically, though the vocals are still howled with the same fury., 

The last song continues the throbbing tempest. If you miss the early black metal of the 90s but want to hear it done with a more modern undercurrent then these guys have you. That also means they are not as focused on some of the more unique sonic nuance that has touched their songwriting in the past and are taking less risk in so doing, so there is the compromise. They have an impressive sound, but the songs get a little lost in the storm. I will give this album an 8, as they certainly are not selling out and war is only making them angrier. 

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Ancient Death : "Ego Dissolution"

 This is the debut album from this adventurous death metal featuring guitarist Jerry Witunsky is a more recent addition to  Atheist. It's progressive, but perhaps not as technical and shreddy as Atheist. The songwriting is dynamic as they take you on a journey ripe with guitar melody without compromising the grit. It's not until halfway into the title track that opens the album that they go into a blasting speed, and this gives way to a head-banging groove. There are guitar solos that work with the songs rather than becoming a focal point. They put head-banging riffs to the forefront. There is the chaos of early Morbid Angel on "Breaking the Barriers of Hope". When the verses form the riffs gain some swagger and the mood shifts. 

While people made a bug stink over the last Blood Incantation album, and it was good, these guys are taking away the Pink Floyd parts and jamming out over the cool 80s death metal sections that really slapped. "Breathe Transcend" Is more melodic and technical than the first two songs, though here technical does not mean a bunch of notes crammed into each measure as much as it means how they shift seamlessly from riff to riff. "Journey to the Inner Soul" slithers with groove. Their bassist Jasmine Alexander is very tasteful when it comes to holding things down. She is not trying to compete with the guitar's place in the song.

" Journey to the Inner Soul" is a moody instrumental. Jasmine continues to provide sparse accents of clean singing on "Echo Chambers Within the Dismal Mind" which is an otherwise more feral expression of aggression until things get trippier of the more atmospheric bridge leading into the guitar solo. Her sung refrain returns and this song finds her singing playing a larger role. She uses a re-tone that is a higher alto, to create a more original use of this formula. "Unspoken Oath" is driven by a hookier groove that reminds me of a riff King Diamond might use. 

"Violet Light Decays" ends the album with a darker creeping. It works at more of a throb rather than the kind of break-neck chugs that powered most of the album. When it gains momentum it races with a tremlo picked speed. Not the album's hookiest song, but one of their strengths as a band is that they do not settle with writing two songs that sound the same, so this checks out with that kind of work ethic. At the end of the day, this album serves as an excellent introduction to all the sides of this and is full of hooky headbanging riffs. I will give it a 9.5, if you are a fan of 90s-sounding death metal that thinks out of the box this band is for you. Drops April 18th on Profound Lore.

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Imperial Triumphant : "Goldstar"

These guys won me over live. In the studio they have once again orchestrated chaos, that can not always be heard as the catchiest songwriting, though the opening taking descends into a place dark enough for me. In some ways, this is more blatant metal with songs like "Gomorrah Noveaux" riding a taunt clockwork chug. The vocals are snarls but articulated enough that the lyrics come across. It makes me think of a death metal band covering early Pink Floyd. Meshuggah's drummer joins them for "Lexington Delerium" though it's darker and more atmospheric than you might expect with such a guest aboard. It is not until the midway point that things get hammered into place. To their credit these are more concise songs, and perhaps some of the band's most accessible work to date. 

Stylistically this album is not what I would refer to as black metal anymore. Progressive metal is the most fitting label for what these guys are doing. There are tremolo-picked guitar parts at times, but it never feels like aggressive darkness being pursued. "Hotel Sphinx" finds them fairly straightforward in the commitment to the chug, with some chaotic dissonance interspersed. "NEWYORKCITY" is a quick blast of grind-core chaos and is more like an interlude. The title track is also under a minute and is a 1920's sounding ragtime ditty, that is also more of an interlude. "Rot Moderne" has more in common with the more brooding edges of the band's past work, The vocals are a lower growl as they churn through angular riffs that follow Mr. Bungle-like math. 

They almost turn "Pleasuredome' into a drum circle as they are not only joined by Haake again, but Dave Lombardo as well, so the song is percussion-heavy, to say the least. The first minute and a half is the slow build into the song. It does find its groove which would be hard for it not to with the additional drummers. "Industry of Misery' closes the album. This one snarls out of a more jazzy ambiance. It also hits more like death metal when things kick in. There is a boozy swoon to the angular nature of the lumbering riffage. There seem like more samples being used on this album than the previous one. The guitar solo to this song is trippy and interesting, the first time a metal band has done something that reminded me of Jimi Hendrix in Many a Moon. I like the darker turn the song takes as it feels like they jam it out til the end.  I will give this one a 9.5, for their willingness to experimental while still writing songs, This one is on Century Media Records. 

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Japanese Breakfast : "For Melancholy Brunettes"

The new album from this indie rock act opens with a breezy folk ambiance, that has quaint psychedelic undertones. Not as poppy as I expected going into this. "Orlando in Love' continues this mood as it breezes by almost intangible with little to hook you in as if it's just the wind to your ears. More percussive elements finally appear on "Honey Water' to create the backbone needed here to anchor this into more of a song. This creates something closer to hooks making it a more worthwhile listen rather than faint sonic colors just held up by a wistful mood. 

Off the bat I can tell this album is not going to be dark enough to appeal to my musical interests, leaving me to listen to it for sheer composition and execution. In other words, are they at least doing a good job of making the kind of music that people into this sort of thing want to hear? "Mega Circut' finds things continuing to solidify sonically into a song that moves with direction and a beat to give it purpose. Nothing about the song grabs my ear to make me pay attention, but it seems to flow pretty well. 

Things are marginally less tangible and a little less upbeat for "Little Girl" though I am not sure I would refer to it as melancholic. "Leda" is fragile folk that does not work as well as "Picture Window" which is the album's best song so far, with more of a country feel that reminds me of Kacey Musgraves. "Winter in LA" retains some of the domesticated bong bliss from the previous song. It does not have the more organic country feel so was not as impressed, though it is better than the rather bland song that closes the album. I will give this album an 8, it sounds good, and there were a couple strong songs, but for my musical tastes it was boring and not depressive enough, however I am scoring in regards to how fans of this sort of thing my hear it's quality so with that an 8 seems fair. 

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Alien Weaponry : "Te Rā"

I really liked their last album, so hoping this one holds up. The first track feels like it's going in a more mainstream, Mastodon-like direction. Though we do get touches of their more native New Zealand feel. Less of a nu-metal feel here, the closest it gets to nu-metal would be Sevendust. "Mau Moko" is marginally more tribal, but "1000 Friends "is much more inspired regarding the vocal arrangement. The other instruments fall in line with that. 

They play it safer on "Hanging By a Thread", before mixing their heritage in a way that recalls "Roots" with the percussive elements that propel "Tama-nui-te-ra" which proves to be more interesting.  "Myself to Blame" finds them leaving room in the song to play to the strength of the soulful vocals. "Tani Wha" features Randy Blythe, for a heavier take on things that is still consistent with modern metal's expectations. "Blackened Sky' finds the pace energetic as they race along melodic grooves. Then things get even more thrashing for "Te Riri..." which lends itself to the dynamics of the more melodic chorus. The guitar solo even goes in a melodic direction that serves the theme of the song. 

I like the vocals to "Ponturi" which makes it one of the album's best songs, even if compromises some of the heaviness, it's more dynamic and effective songwriting. These guys are not trying to be the heaviest band on their island, they are just writing songs they feel which is hard to complain about. At two minutes the last song is almost more of an outro, but there is a pretty focused theme to it.  I will give this album a 9, as I feel their previous album was catchier, this one might have a bigger more polished and might even be heavier, so it might be a matter of taste, but they are true to who they are as a band here. This album drops on Napalm Records. 

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Byonoisegenerator : "Subnormal Dives"

This band plays jazz grind, which leans more into grind-core than what John Zorn would do, though the jazz sections do have the chaos of John Zorn to them. The bass line alone that works its way through the din to find melody tells you they are skilled with their instruments. They know the rules and are artfully choosing to break them. This can create dissonance at times. The vocals are at a low growl, that utters its bile bleaching where it fits in the riff hoarding they are unpacking here. Going into "NULL. state..." it feels like the chaos causes some of these songs to collide with one another when the short under two-minute grindcore nature dominates the songwriting. The bright side is it forces them to make the most of their time. 

"Nosuccesstoday! " finds them having to try harder to keep my attention as even with this musical spasm your ears grow accustomed to it when forced to expect the unexpected as you know there are two modes they are going to shift from. "UVB76" does feel more Mr. Bungle-like despite Mr Bungle being influenced by John Zorn. "Lovechargeddivebombs" feels like they are floating in a submarine, which seems to be some of the thematic imagery they are drawn to. The jazz section here is allowed more room to breathe. I think this side of their bipolar dynamics needs to be explored more. 

They do find their groove amid drumming that sounds like trash cans being kicked down the stairs."4-HO-DMT" is the worst offender when it comes to the drummer agitating the situation.  The vocals follow a more death metal pattern despite this, as a guitar solo drips out from behind them. I imagine seeing this live would be very compelling. "deBroglieneverexsisted". "5mginspiredvibes" hints that drugs are certainly one of their influences, the more psychedelic tinges of the atmosphere previously in the album suggested this as well,  Here the shift is more abrasive, though the confrontational nature of grindcore is meant to challenge what your ears can endure. I will give this album a 9, it's not the first time I have heard this pairing, but they leave their own mark on it, and is so experimental even if they were not as skilled it would have worked in theory, they just make it go down easier. 

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Your Spirit Dies : "My Gnawing Pains Will Never Rest

 The first three songs of this South Carolina band find them perhaps too eager to indulge their hyper aggression as they all run together. The second song is more of a straightforward in-your-face metal-core explosion that finds the band largely staying closer to the hard-core roots of the genre, as from dizzying guitar work that fins the riffs taking wild twists and turns The vocals take on more of a blackened snarl for a verse here and there which is the most metal moment, the tight breakdown style chugs are effective. "A Rose For Every Stone' has a little more flash in the riffage that sets the stage marginally different. It was the first clue after the first two songs blasted by that it all collided into my ears. 

One thing I can say about this sort of thing, is they do not put the breakdowns in the same predictable places. "In the Depths of Grief" does not introduce anything new and finds the band raging into the same kinds of temper tantrums they have been stomping around with for the first three songs. I could use more sounds and more dynamics, while I know some listeners of this genre are content with less and just want angry music karate dance to. There is a more Meshuggah-like tension to the chug that leads into "Monochrome" but rather than doing something cool with it that charges off in the direction this entire album seems to be heading. I think they are just doing a better job of attacking in this manner here. 

There is a little darker deliberate tone to the syncopated grind of "Born Forsaken".  "Shrouded in Silence" finds one guitar offering more melody that helps add color to a well-worn blueprint for this kind of thing that these guys play pretty close to the original designs that have been in motion now for at least 25 years in the post-Victory records era of Hard-core. 'Ritual Sacrament" finds the drums more frantic, as the guitar try to find a place to insert catchier riffs.  "A Snow in Summer" has more groove to it that works better for me, that is if they can keep things from racing away with them. The songs are typically kept under the four-minute mark with only two breaking that threshold., so they get to the point and cram as many riffs into them as they can.

The Melodic section to "Unjust God" is needed as the relentless chug was beginning to wear thin. Though when they kick in it pretty much follows the same formula that has dominated this album. This can pretty much be said of every song from this point on they are cranking as they fall into the same sonic pigeonhole. A melodic riff to break them out of it for a measure or four. Norma Jean is a fair reference point, but I don't think they are as dark or sonically textured as Norma Jean. I will give this album an 8, as they execute the songs well even if they are not covering any new ground here, but surely will mass some fans who prefer the more familiar sounds. 

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