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Pyro: siste 10 saker

Metal Review: 10 siste anmeldelser

Encoffination - Ritual Ascension Beyond Flesh
[5.0][4.0][5.0]

There are times when I wish that “heavy” is enough, because if it was, then this year would look a hell of a lot better. If the wretched sounds of Vasaeleth, Father Befouled, and the murderous Witchrist causes you to erect a tall, hard rise, the new Encoffination will give you an orgasm so violent it’ll make your asshole hurt. Sometimes that’s all you really need--the lines of consent all but completely erased with no gentle kiss goodbye, with fond memories written in a lifelong scar--but at some point even that gets a little old. Ritual Ascension Beyond Flesh is not about substance, but it does encapsulate the ruptured perversity that matches or surpasses what Incantation and Inquisition birthed. And yet, I still don’t think we’ve reached the precipice that threatens to crumble under the weight of all this blasphemy, but damn if we aren’t getting closer.

With many bands of this ilk, it becomes all about the tone, and not about the tenacity. Event [Continue reading on Metal Review]

Written by: Jim Brandon

Boris & Ian Astbury - BXI
[5.5][4.5][5.0]

When two recognizable names show up under the artist column with an ampersand wedged uncomfortably in between them, it means it's time for a good ol’ collaborative effort. Japanese stoner-post-drone-all-over-the-place masters Boris are no strangers to these activities, finding a way to meld with acts ranging from drone lords Sunn O))) to noise artist Merzbow. Their latest friendly outing is with--curious as it may seem--The Cult vocalist Ian Astbury, resulting in the brief 20-minute EP BXI (get it?). An eyebrow-raising pairing on paper, but the music comes naturally, with quality ranging from the pleasantly toe-tappin’ to the downright spectacular.

As one would expect, the brevity of the EP sees Boris foregoing the droning landscapes and experiments within the realms of noise that they have often diverted towards, instead favoring to don their rock-roll boots. The first two of the four songs on BXI could be considered the obvious results of the collaboration. “Teeth and Claws” is a subdued, vocal-cen [Continue reading on Metal Review]

Written by: Zach Duvall

Grind Inc. - Lynch And Dissect
[6.0][4.0][4.5]

Though having been in existence for the better part of a decade and now releasing their fifth full-length album, Germany’s Grind Inc is a new death metal act for me. But after hearing Lynch and Dissect, you can bet I’ll be scouring the internet for their back catalog.

Plying a form of chunky, brutal death metal, Grind Inc isn’t doing anything new or original, but man, are they pummeling, mostly due to drummer Adriano Ricci (of 90s melo-death act Night In Gales) who literally beats his kit into submission for the album's 43-minute duration; often regardless of the riffs being played.

Armed with a chunky, almost Belgian/Tue Madsen-sounding production, the assault’s heaviness is compounded, and the largely Floridian-paced material is rendered beefier and groovier than their more finesse-oriented US counterparts. Christoph Mieves has an early earthy Chris Barnes growl -- nothing fancy, but it’s fitting. The end result is a very satisfying death metal album that pulls no punches or [Continue reading on Metal Review]

Written by: Erik Thomas

Yaotl Mictlan - Dentro Del Manto Gris De Chaac
[5.0][5.0][5.5]

Those who are much more elite than myself are sure to disagree, but I appreciate the ethnic turns black metal has taken since its inception. It’s come a long way since Norway exploded, and I’m very pleased with the way this often-misunderstood sub-genre has morphed from something centered on hatred and clown makeup to one of the most purely emotional and personal styles of music in existence. Black metal has transcended nationality and language barriers, becoming a voice for individuality across the globe as Yaotl Mictlan so expertly displays on the absolutely ripping Dentro Del Manto Gris De Chaac, an album that shows a notable amount of focused growth and maturity compared to their rather overwrought debut, Guerreros La Tierra De Los Muertos.

Corresponding with Chaac being a Maya rain deity, Yaotl Mictlan thunders their way through these eight tracks with savage purpose, carried by Tlatectal’s scorching vocal assault and a seemingly endless stockpiling of sharp, compelling riffs. Fo [Continue reading on Metal Review]

Written by: Jim Brandon

Umbrtka - Kovový Háj
[4.5][5.0][4.5]

Since Kovový Háj is the first encounter I've had with Umbrtka, I wanted to begin with a bit of investigation through the band's back catalog. Investigate I did, and to my very pleasant surprise, I discovered perhaps one of the most ambitious black...excuse me...grey metal bands out there. Kovový Háj, which was released earlier this year, is the band's fifteenth full-length since 2000. That's right, fifteenth...and let me be the first to tell you, these are by no means garbage recordings. In 2003, these black metal-loving Czechs recorded four albums, including one entitled Melša - Frank Zappa Meets Darkthrone. If that isn't enough to intrigue you, know this: Umbrtka happened to squeeze out yet another full-length before my lazy ass got around to writing this review. That's two for this year, so far. Read on.

Perhaps Umbrtka's self-appointed genre, "grey metal", is slightly too limiting. While Kovový Háj's man [Continue reading on Metal Review]

Written by: Konrad Kantor

Blind Guardian - At The Edge Of Time
[4.5][4.5][6.0]

At the Edge of Time, Blind Guardian's ninth studio album in over twenty years of existence, has effectively hamstrung me for the better part of the last two weeks. On the surface it's a seamless mix of old and new and strikes a perfect balance between adventurous and straightforward -- a record that finally bridges the elusive gap between all warring factions of their fans. But something's been stuck in my craw that's resulted in three re-writes and at least a week's worth of delay getting this review to the front page. Following a brief listening hiatus and a nice dose of palate cleansing I've come to the realization that, in a nutshell, At the Edge of Time contains a boldness and finesse that's undoubtedly deserving of celebration, but also extends two primary concerns that stand in the way of my giving it any sort of fiery "top album of their career" recommendation.

First: Blind Guardian need to revamp that home studio of theirs...

I'd love to see these guys [Continue reading on Metal Review]

Written by: Michael Wuensch

Tormenticon - Self Titled
[5.0][4.0][4.0]

As much as I enjoy challenging, artistic and progressive music like the new Enslaved, Decrepit Birth or Aiumeen Basoa and being absorbed in musical hues, juxtapositions, layers and creativity, sometimes I just want to get kicked in the face and punched in the balls. A lot like my sex life. Enter Finland’s Tormenticon who play a style of old school mid-paced death metal that has one foot in the classic Stockholm style (notably Grave), one foot in Finish doom and one foot in Jungle Rot / Six Feet Under chugging simplicity. I know that’s three feet, but math was never my strong point. 

With a mere 7 songs written from 2002 to 2009, Tormenticon’s sound is rooted in deep chugging riffs littered with some doomy, haunting strains and foreboding, scrawling solos. Nothing triggered or clicky, no breakdowns and virtually no blast beats. The tracks rumble like Bolt Thrower’s tank-paced assault (just listen to “Bestial Truth”) and hit with [Continue reading on Metal Review]

Written by: Erik Thomas

King Of Asgard - Fi'mbulvintr
[5.5][4.5][4.5]

There's something about good folk metal that always allows us to feel a strong connection with the interesting planet on which we live. Personally, I've spent the past week or so wondering why that is, as Sweden's King of Asgard certainly fits into the above description. It is noteworthy that Quorthon himself, the godfather of folk metal, had already helped spawn an entirely new genre we now call black metal. That was 1983. Almost 30 years later, there remains an interesting fusion between these two genres. The traits that help define both of these genres are not mutually exclusive; however, it's extremely common (musically and lyrically) to see folk themes arise in black metal and vice versa. These seemingly conflicting genres have now been feeding off each other for a number of years and have continued to push metal to new emotional heights. After listening to Fi'mbulvintr, I'm convinced that the elements of both folk and black metal will continue to aid in the progression of the metal community as a whole.

The int [Continue reading on Metal Review]

Written by: Konrad Kantor

Malevolent Creation - Invidious Dominion
[5.0][5.0][5.0]

Invidious – adj; “calculated to create ill will or cause offense, hateful”; “offensively or unfairly discriminating, injurious.”  

To a fan of classic death metal, this Dominion doesn’t create ill will, nor is it offensive, but it’s most certainly hateful and injurious in all the right ways…  

Malevolent Creation is a bunch of persistent bastards; that much is also certain. They don't always get their due—in fact, they seldom do—and through twenty years and as many line-up changes, while trends may come and go, Malevolent just continues churning out some of the most vicious and caustic death metal around. Their history has been a complicated one, but their output is consistent, angry and old-school because that school was the new school when they started back in 1987. The band changes constantly, but their approach never really does.

Emerging from the g(l)ory days of the Floridian scene, Malevolent spat forth two certifiable classics in 1991's [Continue reading on Metal Review]

Written by: Jeremy Witt

Neurosis - Enemy Of The Sun (Reissue)
[4.5][6.0][5.0]

To understand Neurosis, you have to understand Josh Graham. More specifically, you have to understand why the rest of the band calls him a member.

Graham, who joined the band in 2000, does not play an instrument for Neurosis. Nor does he provide vocals. He, like his predecessors Pete Inc. and Adam Kendall, provides 'visual media' for the band. He generates Neurosis's album art and�the video loops they use in their infrequent live shows. He's also responsible for redesigning the Enemy of the Sun layout in his trademark stark colors for this reissue. This aesthetic reboot is the only new content included.

So we find ourselves with a band member who doesn't play an instrument, sprucing up an album that he didn't originally contribute to and that doesn't seem to need a re-release. What gives?

The simplest answer is that Neurosis are preoccupied with symbolism -- especially that of cycles. As the band marks its 25th anniversary, it follows that [Continue reading on Metal Review]

Written by: Doug Moore