by crustcake gerf (NYC)
No sense beating around the bush here-- this is the best record I've heard in the 2008 calendar year so far. Hands down. Torche is the only band in the world that's successfully heavy and catchy at the same time. There, I said it. And not only that-- when Torche is heavy, Torche is fucking heavy; and when Torche is catchy, well I'll be damned if those songs don't plant themselves firmly in your stream of conscious and stay there for a few days. And that's a good thing.
As with last year's In Return EP, Meanderthal opens up with an instrumental 'intro' track of sorts: "Triumph of Venus" is fast, bright, and proggy, immediately setting a different tone from In Return's lumbering opening barrage, "Warship." "Venus" gives way to the album's first single (or, at least, the first song on the album with single potential), "Grenades." After a hopping intro, vocalist/guitarist Steve Brooks launches into the first verse as he, along with guitarist Juan Montoya and bassist Jonathan Nuñez, pound away at a one-note, slow slow fastfastfastfast riff.
"Pirana" picks up the pace, riffing and pounding its point home in a mere minute and a half and before you know it you're into the comparatively slower (and heavier) "Sandstorm." This album is just absolutely fucking relentless... Hit after hit after hit; riff, riff, riff, hook, hook, riff. How the fuck do they do it?!
Next up is "Speed of the Nail" (I'm convinced its main riff was inspired by Missy Elliot's "Get Ur Freak On"). What is the speed of the nail, you ask? It's fast. And heavy. And catchy.
Can it get any better?
YES.
"Healer" (MP3 below) is the best song of 2008. At least so far, but it will be hard to top. I have no idea why, but it's just that fucking good. FUCK.
Some review this is turning out to be, huh? So much for 'journalism' and 'integrity' and all that shit. Ah, fuck it. I'll leave that crap to Pitchfork and just continue being the fanboy that I am.
After "Healer," we get the radio rocker "Across The Shields." I don't remember where I read this or I'd link to it, but "Across The Shields" is what mainstream hard rock should sound like.
"Sundown" is the weakest cut on the album, but, though it seems like a bit of an afterthought, it's still a solid song. After the sprightly and brief "Little Champion" comes "Without A Sound," which reminds me of something that I can't quite put my finger on... But it's something good.
Meanderthal closes with three solid cuts-- "Fat Waves," which, after a short intro, vamps for a few minutes on a tom-heavy jam, followed by "Amnesian," a song reminiscent of the band's self-titled debut, and then finally the title track, which contains the only use of the band's signature bombstring on the entire album. And boy is it a welcome sound.
Let's get to the physical record. In what is one of the most creative presentations for an LP I've ever seen, the high-gloss cover folds out like wings and then down like an accordion, revealing a three-panel, 36-inch spread (for comparison's sake, your dick is only three inches) of weird cartoony creatures hangin' on a mountain road.
[front]
[front, 'wings' opened]
[front, full spread]
The vinyl itself, protected by a slip cover, is visible through the back of the jacket:
[back]
The LP is available in black (above) or as a picture disc, which I don't have a picture of unfortunately.
In short, Meanderthal is 13 songs over a mere 36 minutes and you'll find yourself wanting to relive those 36 minutes over and over and over again. Get the vinyl version at one of the band's upcoming shows, or wait for it to turn up online.
10/10 [Audible]
9.5/10 [Physical]
Download: Torche - "Healer" [MP3]
Listen: Torche [MySpace]
Buy: Torche - Meanderthal [Amazon]
July 15, 2008
Crustcake Reviews: Torche - Meanderthal
July 8, 2008
Crustcake Reviews: Floor - Dove
by crustcake gerf (NYC)
We're going old school with this one. Before forming Torche in 2005, Steve Brooks (vocals, guitar) and Juan Montoya (guitar) spent most of the 90s and early 2000s in their South Floridian stoner/doom/pop band Floor. It was in Floor that Brooks and Montoya pioneered the use of the 'bombstring,' a guitar string tuned so slack that it emits a low, growling rumble that's not even a recognizable pitch.
Floor released a series of vinyl-only EPs throughout the 90s, but it wasn't until 2004 that their 1994-recorded LP, Dove, was officially (and finally) released. Dove is a six track, 34-minute doom-pop assault, and early seedlings of future Torche greatness are abundant and obvious. The CD version of this No Idea release includes an extra track, the 16-minute-long "I Remember Nothing."
The first five songs go by quickly, the longest, "Floyd," being just over four minutes long. The LP's fourth cut is an early version of "Figured Out," which appears on the band's first 'official' full-length, 2002's Floor. Here the song goes by a slightly different name-- "Figure It Out"-- and it's significantly faster, not to mention tuned a whole step higher than its later incarnation.
Vocals on Dove stand out for their distinct difference from later Floor and Torche-- they have a decidedly lo-fi, punky aesthetic, which is at least partly due to the early-mid-90s production style.
The physical album itself is fairly standard-- just a simple sleeve with a gray marble LP.
[cover]
[vinyl]
Along with Floor's self-titled full-length, Dove is a must-have for any Floor or Torche fan. It's a classic cult record that pairs nicely with a bottle of cheap American beer, a spliff, and a warm summer afternoon. Dove is available from No Idea Records.
8.5/10 [Audible]
6.0/10 [Physical]
Download: Floor - "Namaste" [MP3]
Listen: Floor [MySpace]
Buy: Floor - Dove [Amazon]
July 1, 2008
Crustcake Reviews: The Sword - Gods of the Earth
by crustcake gerf (NYC)
I don't want to beat a dead horse to death, so I'll try to keep this brief. The Sword released their sophomore LP, Gods of the Earth, three months ago today via Kemado Records. Kemado and all their hired guns (as in, outsourced PR-- we've received press releases from at least three different PR firms) certainly know how to whip up a PR storm, and we've been playing along posting about The Sword left and right in recent months.
The release of their first LP, Age of Winters, was also surrounded by such hype, and I give credit where credit is due-- Kemado knew what they had on their hands when they signed The Sword, and they capitalized on the opportunity. But, for all the hype, The Sword is but one of many good 'stoner rock' or 'revival metal' bands to hit recording studios and the club circuit in recent years.
It just so happened that The Sword became the movement's reluctant (or perhaps not so reluctant) standard bearers, the poster boys for this retro metal movement. And with that perch came more critical praise and critical lambasting than the band was ever due. The Sword was built up to be something they were not, and now the same publications who hyped them up in the first place during the Age of Winters days are now railing against the band because Gods of the Earth isn't, like, the best metal record ever and stuff. Overhype creates a vacuum.
Anyway, I got my hands on a copy of the limited edition (run of 1,000) gatefold LP version of Gods of the Earth for this review. Musically, Gods isn't much of a step forward from Age of Winters. In fact, the songs are a bit less focused and the production isn't quite as full. After "The Sundering," a brief instrumental intro which utilizes acoustic guitar, the album stumbles out of the gate with "The Frost-Giant's Daughter," by far the weakest cut on the album. The rest of the record is better, capped by the epic duo of "The Black River" and closer "The White Sea." Overall, Gods is more of the same retro metal we heard on Age of Winters-- it will satiate your desire for that brand of metal but it won't blow your mind.
Physically, the record isn't exceptional. The only element remotely interesting is the embossed cover-- the pillars and sword are raised against the background-- but even this makes the record seem a bit 'cheap.'
The inside spread is occupied in whole by lyrics, and the back cover is a continuation of the image on the front, which looks like a two-dimensional rendition of a diorama, or a still from South Park's evil twin. The record itself is black vinyl, and the labels are a simple image of several swords arranged in a circle, each one pointing to the circle's center.
Kemado got at least one thing right with this vinyl release-- each LP comes with a unique code to download the album at no additional charge. I do have two minor complaints about this, though: the MP3's are only available to download once you have physically opened the LP (they ought to be available upon placing the order for the LP) and the MP3's are 192kbps (they should be at least 320kbps). Just minor gripes, like I said-- at least they're giving you the tracks. That being said, vinyl is the best way to enjoy this album.
7.0/10 [Audible]
6.5/10 [Physical]
Download: The Sword - "Fire Lances of the Ancient Hyperzephyrians" [MP3]
Buy: The Sword - Gods of the Earth [Amazon]
June 27, 2008
Crustcake Reviews: J. Bannon - The Blood of Thine Enemies
by theseseans (NYC)
Jacob Bannon's first solo release, The Blood of Thine Enemies, is a pulsing ambient piece. Miles away from his front man duties in Converge, Jacob uses only a clean delivery here, genuinely singing the chorus. His voice is (as always) a little odd, but it in no way detracts from the piece; and a piece, it is. Clocking in a six minutes even, The Blood of Thine Enemies is intended to stand alone, as a precursor to Jacob's future full length.
Musically, this release is very minimalist, employing mainly a beautifully recorded acoustic bass, keys, and Jacob's voice. The song builds but not necessarily towards crescendo; instead it builds like a thickening swirl, filling the simple yet rewarding piano and vocal melodies.
There are currently two copies of the 7" available from Deathwish, one gold, one silver. Featured here is the gold edition. The record itself features an etching of the skull, wings, and flowers of the cover center piece, while the casing has a rather unique fold out, with art to be found on all sides.
[front cover]
[back cover]
[inside]
[Vinyl front]
[Vinyl back]
7/10 [Audible]
8.5/10 [Physical]
Buy: J. Bannon - The Blood of Thine Enemies [Deathwish]
June 24, 2008
Crustcake Reviews: Baroness - The Red Album
by theseseans (NYC)
This double vinyl limited edition of Baroness' The Red Album, is everything that I want a record to be. In fact, it pushed me over the edge from being a 'casual' vinyl collector, to an out right fanatic. Put out by Hyperrealist, limited to 1,000 copies, two records on beautiful red vinyl, an amazing album, what's not to swoon over?
If you haven't already heard this album, do so now. It is a perfect mix of classic rock guitars, modern metal composition, and an ever-stretching balance between pounding rhythm and soul sucking space. The record itself gets more open and spacey as it goes, but keeps the listener enthralled with melodic percussion, excellent tracking, and precise musicianship. Basically The Red Album is for anyone who likes rock or metal. If you like shoegaze, you'll love it. If you like tech-metal, you'll love it. As long as you like guitars, drums, and commanding vocals, this is the album for you.
The real draw behind Hyperrealist's run is for the collector. This is a release intended for those who already love this record; the detail and art work within the release are well worth a closer look.
I reckon that any vinyl copy of this album is worth owning, if for nothing more than the larger versions of John Baizley's excellent artwork. However, here we have expanded art found within the gatefold, and on the individual record sleeves. The detail on the artwork is exactly what you expect from John, nothing short of spectacular; as each of the inner gatefold designs corresponds to the records sleeves, and further, onto a detailed print on the outer edge of each record. The records themselves are a red vinyl with slight black swirl drifting within.
Unfortunately, this pressing has already sold out, but Relapse Records will be putting a similar, non limited version soon.
[front cover]
[back cover]
[inside spread]
[LP 1 sleeve, front]
[LP 1 sleeve, back]
[LP 2 sleeve, front]
[LP 2 sleeve, back]
[vinyl]
9/10 [Audible]
10/10 [Physical]
Buy: Baroness - The Red Album [Amazon]
June 23, 2008
Harvey Milk Played Knitting Factory [6/20/08]
by crustcake gerf (NYC) photos by Scott Roc
Harvey Milk played Knitting Factory on Friday, joined by Deadbird, Ocean, and Bloody Panda. I really thought Harvey Milk were more well known, but the show was at the Tap Bar, a smaller room than the Main Space upstairs. The good news was that, unlike Main Space shows, I didn't have to fight the crowd to get up close. Milk killed it, and all you New Yorkers will have another chance to catch them-- they're playing tonight at Europa with A Storm of Light, PIGS, and Tournament.
Photos from the show after the jump.
Harvey Milk - Live at Knitting Factory [6/20/08]:
June 20, 2008
Crustcake Reviews: Junius - The Fires of Antediluvia 7"
by crustcake gerf (NYC)
I've already mentioned this seven-inch in my gushing review of a Junius show last fall, but it deserves a dedicated review. For those unfamiliar with this band, the most accurate description I've come up with is epic, cinematic post-rock. Unlike much post-rock, though, Junius are not an instrumental band. In fact, alongside a wall of spacey guitars and driving beats, Joseph E. Martinez's haunting vocals are a cornerstone of Junius' dark, brooding sonic brew.
"The Fires of Antediluvia" is an epic of a song, beginning with a two-chord space rock vamp over an earnest drum beat before Martinez howls "...the earth is in flames. Violence begins as our gods descend..."
The band employs nearly all of their signature techniques here, and this song goes through so many subtle and not-so-subtle changes and nuances in its nearly-seven minute runtime that you'll need to listen a few times before you catch everything.
The B side, "Centurion," begins with several minutes of haunting pedal tones fit for a scene in some post-apocalyptic science fiction film noir. It's really only a matter of time before a major film studio is giving these guys a call. Listen to "Centurion" at Junius' MySpace page.
The Fires of Antediluvia 7" is available from Radar Recordings in five colors, each corresponding to one of the classical elements (Earth, Water, Fire, Air, Aether: transparent green, transparent blue, transparent amber, clear, and black, respectively). Each of the five different pressings is limited to 250 hand-numbered copies, and as far as I can tell, none of them are sold out yet. A version of the 7" is also out on Anchorless Records.
The sleeve is a simple matte black card stock screen printed with silver ink. Other than the hand-numbering, which is a nice touch, there isn't much more to the sleeve than this:
This 7" is a great pickup, and at only $6 you might as well buy all five colors.
8.5/10 [Audible]
8.5/10 [Physical]
Listen: Junius [MySpace]
Buy: Junius - The Fires of Antediluvia 7" [Radar Recordings]
Buy: Junius - The Fires of Antediluvia 7" [Anchorless Records]
June 17, 2008
Crustcake Reviews: Om - Live at Jerusalem
by crustcake gerf (NYC)
Last December, Al Cisneros and Chris Hakius made a pilgrimage to the Holy Land-- Jerusalem, Israel-- where they played a four-hour-long set of doom-drone art metal. Two songs were captured and pressed onto 3,100 machine-numbered 180 gram vinyl records, and I managed to get my hands on #3,060 for purposes of this review.
Side A is "Flight of the Eagle," the second track off the duo's 2006 LP Conference of the Birds. The tempo here is considerably more plodding than with the original studio recording, thus lengthening the song by a good four and a half minutes. Side B is "Bhimas' Theme," off Om's most recent LP, Pilgrimage.
The overall sound of the record is well-balanced and clear, but also distant and roomy which fits the music nicely-- it feels like you're in the hall with the band, rather than listening to a dry soundboard recording. As for the physical product, it's simple and understated. Black vinyl with no labels-- just the side and track information etched into the wax. The sleeve is matte black with what would appear to be a photo of Nostradamus, if not for the fact that there were no cameras during the famous prophet's lifetime. (If anyone has more info on the cover, please leave a comment.)
The cuts on this vinyl-only release may themselves be frivolous-- you're better off just listening to the studio tracks, as if you truly want to experience Om live you really ought to do just that-- but for true Om fans and for record collectors this is a great pickup. The unadorned nature of sleeve and record fits Om like a simple red robe fits a Tibetan monk. Southern Lord still has a few in stock, but you better get a move on because they're likely to sell out soon.
7.0/10 [Audible]
8.0/10 [Physical]
Buy: Om - Live at Jerusalem [Southern Lord]
June 13, 2008
Crustcake Reviews - Trap Them/Extreme Noise Terror 7" Split
by theseseans (NYC)
This 7" Split from Trap Them and Extreme Noise Terror is an excellent pairing of bands. Trap Them's popularity and mastery of noise grind seem to be increasing hand-in-hand, and the young band continues here with "Day 18: Enders." Trap Them's releases progressively sound more focused, each building upon (but never straying from) those previous. "Day 18: Enders" is no exception: the band speeds through the beginning, only to change tempo and ride the rest of the song with restraint that seems on verge of collapse.
Before listening to this release, I had yet to experience Extreme Noise Terror. The long-running (formed in 1985) English grindcore band deliver exactly what you would expect with their track, "Religion Is Fear": fast, dirty, dual-vocal political grind. The two vocalist thing is actually kind of cool (not that their deliveries are all that different from one another), adding an interesting dynamic not often found in grind.
Even so, if this track is an accurate representation of the band, I don't think I would be terribly interested in checking them out further. They seem to lack that special something that makes great grind bands great. "Religion Is Fear" is a solid track, just nothing that really seems to stand out.
The only real problem with this 7" is that its total run time for both sides is 2:38. Both bands put forth enthusiastic efforts, but with such a short run time, the split is over before you know it.
Visually, the record is outstanding; both the vinyl and the sleeve are exceptional. The sleeve print, by Jacob Bannon of Converge, is an arresting image of skulls and an oncoming tank. The 7" itself is a black and white splatter print.
[front cover]
[inside]
[front of vinyl]
[back of vinyl]
Trap Them/Extreme Noise Terror Split is available now from Deathwish Records.
7/10 [Audible]
8.5/10 [Physical]
Buy: Trap Them/Extreme Noise Terror - 7" Split [Deathwish Estore]
June 10, 2008
Crustcake Reviews: Municipal Waste - The Art Of Partying
by theseseans (NYC)
When I laid eyes on this Limited Edition Picture Disk version of Municipal Waste's latest, The Art Of Partying, I had to own it. The lack of proper packaging is a bit of downer (the LP, like many picture discs, comes simply in a clear plastic jacket), but when you have the gleam of this record staring you down, it's hard to doubt its awesomeness.
Musically (as if you haven't already listened to this) the record is what you've come to expect from Municipal Waste, and that's not a bad thing. The thrash oozes into your brain with a couple of twists and turns along the way. Guitarist Ryan Waste throws out an ever-so-rare melodic lead in "Beer Pressure," and the rest of the band seems never to be satisfied either, as this latest material showcases some of their best compositional work and individual performances to date.
This particular vinyl version is worth having for its looks alone. The already incredible album art looks phenomenal on this pressing: there is a gloss on the record which really only enhances the scene. And the LP's B side features a rad photo of the dudes.
[front]
[back]
The Art Of Partying is available now through Earache Records.
8.5/10 [Audible]
7.5/10 [Physical]
Buy: Municipal Waste - The Art of Partying [Amazon]
June 6, 2008
Crustcake Reviews: Fucked Up - Year Of The Pig
by theseseans (NYC)
Normally we review 7" records on Friday, but in a way this record is sort of a hybrid between a 7" and a 12" so we are giving it the Friday spotlight anyway. With only two songs, the record seems like it should be a 7", but for the extended length of side A.
"Year of the Pig" follows the format Fucked Up showcased on their latest full length Hidden World-- hardcore punk developed into the format of long songs. "Year of the Pig" is an 18 minute epic that manages to flow just as seamlessly as it is abrasive. The band utilizes female vocals and a variety of percussion to lull the listener into its jaws, before ultimately releasing its guitars and 'Pink Eyes' vocals.
Side B, "The Black Hats," is more of standard song for Fucked Up-- one that would have fit well along side any of their other material-- but pitted against the mammoth "Year of the Pig" the track seems lessened.
Aesthetically, the physical record is unconventionally very pleasing. Forgoing any sort of gatefold, the record it self (which is a simple black pressing) is sandwiched between two single prints. Each print features wonderfully classical art, front and back.
[front cover]
[back cover]
[inside of prints]
[vinyl]
Year Of The Pig is now available through What's your Rupture? Records.
8/10 [Audible]
8/10 [Physical]
Buy: Fucked Up - Year of the Pig [Amazon]
June 3, 2008
Crustcake Reviews: Sleep - Dopesmoker
by crustcake gerf (NYC)
"Follow the smoke to the riff-filled land."
So goes the legendary line in Sleep's monumentally epic tribute to pot, the aptly-named "Dopesmoker." "Dopesmoker" is both song and album, each one and the same-- more than sixty minutes of octave-drone punctuated by periodic movement, occasional guitar solos, and bombastic vocals. "Dopesmoker" is a stoner-doom masterpiece, the magnum opus of the now-defunct California trio.
According to All Music Guide, "[Dopesmoker] lingered in unreleased limbo [...], the subject of a vicious legal dispute between [Sleep] and their record company, London, which refused to release Dopesmoker as delivered by the band-- that is, a single, 60-minute-long song."
This disagreement ultimately led to Sleep's dissolution, and Dopesmoker didn't see the light of day in its intended form until years later, in 2003, thanks to Tee Pee Records. The version I reviewed is Tee Pee's latest pressing of the LP, which features a touch-up job by cover-artist Arik Roper. The record is gorgeous, all the art having originally been done in watercolor in Roper's signature style.
There's a problem though. You can't fit a 60+ minute song one one side of a 12" LP-- as a result "Dopesmoker" is awkwardly broken up into parts. The record is certainly a beautiful addition to your collection, but I recommend just listening to it digitally. Dopesmoker also comes with a bonus track-- a live cut of the song "Sonic Titan"-- but, much like this sentence, it's almost an after-thought.
[cover + wax]
[inside spread]
[back cover - detail]
If you're reading this blog, you're more than likely fairly familiar with Sleep already-- Al Cisneros (bass, vocals), Matt Pike (guitars), Chris Hakius (drums)-- and Sleep's children: Om and High On Fire. Om is more-or-less Sleep minus the guitars and the rough edges (and now, sadly, minus Hakius), whereas Matt Pike's High On Fire opted for a sludgier, aggressive, more 'traditional' metal sound.
Both bands may have, each in their own way, transcended their roots in Sleep, but that does nothing to diminish the importance of Dopesmoker to the doom metal canon.
Dopesmoker is available now from Tee Pee Records.
9.5/10 [Audible]
8.0/10 [Physical]
Download: Sleep - "Dopesmoker (excerpt)" [MP3]
Listen: Sleep [MySpace]
Buy: Sleep - Dopesmoker [Amazon]
May 30, 2008
Crustcake Reviews: Constants & Caspian - Split 7"
by crustcake gerf (NYC)
Both Constants and Caspian come from Boston. Constants contribute side A of this split seven-inch, simply titled Split 7", with the song "...Passage." Constants' sound is difficult to describe; it's ambient post-rock, but it's raw and, at points, aggressive. "...Passage" is a strong showing for the band and you can hear a clip of the song at their MySpace.
Caspian's sound is more conventional instrumental post-rock, a la Explosions In The Sky. Though not incredibly original sounding, their contribution to the split, "La Cerva," is a solid performance, delivering a wall of guitars and a heavy back beat. The song doesn't develop, though, instead just sort of giving up towards the end, leaving the listener with an uneasy feeling of incompleteness. A clip of "La Cerva" is up on Caspian's MySpace.
Order the seven-inch from Radar Recordings and you'll get the MP3's for both songs immediately, which is pretty rad.
7.5/10 [Audible]
6.5/10 [Physical]
Listen: Constants [MySpace]
Listen: Caspian [MySpace]
Buy: Constants / Caspian - Split 7" [Radar Recordings]
May 27, 2008
Crustcake Reviews: Coliseum - No Salvation
by crustcake gerf (NYC)
Coliseum totally rage, and though their Relapse Records debut, No Salvation, was released nearly a whole year ago, I just got my hands on a copy of the second pressing of the 12". So here's my review. You want the short version or the long version first? Alright, here's the short version:
Thirteen songs. Thirty one minutes. Pure, raw, unbridled aggression. Crusty hardcore punk metal.
Now the long version. Coliseum is the brainchild of Louisville, KY's Ryan Patterson. No Salvation flies by and hardly takes a breath, and the sound is full, thick and meaty thanks to Kurt Ballou's magic touch in the studio.
Standout tracks include "The Fate of Men" (MP3 below), "Fall of the Pigs" (which you can hear at their MySpace), and "Profetas."
The performance from all three members-- Patterson on guitars and gruff vocals, Mike Pascal on bass, Chris Maggio on drums-- on the LP is phenomenal, as only seasoned touring musicians can deliver. Maggio's drumming is especially impressive, and he never spares an opportunity to twist up the songs rhythmically. This dude has chops to rival Brann Dailor's.
The LP itself is a single disc gatefold layout, with no shortage of skeletons and motorcycles. The second pressing was done in a red, black, and white marble and copies are still available via Patterson's own imprint, Auxiliary Records.
[cover]
[inside spread]
[wax]
For best results, don your aviator shades, hop in your vehicle of choice, roll down the windows, and blast No Salvation at 11.
8.5/10 [Audible]
8.0/10 [Physical]
Download: Coliseum - "The Fate of Men" [MP3]
Listen: Coliseum [MySpace]
Buy: Coliseum - No Salvation [Amazon]
April 2, 2008
Converge, The Red Chord, Baroness, Genghis Tron Played Blender
by crustcake gerf (NYC) photos by Jesse Angelo
A lone guitarist emerges onto the stage and settles into a slow, chugging riff. Instantly, the floor of the packed venue opens up and kids are immediately killing each other in a frenetic mosh. What band could elicit such a response from their fans, especially in jaded New York City?
None other than hardcore heros Converge, of course. After a minute or two of the aforementioned solo riffage, guitarist Kurt Ballou was joined on the stage by bandmates Jacob Bannon, Nate Newton, and Ben Koller for the remainder of "Plagues," one of the slower-- and heavier-- songs from Converge's catalog.
After that, they amped up the tempos and never looked back, playing a selection of songs new and old including a favorite of yours truly, "Last Light" off You Fail Me, and ultimately ending with fan-favorite "Concubine," the raging opener of the band's landmark 2001 album, Jane Doe.
More photos of J. Bannon and crew, as well as The Red Chord and Baroness, after the fold.
Unfortunately, we arrived during Genghis Tron's final song and Jesse was unable to snap any photos, but just on the strength of that one song I intend to finally take a listen to their latest offering, Board Up the House.
Our love for Baroness is well-documented, but last night they were a little shakier than usual. Still, I'll take a shaky Baroness over a super-tight [insert shitty band name here] any day.
Baroness:
The Red Chord:
Converge:
March 18, 2008
Black Metal Jim takes on Bone Awl
by Black Metal Jim
The worship of death is sincere in that while you can never prove the existence of a higher power, death lies behind every corner and is a reality so profound its worship has to find devout practitioners.
This is where Bone Awl arrive. Their music is reductive to a level unheard since Ildjarn, their lyrics abstract and violent. The artwork is unlike most Black Metal records in that its imagery is skewed and not obvious. Bone Awl are true black, true death and represent all that’s dying with a welcoming stomp. This is the purest hatred expressed in music in some time. There is no light, There is no hope, only death is certain and without hate we have nothing.
Download: Bone Awl - "Pendulum" [MP3]
Buy: Bone Awl - Meaningless Leaning Mess [Klaxon Records]
March 10, 2008
Crustcake Reviews: Meshuggah - 'obZen'
by crustcake gerf (NYC)
Welcome back, Tomas Haake. It was quite impressive how natural (natural for extreme metal, anyway) the programmed drums sounded on 2005's Catch Thirtythree, but listening to Meshuggah's latest, obZen, it's clear that Haake brings something to the table that no drum machine-- programmed by the man himself or not-- can ever achieve. Haake's performance on obZen, the band's sixth full-length, is technically near-perfect, but it's also decidedly human. It's got that human feel and groove that no computer could ever faithfully recreate...
Continue reading this review at Metal Injection...
Download: Meshuggah - "Bleed" [MP3]
Listen: obZen [Full Album Stream]
Buy: obZen [Amazon]
February 29, 2008
Crustcake Reviews: Warbringer - "War Without End"
by crustcake gerf (NYC)
I can see it now-- Ryan Waste, Land Phil, and the rest of the Municipal Waste army are passed out in their tents after a long night of drinking, debauchery, and "Beer Pressure." Without warning, "At the Crack of Doom" their camp is attacked, a mysterious group of assailants laying waste to their makeshift municipality. A "Total War" ensues as our vicious attackers use their "Instruments of Torture" on the poor unsuspecting inebriated victims. As they "Shoot to Kill," we're plunged into "Hell on Earth:" a "War Without End."
Alright, alright... I'll spare you. But Municipal Waste had better watch their backs-- there's another group of hungry new-wave thrashers, and they may just be out for blood.
For Municipal Waste, thrash metal may be just good old fun and games (see: "The Art of Partying"; "The Inebriator"; their live show), but for Ventura, California's Warbringer, thrash is serious-- dead fucking serious. As if my above song-title-diarhea didn't get that point across.
Despite the band's aggressive image, though, the members themselves seem like rad dudes. They're young-- most of them couldn't party with Municipal Waste legally-- but they know their shit. According to vocalist John Kevill, "[t]hrash-wise, [Warbringer's] primary influence is stuff like mid-era Sacrifice, early Slayer, Demolition Hammer, and Kreator."
On the strength of their killer debut EP One By One the Wicked Fall, Century Media signed the band and on February 5th released War Without End, their first proper full-length album. Warbringer brought in producer Bill Metoyer (Slayer, Trouble, Flotsam and Jetsam) at Century Media's suggestion, and with his help created one of the most refreshing and energetic debuts in recent metal memory.
As for the physical LP itself, the one I reviewed was the limited edition (1,000), translucent red vinyl, double gatefold, etc. etc.
Warbringer - War Without End (full spread):
The inside is printed with each song's lyrics, gang vocals in red for easy reference. On top of that there's an insert with the oh-so-crucial full band shot, black big-print t-shirts and straight faces all around. On the flipside is a collage of photos from the band's pre-CM career. It's a scrapbook of flyers, live shots, and photos of friends and family-- more or less a window into Warbringer's world.
Warbringer - War Without End (vinyl & patch):
This LP also comes with a patch which will be right at home next to that Testament patch on your jean jacket. It's also the only place you'll get the song "Onslaught," which was the band's original name. After drummer Ryan Bates joined the group, he hipped his bandmates to British speed metallers Onslaught, and they changed their name to Warbringer.
War Without End is chock full of thrashers, each a tip of the hat to the greats of the '80s without being wholly derivative. Everything about this album, from the guitar tones and the drum tuning, to Kevill's vocals and lyrical themes, is classic thrash. War Without End has that distinct old school thrash sound and feel, largely thanks to Metoyer's work behind the boards.
Kevill's interest in music was sparked when he was in a friend's garage listening to Manowar. They "got this crazy idea to sign a pact in blood that [they] would have a true metal band." Well, John, looks like you've made good on your vow.
8.0/10 [Audible]
8.5/10 [Physical]
Download: Warbringer - "Total War" [MP3]
Listen: Warbringer [MySpace]
Buy: War Without End [iTunes] [Amazon]
February 26, 2008
Crustcake Reviews: In Flames - 'A Sense of Purpose'
by crustcake gerf (NYC)
In Flames are nothing if not consistent. They've made virtually the same album four times in a row since 2002, including their upcoming full-length, A Sense of Purpose.
A Sense of Purpose is trademark In Flames-- catchy melodic riffs abound, Anders Fridén's signature rasp is in full form, and electronic beeps, bleeps, and synth pads flesh out that unmistakable In Flames sound. The fist-raising anthems are here, but we’ve heard them all before...
Continue reading this review at Metal Injection...
Listen: In Flames [MySpace]
Buy: A Sense of Purpose [Amazon]