Album Review – Motograter / Desolation (2017)

Get “motograted” by the thrilling fusion of Alternative Metal and Hard Rock blasted by this tenacious American outfit.

Do you know what a “motograter” is? If you’re familiar with the fusion of Alternative Metal, Heavy Metal and Hard Rock crafted by a relentless American squad known as Motograter, you already known that the “motograter” is a homemade musical instrument designed with industrial cable and guitar pieces that creates a unique bass sound, and by that you can imagine how thunderous their music sounds. Formed in 1995 in Santa Barbara, California, United States, the band (which by the way displays a tribal style body paint for their live concerts) has suffered considerable lineup changes and a few split-ups since their inception, but that didn’t stop the band from keeping on rocking, being reunited once again a few years ago and releasing this year their second full-length album after their 2003 debut self-titled release (featuring Ivan Moody from Five Finger Death Punch on vocals), the hard and heavy Desolation, now with James Legion (Deadform, The Breathing Process) on the vocal duties.

As aforementioned, the reinvigorated Motograter, comprised of the talented James Legion on vocals, Matthew “Nuke” Nunes and Jesse Stamper on guitars, Mylon Guy on bass, Noah “Shark” Robertson on drums and Dustin “Skunk” Anderson on the motograter, will hit you in the face with a feast of alternative and metallic sounds found in their new album, with the artwork designed by Mister-Sam Shearon (who has already worked with renowned bands such as Iron Maiden, Ministry, Rob Zombie and Rammstein, among several others, and also created covers for comic books and graphic novels including Clive Barker’s Hellraiser, Judge Dredd and The X-Files) effectively representing the energy and aggressiveness you’ll find throughout the entire album. With that said, are you ready to be “motograted” by this insane metal tribe?

You’ll experience modernity and electricity flowing from the very first second of the opening track Parasite, where Mylon, Noah and Dustin provide their welcome card in the form of thunderous and vibrant background sounds, giving all the necessary support for James to thrive with his vocals in an awesome blend of Hard Rock with Alternative and Nu Metal. Gripping guitar lines kick off another born-to-be-a-hit composition by Motograter, titled Dorian, with Matthew and Jesse slashing our ears with their riffs while Noah keeps the musicality as heavy as it can be with his pounding drums, not to mention the song’s completely addictive chorus that won’t leave your head for a few weeks; and their galvanized, rumbling sounds continue to permeate the atmosphere in Victim, another great sample of their contemporary Alternative Metal led by the ominous vocals by James.

In the excellent Paragon it becomes clear that those American metallers will never get tired of piercing our brains with their rumbling tones and roars, with the motograter going along really well with the song’s guitar riffs and the potent voice by James, being perfect for banging our heads nonstop together with the band due to its modern and thrilling rhythm. Slowing down a bit and sounding less metallic, Bleeding Through is a semi-ballad by this skillful sextet recommended for some radio play, albeit not as dynamic and fun as the rest of the album, followed by Misanthropical, which despite feeling like it’s going to be another ballad, it slowly morphs into an obscure metal chant with the motograter shaking the foundations of the earth, while the infernal duo Noah and Mylon continue to set fire to the music, and with the song’s guttural vocals adding some good amount of fury to the overall result. Daggers keeps the album at a great level of intricacy and stamina in an interesting mix of what’s almost a dark ballad with the heavier sounds of Alternative Metal, with Mathew and Jesse being fantastic on guitars, delivering both smoother and more electrified riffs during the whole song.

The last part of the album begins with Portrait of Decay, a hybrid of the more visceral music by Slipknot with the melody found in bands such as Alter Bridge, therefore becoming another strong candidate to become a radio favorite due to its catchy pace and vocals. Locust sounds and feels more aggressive than most of the album’s previous tracks, with Noah smashing his drums flawlessly while Mylon and Dustin make sure the music remains vibrant at all times (and let’s not forget about its harsh growls, one of the main ingredients that make this tune so amazing). Rise (There Will Be Blood), the second to last tune in Desolation, is one of those songs to jump up and down with the band during their live performances, bringing elements of more alternative bands like Linkin Park to their already potent sonority, followed by Shadows, a decent dark ballad that’s slightly below what Motograter can offer us despite the great job done by James on vocals. It’s still very enjoyable, though, especially if you’re into modern metal ballads.

In case you feel you’re more than ready to be “motograted” by Motograter, simply follow them on Facebook and listen to their music on YouTube or on Spotify. And if Desolation brings forward all you enjoy in modern metal music, you can buy your copy at the EMP Label Group webstore as a regular CD or as a CD + t-shirt bundle, as well as on iTunes, on Amazon or at Discogs. Not only Desolation has all elements needed to be a must-have album for admirers of contemporary Alternative Metal, but above all it will definitely help Motograter in solidifying their path in heavy music, and let’s hope the band’s lineup is finally stabilized once and for all and that they keep delivering high-end albums like this one for many years to come.

Best moments of the album: Parasite, Dorian, Paragon and Locust.

Worst moments of the album: Bleeding Through and Shadows.

Released in 2017 EMP Label Group

Track listing
1. Parasite 3:46
2. Dorian 3:46
3. Victim 3:30
4. Paragon 4:03
5. Bleeding Through 3:28
6. Misanthropical 3:41
7. Daggers 4:21
8. Portrait of Decay 3:35
9. Locust 3:42
10. Rise (There Will Be Blood) 3:40
11. Shadows 3:18

Band members
James Legion – vocals
Matthew “Nuke” Nunes – guitar
Jesse Stamper – guitar
Mylon Guy – bass
Noah “Shark” Robertson – drums
Dustin “Skunk” Anderson – motograter

Guest musicians
Aleksi Oksa – samples
Justin Fowler, Ahrue Luster & Jon Berrier – additional samples

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Album Review – Rapheumets Well / Enders Door (2017)

Enjoy the third and final installment of the saga of the Atai in the form of a thirteen-song Sci-Fi opera of Symphonic and Progressive Black Metal.

After the releases of the first and second parts of a trilogy about the complex saga of the Atai (ancient architects), who aid in the propagation of sentient life throughout the multi-verse, those being the full length albums Dimensions, from 2014, and The Exile, from 2016, American Symphonic/Progressive Black Metal warriors Rapheumets Well return now in 2017 with the third and final installment of this musical saga, Enders Door, a thirteen-song science fantasy opera in the form of Symphonic Metal. Although this relentless North Carolina-based squad suffered a few lineup changes from their previous release, such as the departure of lead singer Tripp King (being replaced by the insanely talented growler Jeb Laird), their music remains bold, visceral and ominous, perfect to give a climatic ending to such compelling story.

And do you want to know what happens in Enders Door while the entire band is kicking some serious ass with their flammable instruments? Well, this is what Rapheumets Well will tell you: in the fifth era of the Avomenian Empire, amidst the planetary ruins of Vaath, a rogue traveler would discover an artifact that would forever change his place in the cosmos. Upon arriving to retrieve the artifact, it became apparent that Eryos’ brother Nathyiem would never make it to their arranged meeting point.  In departing from the planet Vaath, Eryos received a distress signal from his brother’s ship, coming from an uncharted planet.  Upon arriving, he found an odd world inhabited by a mysterious species called the Dreth led by lecherous matriarch named Eishar.  It is here that he would uncover a faced-door, an inter-dimensional gateway to the Ender.

In the opening track, titled The Traveler, we face an eerie, cinematic start to the album, transporting us to the world of Rapheumets Well by blending the finesse of keyboards and choir with devastating blast beats, before Jeb begins growling like a beast; followed by Distress on the Aberrant Planet, where the brutality led by the band’s mastermind Joshua “Nasaru” Ward on drums is effectively complemented by the keyboards by Annette Greene, while guitarists Brett Lee and Hunter Ross make sure they add the world “metal” to the music. The Autogenous Extinction offers the listener more demolishing, ominous sounds crafted by this unstoppable band, resulting in high-end Symphonic Black Metal with hints of Blackened Death Metal for admirers of the music by Dimmu Borgir and Behemoth, with Annette bringing balance to the sonic havoc with her smooth vocals. And in Secrets of the Demigods we’re treated to another great “duel” between Annette and Joshua, a true clash of delicate vocals and bestial beats, all embraced by a dark and dense background enhanced by classic guitar riffs and solos.

Then we have one of the longest and most complex of all tracks, Lechery Brought the Darkness, with its semi-acoustic intro suddenly exploding into sheer Symphonic Black Metal, with the paradox of voices between Annette with her angelic vocals and Jeb with his rabid gnarls sounding incredible from start to finish; and the title-track Enders Door, a fantastic tune showcasing a phantasmagorical background, extreme violence flowing form Joshua’s drums, and crushing guitar lines by both Brett and Hunter, perfectly depicting the traveler’s quest in the form of top-tier metal. In Prisoner of the Rift, they keep a menacing aura upon us with a fusion of Symphonic Metal with acoustic and even folk elements, creating a unique sonority led by the gentle voice of Annette, whereas The Diminished Strategist kicks off in full force, being an amazing representation of modern and intense Black Metal. Furthermore, the song’s keyboards sound mesmerizing when combined with the clean vocals by both Annette and Joshua, with the huge amount of progressiveness added to the music amidst all the sonic chaos going on resulting in an eccentric music voyage.

Nastarian Waltz works as a whimsical bridge to the imposing and epic Ghost Walkers Exodus, where Joshua continues to impress on drums with his nonstop beats and fills in a flawless combination of progressiveness, symphonic elements and the most devastating form of Black Metal. Put differently, this song alone sounds so complete it is already worth the investment on the album. On the other hand, Killing the Colossus, despite being another solid creation by Rapheumets Well, is not as gripping as the other songs of the album. Its guitars and keyboards in a dark sync help boost the song’s taste though, not to mention the obscure vociferations by Jeb. Lastly, after a piano-guided atmospheric bridge titled Eishar’s Lament, it’s time for the closing track of the album, the sinister Unveiling the Sapient, with Joshua once again pulverizing everything and everyone with his drums while Brett and Hunter deliver some Technical Death Metal-inspired guitar lines and solos, culminating in a sensational conclusion for this awesome Sci-Fi story.

What are you waiting for to dive into the metallic world of Rapheumets Well? You can buy your copy of Enders Door at the Test Your Metal Records’ BandCamp or Big Cartel, as well as on iTunes or Amazon, and remember you can also get online the first two installments of this heavy and gripping trilogy, such as HERE and HERE. I honestly don’t know what’s next for Rapheumets Well, if they’ll start a new trilogy with a whole different story, if they’ll release a regular album, or maybe even release a prequel to this existing trilogy. One thing is certain: no matter what their next step is, we can rest assured Joshua and his bandmates will certainly blow our minds once again with their multi-layered metal music.

Best moments of the album: Distress on the Aberrant Planet, Enders Door and Ghost Walkers Exodus.

Worst moments of the album: Killing the Colossus.

Released in 2017 Test Your Metal Records

Track listing
1. The Traveler 4:39
2. Distress on the Aberrant Planet 3:57
3. The Autogenous Extinction 4:45
4. Secrets of the Demigods 4:40
5. Lechery Brought the Darkness 6:39
6. Enders Door 6:35
7. Prisoner of the Rift 2:58
8. The Diminished Strategist 5:36
9. Nastarian Waltz 1:13
10. Ghost Walkers Exodus 5:41
11. Killing the Colossus 5:58
12. Eishar’s Lament 1:18
13. Unveiling the Sapient 7:21

Band members
Jeb Laird – lead vocals
Annette Greene – clean vocals, keyboards
Brett Lee – guitar
Hunter Ross – guitar
Joshua “Nasaru” Ward – drums, clean vocals

Album Review – Trivium / The Sin and the Sentence (2017)

Fast and intricate riffs, poetic lyrics, a sensational new drummer and, above all, the return of Matt’s trademark screams. That’s the formula for best metal album of the year.

Finally, after two somewhat controversial albums (the technically excellent but not unanimous Vengeance Falls, from 2013, and the extremely tiresome Silence In The Snow, from 2015), Orlando-based Heavy Metal fighters Trivium are back on track with what’s probably going to be the best metal album for most critics and fans worldwide, the sharp, dynamic and vibrant The Sin and the Sentence. This amazing release (the eight studio album in their solid career) features everything you learned to love in the music by Trivium, such as fast and intricate riffs, poetic lyrics and, above all, the return of the band’s mastermind Matt Heafy’s screaming vocals, by far the most important element that makes The Sin and the Sentence a million light-years better than Silence In The Snow.

Not only Matt’s enraged growls are back, but it seems that the band has at long last found the perfect drummer for their music, the talented Alex Bent (Battlecross, Brain Drill, Dragonlord), who replaced drummer Paul Wandtke, and as soon as you hit play you’ll be able to clearly see the humongous difference Alex makes to their sound. In addition, another interesting thing in The Sin and the Sentence is that the album wasn’t going to be called this way if it wasn’t for the cover art and design done by Matt’s wife, Ashley Heafy, with whom he’s married since January 2010. In a recent interview, Matt stated that the working title for the album was The Revanchist and that the album was going to have gold and neon colors; however, those plans were changed once Ashley presented the band with symbols for each accompanying song, and from there The Sin and the Sentence was born.

The opening track, The Sin and the Sentence, kicks off in full force, with newcomer Alex showing us all the wonders a high-skilled drummer can do to a band. This born-to-be-a-classic tune is extremely addictive and as heavy as hell, with an inspired (and recovered) Matt simply kicking fuckin’ ass on vocals; and it seems that no matter how their music sounds, Matt & Co. definitely know how to craft beautiful lyrics (“I saw the dagger eyes staring back at me / I knew I’d never have a chance to bleed / Guilty, but in the sight of fallen men / They bury you before you speak / (The sin and the sentence)”). Then blending Death, Groove, Progressive and even Black Metal in an aggressive but very melodic manner, Beyond Oblivion, a technical tune that lives up to the band’s legacy, showcases fun, uprising backing vocals in sync with the rumbling sound of the bass by Paolo Gregoletto, not to mention their once again hypnotizing lyrics (“These shadows sleep so soundly / Appalled, he now averts his eyes / Disgraced, he felt so empty / Entrusting us with our demise”). And Other Worlds feels closer to what they did in the albums In Waves and Silence in the Snow by focusing on the clean vocals by Matt, while Corey Beaulieu and Matt deliver sharp and very harmonious guitar lines and solos, presenting hints of modern Hard Rock in its rhythm.

The second single of the album, The Heart from Your Hate, is another great example of how Trivium can adapt from being a truly heavy machine to a more radio-friendly band, presenting a catchy chorus that goes along really well with the song’s main riff; whereas Betrayer can be considered the most visceral and electrifying of all tracks in the album, a full-bodied, intricate composition that brings several elements from the band’s first (and more ferocious) albums. Furthermore, do you also think the guitars sound a lot like the classic riffage by Black Metal titans Emperor, one of Matt’s favorite bands of all time? Anyway, in The Wretchedness Inside, a song to bang your head like a maniac, Paolo sounds thunderous on bass, with the song’s overall rhythm reminding me of the most recent albums by Slipknot mixed with Trivium’s In Waves sounding. And, as usual, Matt provides us another blast of top-notch lyrics (“Submerged in dirt but it was never enough / To quell the fire in the back of my lungs / My bones are aching and my head is a mess / They said to run but I’m obsessed with the madness”). As a side note, this song was actually taken from a demo Matt ghostwrote for a different band in 2014; the song was never used though, so Trivium simply re-recorded it for The Sin and the Sentence. The following track, titled Endless Night, feels like some songs from Vengeance Falls, again with a higher focus on Matt’s clean vocals, also bringing hints of Hard Rock to their heavy sonority. Moreover, the sound of bass guitar, which by the way is simply fantastic the whole album, ends up boosting the impact of this specific tune considerably.

Sever the Hand is a first-class composition that can be divided in two distinct pieces, the first presenting a more melodic, smoother musicality, while the second brings all Trivium’s fury, in special the precise beats by Alex, the demonic riffage by Matt and Corey, and Matt’s sick growling. More obscure but still heavy and metallic, Beauty in the Sorrow displays gripping guitars by Matt and Corey (as well as one of the best guitar solos of the whole album), again bringing hints of traditional Black Metal in its riffs; whereas The Revanchist, one of Trivium’s most progressive songs of their past few albums and the longest in The Sin and the Sentence, brings forward powerful, metallic bass lines that will punch you in the head while Matt tells the story in a solid and entertaining manner, not to mention how Alex yet again steals the spotlight with his bestial, rhythmic drumming. Lastly, Thrown into the Fire is a song that showcases all elements from most of Trivium’s phases, not to mention how superb Matt’s screams sound. With the insane beats by Alex dictating the song’s rhythm, the final result is furious and harmonious just the way we love it, ending this awesome album in a brutal, vile and piercing way.

After listening to The Sin and the Sentence, do you also agree with me it will most probably be the best metal album of 2017? Let’s face it, there are tons of amazing albums launched this year, like the new ones from Kreator, Mastodon and Accept, but the new installment by Trivium is by far the most complete, creative and exciting of all (at least for me). Well, even if you think another album (or maybe albums) is better than The Sin and the Sentence, it’s still worth the investment, so go grab your favorite version of it at the Warner Music webstore, and don’t miss Matt & Co. when they take your city by storm in the coming months. And, obviously, let’s hope the band keeps the momentum going for years to come in the same awesome vein as they just delivered us all with The Sin and the Sentence.

Best moments of the album: The Sin and the Sentence, Betrayer, Sever the Hand and Thrown into the Fire.

Worst moments of the album: None.

Released in 2017 Roadrunner Records

Track listing
1. The Sin and the Sentence 6:23
2. Beyond Oblivion 5:17
3. Other Worlds 4:50
4. The Heart from Your Hate 4:04
5. Betrayer 5:27
6. The Wretchedness Inside 5:32
7. Endless Night 3:38
8. Sever the Hand 5:26
9. Beauty in the Sorrow 4:31
10. The Revanchist 7:17
11. Thrown into the Fire 5:29

Japanese Edition bonus track
12. Pillars of Serpents ’17 (re-recorded version) 5:03

Band members
Matt Heafy – lead vocals, guitar
Corey Beaulieu – guitar, backing vocals
Paolo Gregoletto – bass guitar, backing vocals
Alex Bent – drums, percussion

Album Review – Coldfells / Coldfells (2017)

Feel the beauty and desolation of the Appalachian landscapes through the Blackened Doom by a talented American power trio with their debut album, a perfect soundtrack to journeys outside frozen windows and within frozen souls.

“Visions of deep desire lay dormant, broken into fragments by an icy stare from the haggard, furrowed brow of nature – its cruel intent, to taunt the soul with beauty always out of reach, that disappears like mist with time…”

Hailing from Martins Ferry, a city in Belmont County, Ohio, United States, on the Ohio River, the extremely talented American Blackened Doom power trio Coldfells has just unleashed their debut full-length self-titled album upon us, bringing the aura of the band’s Appalachian surroundings as the album’s core essence. According to Coldfells themselves, the sonic purpose of the album is “to see the winter Appalachian landscapes we grew up around, the dead trees, grey skies, run-down mill towns, but, besides everything being desolate, it’s still beautiful.” And the trio comprised of Aaron Carey on vocals and additional guitars, Jonny Doyle on guitars, and Andrew D’Cagna on bass, drums and backing vocals definitely succeeded in providing with the music found in Coldfells a perfect soundtrack to journeys outside frozen windows and within frozen souls in a winter night of introspection.

Creepy, obscure keys ignite a 10-minute darkened feast of Doom Metal named The Rope, spearheaded by the sharp, slow-paced drumming by Andrew while Aaron fires his raspy gnarls tailored for the music and atmosphere created. This song brings a beautiful and melancholic musicality with a precise balance between clean and harsh vocals, or in other words, a very detailed composition recommended for fans of dark and smooth music with a piercing sonority, with its last part flirting with traditional Black Metal. With a melancholic start just like the opening track, The Sea Inside explodes into gripping Melodic Black Metal with highlights to the deep growls by Aaron and the mesmerizing riffs by Jonny, sounding atmospheric and doomed at all times and, consequently, providing amazing Blackened Doom for admirers of the genre. In Time Shall Be Forgotten, the shortest of all songs, is devastating from the very first second, with Andrew demolishing his drum set while Jonny fires sheer darkness through his strings. In addition, the song contains elements from the music by Paradise Lost, My Dying Bride and other darkened bands, which ends up making it as menacing and lugubrious as hell.

All Night We Flew offers the listener sluggish and devilish Blackened Doom, with Aaron and Andrew adding tons of malignancy and darkness to the music with their anguished growls and steady, pounding beats. Once again, harsh and clean vocals complement each other in a fantastic manner, not to mention its magnificent main riff. Hence, while listening to this full-bodied hymn, simply bang your fuckin’ head nonstop until you feel that excruciating pain inside your head. And the last explosion of atmospheric Doom Metal by Coldfells, titled Eons Pass, sounds very stylish and harmonious, with the clean voice by Andrew bringing hope to our ears while Aaron reminds us all life is dark and dammed. Furthermore, the trio wants to drag us to a dark and cold side of life with the song’s mournful rhythm, and after a melancholic break the band returns in full force for one final breath of their Blackened Doom led by the blast beats by Andrew, until the song’s hellish conclusion.

In a nutshell, if what Coldfells wanted us all to feel while listening to their music was the beauty and desolation of the Appalachian landscapes, as aforementioned, they more than triumphed with each one of the five tracks of the album, which by the way can be enjoyed in its entirety on Spotify. And if you want to purchase Coldfells, the album is available at the band’s own BandCamp page, as well as on CD Baby and on Amazon. Actually, there’s a special edition of the album that’s already sold out at the Eihwaz Recordings’ webstore, which includes the two songs from their 2014 demo Black Breath as bonus tracks, but if I were you I would keep an eye on that just in case they print more copies of it.

Best moments of the album: The Rope and All Night We Flew.

Worst moments of the album: None.

Released in 2017 Bindrune Recordings/Eihwaz Recordings

Track listing
1. The Rope 10:26
2. The Sea Inside 8:18
3. In Time Shall Be Forgotten 5:36
4. All Night We Flew 8:28
5. Eons Pass 7:51

Eihwaz Recordings Black Breath Demo 2014 (Disc 2) bonus tracks
1. Dungeons Deep 8:32
2. On Carven Throne 8:17

Band members
Aaron Carey – vocals, additional guitars
Jonny Doyle – guitars
Andrew D’Cagna – bass, drums, backing vocals

Album Review – Body Count / Bloodlust (2017)

Controversy, acidity and hatred are just some of the main ingredients in one of the heaviest and most complete albums in the career of the bloodthirsty Ice-T, Ernie C and Co.

We as human beings all got a deranged sickness deeply rooted inside our minds, a will to kill for sport and for revenge, an inner desire to make the ones who disagree with us or who hurt us suffer in pain, and that’s exactly what the iconic Ice-T and his henchmen, collectively known as American Thrash/Groove Metal band Body Count, have to offer us in their new installment, the excellent Bloodlust. Since their inception in 1990 in Los Angeles, the band has been delivering a high quality hybrid of Groove Metal and Hip Hop, but in Bloodlust they managed to increase the heaviness of their compositions significantly, resulting in what can be considered their most metal album of all time.

Not only Bloodlust is the sixth studio album in their solid career, but the controversy, acidity and hatred flowing from each one of the album’s 11 tracks puts it almost side by side with their cult self-titled debut album, from 1992. That only shows how passionate Ice-T and the other are about heavy music, always playing it with a lot of energy, trying to send a clear message to their fans and showing the bitter truth of the lives of the less fortunate people in the United States and all over the world. Besides, when you have guest musicians the likes of Dave Mustaine (Megadeth), Randy Blythe (Lamb of God) and Max Cavalera (Soulfly, Sepultura), you know the music will hit you in the face like an uncontrolled bulldozer.

Loud sirens and the more-than-special guest Mr. Dave Mustaine himself declare martial law, before Body Count begin delivering sheer heaviness, chaos and groove in the opening track, the awesome Civil War, with Ice-T having a fantastic performance with his hostile rap-like vocals, resulting in one of their darkest compositions to date; and keep banging your head to the always boisterous riffs by Ernie C and Juan of the Dead while Ill Will smashes his drums mercilessly in this Groove Metal anthem The Ski Mask Way. Needless to say, the song’s lyrics are as aggressive as hell (“I’m in your rear view, when you leave the club / How cold could I be, you look like food to me / All on instagram, showin’ that cash off / What you really hope, is I don’t take this mask off don’t make me punish you don’t want to hurt your wife / Come up off that watch, it ain’t worth your life / I gotta crew of wolves, life has no meaning / We roll late night and hunt human beings”). Slowing the pace down a bit and increasing the groove considerably, This Is Why We Ride is a song where Ice-T is nicely supported by the excellent job done by Vincent Price on bass and Ill Will on drums, not to mention that the sounds of the shots and the sirens of the cops together with the insane heaviness blasted by the band will crack your neck mercilessly.

If you’re already feeling that pain in your neck after such intense headbanging music, All Love Is Lost will terminate it for good. Featuring the unparalleled growls by guest Max Cavalera, the vocals in this song burst with acidity while the instrumental pieces are a work of anger. Moreover, Ernie C and Juan sound like two serial killers slitting throats with their bestial riffs. Then the band offers us a fantastic version of two all-time classics by Slayer, Raining In Blood / Postmortem 2017, with Ice-T kicking ass on “Raining Blood” while Vincent Price takes care of the vocal duties on “Postmortem”. Furthermore, the intro to the song is already a lot of fun, with Ice-T explaining the origins of Body Count saying he wanted to have a Heavy Metal and Hip-Hop band by blending the music by Black Sabbath, Suicidal Tendencies and, of course, Slayer. God, Please Believe Me works as a poetic bridge by Ice-T and his crew to the fulminating Walk With Me…, one of my favorite songs of the album where guest singer Randy Blythe vociferates like a beast, while Ill Will sounds insane on drums and Ice-T is just as rabid as Randy. This is a flawless hybrid of Thrash, Groove and Rap Metal, showcasing even hints of Death Metal, perfect for stage diving, mosh pitting and sick headbanging due to its beyond brutal rhythm.

Here I Go Again, a re-recording of a demo track from Ice T’s Return of the Real sessions, brings a somber ambience with Ice-T delivering some darker-than-usual vocals, with its instrumental being pretty solid which results in an effective support to the craziness flowing from the song’s lyrics and the demented screams in the background. Then we have the controversial No Lives Matter, another high-end explosion of Groove Metal by Body Count which blends their heavy music with an austere discussion about the issues surrounding the “Black Lives Matter” initiative. Put differently, it’s an extremely politicized tune with insane bass lines by Vincent and a great performance by Sean E Sean with his samplers, paving the track for the title-track Bloodlust, a song about our attraction for death and brutality, about the inner desire of mankind for killing, portraying it as a sickness inside our hearts and minds. While Ernie C and Juan fire fierce and melodious riffs, Ill Will continues his technical and groovy attack on drums, showing how amazing this song will sound when played live.

And if you think Ice-T and his henchmen would give you a break from all their sonic havoc, they come crushing one last time with the best song of the album as their closing act, the flammable Black Hoodie, an amalgamation of their past, present and future where poetry and violence are powerfully united (“Got on a black hoodie, its hood up on my head / I didn’t have a gun so why am I dead / You didn’t have to shoot me and that’s a known fact / And now I’m laying face down with bullets in my back”), with all instruments exhaling metallic and belligerent sounds while Ice-T keeps rapping nonstop.

It deosn’t matter if you are a metalhead that’s not very fond of rap or a rapper that doesn’t get too excited to the sound of a heavy riff, when you have an album like Bloodlust (which by the way you can find in different bundles at the Control Industry webstore) on your hands it’s almost mandatory that you start banging your head to Body Count, acknowledging they are indeed the biggest exponent in the history of Rap Metal and one of the most fun acts from the 90’s that’s still alive and kicking without sounding Jurassic. And I’m pretty sure the counting of bodies done by Ice-T, Ernie C and Co. is far from being over.

Best moments of the album: Civil War, Walk With Me…, Bloodlust and Black Hoodie.

Worst moments of the album: None.

Released in 2017 Century Media

Track listing   
1. Civil War (feat. Dave Mustaine) 4:23
2. The Ski Mask Way 3:36
3. This Is Why We Ride 5:26
4. All Love Is Lost (feat. Max Cavalera) 3:36
5. Raining In Blood / Postmortem 2017 (Slayer cover) 4:31
6. God, Please Believe Me 1:23
7. Walk With Me… (feat. Randy Blythe) 3:07
8. Here I Go Again 3:32
9. No Lives Matter 4:23
10. Bloodlust 3:34
11. Black Hoodie 3:29

Band members
Ice-T – vocals
Ernie C – lead guitar, backing vocals
Juan of the Dead – rhythm guitar, backing vocals
Vincent Price – bass, backing vocals, lead vocals on “Postmortem”
Ill Will – drums
Sean E Sean – sampler, backing vocals
Little Ice – backing vocals

Guest musicians
Dave Mustaine – spoken word and lead guitar on “Civil War”
Max Cavalera – additional vocals on “All Love Is Lost”
Randy Blythe – additional vocals on “Walk With Me…”

Album Review – Virulent Depravity / Fruit of the Poisoned Tree (2017)

Technical Death Metal cannot get more intense, complex and devastating than what Tennessee-based guitarist, bassist and vocalist Colin Butler and his henchmen have to offer in their debut full-length album.

If you’re an admirer of the most technical form of Death Metal, you’ll be excited to know that Virulent Depravity, the brainchild of Nashville, Tennessee-based guitarist, bassist and vocalist Colin Butler, have just released their debut full-length album, a lesson in dexterity and devastation named Fruit of the Poisoned Tree, and that the final result goes beyond the boundaries of awesomeness. Featuring a classic artwork by American designer Justin Abraham (Apotheosys, A Loathing Requiem, Engulfed in Blackness), the album will appeal to fans of Spawn Of Possession, First Fragment, Archspire, Origin, Necrophagist, Deeds of Flesh, Decrepit Birth and tons of other Death Metal acts who unite the words “finesse” and “ravage” in the most electrifying and precise way imaginable.

Formed In 2015, Virulent Depravity might be a new name to many in the world of Death Metal, but its band members are far from being rookies in the fields of extreme music. The impressive musical abilities by Colin attracted the attention of well-known guitarist Malcolm Pugh (Inferi, A Loathing Requiem), who joined the band in 2016 on rhythm guitar and additional solos. Furthermore, the line-up is rounded out by Svart Crown drummer Kévin Paradis, whose incredible playing is the perfect foil to Colin and Malcolm’s dazzling performances, resulting in additional layers of complexity, speed and energy added to the already flammable music by Virulent Depravity, as you’ll be able to thoroughly enjoy in Fruit of the Poisoned Tree due to the album’s fantastic mixing and production.

Colin and Malcolm begin their technical shredding attack in the brutish but still very harmonious Serpentine Messiah, a perfect sample of modern Technical Death Metal where the beastly Kévin provides intricate beats and fills that complement all guitar and bass lines flawlessly, not to mention the sick guitar solo by guest musician Mark Hawkins. After such amazing start, how about a modernized and more metallic version of Cannibal Corpse, titled Spineless Obedience, a demolishing anthem tailored for slamming into the pit? The violent and fast growls by Colin effectively follow the song’s frantic riffs and beats, and once again it’s impressive how demented Kévin sounds with his beats. And their insanity in the form of extreme music goes on with another belligerent creation named Your Demise, where Colin and his bandmates deliver a precise fusion of fury and complexity, sounding more demonic than ever.

Blasting sheer violence through their riffs and solos, Colin and Malcolm have an outstanding performance in Desecrating Eden, while Kévin continues his maniacal onrush behind his drums (not to mention the song’s beyond technical ending), followed by the title-track Fruit of the Poisoned Tree, which not only maintains the intricacy at an absurdly high level, but it brings even more aggressiveness due to the amazing job done by Colin with his deranged gnarls and Kévin with his sick drumming. Put differently, no one can survive such apocalyptic tornado of Technical Death Metal. And guess what? In the next tune, named Bad Drug, they don’t waste a single second with intros or other shenanigans, firing pure Death Metal played to perfection, with its visceral lyrics complementing the song’s already vile musicality (“You’re so sick / You’re infecting the weak / You’re making excuses for all your mistakes / You waste of skin / You remind us all / No matter how high we become / We crash to the ground / You’ve had the devil inside you / You’ve been carrying scars for most of your life / Until finally you found a way to push it down”), also featuring an awesome guitar solo by guest musician Nick Padovani.

Colin definitely knows how to canalize all his hatred and wrath into his unstoppable growling as we can witness in Beyond the Point of No Return, an uproarious chant with progressive elements added to its musicality, in special to its extremely elaborate bass lines and vicious drumming. Then we have Only Human, where we face a calmer intro not seen in any of the previous songs. Although it takes a while for the music to take off, it fairly succeeds in keeping the album at a high level of violence; however, it doesn’t sound as exciting as all previous songs, even with its interesting progressive break and the great guitar oslo by guest musician Craig Peters. Back to a more demonic and rabid mode, Colin once again leads his horde growling like a beast in Mechanized Defilement, while Kévin adds so much intricacy to the musicality with his beats and fills it’s hard to explain in words. The song also features another kick-ass solo by another guest guitarist, this time Elijah Whitehead, resulting in a song that is excellent for some sick headbanging, slamming into the pit or simply enjoying its complex lines. Lastly, in Crushed by Futuristic Filth, we’re treated to a short atmospheric intro before all hell breaks loose in a majestic display of extreme music featuring absolutely mighty lyrics (“Sitting atop my throne of flesh and bone / My power is absolute / My subjects are waiting idly / Their silence is deafening / Embalmed in trash and kerosene / At once triumphant and disgusting”), obscure Latin chants by guest vocalist Nathan “Sounds” Bounds, a soulful guitar solo by guest musician Sims Cashion, a moody Jazz-ish break thanks to the keys by Jimmy Pitts, and a wonderful climatic ending on the piano also provided by Jimmy.

Why don’t you go to YouTube and take a very good listen at Fruit of the Poisoned Tree in its entirety? I’m sure you’ll get stunned by the precision with which Colin, Malcolm and Kévin blend melodious lines with total chaos. Then simply go to Facebook to start following such amazing band, and purchase the album at their BandCamp page, at The Artisan Era Records’ BandCamp or webstore (where you can choose between the regular CD or the special CD + T-shirt combo), on iTunes or on Amazon. Trust me, Technical Death Metal cannot get more complete and intense than this.

Best moments of the album: Serpentine Messiah, Fruit of the Poisoned Tree and Crushed by Futuristic Filth.

Worst moments of the album: Only Human.

Released in 2017 The Artisan Era Records

Track listing   
1. Serpentine Messiah 4:38
2. Spineless Obedience 4:01
3. Your Demise 4:02
4. Desecrating Eden 6:13
5. Fruit of the Poisoned Tree 4:01
6. Bad Drug 3:42
7. Beyond the Point of No Return 3:33
8. Only Human 7:48
9. Mechanized Defilement 6:05
10. Crushed by Futuristic Filth 7:41

Band members
Colin Butler – vocals, guitar, bass
Malcolm Pugh – lead & rhythm guitar
Kévin Paradis – drums

Guest musicians
Jimmy Pitts – keyboards on “Desecrating Eden” and “Crushed by Futuristic Filth”
Mark Hawkins – guitar solo on “Serpentine Messiah”
Nick Padovani – guitar solo on “Bad Drug”
Craig Peters – guitar solo on “Only Human”
Elijah Whitehead – guitar solo on “Mechanized Defilement”
Sims Cashion – guitar solo on “Crushed by Futuristic Filth”
Nathan “Sounds” Bounds – guest vocals and Latin chants on “Crushed by Futuristic Filth”

Album Review – Ghost Horizon / The Erotics of Disgust EP (2017)

Four distinct compositions that will pierce into your mind and soul in a beautiful way, brought forth by a musician that definitely knows how to transform his deepest feelings into great music.

If you’re an admirer of the most obscure and melancholic forms of Melodic and Atmospheric Black Metal, I have some very good news for you. Critically acclaimed Post-Black Metal act Ghost Horizon is back with a brand new EP, titled The Erotics of Disgust, a follow-up (but with a considerably different sounding) to the band’s previous EP Astral Possessions, released in 2016.  This time around, this Phoenix-based project consists of founder Dan Stollings on vocals and all stringed instruments, and newcomer “Frog” Magus (Norse) on drums, who together brought into being four distinct compositions that will pierce into your soul and crush your feelings in a beautiful way.

Dan commented that the EP “has been waiting in the darkness for quite a while now – it’s been completed for months. It’s been hard to let this EP into the world, because in a lot of ways, I’m sharing some pretty deep emotions that I would never talk about otherwise. I’ve been through a lot of ups and downs in the process of its creation, and I think that’s reflected pretty heavily in the music. The decision to do the vocals myself was also a part of this realization that in order to portray exactly what I’m thinking, I need to use my own voice. Nothing on this album is perfect. I didn’t want it to be perfect. At first I went into writing with the mentality that this will be the best produced thing I’ve ever done, but after finishing the vocals, I realized this thing needs to be raw. And so it was.” After reading such powerful words by Dan, I’m sure you’re more than curious to listen to The Erotics of Disgust, but once again let me warn you that the music might be too dark for the average listener.

Radiant Eyes presents an introspective beginning for this new phase of Ghost Horizon, gradually morphing into a dark amalgamation of Blackened Doom and Post-Black Metal with hints of progressiveness enhancing the song’s depressive sonority. Moreover, “Frog” Magus does an amazing job on drums, maintaining the song’s dense rhythm flowing smoothly. In So Hollow, not only Dan surprises us with his clean vocals supported by a gentle ambience, but the song’s lyrics also prove that he’s definitely a skillful poet of darkness (“You can take it all / Everything we know / You can break it all / You chose a path I cannot follow / You left a heart in me so hollow / Changing skies above / Breaking hearts below / On again / True love / Off again / Bruised love”). This is modern and gripping Atmospheric Black Metal that brings at the same time peace and hopelessness to our hearts, making us eager for more of the music by Ghost Horizon.

Following a similar pattern to the previous song, This Forever Flow also presents delicate guitars and bass lines together with the Doom Metal-inspired beats by “Frog”, with its last piece getting heavier due to the harsh growls by Dan without losing its core subtlety. Besides, how not to get touched by its profound lyrics (“Fading from my heart is the will to be one / Fear in my words – last words to my love / Fire fading quickly, your lips have left me cold / The ending of a romance with the ending left untold”)? Lastly, featuring guitarist and composer Tyler Allen on guest vocals, Ghost Horizon deliver a full-bodied darkened composition bursting with anguish, despair and melancholy entitled Whispers, with its Black Metal riffs and blast beats bringing an extra dosage of obscurity to the overall musicality. In my humble opinion, it’s the best and most complete of the four songs of the EP, the type of music I would like to see Dan explore even more with his future releases.

In summary, although many people have a lot of difficulties to talk about their deepest feelings, it seems that Dan has simply mastered how to express his own feelings through the music by Ghost Horizon. However, you have to be very open-minded and absorb each second of The Erotics of Disgust in order to fully understand the whole message delivered by Dan this time, letting your mind and soul minutely merge with the music found on this fine album. And you can always get to know Ghost Horizon in more detail through their Facebook page and listen to their music on Spotify, as well as purchase your copy of The Erotics of Disgust on BandCamp, at the Tridroid Records’ webshop, on Cd Baby, on Amazon or on iTunes. The Erotics of Disgust is certainly not Dan’s last stint with his Ghost Horizon, which means there’s still a lot to come from such distinct act, and I can’t wait to see what’s next.

Best moments of the album: Whispers.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Radiant Eyes 4:11
2. So Hollow 4:05
3. This Forever Flow 5:01
4. Whispers 4:34

Band members
Dan Stollings – all stringed instruments, vocals
“Frog” Magus – drums

Guest musician
Tyler Allen – additional vocals on “Whispers”

Album Review – Dirty Machine / Discord (2017)

Enjoy the debut album by a tenacious Nu Metal outfit that has all it takes to successfully spread their metallic and groovy wings all over the world.

Hailing from the rockin’ Los Angeles, California, a city that never sleeps, Nu Metal outfit Dirty Machine has been proudly carrying the flag of Alternative and Nu Metal since their inception in 2012, pulling major influences from bands such as Korn, Limp Bizkit, Slipknot, Linkin Park and Sevendust, having already shared the stage with renowned acts like Ghost, Sixx AM, Disturbed and Trivium. The band has quickly built a rabid underground following, especially in the Kansas City area due to getting regular airtime on the leading Kansas City rock station 98.9 The Rock and headlining the Jägermeister Stage at the 2016 Kansas City Rockfest.

Now in 2017 the band has joined forces with Zombie Shark Records to release their debut album, entitled Discord, featuring eight uproarious composition (plus three bonus songs) blending the most electrifying elements from Groove and Rap Metal that will inspire you to jump up and down and have a very good time with your friends. Moreover, Dirty Machine’s music is so cohesive and catchy that you’ll find yourself singing the songs along with the band and tapping on your desk even if you’re not a fan of Nu Metal at all, and that says a lot about a band that has all it takes to successfully spread their metallic and groovy wings all over the world.

Their modern fusion of the Nu Metal by Limp Bizkit and the Rap Metal by Bodycount is crystal clear from the very first second in the exciting title-track Discord, showcasing great sync between the aggressive rapper lines by lead singer David Leach and the clean vocals by guitarist and vocalist Darren Davis, as well as endless heaviness boosted by the song’s solid melody. The next tune, titled Seeds, is ready to be played on any radio station, where not even the harsher vocals by David make it too aggressive for some air time, while the guitars by Darren and his bandmate Arnold Quezada bring the right amount of fire to their musicality. And taking their pugnacity to a whole new level, Self Made Hero feels like an alternate version of Slipknot led by the song’s blazing guitars thoroughly blended with the wicked samples by DJ Ecusa. Put differently, this is one of those songs to keep jumping up and down nonstop during their live concerts.

Social Recoil is another excellent display of fresh and thrilling Nu Metal, with Mike Weekley smashing his drums while Arnold and Darren follow him with their crushing riffs, not to mention the insane amount of groove coming from the low-tuned, metallic bass by Nathan Young. Now, are you ready for a “fight” with DJ Ecusa? That’s what you’ll get in Ecusa’s Nightmare, a three-minute whimsical party full of weird noises and voices, with the rest of the band effectively supporting this talented DJ and his “stunts”; and connecting instantly with the wicked feast led by DJ Ecusa we have Built, bringing more of Dirty Machine’s Limp Bizkit-Korn-Sevendust-inspired sounding, where the duo David and Darren keeps delivering amazing vocal lines, powerfully complementing each other, while Nathan and Mike sound as thunderous as possible with their bass punches and beats, respectively.

Although C4 is as heavy and groovy as the rest of the album, for some reason it doesn’t click to me, with its vocal lines being a bit disconnected from the instrumental pieces. Not only that, the guitars don’t sound as inspired as in the rest of the album, which makes me agree with the funny message sent by David at the end of the song saying not-so-nice things about the song itself. Fortunately, everything gets back on track with Wonka, where the band sounds faster, crazier and heavier than ever. This is what Dirty Machine need to do to really pump us up, providing a balanced mix of heavy riffs from Alternative Metal and witty vocals from Rap Metal and Hardcore. Not only this is a wise choice to close the album, but the demented screams by Darren add a lot of anger to the overall result, turning it into one of my favorite compositions in Discord.

If you want to know more details about the music and career of Dirty Machine, go to their Facebook page and YouTube channel for an overdose of high-end Nu Metal, and you can also support this dirty sextet by purchasing Discord at the Zombie Shark Records’ BandCamp, on iTunes or on Amazon. As Dirty Machine are a very active band, who knows, you might even get them in action in LA or any other city in the United States blasting their Nu Metal in one of your visits to their homeland, and I bet you’ll get addicted to their catchy and groovy music without even noticing.

Best moments of the album: Discord, Seeds, Self Made Hero and Wonka.

Worst moments of the album: C4.

Released in 2017 Zombie Shark Records

Track listing
1. Discord 3:18
2. Seeds 4:15
3. Self Made Hero 3:22
4. Social Recoil 3:42
5. Ecusa’s Nightmare 2:55
6. Built 3:32
7. C4 2:45
8. Wonka 3:47

Bonus tracks
9. Refuse To Follow 3:46
10. Victory 3:47
11. J-Dead 3:58

Band members
David Leach (Dirty Davo) – vocals
Arnold Quezada (Hedge) – guitar
Darren Davis – guitar, vocals
Nathan Young (Youngblood) – bass, backing vocals
Mike Weekley (Nightmare) – drums
DJ Ecusa – turntables & samples

Album Review – Steel Panther / Lower the Bar (2017)

The most depraved band in the world raises the bar once again with an ode to all the debauchery and joy of the golden age of Hard Rock, Glam and Heavy Metal.

After the considerable letdown that was All You Can Eat, released  by American Heavy Metal/Hard Rock band Steel Panther in 2014, I got a little worried about the future of one of the funniest metal acts in the history of music. Their jokes were not as good as before, their lyrics were way too repetitive, and there were no memorable anthems like in their previous albums. However, it seems that Michael Starr (vocals), Satchel (guitars), Lexxi Foxxx (bass) and Stix Zadinia (drums) have got their mojo back in Lower the Bar, their fourth major-label studio album and an ode to all the debauchery and joy of the golden age of Hair and Glam Metal.

Let’s be honest, after the first official video of the album was released exclusively on Pornhub, we knew Lower the Bar would bring back the good old Steel Panther we learned to love through the years. Musically speaking, the album kicks ass with its crisp production, enhancing even more the already potent impact of each instrument like a gigantic dildo would do to a young woman. Moreover, there’s a lot to enjoy in this album, from pure Hard Rock to a mellow ballad, from a Rock N’ Roll anthem to their personal tribute to a classic band from the 80’s, and so on. Put differently, it’s two in the pink, one in the stink, and Steel Panther blowing your speakers with the electricity flowing from Lower the Bar.

And Steel Panther blast great old school Glam Metal to kick off the party in Goin’ in the Backdoor, with Satchel delivering his always amazing riffs and solos while Michael Starr proves he’s by far one of the best singers in Hard Rock today, resulting in a solid musicality that lives up to the best songs of their career. The following song, Anything Goes, has all it takes to become a classic during their live concerts: its rhythm is perfect for headbanging, a beer and some tits at a rock n’ roll party, while its lyrics are absolutely mental (“Break out the tanks / Hand grenades / Minus Charlie Sheen / Cuz I don’t want AIDS”). Satchel, Lexxi and Stix definitely know how to generate pure Hard Rock, turning this into a fun rockin’ anthem for admirers of depraved music. In Poontang Boomerang, the song that had its official video debuted on Pornhub (which was in my opinion a fantastic idea), the music is pretty much a witty homage to Hard Rock icons Warrant, as it sounds a lot like their all-time hit “Cherry Pie”, but of course this one is nastier, sexier and more demented; whereas in That’s When You Came In we’re treated to an acoustic intro beautifully delivered by Michael and Satchel, slowly becoming one of those “romantic” and “touching” power ballads by Steel Panther, not to mention Satchel’s amazing solo before the song’s last piece.

My favorite song of the album, the fantastic Wrong Side of the Tracks (Out In Beverly Hills), is a blazin’ high-octane anthem highly recommended for your road trip playlist, with Michael kicking ass on vocals while Lexxi and Stix keep exhaling pure Rock N’ Roll with their bass lines and beats, which obviously means they have to play this awesome tune during their live concerts. Now the Fun Starts, a dark-ish low-tuned composition that kind of puts the listener in a trance, might be used to open their concerts, in special because there’s a lot going on in the lyrics that can be considered a warm-up for the show.  Getting back to their high voltage mode we have Pussy Ain’t Free, a modern and fresh Hard Rock tune with a Glam Metal twist and another top moment in Lower the Bar, with Satchel and Lexxi being on fire with their strings. And if you think the name of the song is already sexist, how about those lyrics (“Don’t need a certified public accountant / To run the numbers on my dick and balls / Don’t need to look at every Amex statement / Already know I’m getting charged for the booty calls”)? Anyway, Wasted Too Much Time might not be a bad song, musically speaking it’s quite fine and even reminds me of some Hard Rock classic ballads from the 80’s and 90’s, but it lacks that mighty punch from the rest of the album.

Mixing up the gripping Hard Rock by Scorpions and Motley Crüe with 80’s Pop Rock (in special its synths), I Got What You Want presents a very pleasant sonority with Michael having an amazing performance, supported  by the song’s old school backing vocals; whereas Walk of Shame ventures through the fields of American Country Rock with hints of Blues and obviously their kick-ass Glam Metal core. Stix dictates the rhythm with his groovy beats, while Michael sends a thoughtful message to all women (“No wonder then, every weekend is the same / Your vagina’s still eighteen / Baby, stand up tall and walk that walk of shame / That walk of shame / Go on, girl!”). And lastly, She’s Tight is their top-notch cover version of a summer-like hit, being heavier and more metallic than the original version and even featuring Robin Zander, lead singer and rhythm guitarist for the Rock N’ Roll band Cheap Trick, the band that recorded the original song back in the 80’s. I’m sure Robin is really happy with what Michael and the guys did not only with the music, but with the official video for it (by the way, Michael’s “Cheap Slut” shirt was a great tribute to Robin and his band).

In a nutshell, if you never get tired of Steel Panther’s sexist and dirty jokes, I’m sure you’ll love Lower the Bar, and album that does exactly the opposite of what its name says, raising the band’s bar once again in heavy music. In addition, there’s always new entertaining material on their YouTube channel, such as the one-of-a-kind, once-in-a-lifetime Lower the Bar Awards, which at least for me is already more important and honest than the Grammy Awards, don’t you agree? Anyway, you can buy some interesting Lower the Bar bundles at their official webstore, including one with a beer stein and one with a shirt. And no, there are no bundles with dildos, inflatable whores or anything like that. At least not yet.

Best moments of the album: Anything Goes, Wrong Side of the Tracks (Out In Beverly Hills) and Pussy Ain’t Free.

Worst moments of the album: Wasted Too Much Time.

Released in 2017 Kobalt Label Services

Track listing
1. Goin’ in the Backdoor 3:10
2. Anything Goes 3:01
3. Poontang Boomerang 3:22
4. That’s When You Came In 3:46
5. Wrong Side of the Tracks (Out In Beverly Hills) 3:07
6. Now the Fun Starts 3:43
7. Pussy Ain’t Free 3:56
8. Wasted Too Much Time 3:50
9. I Got What You Want 4:13
10. Walk of Shame 4:11
11. She’s Tight (Cheap Trick cover feat. Robin Zander) 2:54

Band members
Michael Starr – lead vocals
Satchel – lead, rhythm and acoustic guitars, backing vocals
Lexxi Foxxx – bass guitar, backing vocals
Stix Zadinia – drums, percussion, backing vocals

Guest musicians
Robin Zander – additional vocals on “She’s Tight”
Rudy Sarzo – bass on “Wrong Side of the Tracks (Out In Beverly Hills)”
Michael Catton – background vocals on “I Got What You Want”
Chris Catton – background vocals on “I Got What You Want”

Album Review – NONE / NONE (2017)

Over 30 minutes of chilling and despondent Atmospheric Black Metal by an unknown entity from the Pacific Northwest that will darkly guide you on a one-way journey to emptiness.

“None are more hopelessly enslaved than those who falsely believe they are free.” – Johann Wolfgang Von Goethe

Chilling and despondent music from the Pacific Northwest is what you’ll hear on the impressive self-titled debut album by Atmospheric/Depressive Black Metal entity NONE, a dark, full-bodied album comprised of three freakish and distinct arias interconnected by the howling winds of winter that will certainly appeal to fans of the Atmospheric Black Metal and DSBM (Depressive Suicidal Black Metal) crafted by groups such as Shining, ColdWorld and Woods of Desolation. Misery, grief, negativity and hopelessness are just a few elements you’ll find in the music by NONE, darkly guiding you on a one-way journey to emptiness.

Formed in 2015 in the city of Portland, Oregon, in the United States, NONE doesn’t carry its simple but enigmatic name in vain. NONE is precisely that, as they have no faces and they are no one, being solely represented by the depressive and obscure sounds emanating from each one of the three multi-layered compositions of the album. Drawing influences from the most melancholic and austere forms of atmospheric extreme music, NONE can quickly become the soundtrack to your most obscure moments, showing you that solitude might not be a bad solution at all in our lives.

In the opening track, simply titled Cold, the atmosphere couldn’t feel more sinister and disheartened, with its background noises and smooth piano notes quickly exploding into a puissant sonority. This is beautiful Depressive Black Metal perfect for closing your eyes and letting darkness embrace you, showcasing not only demonic gnarls and Stygian Black Metal guitars, but also presenting acoustic elements to bring some sort of false peace and hope to our hearts, before its climatic ending gets back to a somber and heavy sonority.

Also phantasmagorical and doomed, Wither is a direct sequel to its predecessor, with its Black Metal sounds invading our ears and souls while its hellish growls transpire hatred and despair. Furthermore, it brings forward a distressing aura found in the most sluggish and evil form of Blackened Doom, resulting in a delicate and at the same time powerful creation by NONE. And in Suffer we finally reach the stage where all songs together become one, displaying anguished screams and slow-paced Doom Metal beats complemented by the song’s serene piano notes. It’s a strong conclusion to the story being told by this arcane creature known as NONE, morphing into a desolated ending where it’s clear that darkness has taken full control of our souls.

You can purchase a digital copy of NONE at the Hypnotic Dirge Records’ BandCamp, but if you prefer to actually put your hands on such bitterly cold and mordant Depressive Black Metal work-of-art, the album is available in a 6-panel digipack (limited to 300 copies) at the Hypnotic Dirge Records’ webstore, where you can also find it as a T-shirt + CD bundle, or at Discogs. You already know that after following the dark path crafted by this unknown entity there’s no way back, but I guess you really don’t care about the consequences. Quite the contrary, that’s exactly where you want to be.

Best moments of the album: Wither.

Worst moments of the album: None.

Released in 2017 Hypnotic Dirge Records

Track listing
1. Cold 11:57
2. Wither 8:45
3. Suffer 9:25

Band members
*Information not available*