Parasitized - "Existence Unveiled"
February 2, 2012
Producer: Dan Foster
All good things come to he who waits. In the case of Parasitized, at the time a quintet of Death Metal destruction who's origins reside in Hull, England, had to wait an excruciating 32 months for the seemingly impossible to happen: To have a record label pick up their debut EP entitled "Existence Unveiled", and release it upon the unsuspecting ears of Death Metal elitists across the globe, revitalizing a struggling band's career.
"Existence Unveiled" is a six-track EP of total mayhem and pandemonium. Everything on this release clicks: the instrumentation, vocal levels, atmosphere and even jacket artwork.
Dan Foster managed to record and catch this band in an environment where they sound so raw and bombastic you'd think they were recording at the bottom of a stairwell!! This release is so incredibly loud and in your face it knocks you down into your seat and straps you down for a listen. However, on top of how intensely loud this release is, you truly see how organic Parasitized really is. The riffs of Adam Blyth and Sam Wilson slap you across the face and fester in your brain, their leads are so wildly chaotic yet contain a sense of melody that most bands can't pull off when trying this approach and Joel Haslam's bass is not totally buried beneath everything else that is happening. Furthermore, the consideration of the bass on this EP is in my opinion one of the reasons why it is such a crushing listening experience. Because when it's only seems to be the drums filling the low-end of any release it leaves the release and the listener with a somewhat hollow feeling. With this EP there is no mercy shown and there's no room to breathe. Haslam's bass attack will be ringing in your ears long after finishing this EP.
With all the talk of guitars I must mention the performance of drummer Tom Walker is top-notch. With very precise blast-beats, smart quick and tasteful fills sometimes involving splash cymbal accents futhermore with an overall playing intensity to be reckoned with, Tom reminds me personally of Jon Rice of Job For A Cowboy fame.
Perhaps the performance on this recording that stunned me the most was that of vocalist Tom Blyth. Tom is extremely proficient vocalist. His timing and phrasing is beyond perfect but what made my jaw drop the most is how high his pitch can go. A lot of the great Death Metal vocalists are very capable of changing pitch mid-breath flawlessly but with Tom it's his ability to go so high it almost seems inhuman and you almost think he is going to collapse his lungs. When Parasitized becomes more well known Tom's skills will become an inspiration to many aspiring Death Metal vocalists I can only believe.
"Existence Unveiled" clocking in at 23 minutes is just merely a taste for things yet to come. Thanks to Blast Head Records, the Canadian distribution that took on the task of releasing this EP. Parasitized has now started to play more shows and even had the honor of opening for Ulcerate, a very proficient Technical Death Metal group. However, most importantly, they have finally started to write new material. Be on the look-out for their debut full-length in the future, if it's anything like their extremely promising EP, Parasitized will have a bright future ahead of them.
My Killer Kutz: "Beyond The Frontiers of Pain", "Flesh Harvest" & "Existence Unveiled"
Sunday, March 11, 2012
Wednesday, February 22, 2012
"Resolution"
Lamb of God - "Resolution"
January 24, 2012
Producer: Josh Wilbur
On August 31, 2004. A quintet from Richmond, Virginia named Lamb of God released their fourth album (third under the Lamb of God banner) entitled: "Ashes of The Wake". This record went on to become their most successful and well received album to the fans and critics alike. Having sold over 398,000 units "Ashes of The Wake" is to date the best selling Lamb of God record.
For the longest time "Ashes of The Wake" was my favorite Lamb of God record as well. Not only for the fact that I thought it was their best written album, but also for the fact that the record in question also turned out to be one of the albums in the first decade of the 21st century to save Heavy Metal music in a time where digital "music" was starting to take over. "Ashes of The Wake", in a time of need, introduced many new fans to the world of Metal, furthermore still keeping the interest alive. Much like Pantera did in the early 90's when they released "Cowboys From Hell" in a time where Metal was starting to lose interest to the Grunge movement front-lined by bands such as Soundgarden and Nirvana.
I was starting to think that Lamb of God wouldn't release another album that hit me nearly as hard as Ashes did. Well, here we are in 2012 eight years later, and Lamb of God proved me wrong with their 7th full length album entitled: "Resolution".
"Resolution" completes a metamorphosis that started on their previous album, 2009's "Wrath". Along with their always improving writing skills, producer Josh Wilbur (who also worked with the band on "Wrath") just might have been the man to give Lamb of God that extra insight they needed in writing the album that all their musical abilities shine their brightest lights.
Starting with the core rhythm section of drummer Chris Adler and bassist John Campbell, their presence together is felt much more on this album compared to anything they've done in the past.
The drums are crisp, clear and more detailed than ever before. Your ears won't miss even the smallest splash cymbal accent and the toms are tuned deeper than ever imagined which makes for a pummeling listening experience all the way through. Every fill Chris plays around the kit you will in your bones more so than any other Lamb of God record.
With every great drummer goes a great bassist. Finally on this record John Campbell can be heard in all his glory. His sense of groove is un-parallel and is a major key that shouldn't go unnoticed in Lamb of God's success. There is no doubt in my mind John brings a portion of the riffs to the table that Mark and Willie translate to the 6-stringers.
Quite possibly the biggest standout feature on this record is guitarist Mark Morton stepping out of his shadow and showing off his lead playing abilities. We've always known he was capable of playing leads in the past as we heard on previous songs like "Ruin" and "Walk With Me In Hell". But on this record he by far surpasses anything he has ever done before. Songs like "The Undertow", "Ghost Walking" and "Invictus" surprised the hell out of me upon my first listen of the album and still do from time to time.
To me the major selling point of this record is how much they have grown as a band. Gone are the breakdowns, which is one of the key things that brought Lamb of God to the table in the first place. In exchange for this we get far much more mature, creative and compelling song-writing. The very dense and constantly changing "The Number Six", the very atmospheric and emotionally charged "King Me" along with quite possibly the most addicting and hook-driven song they have ever composed entitled "Terminally Unique" are all stand-out tracks and signs of musical growth for this very accomplished band, always looking to challenge themselves and to never get too comfortable writing a certain way.
With that being said with their next album should be quite interesting to see how much more they develop as writers and to see if they'll incorporate their now completely Groove-driven sound with their Metalcore roots. Or, mix it with another style or influence of theirs that we don't know about?, only time will tell.
"Resolution" is a album full of good surprises for fans that don't condemn Lamb of God's evolution and artistic growth. There are many chaotic, catchy choruses. Guitar riffs and hooks galore. Plus a few other surprises that you'll have to listen to and experience for yourself.
"Resolution" isn't a selling-out point. It's a point of growth. Intensity, aggression and purpose are not missing on this album. Some may frown upon it now, but give this album another 6 years and I know people will look back on this record and see how much of a turning point this album was for the better. "Resolution" is properly titled, Lamb of God have turned over a new leaf and are only broadening their musical capabilities.
My Killer Kutz: "Terminally Unique", "King Me" and "The Undertow"
January 24, 2012
Producer: Josh Wilbur
On August 31, 2004. A quintet from Richmond, Virginia named Lamb of God released their fourth album (third under the Lamb of God banner) entitled: "Ashes of The Wake". This record went on to become their most successful and well received album to the fans and critics alike. Having sold over 398,000 units "Ashes of The Wake" is to date the best selling Lamb of God record.
For the longest time "Ashes of The Wake" was my favorite Lamb of God record as well. Not only for the fact that I thought it was their best written album, but also for the fact that the record in question also turned out to be one of the albums in the first decade of the 21st century to save Heavy Metal music in a time where digital "music" was starting to take over. "Ashes of The Wake", in a time of need, introduced many new fans to the world of Metal, furthermore still keeping the interest alive. Much like Pantera did in the early 90's when they released "Cowboys From Hell" in a time where Metal was starting to lose interest to the Grunge movement front-lined by bands such as Soundgarden and Nirvana.
I was starting to think that Lamb of God wouldn't release another album that hit me nearly as hard as Ashes did. Well, here we are in 2012 eight years later, and Lamb of God proved me wrong with their 7th full length album entitled: "Resolution".
"Resolution" completes a metamorphosis that started on their previous album, 2009's "Wrath". Along with their always improving writing skills, producer Josh Wilbur (who also worked with the band on "Wrath") just might have been the man to give Lamb of God that extra insight they needed in writing the album that all their musical abilities shine their brightest lights.
Starting with the core rhythm section of drummer Chris Adler and bassist John Campbell, their presence together is felt much more on this album compared to anything they've done in the past.
The drums are crisp, clear and more detailed than ever before. Your ears won't miss even the smallest splash cymbal accent and the toms are tuned deeper than ever imagined which makes for a pummeling listening experience all the way through. Every fill Chris plays around the kit you will in your bones more so than any other Lamb of God record.
With every great drummer goes a great bassist. Finally on this record John Campbell can be heard in all his glory. His sense of groove is un-parallel and is a major key that shouldn't go unnoticed in Lamb of God's success. There is no doubt in my mind John brings a portion of the riffs to the table that Mark and Willie translate to the 6-stringers.
Quite possibly the biggest standout feature on this record is guitarist Mark Morton stepping out of his shadow and showing off his lead playing abilities. We've always known he was capable of playing leads in the past as we heard on previous songs like "Ruin" and "Walk With Me In Hell". But on this record he by far surpasses anything he has ever done before. Songs like "The Undertow", "Ghost Walking" and "Invictus" surprised the hell out of me upon my first listen of the album and still do from time to time.
To me the major selling point of this record is how much they have grown as a band. Gone are the breakdowns, which is one of the key things that brought Lamb of God to the table in the first place. In exchange for this we get far much more mature, creative and compelling song-writing. The very dense and constantly changing "The Number Six", the very atmospheric and emotionally charged "King Me" along with quite possibly the most addicting and hook-driven song they have ever composed entitled "Terminally Unique" are all stand-out tracks and signs of musical growth for this very accomplished band, always looking to challenge themselves and to never get too comfortable writing a certain way.
With that being said with their next album should be quite interesting to see how much more they develop as writers and to see if they'll incorporate their now completely Groove-driven sound with their Metalcore roots. Or, mix it with another style or influence of theirs that we don't know about?, only time will tell.
"Resolution" is a album full of good surprises for fans that don't condemn Lamb of God's evolution and artistic growth. There are many chaotic, catchy choruses. Guitar riffs and hooks galore. Plus a few other surprises that you'll have to listen to and experience for yourself.
"Resolution" isn't a selling-out point. It's a point of growth. Intensity, aggression and purpose are not missing on this album. Some may frown upon it now, but give this album another 6 years and I know people will look back on this record and see how much of a turning point this album was for the better. "Resolution" is properly titled, Lamb of God have turned over a new leaf and are only broadening their musical capabilities.
My Killer Kutz: "Terminally Unique", "King Me" and "The Undertow"
Friday, February 17, 2012
"Infest To Ingest"
Human Infection - "Infest To Ingest"
February 2, 2012
Producer(s): Trey Richards & Human Infection
Suffocation and Cannibal Corpse are two of the most respected, popular and identifiable Death Metal acts on the planet. Both bands showcase Brutal and Technical songwriting yet contain their own individual sound and approach respectfully.
It only seems right to start off 2012 with a brand new band and debut album that took the daunting challenge of writing and perfecting a very old school sounding slab of Death Metal. While maintaining their own individual approach to their music they have directly or indirectly, in my mind, merged two of the best sounding Death Metal Icons into one brand new band full of promise and surprises. The band: Human Infection. The album: "Infest To Ingest".
With this album the first thing that blew me away was the overall guitar sound. This record while brand new, gives off feelings of nostalgia for any long time Death-head, because of the consistency, individuality and intricate yet cunning talents of guitarist Andrew Mathews. Andrew's writing style is something truly to nod your head at. While his writing is completely his own, his style makes ears wonder if Terrance Hobbs (of Suffocation) and Pat O'Brien (of Cannibal Corpse) are playing in the same band, no joke.
Some songs like "Perversely Possessed", "Ungodly Reanimation" and my personal favorite tune off this record "Extremities" showcase, in my mind, a strong Terrance Hobbs influence in the rhythm writing of Mathews' playing. While on the flip-side of the coin tunes like "Vile Disposal", "Sheer Terror" and "Virulent Virtue " show off a strong Pat O'Brien influence in the rhythm writing in my opinion.
As for the lead-playing approach on this record. Again, while Andrew Mathews is his own type of player, I find his use of quick, sporadic sweeping patterns and his chaotically driven leads compared to meticulously composed leads, to pay at least partial homage to that of the style of Pat O'Brien.
To see the grand design and purpose Human Infection was going for with this record look to these three tracks: "Unspeakable Acts of Violence", "Within Sickened Prospects" and "Seed of Madness". With these three tunes being the most musically elite, you really see the unique entity that Human Infection really is. Combining all their different influences while still adding their own unexampled twists and turns; truly giving them a sound of their own. However, at the same time of giving us something new to think about, they blend just the right amount of old school traditions to show us their musical origins, what they're about and what they want to accomplish in the future: To further add, develop and leave their own mark in the world of Death Metal.
With all the talk about guitars on this record I must comment that the drumming is supreme sounding as well. CJ Giles is a very tight time-keeper who reminds me of a cross between Paul Mazurkiewicz (of Cannibal Corpse) and Pete Sandoval (of Morbid Angel & Terrorizer). CJ demonstrates very tight and precise blast-beats along with superb double-kick work, very much to the likes of Mr. Mazurkiewicz. While his sense of using the entire drum-set to it's full capabilities to me is a strong and trademark trait of Mr. Sandoval (who also has very proficient blasting and double kick abilities as well).
Another major point of interest and amazement to me on this record is that of the vocal performance of frontman Andrew Brown. Andrew is an extremely young and promising talent (having just celebrated 18th birthday recently.) With any kind of talent though there is always room for improvement. First off I must say I'm extremely impressed with his performance, but with Human Infection and "Infest To Ingest" being his first band and album ever, I personally felt his phrasing was a little off at a couple of different points throughout the record. That's something that's only going to improve with time and I feel strongly that Andrew will do just fine. His timing, depth and for the most part phrasing is right on the bulls-eye, it just comes with the more experience and the more gigs you play.
Any band is not complete without a bassist, and in Human Infection's case Hank James is the man they turn to. His thunderous and groove based approach to playing will fester in your brain for days upon finishing this record. At times his playing is a little bit buried on this album but when you fully hear what he's pulling off on his fret-board you will be headbanging and playing air-Bass at the same time. On top of his playing abilities Hank also serves as backing vocalist as well, belting out all the higher pitched gutterals. At shows all us fans I'm sure will shout with him in unison his line in the tune "Vile Disposal": "WE MUST STRIVE AWAY FROM FAITH!!!!".
I wouldn't call "Infest To Ingest" a masterpiece but rather an album that is the first major stepping stone to creating the masterpiece that every band wants to set out to do. I'm not saying their next album will be that masterpiece, it could be their third, fourth, fifth maybe even eighth album!! Who knows is what I'm trying to get at. The fact of the matter is this: This band has some serious talent of blending the old school with the new school and that should be a big enough reason to pick up "Infest To Ingest" and start following their career. Human Infection has everything it takes to become a successful band within the world of Death Metal, all they are waiting for is you to buy their album.
My Killer Kutz: "Extremities", "Within Sickened Prospects" and "Unspeakable Acts of Violence"
February 2, 2012
Producer(s): Trey Richards & Human Infection
Suffocation and Cannibal Corpse are two of the most respected, popular and identifiable Death Metal acts on the planet. Both bands showcase Brutal and Technical songwriting yet contain their own individual sound and approach respectfully.
It only seems right to start off 2012 with a brand new band and debut album that took the daunting challenge of writing and perfecting a very old school sounding slab of Death Metal. While maintaining their own individual approach to their music they have directly or indirectly, in my mind, merged two of the best sounding Death Metal Icons into one brand new band full of promise and surprises. The band: Human Infection. The album: "Infest To Ingest".
With this album the first thing that blew me away was the overall guitar sound. This record while brand new, gives off feelings of nostalgia for any long time Death-head, because of the consistency, individuality and intricate yet cunning talents of guitarist Andrew Mathews. Andrew's writing style is something truly to nod your head at. While his writing is completely his own, his style makes ears wonder if Terrance Hobbs (of Suffocation) and Pat O'Brien (of Cannibal Corpse) are playing in the same band, no joke.
Some songs like "Perversely Possessed", "Ungodly Reanimation" and my personal favorite tune off this record "Extremities" showcase, in my mind, a strong Terrance Hobbs influence in the rhythm writing of Mathews' playing. While on the flip-side of the coin tunes like "Vile Disposal", "Sheer Terror" and "Virulent Virtue " show off a strong Pat O'Brien influence in the rhythm writing in my opinion.
As for the lead-playing approach on this record. Again, while Andrew Mathews is his own type of player, I find his use of quick, sporadic sweeping patterns and his chaotically driven leads compared to meticulously composed leads, to pay at least partial homage to that of the style of Pat O'Brien.
To see the grand design and purpose Human Infection was going for with this record look to these three tracks: "Unspeakable Acts of Violence", "Within Sickened Prospects" and "Seed of Madness". With these three tunes being the most musically elite, you really see the unique entity that Human Infection really is. Combining all their different influences while still adding their own unexampled twists and turns; truly giving them a sound of their own. However, at the same time of giving us something new to think about, they blend just the right amount of old school traditions to show us their musical origins, what they're about and what they want to accomplish in the future: To further add, develop and leave their own mark in the world of Death Metal.
With all the talk about guitars on this record I must comment that the drumming is supreme sounding as well. CJ Giles is a very tight time-keeper who reminds me of a cross between Paul Mazurkiewicz (of Cannibal Corpse) and Pete Sandoval (of Morbid Angel & Terrorizer). CJ demonstrates very tight and precise blast-beats along with superb double-kick work, very much to the likes of Mr. Mazurkiewicz. While his sense of using the entire drum-set to it's full capabilities to me is a strong and trademark trait of Mr. Sandoval (who also has very proficient blasting and double kick abilities as well).
Another major point of interest and amazement to me on this record is that of the vocal performance of frontman Andrew Brown. Andrew is an extremely young and promising talent (having just celebrated 18th birthday recently.) With any kind of talent though there is always room for improvement. First off I must say I'm extremely impressed with his performance, but with Human Infection and "Infest To Ingest" being his first band and album ever, I personally felt his phrasing was a little off at a couple of different points throughout the record. That's something that's only going to improve with time and I feel strongly that Andrew will do just fine. His timing, depth and for the most part phrasing is right on the bulls-eye, it just comes with the more experience and the more gigs you play.
Any band is not complete without a bassist, and in Human Infection's case Hank James is the man they turn to. His thunderous and groove based approach to playing will fester in your brain for days upon finishing this record. At times his playing is a little bit buried on this album but when you fully hear what he's pulling off on his fret-board you will be headbanging and playing air-Bass at the same time. On top of his playing abilities Hank also serves as backing vocalist as well, belting out all the higher pitched gutterals. At shows all us fans I'm sure will shout with him in unison his line in the tune "Vile Disposal": "WE MUST STRIVE AWAY FROM FAITH!!!!".
I wouldn't call "Infest To Ingest" a masterpiece but rather an album that is the first major stepping stone to creating the masterpiece that every band wants to set out to do. I'm not saying their next album will be that masterpiece, it could be their third, fourth, fifth maybe even eighth album!! Who knows is what I'm trying to get at. The fact of the matter is this: This band has some serious talent of blending the old school with the new school and that should be a big enough reason to pick up "Infest To Ingest" and start following their career. Human Infection has everything it takes to become a successful band within the world of Death Metal, all they are waiting for is you to buy their album.
My Killer Kutz: "Extremities", "Within Sickened Prospects" and "Unspeakable Acts of Violence"
Wednesday, February 15, 2012
"Nauseate"
Splattered Entrails - "Nauseate"
August 9, 2011
Producer: Mike O'Hara
One man bands are something in the world of extreme metal that get a lot of the time frowned upon. Some of these reasons include: The guitarist involved often repeats himself for the length of the record. The songs on top of sounding the same have no foundation or structure. Finally, the drum programming is a lot of the times lifeless, robotic sounding furthermore replacing groove and feel with only speed and intensity. Not a good trade off at all.
Late last year I came across the band Splattered Entrails and was completely blown away, this Death Metal band had it all: Speed, Groove, Brutality and most importantly Foundation. It came to me as a great shock when I learned that Splattered Entrails was a one-man Death Metal Machine created by guitarist/vocalist Mike O'Hara. The album in question you ask? Is his debut full-length record: 2011's "Nauseate".
Grabbing my attention right away was Mike's very strong sense of groove. While there are some extremely fast tunes on this record, Mike proves time and time again that you don't always have to play 280BPM's to write and perform Death Metal. He showcases this rather well in the album's opening and closing tracks respectfully: "Rewriting Human Genetics" and "Eliminating The Substructure", which are both instrumental pieces that show groove and feel are just as if not more important than speed and intensity.
Upon listening to this album several times, another thing I really noticed about Mike's playing style is his ability in writing riffs that feature built-in melodic hooks. Some tunes where this really stands out are: "Bathyspheric Claustrophobia", "Humans: Deprogrammed" and my favorite song off this record "Compound 19". I list this as significant because with Splattered Entrails being a Brutal Death Metal project, it's normally atypical for bands of this sub-genre to play around with melodic hooks. As most bands in this specific sub-genre when it comes to writing hooks tend to favor atonal and chaotic lead sections. Which is why in my opinion Mike O'Hara has something very special going with Splattered Entrails.
As I said earlier when I learned Splattered Entrails was a one-man project I was really stunned. A good portion of that reason was the incredible drum-programming that takes place on this record. There is nothing on this album that sounds robotic or alien-like, the drums groove with life and for the most part sound extremely organic (omitting one passage in the still amazing song "Buried In Cement"). What impressed me the most is Mike's drummer instincts despite the guitar being his main instrument, and the fact he programmed this entire record without the assistance of another sticks-man for guidance or suggestions.
Mike, who plays drums as his second instrument, obviously had an advantage when programming this record. However, many other one-man bands should take note and learn from "Nauseate". The higher your knowledge of drums, the better chances your record will become a success. Guitars are only have the equation, if your drums lack groove, feel and sound extraterrestrial the chances of your album becoming successful start to become nil.
"Nauseate" is 35-minute Brutal Death Metal assault divided up into 10 tracks for your auditory pleasures. Each tune is heavy, tight and will blow your head off after every listen. This album easily made my top list of 2011. Mike has stated that he already has enough material written for two more albums. It will be very interesting to see how much he improves with each record. We can only hope that the second Splattered Entrails record will see the light of day before the end of 2012.
If you don't own "Nauseate" you should be disgusted by the thought, this record destroys everything in it's path. Mike O'Hara and Splattered Entrails are one of the first Brutal Death bands in quite some time to breathe some new life and spark some new imagination into this amazing genre of music. Be on the lookout - Splattered Entrails is going to roll some heads in the years to come.
My Killer Kutz: "Compound 19", "Buried In Cement" and "Swarm of Virulence"
August 9, 2011
Producer: Mike O'Hara
One man bands are something in the world of extreme metal that get a lot of the time frowned upon. Some of these reasons include: The guitarist involved often repeats himself for the length of the record. The songs on top of sounding the same have no foundation or structure. Finally, the drum programming is a lot of the times lifeless, robotic sounding furthermore replacing groove and feel with only speed and intensity. Not a good trade off at all.
Late last year I came across the band Splattered Entrails and was completely blown away, this Death Metal band had it all: Speed, Groove, Brutality and most importantly Foundation. It came to me as a great shock when I learned that Splattered Entrails was a one-man Death Metal Machine created by guitarist/vocalist Mike O'Hara. The album in question you ask? Is his debut full-length record: 2011's "Nauseate".
Grabbing my attention right away was Mike's very strong sense of groove. While there are some extremely fast tunes on this record, Mike proves time and time again that you don't always have to play 280BPM's to write and perform Death Metal. He showcases this rather well in the album's opening and closing tracks respectfully: "Rewriting Human Genetics" and "Eliminating The Substructure", which are both instrumental pieces that show groove and feel are just as if not more important than speed and intensity.
Upon listening to this album several times, another thing I really noticed about Mike's playing style is his ability in writing riffs that feature built-in melodic hooks. Some tunes where this really stands out are: "Bathyspheric Claustrophobia", "Humans: Deprogrammed" and my favorite song off this record "Compound 19". I list this as significant because with Splattered Entrails being a Brutal Death Metal project, it's normally atypical for bands of this sub-genre to play around with melodic hooks. As most bands in this specific sub-genre when it comes to writing hooks tend to favor atonal and chaotic lead sections. Which is why in my opinion Mike O'Hara has something very special going with Splattered Entrails.
As I said earlier when I learned Splattered Entrails was a one-man project I was really stunned. A good portion of that reason was the incredible drum-programming that takes place on this record. There is nothing on this album that sounds robotic or alien-like, the drums groove with life and for the most part sound extremely organic (omitting one passage in the still amazing song "Buried In Cement"). What impressed me the most is Mike's drummer instincts despite the guitar being his main instrument, and the fact he programmed this entire record without the assistance of another sticks-man for guidance or suggestions.
Mike, who plays drums as his second instrument, obviously had an advantage when programming this record. However, many other one-man bands should take note and learn from "Nauseate". The higher your knowledge of drums, the better chances your record will become a success. Guitars are only have the equation, if your drums lack groove, feel and sound extraterrestrial the chances of your album becoming successful start to become nil.
"Nauseate" is 35-minute Brutal Death Metal assault divided up into 10 tracks for your auditory pleasures. Each tune is heavy, tight and will blow your head off after every listen. This album easily made my top list of 2011. Mike has stated that he already has enough material written for two more albums. It will be very interesting to see how much he improves with each record. We can only hope that the second Splattered Entrails record will see the light of day before the end of 2012.
If you don't own "Nauseate" you should be disgusted by the thought, this record destroys everything in it's path. Mike O'Hara and Splattered Entrails are one of the first Brutal Death bands in quite some time to breathe some new life and spark some new imagination into this amazing genre of music. Be on the lookout - Splattered Entrails is going to roll some heads in the years to come.
My Killer Kutz: "Compound 19", "Buried In Cement" and "Swarm of Virulence"
Saturday, February 11, 2012
"Strategy of Obsolescence"
Hate Division - "Strategy of Obsolescence"
February 11, 2011
Producer: Shane Forsyth
Deathgrind is a genre of music where the technical aspects of Death Metal merge with the intensity of Grindcore. Thus creating one of the most intense and ear shattering sub-genres in the world of Heavy Metal. However, there is one Canadian quartet that while they fit the expectations listed above, they have in my opinion written their own set of rules. That band is Hate Division with their debut full-length album: 2011's "Strategy of Obsolescence".
When listening to this album the first thing I noticed that I thought was really cool, was the way they literally composed the record.
The majority of Deathgrind bands tend to write songs that are usually between 1:30 to 2:30 in length, that contains extreme lead work with a lot of the time rhythm work that is easily overlooked and forgotten. With Hate Division, their song structures more favor Death Metal with the majority of the tracks being over three minutes in length. In my mind however, what truly separates Hate Division from most of their peers is their overall sound.
In Deathgrind most bands go back and forth with their songs. In other words, some songs sound more like Death Metal and some songs sound more like Grindcore. It's a breath of fresh air to see a band like Hate Division find that perfect balance and incorporate it into all their songs. Each tune you come across on this record guitarist Howard Young treats you to some crusty Grind riffs and in a matter of a heartbeat, slaps you across the face with that classic down-tuned traditional Death Metal sound we all know and love. Songs like "Regression of Reality" and "Denialism" showcase this rather well.
It's right about now that I should mention that this band is extremely tight. These guys can stop on a dime going from blasting and riffing frenzies into short, precise, catchy and calculated intervals that really keep you on edge and most importantly keep you guessing throughout the entire record.
The advanced rhythm section of bassist Paul Shaw and drummer Shane Forsyth are the glue that in this case hold these intervals together and are the major points of interest at various sections throughout this album. Tunes like the title track "Strategy of Obsolescence" and "Assimilation Or Death" are two prime examples of this combination hard at work.
Hate Division is a band of many talents and perhaps one of if not the best thing about this record is the vocal performance. I am not joking when I say Sean Wyszynski is quite possibility the best Death vocalist I have come across in a very long time. His sense of timing and phrasing along with his ability to change pitch mid-breath flawlessly is very hard to come by. For their genre of Death-flavored music, Sean is the next best thing to in my opinion the best Death Metal vocalist on the scene, in terms to their style as: George Fisher from the legendary Death Metal band - Cannibal Corpse.
As far as the production is concerned the only thing I would have done a little differently is I would have had the Bass more prominent in the final mix. However, besides my personal preference, drummer Shane Forsyth did an outstanding job with the production. The sound was consistent all the way through, each instrument stood out at all the right parts respectfully and the vocals were not over-shadowed by all the instruments - a very even final mix. Quite honestly, for a debut full-length album that is extremely impressive in my mind.
Finally all I can say is this: Hate Division is a band to be on the look-out for in the years to come. If first impressions mean anything, this band is going to get heavier, more technical and more experimental in their quest to fully create their own niche. This band has all the tools and talent to become a big deal in extreme music. It's just simply a matter of being in the right place at the right time.
My Killer Kutz: "Assimilation Or Death", "Regression of Reality" and "A Division of Hate"
February 11, 2011
Producer: Shane Forsyth
Deathgrind is a genre of music where the technical aspects of Death Metal merge with the intensity of Grindcore. Thus creating one of the most intense and ear shattering sub-genres in the world of Heavy Metal. However, there is one Canadian quartet that while they fit the expectations listed above, they have in my opinion written their own set of rules. That band is Hate Division with their debut full-length album: 2011's "Strategy of Obsolescence".
When listening to this album the first thing I noticed that I thought was really cool, was the way they literally composed the record.
The majority of Deathgrind bands tend to write songs that are usually between 1:30 to 2:30 in length, that contains extreme lead work with a lot of the time rhythm work that is easily overlooked and forgotten. With Hate Division, their song structures more favor Death Metal with the majority of the tracks being over three minutes in length. In my mind however, what truly separates Hate Division from most of their peers is their overall sound.
In Deathgrind most bands go back and forth with their songs. In other words, some songs sound more like Death Metal and some songs sound more like Grindcore. It's a breath of fresh air to see a band like Hate Division find that perfect balance and incorporate it into all their songs. Each tune you come across on this record guitarist Howard Young treats you to some crusty Grind riffs and in a matter of a heartbeat, slaps you across the face with that classic down-tuned traditional Death Metal sound we all know and love. Songs like "Regression of Reality" and "Denialism" showcase this rather well.
It's right about now that I should mention that this band is extremely tight. These guys can stop on a dime going from blasting and riffing frenzies into short, precise, catchy and calculated intervals that really keep you on edge and most importantly keep you guessing throughout the entire record.
The advanced rhythm section of bassist Paul Shaw and drummer Shane Forsyth are the glue that in this case hold these intervals together and are the major points of interest at various sections throughout this album. Tunes like the title track "Strategy of Obsolescence" and "Assimilation Or Death" are two prime examples of this combination hard at work.
Hate Division is a band of many talents and perhaps one of if not the best thing about this record is the vocal performance. I am not joking when I say Sean Wyszynski is quite possibility the best Death vocalist I have come across in a very long time. His sense of timing and phrasing along with his ability to change pitch mid-breath flawlessly is very hard to come by. For their genre of Death-flavored music, Sean is the next best thing to in my opinion the best Death Metal vocalist on the scene, in terms to their style as: George Fisher from the legendary Death Metal band - Cannibal Corpse.
As far as the production is concerned the only thing I would have done a little differently is I would have had the Bass more prominent in the final mix. However, besides my personal preference, drummer Shane Forsyth did an outstanding job with the production. The sound was consistent all the way through, each instrument stood out at all the right parts respectfully and the vocals were not over-shadowed by all the instruments - a very even final mix. Quite honestly, for a debut full-length album that is extremely impressive in my mind.
Finally all I can say is this: Hate Division is a band to be on the look-out for in the years to come. If first impressions mean anything, this band is going to get heavier, more technical and more experimental in their quest to fully create their own niche. This band has all the tools and talent to become a big deal in extreme music. It's just simply a matter of being in the right place at the right time.
My Killer Kutz: "Assimilation Or Death", "Regression of Reality" and "A Division of Hate"
Friday, January 27, 2012
"Deconstruction"
Devin Townsend Project - "Deconstruction"
June 21, 2011
Producer: Devin Townsend
January 1st of every year is a significant day to countless people of all walks of life. For the newly-wed couple it marks the beginning of their new life together, with the new calender year a wide open canvas for optimism and adventure all theirs for the taking. For the soldiers risking their lives over sea, the glass remains half full as they patrol their routes pondering the thoughts of the war's end and returning home safely to their families. For the Metalhead January 1st at dawn is known as national hangover day. However, as the cobwebs begin to crumble of the previous night's endeavors, our minds wonder towards the question of what will the album of the year be? Well, with 2011 now in the rear-view mirror to me the answer to this question came fairly easy. For what my thoughts are worth "Deconstruction" the thirteenth studio album from Devin Townsend (also the third record in the Devin Townsend Project series) is my pick for album of 2011.
For anyone who has followed Devin's career most of you (myself included) would say this is the album that Devin has been building to create his entire career.
Devin's playing and song-writing has gone through a metamorphosis over the last few years, as all his musical influences are really starting to show up in all of his works nowadays (With each album in The Devin Townsend Project series being the ruby on a mood ring. They each explore a different area of Devin's musical interests that you can quite easily relate to your current emotional state.) With Deconstruction being easily the most aggressive, angry and destructive album in the series it's no surprise that it is the full out "Metal" record in the series. However, that doesn't stop Devin from pushing the envelope thus creating one of the most jaw-dropping records in the last 15 years.
The first thing to really grab my attention on this record is the army of guest vocalists who share the spotlight (some very briefly) with Devin. There are too many to name but the three most of you will recognize are: Mikael Akerfedlt (Opeth/Bloodbath), Tommy Giles Rogers (Between The Buried And Me) and Paul Masvidal (ex-Death, Cynic). The cool thing is however, among these three and the others who contributed to this record, Devin - the keen musician that he is, uses all their voices in a very constructive matter. As each different voice gives the 9 tracks on this album their own sense of purpose, always keeping it fresh and unpredictable. Each vocalist's distinctive approach and range blends perfectly with the songs they are featured in. They are all tediously placed and hit their marks on the bulls-eye. Rather than sounding like a mundane pop song and having to guess who is the vocalist because they change every second line. Each vocalist that has a part in this record you truly notice their contributions.
With Devin handling most of the instrumentation on "Deconstruction", playing all guitars (except a guest solo by Meshuggah guitarist Fredrik Thordendal in the title track), bass, keyboards and programming. That leaves us with the drumming that is taking place on this record.
The drumming on this record was accomplished with two different sticks-men: Ryan Van Poederooyen (who gained recognition playing with Devin on past albums) and Dirk Verbeuren (Soilwork & Scarve).
The cool thing with working with two drummers is that it gave Devin more space to venture out and write music that not only appeals to him but caters to the two drummers strengths and specialties. In the songs that featured more dominate Industrial structures and elements like: "Praise The Lowered", "Stand" and my personal favorite track "Planet of The Apes" Ryan handled the time-keeping. While on the more Metal and technical side of things on tunes like: "Pandemic", "Poltergeist" and "Sumeria" Dirk was sitting at the throne for those tunes.
Perhaps the most impressive part about this record is that despite all the insane proficiency of Devin and company on their respected instruments, it's the fact that Devin sat and composed an entire score with the help of Pro-Tools and presented the Prague Philharmonic Orchestra with an entire score of "Deconstruction". While this element adds a whole new other dimension to the record, turn to the tracks "Stand", "Juular" and "The Mighty Masturbator" for they are in my opinion the tracks where the Orchestra shines it's brightest light.
"Deconstruction" is an album full of surprises at every turn and in the album's centerpiece, the 16-minute epic "The Mighty Masturbator", it couldn't be anymore clearer. This track has it all: Metal, Industrial Rock, antediluvian instrumentation and during the climax of the tune I kid you not: Carnival-themed music with an accompanying speech that the inner-man in all of us would pound our chests to like a Viking being promised entrance to Valhalla.
Amongst all the aggression and chaos that is unleashed during "Deconstruction" their is a message involved. "Deconstruction is a concept album about a man who is obsessed with finding the true nature of reality." Townsend went on further to say that "Deconstruction is a musical representation of facing your fears and overcoming them." In short Devin wanted this record to have a positive direction, despite the maniacal nature of the music presented.
As I am writing this the date is January 27, 2012. I purchased this album in July of 2011. It has taken many many listens between now and then for me to be writing this paragraph you are reading right now. This album has not only challenged me as a musician to push myself further to become a more proficient drummer, this record has also pushed me to the brink of my writing abilities. Upon completion of this review I feel as if I have improved my craft significantly and look forward to finding my next writing endeavor.
In closing if you don't own "Deconstruction" you are seriously cheating yourself out of an amazing 70 minutes of music, that will be stuck in you Cd player for many months to come.
My Killer Kutz: "Planet of The Apes", "Stand" and "The Mighty Masturbator"
June 21, 2011
Producer: Devin Townsend
January 1st of every year is a significant day to countless people of all walks of life. For the newly-wed couple it marks the beginning of their new life together, with the new calender year a wide open canvas for optimism and adventure all theirs for the taking. For the soldiers risking their lives over sea, the glass remains half full as they patrol their routes pondering the thoughts of the war's end and returning home safely to their families. For the Metalhead January 1st at dawn is known as national hangover day. However, as the cobwebs begin to crumble of the previous night's endeavors, our minds wonder towards the question of what will the album of the year be? Well, with 2011 now in the rear-view mirror to me the answer to this question came fairly easy. For what my thoughts are worth "Deconstruction" the thirteenth studio album from Devin Townsend (also the third record in the Devin Townsend Project series) is my pick for album of 2011.
For anyone who has followed Devin's career most of you (myself included) would say this is the album that Devin has been building to create his entire career.
Devin's playing and song-writing has gone through a metamorphosis over the last few years, as all his musical influences are really starting to show up in all of his works nowadays (With each album in The Devin Townsend Project series being the ruby on a mood ring. They each explore a different area of Devin's musical interests that you can quite easily relate to your current emotional state.) With Deconstruction being easily the most aggressive, angry and destructive album in the series it's no surprise that it is the full out "Metal" record in the series. However, that doesn't stop Devin from pushing the envelope thus creating one of the most jaw-dropping records in the last 15 years.
The first thing to really grab my attention on this record is the army of guest vocalists who share the spotlight (some very briefly) with Devin. There are too many to name but the three most of you will recognize are: Mikael Akerfedlt (Opeth/Bloodbath), Tommy Giles Rogers (Between The Buried And Me) and Paul Masvidal (ex-Death, Cynic). The cool thing is however, among these three and the others who contributed to this record, Devin - the keen musician that he is, uses all their voices in a very constructive matter. As each different voice gives the 9 tracks on this album their own sense of purpose, always keeping it fresh and unpredictable. Each vocalist's distinctive approach and range blends perfectly with the songs they are featured in. They are all tediously placed and hit their marks on the bulls-eye. Rather than sounding like a mundane pop song and having to guess who is the vocalist because they change every second line. Each vocalist that has a part in this record you truly notice their contributions.
With Devin handling most of the instrumentation on "Deconstruction", playing all guitars (except a guest solo by Meshuggah guitarist Fredrik Thordendal in the title track), bass, keyboards and programming. That leaves us with the drumming that is taking place on this record.
The drumming on this record was accomplished with two different sticks-men: Ryan Van Poederooyen (who gained recognition playing with Devin on past albums) and Dirk Verbeuren (Soilwork & Scarve).
The cool thing with working with two drummers is that it gave Devin more space to venture out and write music that not only appeals to him but caters to the two drummers strengths and specialties. In the songs that featured more dominate Industrial structures and elements like: "Praise The Lowered", "Stand" and my personal favorite track "Planet of The Apes" Ryan handled the time-keeping. While on the more Metal and technical side of things on tunes like: "Pandemic", "Poltergeist" and "Sumeria" Dirk was sitting at the throne for those tunes.
Perhaps the most impressive part about this record is that despite all the insane proficiency of Devin and company on their respected instruments, it's the fact that Devin sat and composed an entire score with the help of Pro-Tools and presented the Prague Philharmonic Orchestra with an entire score of "Deconstruction". While this element adds a whole new other dimension to the record, turn to the tracks "Stand", "Juular" and "The Mighty Masturbator" for they are in my opinion the tracks where the Orchestra shines it's brightest light.
"Deconstruction" is an album full of surprises at every turn and in the album's centerpiece, the 16-minute epic "The Mighty Masturbator", it couldn't be anymore clearer. This track has it all: Metal, Industrial Rock, antediluvian instrumentation and during the climax of the tune I kid you not: Carnival-themed music with an accompanying speech that the inner-man in all of us would pound our chests to like a Viking being promised entrance to Valhalla.
Amongst all the aggression and chaos that is unleashed during "Deconstruction" their is a message involved. "Deconstruction is a concept album about a man who is obsessed with finding the true nature of reality." Townsend went on further to say that "Deconstruction is a musical representation of facing your fears and overcoming them." In short Devin wanted this record to have a positive direction, despite the maniacal nature of the music presented.
As I am writing this the date is January 27, 2012. I purchased this album in July of 2011. It has taken many many listens between now and then for me to be writing this paragraph you are reading right now. This album has not only challenged me as a musician to push myself further to become a more proficient drummer, this record has also pushed me to the brink of my writing abilities. Upon completion of this review I feel as if I have improved my craft significantly and look forward to finding my next writing endeavor.
In closing if you don't own "Deconstruction" you are seriously cheating yourself out of an amazing 70 minutes of music, that will be stuck in you Cd player for many months to come.
My Killer Kutz: "Planet of The Apes", "Stand" and "The Mighty Masturbator"
Friday, August 19, 2011
"Planetary Duality"
The Faceless - "Planetary Duality"
November 12, 2008
Producer: Michael Keene
If you are a fan of Death Metal you are a fan of extremely fast music. While that is an obvious statement, the point I'm trying to get across is basically this: Everyone in this genre is very capable of executing fast, heavy and aggressive music.
So while it is easy to find countless bands that fit the criteria above, it is also at the same time kind of depressing. There was a time where all it took was the speed and nature of the music to be considered a good Death Metal band. Nowadays bands have to be willing to take the next step in working to create an identity of their own and put their own fingerprint in this wonderful but sometimes mundane genre of music. However, a California quintet known as The Faceless were up to the challenge and did they ever deliver!!.
Whether your a fan of melodic leads, themes and passages. Or whether your a fan of technical riffing and time changes, it is all here within this record. Producer Michael Keene (who also serves as the band's primary songwriter and guitarist) does a stellar job at capturing everything his band was looking to accomplish with this album.
The Faceless' claim to fame more-or-less is the guitar work from the guitarist duo of Michael Keene and Steve Jones. Throughout the entire record both of their playing abilities shine without question. Showing casing both of their strong senses of rhythm, flawless time changes and tastes for melodic and even softer sections (like the instrumental interlude "Shape Shifters" for example.)
While this record adds a little more diversity in the fact that the band does explore more with experimenting around with genre-hopping. With a couple more sections with clean vocals provided by Michael Keene, the use of robotic vocals for a few different sections throughout the album and proper use of keyboards throughout (which is a major improvement from their debut album "Akeldama".) This excellent record does come with a couple of personal flaws in my opinion.
While the band pushed the bar up once again rising the technicality of their music, even with additional breath-taking moments throughout the entire record. In my eyes they were off the mark just a little bit as I found myself missing some of the incredible melodies found on "Akeldama." Furthermore, while the use of robotic vocals can be and are really cool, on this album I found them to sound almost out of place and could be considered by some to sound comical.
However, "Planetary Duality" was indeed the right step and progression for The Faceless to make. You have to respect the band for not making "Akeldama - Part 2," and following their own musical instincts to make the exact record they wanted to make. It simply comes down to maybe "Planetary Duality" just didn't hit me nearly as hard as "Akeldama" did?
With all comparisons aside I can tell you this though. "Planetary Duality" is one record that is very much worth owning and dare I say was one of the more elite records of 2008. All I can really say in closing is this: I am very excited to hear what their next record will have to offer. Furthermore, to see what musical boundaries, ideas and inspirations that have influenced them over the last three to four years.
My Killer Kutz: "Xenochrist", "Coldly Calculated Design" and "Prison Born"
November 12, 2008
Producer: Michael Keene
If you are a fan of Death Metal you are a fan of extremely fast music. While that is an obvious statement, the point I'm trying to get across is basically this: Everyone in this genre is very capable of executing fast, heavy and aggressive music.
So while it is easy to find countless bands that fit the criteria above, it is also at the same time kind of depressing. There was a time where all it took was the speed and nature of the music to be considered a good Death Metal band. Nowadays bands have to be willing to take the next step in working to create an identity of their own and put their own fingerprint in this wonderful but sometimes mundane genre of music. However, a California quintet known as The Faceless were up to the challenge and did they ever deliver!!.
Whether your a fan of melodic leads, themes and passages. Or whether your a fan of technical riffing and time changes, it is all here within this record. Producer Michael Keene (who also serves as the band's primary songwriter and guitarist) does a stellar job at capturing everything his band was looking to accomplish with this album.
The Faceless' claim to fame more-or-less is the guitar work from the guitarist duo of Michael Keene and Steve Jones. Throughout the entire record both of their playing abilities shine without question. Showing casing both of their strong senses of rhythm, flawless time changes and tastes for melodic and even softer sections (like the instrumental interlude "Shape Shifters" for example.)
While this record adds a little more diversity in the fact that the band does explore more with experimenting around with genre-hopping. With a couple more sections with clean vocals provided by Michael Keene, the use of robotic vocals for a few different sections throughout the album and proper use of keyboards throughout (which is a major improvement from their debut album "Akeldama".) This excellent record does come with a couple of personal flaws in my opinion.
While the band pushed the bar up once again rising the technicality of their music, even with additional breath-taking moments throughout the entire record. In my eyes they were off the mark just a little bit as I found myself missing some of the incredible melodies found on "Akeldama." Furthermore, while the use of robotic vocals can be and are really cool, on this album I found them to sound almost out of place and could be considered by some to sound comical.
However, "Planetary Duality" was indeed the right step and progression for The Faceless to make. You have to respect the band for not making "Akeldama - Part 2," and following their own musical instincts to make the exact record they wanted to make. It simply comes down to maybe "Planetary Duality" just didn't hit me nearly as hard as "Akeldama" did?
With all comparisons aside I can tell you this though. "Planetary Duality" is one record that is very much worth owning and dare I say was one of the more elite records of 2008. All I can really say in closing is this: I am very excited to hear what their next record will have to offer. Furthermore, to see what musical boundaries, ideas and inspirations that have influenced them over the last three to four years.
My Killer Kutz: "Xenochrist", "Coldly Calculated Design" and "Prison Born"
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