Category Archives: Reviews

Album Reviews, DVD Reviews

MINISTRY – Relapse

Posted on by

The legendary MINISTRY may have come out of a relatively short retirement but Relapse clearly shows that they haven’t lost a step. All the qualities that makes the band larger than life are all present such as Al Jourgensen‘s charisma and sense of satire, super catchy songs, sound samples, and massive guitar riffs.

Uncle Al covers a wide range of topics such as the financial exploitation of dead rock stars, the ethos and political climate that spawned the Occupy Movement, and the corrupt nature of politics.

Relapse starts with all out fury as the record’s first three songs are as brutal as most extreme metal can get. The wall of heaviness and intensity are just awesome. S.O.D.‘s “United Forces” gets the MINISTRY treatment in fine fashion. “99 Percenters” and “Get Up and Get Out ‘N Vote” are catchy anthems that are sure to stir the emotions of those in the “99 percent” and seeking change. The record’s title track has a great sense of urgency and the chorus is undeniable. “Bloodlust” marks the end of the ultra heaviness and slows things down to a bouncy tempo with a classic SABBATH vibe. “Relapse Defibrillator Mix” brings it all home with a pure industrial/electronic remix of the title track.

Regardless of the passage of any time, MINISTRY prove their relevance once again. Relapse is a solid, straight up album. While it’s undeniable that MINISTRY‘s influence on heavy music cannot be overstated, it can also be said that the pupils have not dethroned the master. (AFM/13th Planet Records)

NAPALM DEATH – Utilitarian

Posted on by

Long time fans of NAPALM DEATH out in the world and in the media are probably all guilty of one thing…and that is taking NAPALM DEATH for granted. For the past 12 years, NAPALM has done nothing but release consecutive high quality albums starting with the return to form, Enemy of the Music Business. Meanwhile, some new band gets all the attention and hype after releasing an album that doesn’t even come close to NAPALM‘s level of quality.

Utilitarian demonstrates more of the band’s trademark sound. Their driving, grinding, and slamming riffs are all present along with blasting, chugging, and bouncy punk tempos. In the vocal department, Barney injects more of his clean, ominous vocals into the mix in addition to his famous bark. Guitarist/vocalist Mitch Harris contributes a good amount of his punk vocals and when he sings with Barney, it’s excellent. And who can forget the contributions of riffmaster general Shane Embury and unsung drum god Danny Herrera?

Throughout Utilitarian‘s 17 songs, the strong sense of urgency and immediacy is omnipresent as the band scorches through. While fans may obtain the album in strictly mp3 format, they would be doing themselves a disservice by not obtaining the lyrics.

NAPALM continue to stand out as stellar songwriters always remembering that memorable, catchy songs are what makes a great band versus sheer extremity, gimmicks, or costumes. Long live the gods of grind! (Century Media Records)

DJERV – Djerv

Posted on by

North America finally gets an official release for DJERV‘s excellent full-length debut record. Let it be known right off the bat that this is one of the best albums of 2012.

Infectious, catchy, and rockin’, DJERV feature the talents of vocalist Agnete Kjølsrud (ANIMAL ALPHA), guitarist Stian Kårstad (TRELLDOM), and drummer Erlend Gjerde (STONEGUARD). The band’s sound can best be described as Norwegian black metal with major rock/heavy metal influences. The songs are direct, compact, energetic, and made for maximum hooks. In a way, it’s a pure sound that should easily crossover to mainstream audiences.

Not to take away from the other members of DJERV but what is immediately different about the band is Agnete Kjølsrud‘s amazing voice. She is a unique superstar with the talent, presence, attitude and charisma to back it up. Agnete can do it all – croon, shout, scream, show aggression, and exercise subtlety. Other (female) vocalists in metal just can’t compare, except for STOLEN BABIES‘ Dominique.

Guitarist Stian Kårstad does a great job in the riffing department as he crafts each song with a Norwegian black metal foundation that surpasses the efforts of SATYRICON and DARKTHRONE in incorporating rock/heavy metal influences into the album’s sound without losing its edge and potency. Drummer Erlend Gjerde locks in perfectly and delivers the headstomping beats.

DJERV mix things up well with a variety of different flavors across the album. The different influences involved in the band’s sound take turns taking predominance from song to song or song section to song section without sounding like a cut and paste job.

The bottom line is that DJERV‘s debut full length album is absolutely killer and a mandatory purchase. (Indie Recording)

TENHI – Saivo

Posted on by

It’s been a long time since TENHI released a full-length of all new material and as expected, the band do no disappoint. The band further defines and expands upon their unique style of neo progressive Finnish folk music with an ever improving command of dynamics and creativity.

Saivo starts off very serenely and gradually works it way to full volume like the break of dawn over a vast landscape. Second track, “Pojan Kiiski,” makes its subtle entrance with TENHI‘s trademark acoustic guitars, trickling water like-piano, soothing vocals, and soulful cello and viola. As the album progresses, it’s clear that the band have worked hard in writing the string arrangements and made them an integral part of Saivo (i.e. (“Sateen Soutu“). And while there are other instruments, such as flute and contrabass, that add textures and character to the songs, the acoustic guitars remain the foundation for TENHI‘s sound, as evidenced on songs such as “Pienet Purot” and “Surunoatta.”

The feelings of melancholy, reverie, and solitude form this compelling atmosphere that is undeniable. It often seems as if TENHI are actually manipulating the listener rather than their instruments. It’s not a stretch to say that it’s easy to picture oneself in the middle of Finland’s breathtaking landscapes.

The centerpiece of Saivo has got to be the nine minute plus, “Haaksi.” The song has such strong phrasing and the emotional stringed instrument parts really help to add this natural ebb and flow as well as a type of unique, raw energy. Closing track, “Savoie,” is a beautiful and soothing farewell. TENHI convey this strong feeling of resolution, which makes it perfect as the last song.

The four years of work that the band put into making Saivo certainly shows. The solid songwriting and pure soulfulness are much for TENHI to be proud of. Bravo. (Prophecy Productions)

SIGH – In Somniphobia

Posted on by


Tokyo’s SIGH make a triumphant return to form with their latest, In Somniphobia. In many ways, the album is a return to the band’s bread and butter of off the wall genre blending, atmosphere, and unique creativity that characterized what could be described the band’s middle era. The speed, aggression, and decadence of SIGH‘s previous two albums, Hangman’s Hymn and Scenes from Hell, are still present but play a less dominant role in the album’s sound.

Generally speaking, In Somniphobia can be characterized as having a fast, aggressive beginning and end with a middle section that explores the atmospheric and experimental side of the band.

Opening track, “Purgatorium,” makes a decadent and energetic entrance with its fast pace, aggression, and bombastic classical influence. “The Transfiguration Fear Lucid Nightmares” gallops along with great energy and has a great combo of intense Afro percussion, clean female vocals, saxophone, psychedelia, a spaghetti Western film soundtrack, and even perfectly placed hand claps. SIGH return to the SABBATH doom meets tripped out psychedelia style from 2001′s Imaginary Sonicscape on “Somniphobia.” The song is a trip in and of itself with multiple layered tracks of instrumentation, voices, and vocals.

However, SIGH don’t stop there. They take the listener to deeper depths of mind altered states for the middle chunk of In Somniphobia. They bust out their jazz, prog, Hammond organ, vocoder, Eastern instrumentation, 60′s/70′s rock influences, and more to pull you deeper into an entranced state.

“Amongst the Phantoms of Abandoned Tumbrils” brings the speed and intensity back up. The main melodic riffs are beautifully melancholic. The accordion parts add to the melancholy and add yet another dimension to the album’s sound. Determined to bring on home, the band race to the finish with “Fall to the Thrall” and “Equale….” The latter has one of the greatest metal riffs of all time. Once you listen to the song, you’ll know exactly what I’m talking about.

There’s no shortage of creativity and cleverness on In Somniphobia. Fans that enjoyed Imaginary Sonicscape and Gallows Gallery will find much in common here in the album’s middle section. Guitarist Shinichi lays down his trademark jaw dropping guitar hero solos and drummer Junichi‘s performance is by far his best and adds a very strong and musical dimension. Dr. Mikannibal‘s low growls perfectly compliment Mirai‘s higher lead vocals and her saxophone only adds to the eclectic feel.

Few albums capture true heavy metal spirit while also delivering one of the most unique styles in metal like In Somniphobia. It’s easily one of the best albums in 2012. Rejoice, SIGH is as eclectic and eccentric as ever. (Candlelight Records)

TERRORIZER – Hordes of Zombies

Posted on by

World Downfall is by far one of the most devastating and influential grind albums in existence, so it’s a damn shame that Darker Days Ahead was an atrocious flop. Unlike Darker Days’ ugly guitar tone, uninspired songwriting, and lack of enthusiasm, Hordes of Zombies returns to form with a slightly different, but still masterful approach.

It’s impossible to fill the shoes of the late Jesse Pintado, but new guitarist Katina Culture does a great job on the album. The riffing style is much thrashier, opposed to Pintado’s all out grind/groove oriented riffs, but the thrashy riffs fit TERRORIZER nicely, especially having Pete “Commando” Sandoval return behind the kit, with his trademark blasting in tact. The biggest difference on Hordes of Zombies is that the catchy, short surges of groove that was so prevalent in World Downfall is not as noticeable, but the overall feeling of the album is still definitely “TERRORIZER.”

The title track begins the album proper with a midpaced groove and familiar vocal pattern style seen before. Anthony Rezhawk emulates original singer, Oscar Garcia, to perfection with short bursts of lyrics throughout the songs. Tracks like “Subterfuge” and “Evolving Era” have nice blast beats with a spectacle of thrashy, headbanging riffs intermingling throughout.

“Ignorance and Apathy” has a KRISIUN-like feel to the beginning, while tracks like “Radiation Syndrome” and “Flesh to Dust” continue the brutality. All tracks within Hordes of Zombies flow nicely, and “Generation Chaos” even has a short melodic passage in between all the blasts and fury. “Forward to Annihilation” never lets up, and the high octane closer, “A Dying Breed” finishes this energetic, fresh sounding album.

It’s a shame that MORBID ANGEL chose to record their new album without Pete Sandoval, but perhaps it was a blessing in disguise, as Hordes of Zombies certainly lays Illud Divinum Insanus to waste. That being said, the only grind bands you need to pay attention to these days are LOCK UP and TERRORIZER. (Season of Mist)

ALKAHEST – Milk & Morphine

Posted on by

One of the gems of 2011 comes in the form of ALKAHEST‘s debut release, Milk & Morphine EP. Hailing from Brooklyn, New York, the band carve out their own distinct style that can best be described as a mix of melancholic doom, psychedelia, atmospheric and extreme metal that is both compelling and brimming with musicality. Some points of reference may be the funeral doom of SKEPTICISM, MOGWAI, early MY DYING BRIDE, and AGALLOCH.

Milk & Morphine clocks in at well over 60 minutes of mammoth riffs, long instrumental passages, and truly a journey of introspection. The band makes strong use of dynamics, a wide diversity of riffing, and implements subtle and natural transitions between song sections. Guitarists Jon Powell and Nikhil Kamineni are a formidable duo as they often play distinct guitar parts and provide the types of lead guitar parts that are aimed adding to the music rather than scorching the fretboard. Bassist Adam Campanella makes his presence known with his solid playing. Drummer Rajah Marcelo provides a powerful backbone to the long songs with his well-written, precise parts which help to add plenty of character. His double bass parts are much appreciate and add a nice extreme metal undertone to the music.

Opener, “Sixtus,” serves as a good warm up for the EP as the band introduces the various elements and qualities that make up their sound. There is a fine balance between the heavy, brutal riffs, and clean guitars/bass lead by the tortured vocals of vocalist Chris Dialogue. His excellent vocals are a mix between low end growls and tortured high end screams. ALKAHEST truly hit their stride on the title track as the melancholy cascades down right from the start. It brings to mind the kinds of desperate and desolate emotions of DISSECTION‘s The Somberlain and AGALLOCH‘s Pale Folklore. The pacing and flow of the song is excellent as tension and urgency is gradually and continually built up, further contributing to its overall effect. “Labrador” starts out like a more psychedelic Mandylion-era THE GATHERING but goes further with darkness and despair and slowly dies like burning embers. “Gaius” has plenty of eerie riffs. Closing track, “Duchess,” starts off like middle-era ANATHEMA and once again, the band immediately drives home their emotional delivery.

If Milk & Morphine is any indication of ALKAHEST in its earliest form, then their debut LP is going to be a monster. Don’t miss out. (self-released)

SUBROSA – No Help for the Mighty Ones

Posted on by

Salt Lake City’s SUBROSA have been steadily crafting interesting material for years now with several independent releases under their belts, but their third full length sees the band take their ambitious work to new heights with No Help for the Mighty Ones. While the band’s previous album Strega was an exercise in fuzzed out guitar tones colliding with elegant shoegazing atmospherics, the band’s latest takes the listener on a much more complete musical journey. Violinists Sarah Pendelton and Kim Pack weave a twisting path of strings that is both elegant and serene while maintaining a haunting presence throughout the course of the album. The new rhythm section of Zack Hatsis and Dave Jones also provide a sturdy, rock solid foundation for the band’s involved, often detailed song structures. Meanwhile songstress Rebecca Vernon‘s vocals take the listener on a path less traveled as she tells dark tales of literary folklore that at times evoke some of Edgar Allan Poe‘s best qualities. Her guitar work is simple, yet refined and thoughtful, designing structures that serve as creative backdrops for her interesting lyrical explorations and story telling. In taking a different approach off the beaten path, SUBROSA‘s No Help for the Mighty Ones rewards its listeners with one of the more refreshing and original musical pieces to come from the metal underground this year. (Profound Lore Records)

Live from Tokyo DVD

Posted on by

Tokyo’s underground music scene is famous worldwide but few, if any, documentaries have attempted to provide a window into the always creative and eclectic scene there. The documentary provides some well balanced insight into what it’s all about via performance footage, artist interviews, music videos, and beautiful and interesting footage of Tokyo.

Visually and audibly, Live from Tokyo is artistically beautiful, and as eclectic and artistic as the artists that are covered. The team of Lewis Rapkin, Eric J. Mintz, and Ian Sotzing did an excellent job in perfectly blending in all the different kinds of footage into a solid presentation. A strong point about the approach of Live from Tokyo is the fact that the filmmakers make it a point to present a non-biased look into the Japanese underground instead of presenting it in the stereotypical Western view of “the Orient” or Japan. Viewers get to see what makes these artists, including Westerners involved in the scene, tick via interviews covering various topics such as the influence of the internet, Western influence, how artists connect in Tokyo, and putting their unique stamp on the music they create.

Music genre-wise, most of the featured bands are of the indie/indie pop variety with a sprinkle of more straight ahead rock, dance, and experimental genres. Even if they may not end up as your new favorite bands, one thing can be said…they are pretty damn interesting.

You could take a trip to Tokyo but would have a hard time witnessing all the different bands and scenery covered here. Live from Tokyo is a beautiful glimpse into the endless well of creativity that Tokyo has to offer. (MVD Visual/Good Charamel Records)

Live From Tokyo Trailer from Lewis Rapkin on Vimeo.

ABSU – Abzu

Posted on by

The term “U.S. black metal” is often mocked in many circles, but one exception to the rule is ABSU. The self-titled album was just the tip of the iceberg for their unique blend of thrash/black metal style, and Abzu will certainly be hailed as one of the top albums of 2011.

Upon pressing play, the immediate high falsetto scream is belted out, and “Earth Ripper” has thrashy elements, choppy black metal riffing, and drum perfection all meshed into one. The disharmonic black metal riffs found in “Circles of the Oath” really accentuate how far and mature the band has come along since their earlier death metal inspired albums. The riffs remind the listener of newer MAYHEM colliding with the acoustic interlude brilliance of DISSECTION. With the acoustic passage segueing into “Abraxas Connexus” and “Skryring in the Spirit Vision,” the continuous thrash spirit is alive and well with these occult masters, highlighted by the drum fills and quick hands of the underrated drum beast known as Proscriptor.

Compared to their previous albums, songs on Abzu are generally shorter, but the closing 14 minute track, “A Song for Ea,” is a spectacle in itself. From a mid paced beginning, changing into a whirlwind of thrash metal haven, the first half of the track forms an aggressive aura. The riffs then slow down, but stay interesting, adding excellent solos to enhance the atmosphere, finally ending with acoustic guitars. Once you think the album is set to a close, an epic and brutal end is brought forth.

Abzu takes many listens to comprehend and fully appreciate all that is offered, as new notes, cymbal crashes are all discovered upon each new listen. Newbie and mainstream black metal listeners won’t “get” ABSU, but for the extreme metal veteran, Abzu is a must buy. (Candlelight Records)