Untitled Metal Column: Volume 8 (Corrupt Moral Altar, Mechanical Tides)

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Corrupt Moral Altar bring the stuff of metal nightmares on Mechanical Tides. On their debut, these UK metallers bring the frenetic intensity of Converge, the frenetic intensity of Goes Cube, the frenetic intensity of…..there’s just a lot of “frenetic intensity”, okay?

Speaking of GC, “Father Tongue” begins MT like a Goes Cube song that went berserk and flows into “Blood Harmony” with ease slowing things down considerably and focusing on Chris Reese’s brilliantly vicious voice. Next, Carcass’ Jeff Walker helps out on the crazed schizophrenia of “Die Glocke” complete with gang vocals and Tom Dring’s time changing drum mastery.

If that wasn’t enough “old school” metal for you then try “Line Check” which channels Entombed with John Cooke’s guitar capturing some of that Swedish crunch from Wolverine Blues. Reese has some of that Petrov punch in the low range but it’s his ear piercing screeches that take this one to another level.

You still want more? How about the epic slab of metal mayhem known as “Wire Mother”? At almost eight minutes long and still barely in the middle of Mechanical Tides yet, this one has it all. Time changes? Yep. Massive breakdowns? Oh yeah.  Style changes? Got those. Indecipherable shrieks? What’d you say???

If you’re looking for a metal debut that really hits all that and more then Corrupt Moral Altar is a band you really need to check out. And I didn’t even touch on the second half of MT and crushers like “Closed Casket”  and “Garland Greene” or the out-of-left-field “Admit Defeat” which has some full on crooning hapening. Seriously. And it’s really, really good.

Mechanical Tides is out now through Season Of Mist. Get yours here.

There is only one Entombed and they’re apparently named Entombed A.D. (Back To The Front album review)

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I don’t care how many Entombed’s are out there now. If LG Petrov isn’t fronting your outfit then you ain’t Entombed. Simple as that. I’m not going to get into all the politics about the different sides, I just know that what I’m listening to as I type this sounds like the Entombed I know and that’s all that’s going to matter to fans, too.

Like a mix of Clandestine and Wolverine Blues, Back To The Front (Their first in 7 years!) is a welcome reminder of why Entombed is still such a relevant and visceral unit. Once “Kill To Live” really kicks into full throttle at the beginning, fans will know that long wait was all worth it. Teasers “Bedlam Attack” and “Vulture And The Traitor” don’t do the album justice as they’re just a taste of how great this album really is. Petrov sounds like a beast once again and hearing him roar on some fresh Entombed material is like a breath of fresh air.

“Waiting For Death” is the latest “death ‘n’ roll” rocker with some nice chants inside. “Eternal Woe” sounds as if it could play nicely on Serpent Saints with a low, heavy crunch accenting Petrov’s unmistakable growl. Other highlights include “Pandemic Rage” which opens with a string section straight out of a Hitchock-ian thriller and “Bait And Bleed” featuring some nice thrashin’ making for some superb headbangin’ and mosh pittin’ action.

Just as powerful as anything the band have put out thus far but more urgent, Entombed A.D.’s Back To The Front is out on August 5th through Century Media. Pre-order packages, as always, are a avilable through the always reliable and lovely CMdistro.com.

Dog Fashion Disco offer Sweet Nothings on latest!

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Of course I’ll review an album that has my name in the “Thanks” section! That’s actually because of DFD’s Indiegogo campaign and not because of any actual affiliation to said band BUT STILL! That’s pretty freaking cool, right?

But I digress.

Dog Fashion Disco is back. Their new album is upon us! Sweet Nothings is the logical (and illogical) follow up to Adultery only bigger, badder, and brassier. It’s even a contender for album cover of the year. Seriously, check out that wolf!

SW opener “Greta” is that creepy little sister of Adultery’s “The Uninvited Guest” while “War Party” (Breaking into an evil “We Didn’t Start The Fire” verse even) is a more focused rage-a-thon than “The Sacrifice Of Miss Rose Covington” was on that aforementioned album. “Scarlet Fever” follows with its staccato bursts of excitement and never has a baritone saxophone sounded so exciting (You know, outside of the usual jazz circles and in Morphine).

Todd Smith’s range is still incredible. Jasan Stepp absolutely shreds. And the horns are everywhere! If you’re feeling “horny” look no further than “Tastes So Sweet” or “Doctor’s Orders” (Remember Average White Band’s classic in Superman II? That’s “Doctor’s Orders). If anything, Sweet Nothings proves that the internet provides tenfold giving Dog Fashion Disco the “Oingo Boingo on methamphetamines” sound  they were always destined to have.

Is it the comeback of the year? Pretty much. And it’s the best thing DFD has put out to date. Now it’s time to see if the rest of the world will finally wake up to their brand of musical brilliance.

Sweet Nothings is out now through Razor To Wrist Records! It’s brilliant. Buy yours here and let me live vicariously through you by purchasing the “Envy The Vultures” hoodie. Be the “envy” of your friends and scare the crap out of the kiddies at the same time.

 

Untitled Metal Column: Volume 7 (Mamaleek, He Never Said A Mumblin’ Word)

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Mamaleek bring four tracks of mechanical mayhem on He Never Said A Mumblin’ Word. A cacophony of sound wrapped in electronics and black metal, San Francisco’s Mamaleek bring the noise through experimentation and a taste for the apocalypse. Imagine, if you will, you’re watching the upcoming Mad Max movie. Our hero walks the desolate wasteland as chants accent the isolation he feels building into an electronic screamfest with syncopated drum beats and, dare I say, a chorus as the main credits roll and carnage ensues on screen. That’s track number two, “Poor Mourner’s Got A Home”, and it’s a good indication that the rest of HNSAMW is gonna be a bumpy ride.

If you lean towards the more avant-garde aspects of Old Man Gloom and wish Caleb Scofield would really let his freak flag fly then Mamleek is definitely for you. The instant the title track explodes from your speakers it’s as if you’re having a religious experience despite the noise rage at the forefront. “Almost Done Toiling Here” is even more of a cacophonous mess with distorted beats and guitars surrounded by echoed screams while “My Ship Is On The Ocean” hones the intensity in a confined space (Barely clocking in at four minutes even!).

Then it’s over, and you’ll be left wanting more. Just the way Mamaleek likes it.

He Never Said A Mumblin’ Word is out through The Flenser on July 22nd. Buy yours here.

Total Slacker: Not slacking at all on Slip Away

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Total Slacker’s latest album, Slip Away, is akin to a musical Oreo cookie. On either end, you have the crunchy exterior (In this case the Killing Joke rocker of an opener “Out of Body Experience” and the Bleach-ed sounds of “I Don’t Want To Be A Yuppie” to close) covering this gooey, sugary filling that just makes the overall cookie that much better.

Post-punk, Post-rock, grunge….what’s the point of a label when you have bands like Total Slacker just making great quality music? If the aforementioned tracks don’t hook you then any number of songs on here are bound to.  “Keep The Ships At Bay” is another solid rocker followed by the lo-fi drone of “Sometimes You Gotta Die” with a massive wall of sound which meanders into Pixies (and Failure) territory at times. Bassist/vocalist Emily Jane and Guitarist/vocalist Tucker Rountree complement each other perfectly on “U Ever Been Satisfied?” as their respective instruments speak to each other just as they do through their mics. Meanwhile, “Who Killed Kennedy” slams relentlessly thanks to drummer James Colon as Chris Topah adds that second guitar on top.

As far as sophomore albums go, Slip Away is tops. If you like your rawk honest and loud, then Total Slacker’s latest is definitely an album you’ll want to check out.

Slip Away is out now on Black Bell Records. Be sure to head over here to see where you can catch them live this summer (July 21st at Brighton Music Hall and July 24th at Pearl Street for us Massholes) and go here to get their latest album.

 

Cocksure’s TVMALSV is the only industrial album you need in 2014.

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Fans of Chris Connelly are in for a treat in 2014 as the eclectic vocalist returns to industrial in a huge way with not one, but two projects being released. There’s Bells Into Machines which sees Connelly partner up with his former Ministry co-hort Paul Barker and the RevCo-inspired slab of awesome that we’re talking about here: Cocksure!

Teaming with Acumen Nation’s Jason Novak, Cocksure’s debut full-length is a rollicking throwback with a firm foot placed firmly in the now. Were you a fan of early Revolting Cocks or the Connelly-era of Ministry in the early to mid-’90’s? Then you better not miss this one.

“Skeemy Gates” comes out swinging and easily lays waste to most industrial music out there today. Connelly, as always, is in fine form with a range that goes from Bowie-esque croons to “Cannibal Song” shrieks of madness instantly. “Alpha Male Bling” distorts Connelly on top of swirling, hypnotic Novak electronics while “Guilt, Speed, & Carbon” is almost The Damage Manual “Take Two” with its’ Geordie-like guitar line looped throughout.

If you’re craving some raunch, go no further than “Cock Ripped To The Giddy Tits” which has some hints of NIhil-era KMFDM swagger and would make for some fine pole dancing music (Imagine the booty shakes to Connelly’s “Hoo! Ha!’s”). “Silikon Suckaz” is even more perfect for that setting with Connelly at his most maniacal. Soon to be touring partner Richard 23 of Front 242 shows up on “TKO Mindfuck” further into TVMALSV  to really bring things full circle on a track that is instantly mesmerizing and a reminder that you can’t keep a good Cock down.

TVMALSV is the album you need if you’re looking for some old school industrial without having to go on a nostalgia trip. It’s fresh, it’s new, and it’s easily a must-have for any industrial music and Chris Connelly fan.

Cocksure’s TVMALSV is out through  Metropolis Records on August 12th. You can pre-order yours here.

MOTOFIGHTR mix Daft Punk with Buena Vista Social Club on Pacific Post Highway!

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Much like Captured Tracks own Tomboy, MOTOFIGHTR fuse organics and electronics seamlessly and effortlessly. On Pacific Post Highway, Expensive Looks’ Alec Feld and Miles Gabriel (Named for Miles Davis and Peter Gabriel. How awesome is that?) craft five futuristic jams a la Daft Punk without all the bravado. Forget futuristic. More like out of this world!

“Real Sex” and “Piano Fuck” are the perfect gateway drugs to get you hooked on MOTOFIGHTR with their seductive beats and lush vocals. The latter sounding as if it belongs in Luc Besson’s The Fifth Element. Throughout PPH, though, MOTOFIGHTR easily manage to funkify the most out there electro with some guitar riffs that’d make Bootsy Collins himself proclaim : “Daaamn!”

“Nomad” is a great example of that but it’s really the finale of a title track that takes MOTOFIGHTR to a whole other level. Take some Angelo Badalamenti-style synths and mix it with some Prince guitar licks and a sick bongo solo adding some Afro-Cuban flavor and you have a recipe for some fresh music, my friends.

Pacific Post Highway is out now. You can get yours here and find out more about MOTOFIGHTR here.

 

Untitled Metal Column: Volume 6 (Martyrdod, Elddop)

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I liken my first time listening through a Martyrdod record to my first experience with Nachtmystium’s Black Meddle, Pt. 1 in that the music is so utterly engaging from the get go yet the vocals are undeniably jarring for a virgin listener. Even more vicious than Blake Judd, Mikael Kjellman is an absolute monster behind the mic making Martyrdod’s fifth album and the dichotomy within a must own this year.

If you like Converge but could do without the breakneck pace, want more from Aaron Turner’s Split Cranium, and like your Entombed with their foot planted firmly in the Clandestine days then Elddop is an album you need to listen to.

“Nodkanal” opens up the floodgates and once that musical monsoon is unleashed, you better make sure you’re strapped in tight because it’s gonna be a bumpy ride. “En Jobbigt Jnvel” is a headbangers delight and just pure thrashing madness. The riffs are urgent and intimidating with Kjellman’s and Pontus Redig’s guitar squeals and harmonies lighting the song on fire.

If you want it slow, then  you’ve come to the wrong place. While “Tentakler” might start off on the low end of the BPM spectrum,  it quickly gains momentum into another rock out so that minute reprieve at the beginning should be considered your “break”. “Slav Manual” is another rager and the title track that follows, even more so. Then there’s “Synd” which blisters and boils with sinister fury with riffs up the a-hole early on.

Elddop is out on July 22nd through Southern Lord. Pre-order yours here if you dare!

 

1000Mods release Vultures, the world quakes.

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Vultures, by Greece’s 1000Mods, is filled with that kind of Wretch lo-fi aesthetic but produced in the Vista Chino era. “Claws” is a great example of that (Especially with an ending reminiscent of “Supa Scoopa and Mighty Scoop”).

But I digress.

1000mods is by no means a carbon copy Kyuss clone. These heavy rockers rise above the sophomore slump on Vultures with an album that is miles away from their stunning debut , Super Van Vacation. Experimenting more and expanding upon their sound (“Horses’ Green” alone blows apart the majority of SVV with its’ massive grooves) at greater lengths, Vultures preys upon all other posers and rises above to forge something new.

Giannis  and George blues soaked guitars on “She” are high points until their mastery of the instrument and the foundation of the feeling is established during the title track. Add bassist/vocalist Danni to the mix with Labros drumming his ass off and 1000Mods is THE veritable stoner rock psychedelic force to be reckoned with in the new age.

And then “Modesty” chimes in sounding like the bastard child of Kyuss and Clutch and all bets are off. Until the beyond epic instrumental “Reverb Of The New World” kicks in, that is (Just wait until the five and a half minute mark but make sure your seat belt is buckled before you hit that point).

Vultures is out now through The Lab Recs. Do yourself and buy yours here now.

Unstoppable Death Machines provide some “Single Clarity” on newest single!

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I don’t think there’s ever been a name more fitting for a band and the music they create then “Unstoppable Death Machines”. On their upcoming 12″, “Single Clarity”, the brothers Tucci yield impeccable skill on a completely improvised track that doesn’t relent for a second of its’ almost ten minute run time.

It’s a barrage of guitars and drums that hit like a nuclear bomb from second one. Billy Tucci’s playing is frenetic yet almost a metronome in spots with a sound reminiscent of Lars’ “trash can” overproduced St. Anger bullshit but, y’know, actually good. When the vocals eventually saunter in around the three minute mark, it’s like Jello Biafra is singing at you.

Take all the modern duos out today, throw ’em in a blender, and you still wouldn’t have the creativity and ferocity that Unstoppable Death Machines create on “Single Clarity” alone.

Need I say more?

“Single Clarity” is available on July 15th through Beat Imprint. Pre-order it here, and hey, the digital track is only a buck. What have you got to lose?