Cavalera Conspiracy‘s new album Psychosis will be released on Friday 17 November 2017.
KLOGR release their third studio album ‘Keystone’ (mixed by Grammy winning producer David Bottrill (Stone Sour, Muse, Rush, Tool and more) on Friday 6 October 2017 via Zeta Factory (distributed in the UK/Europe by PHD).
The artwork is a piece of a painting by renowned Italian artist, Andrea Saltini.
- Gabriele “Rusty” Rustichelli—Vocals/Guitar
- Pietro Quilichini “PQ”—Guitar/Backing Vocals
- Roberto Galli—Bass
- Maicol Morgotti—Drums
- Sleeping through the seasons
- Prison of light
- The echoes of sin
- Pride before the fall
- Something’s in the air
- Drag you back
- Sirens’ song
- Dark tides
- Silent witness
- Enigmatic smile
- The wall of illusion
Keystone is the third album from Italian-American band Klogr (pronounced Kay-logger). A band that I’d never heard of until now, but isn’t that the joy of this project.
Musically, the band sits somewhere between alternative rock and alternative metal. The album is very nicely produced and mixed. It has a warm, full sound that suits the melodic arrangements. The guitars are heavy without sounding harsh.
When you listen to album for the first few listens, if you’re anything like me then you’ll try to reach for comparisons. The album reminds me in part of Stone Sour fused with Freak Kitchen with a little Seven7 thrown in for good measure.
The album opens with what sounds like the start of the Star Trek theme tune, but accompanied by a children’s plinky piano. (“Sleeping through the seasons”, track 1) Then the guitars introduce a chug-chug-chug-chug riff. It’s catchy and melodic.
And so the album continues. “Prison of light” (track 2) features a nice ascending riff; “Technocracy” (track 3) is a fast-paced track with a twisting-turning riff; “The echoes of sin” (track 4) has a Dream Theater vibe to it; “Pride before the fall” (track 5) sounds a bit like a slowed-down “Technocracy”.
For me, the stand-out track is “Something’s in the air” (track 6). It’s a mid-paced, chugging rock track with a beautifully heavy, slide-y riff. I could listen to it all day. It’s heavy, it’s melodic, it’s interesting and varied. Brilliant stuff!
“Drag you back” (track 7) is built around a fluttering riff; “Sirens’ song” (track 8) is a short track that sounds like it was recorded underwater, and leads beautifully into “Dark tides” (track 9) which has an ’80s metal ballad feel to it.
“Silent witness” (track 10) opens with a bass riff that gives way to a complex guitar riff, that changes directions. Every. Few seconds. “Enigmatic smile” probably has the most metal riff on the album but gives way to a melodic rock track.
The album plays out to “The wall of illusion” which probably encompasses everything that Klogr have thrown at us so far in this album.
And then it ends.
To be honest, there is little to criticize the album for. Some of the songs do begin to sound a little bit same-y as you progress through the album, but that would only really become a problem if the songs weren’t great. And these are really good songs. There is more than a little prog influence contained in the tracks on this album, and that is also a good thing. The songs have dynamics, and a shape, that each tell a musical story.
I really like this album. I can see myself returning to it again and again.
What more could you ask for from a piece of music?
Review score: 85%
The new album Emperor of Sand (2017) from Atlanta, Georgia progressive metallers Mastodon is scheduled for release later this week (Friday 31 March).
So far they have released two tracks on Mastodon’s YouTube channel: “Andromeda” (above) and “Sultan’s Curse” (below).
So far, there hasn’t been a Mastodon album that I haven’t loved. So my hopes are up for this being another classic.
Recorded in January 2004 at Trax East. Engineered and mixed by Eric Rachel. Produced by Eric Rachel and Twelve Tribes. Additional engineering by Eric Kvortek. Mastered by Alan Douches at West West Side Music.
- Adam Jackson—Vocals
- Kevin Schindel—Guitar and vocals
- Andrew Corpus—Guitar
- Matt Tackett—Bass
- Shane Shook—Drums
- Post replica
- Baboon music
- Translation of fixes
- Venus complex
- The train bridge
- Godshaped war
- Flight of the pathogen
Twelve Tribes were a metalcore band from Dayton, Ohio. The Rebirth of Tragedy (2004) was their second album, and third release after 2000’s Instruments EP.
Their sound is very much metalcore (metal fused with hardcore punk) with more than a handful of other influences thrown in for good measure, not least of all Rage Against the Machine.
The album opens with “Post repulica” (track 1) a twisting riff that soon opens up to a metalcore shout-fest. This is the thing that I really can’t connect with easily in metalcore: the incessant shouting. But it’s not that I can’t stand shouting in music, it’s this particular style of shouting.
But the riffs are good. “Baboon music” (track 2) has a storming riff: fat and bouncing. But by track 3, “Translation of fixes”, I’m beginning to wonder if Twelve Tribes are simply recycling the same riff again and again.
Track 4, “Venus complex”. Nope: different riff. Plus some exotic scales.
The rest of the album is in a similar vein. Fairly generic metalcore riffs with the kind of screamed vocals that I just don’t connect with. “Godshaped war” (track 8) feels like the mirror reflection of “Venus complex”; Penultimate track “Luma” (track 9) is perhaps the most melodic on the album, and turns out to be my favourite.
With my appreciation of good ole new wave of American heavy metal and hardcore, you would think that metalcore would be right up my street. So would I, but oddly it’s not.
Sadly, then, this album didn’t really resonate with me. Sorry guys, I tried and wanted to enjoy it more than I did.
Review score: 60%
Recorded and mixed by Kurt Ballow at Godcity Studios, Witchcity from 2 to 12 January 2008. Mastered by Alan Douches at Westwestside in New Windsor, NY on 22 January 2008. Released by Level-Plane Records on 15 April 2008.
- Nat Coghlan—Vocals and guitar
- Garrison Nein—Vocals and bass
- Brad Wallace—Guitar
- James Moller—Drums
- Morning sickness
- The price of gasoline
- Brass bones
- Diet of worms
- Pillar of salt
- The ghost hand
- Letter of resignation
- Celluloid rats
This appears to be the one and only release from New Hampshire hardcore/grunge band Transistor Transistor.
New Hampshire, New Hampshire, so good they named it twice.
Having been mostly reviewing symphonic and avant-garde black metal bands for the last few weeks this requires a little change of gear. But having established quite firmly a few months back that it no longer takes me by surprise every time I listen to a hardcore album and discover that I like it, it shouldn’t take a detective to hear that this album gets the thumbs up from me, too.
As well as the usual hardcore elements, there is more than a dollop of Bob Mould-inspired alternative/post-punk rock infused in this particular recipe of high energy, shouty-vocaled hard rock.
A few highlights: The cheeky riff in “Brass bones” (track 3).
- The opening riff from “Diet of worms” (track 4) with its slightly acidic phrasing and the full-on chorus. I could probably listen to that all day, to be honest.
- “Pillar of salt” (track 5) is a pounding, plodding behemoth – like the hardcore equivalent of Metallica’s “Sad but true”.
- The complete change of pace in the dirgeful “The ghost hand” (track 6).
- “Harvest” (track 7). All of it. It is epic, uncomfortable, melancholic, angry, relentless and strangely beautiful.
- “Tertogen” (track 11) is a wonderful closer that draws this collection to a fine conclusion.
There are not many albums that make me smile involuntarily while listening to them on first listen, but this was definitely one. This is inventive, creative, exploratory and downright exciting. It’s not perfect but I fully expect it to grow on me and with me.
Review score: 96%
Recorded 11 to 20 May 2008 by Jack Endino at the Soundhouse, Seattle, WA. Released on Relapse Records.
- Joel Grind—Vocals, guitar and bass
- Donny Paycheck—Drums
- Wild dogs
- Nuke the cross
- Endless armageddon
- Future shock
- War game
- In the name of science
- March from hell
- War is hell
- The lord of the wasteland
- Feedback, blood, and distortion
- Death from above
- City of a million graves
And the award for metal band logo that looks most like some kind of geometric shape jigsaw goes to… Toxic Holocaust, multi-instrumentalist Joel Grind’s speed/thrash/black metal outfit.
This is one of those albums that when I heard the first song my heart sank a little. Opening track “Wild dogs” isn’t entirely representative of the whole album. It has a bit of a raw, punk feel which contorts about halfway through into a fairly palatable early thrash-style riff.
But the rest of the album improves greatly. It has quite an old school thrash vibe to it, in the same way that Evile does. The more the album progressed the more I really began to get into it… riff after riff, twist after twist, classic 80s-style thrash with modern production.
If anything, in opinion this album could have done with a little editing, fewer tracks perhaps, to deliver a more consistent and focused album. As it is, it’s a pretty decent thrash album.
Review score: 88%
Recorded in late 2001 at Magnetic North Studios in Cleveland, OH; except “Unfulfilled prophecy” (track 8) recorded live on 16 November 2000 on WRUW 91.1 GM (with bassists Lou Spencer). Engineered and mastered by Christopher S Keffer. Produced and mixed by Christopher S Keffer and Somnus.
- Scott Hilberg—Vocals, guitar
- Dennis M Downey, Jr—lead guitar
- Steve Rolf—Bass
- Rhiannon—Keyboards and vocals
- Chris Stolle—Percussion
- The gate of wolves
- Warlock’s feast
- Dawn of spirits
- Tribunal of woe
- The deceiver
- Lament for winter’s passing
- Creation’s end
- Unfulfilled prophecy (live)
Somnus were a gothic black metal band from Cleveland, Ohio, USA, formed in 1996 they played their last show in 2003, two years after the release of this their second album.
In true gothic metal style Somnus’s sound on this album is a blend of heavy guitars, over a pad of orchestral- or organ-sounding keyboards, melodic leads, and a fusion of growling male vocals with floating and fragile female vocals. Think: Cradle of Filth and you’re about 90% of the way there.
The album opens with “The gate of wolves” (track 1), a song that begins with a deep, growl that is joined by drums and guitars and a moment later keyboards. Every time I hear it I imagine the keyboards running up behind, a little late, “Wait for me! Wait for me!”
As the album progresses, I think it gets better. It gets a little more dramatic, a little more progressive, it pulls in elements of folk and pagan metal. But it’s by no means perfect.
“Tribunal of woe” (track 4) is, I think, one of the weakest tracks on the album: the keyboard voice sounds cheap, the drums are a bit of a mess. A couple of tracks on, though, “Lament for winter’s passing” (track 6) has a nice acoustic intro, and while the spoken vocal does sound a little cheesy, it’s quite a listenable, sorrowful song.
The closing, title track has a slow keyboard intro. Growling, spoken vocals begin the narration of the end of creation, “As I walk the path through eternity / Where the stars no longer reign / Fire glows on the horizon / With a trio of moons overhead”. For all its drama, and atmosphere I can’t help but think that this is Somnus’s “Stonehenge” (Spin̈al Tap). I still quite enjoyed it though.
Overall, not a bad album. One reviewer gave it 87% over on Encyclopedia Metallum. I can’t be that generous. Gothic black metal isn’t really my scene, although I do have a fond spot for early Paradise Lost.
Review score: 55%