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Municipal Waste – Massive Aggressive (Earache Records)

David E. Gehlke
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Municipal Waste – Massive Aggressive (Earache Records)

Hailing from Virginia, Municipal Waste epitomize a love of crossover thrash and partying- gaining large number of accolades for their energetic, fun loving live antics. Massive Aggressive hits the streets as their fourth full length platter, yet the 13 songs fly across like Reign in Blood in less than 29 minutes from beginning to end. At least you can take in the entire album on an average commute to run errands or gain multiple plays traveling to and from your hectic work commute, right?

Frontman Tony Foresta unleashes his verbal assault through “Massive Aggressive” and “The Wrath of the Severed Head” as if a herd of stampeding buffalo would trample his vocal chords within the next 5 seconds, so he grabs the microphone and roars out the words at Nuclear Assault/ S.O.D. paces. Guitarist Ryan Waste gains double duty with his bar chords and quick lick harmonic transitions, while still giving the fans riff thrills during highlights like “Shredded Offering” and “Media Skeptic” that combine old school punk and hardcore tendencies with their thrash style.

When they do slow down, it’s with a sense of humor such as the cowbell accents from drummer Dave Witte on “Horny for Blood” that should ensure large pit pandemonium or the ever present gang vocals through “Wrong Answer” which enroll the audience in a call back and forth participation response.

Municipal Waste will not drag out parts, place unnecessary eight bar solos in these songs or write material for the sake of gaining commercialacceptability. They love Vio-lence, Exodus, D.R.I. and the aforementioned New York crossover movement- which keeps them in a place all of their own for the current scene.

I wonder though if Municipal Waste will be able to play “Mech-Cannibal” or “Upside Down Church” 20 years from now? In the meantime, crack open your favorite liquid courage and imbibe in this tasty crossover effort.

www.myspace.com/municipalwaste

(This content originally appeared on Blistering.com)

Ravage – The End of Tomorrow (Metal Blade Records)

David E. Gehlke
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Ravage – The End of Tomorrow (Metal Blade Records)

On the outskirts of Boston, a young quintet of musicians follow their hearts through rarely known terrain for their territory. In the land of hardcore, metalcore and tribute bands, Ravage dare to dream in colors of tradition, of power, of classic fire and brimstone imagery and an overall sense of melodic memories.

Their second album, The End of Tomorrow obliterates their overseas Karthago Records debut Spectral Rider in terms of production value as local wunderkind knob-twister Peter Rutcho gives this act thick guitar sound, deep punch in the snare and double bass and really pushes vocalist Al Firicano- while adding in new twists to their European and American grab bag of influences.

“The Shredder” for instance pulsates with vengeance from George Bellofatto’s hand and foot speed rampage- the sword crossing effect emphasizing the battle qualities and bringing my head space back to the Forbidden Evil/Forbidden excitement circa the late 80’s. Later on “In Shattered Dreams” reverberates the cultural power strains of classic Running Wild in terms of the dual riff techniques from Eli Firicano and Nick Izzo- slightly emphasizing a thicker rhythmic nature following the chorus a la Iced Earth. Al’s voice has that one of a kind quality- he can muster up the screams and shrieks when necessary, but I believe injects a personality rarely heard in metal singersthese days- almost theatrical in a Lizzy Borden meets Rob Halford manner.

I feel for acts that are caught in the divides between what’s popular and what remains more of a cult type of sub-genre in metal. I’d hate for The End of Tomorrow to stay stuck in the class of Vicious Rumors, Armored Saint or Flotsam and Jetsam- as these gentlemen have great songwriting touch, stellar guitar riffing and solos plus the ability to appeal to more than one audience with their music.

Kudos to Ravage also for covering “Nightcrawler” from Judas Priest’s Painkiller, an album that needs to be in your listening stable to understand what’s awesome about the power of traditional metal. These Americans prove you can release high quality back to basics metal without having to look over the pond to see how it’s done.

www.myspace.com/swwr

(This content originally appeared on Blistering.com)

Swashbuckle – Back to the Noose (Nuclear Blast Records)

David E. Gehlke
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Swashbuckle – Back to the Noose (Nuclear Blast Records)

Totally on board for this and yeah, we’ll pun-the-fuck out of this review if we have to. Pirate metal without the sea-faring sound elements ala Alestorm (who are of equal value), New Jersey’s Swashbuckle prove to be both a rigid, snappy thrash band and self-effacing trio that knows how to play off a theme without going overboard. Zing!

In fact, Back to the Noose rages pretty hard, garnering some ultra-extreme moments during “Attack,” “We Sunk Our Battleship” and “Scury Back.” It’s all in good fun though, as gang-shouts translate into fun, good-time having choruses during “Rounds of Rum,” and the title track.

Mixed in with the thrash barrage are brief acoustic interludes, all of which are quirky bits that would be the only real indicator of the band’s pirate metal leanings. “Cloudy With A Chance of Piracy,” “Carnivale Boat Ride,” “Ley Leyenda” and “The Tradewinds” are borderline strokes of genius, giving the album the latitude to keep its off-balance zeal intact.

Some may deride Swashbuckle because they were winners of Myspace/Nuclear Blast record contract contest or the fact they’re from Jersey and there’s no pirates to be had in the Garden State, but who cares – the joke is on, so is the compact, ferocious thrash that gives Back to the Noose the weight to sail on and on. Fuckin eh.

www.myspace.com/swashbuckle

(This content originally appeared on Blistering.com)

Blood Tsunami – Grand Feast For Vultures (Candlelight Records)

David E. Gehlke
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0
Blood Tsunami – Grand Feast For Vultures (Candlelight Records)

Slayer here, Slayer there, Slayer everywhere. Grand Feast For Vultures, the second offering from Norway’s Blood Tsunami takes more than a fair share of cues from Araya, King, and co. and it’s less engaging as it is annoying. There’s some minor riff-thievery going down from all eras of Slayer and it curtails what the band built on its steady, solid Thrash Metal debut in 2007.

The fact that Faust (ex-Emperor, jailbird, murderer, etc.) mans the drums is now strictly an afterthought. His playing is simple and rudimentary, relying heavily on the D-beat and not much else. It fits, though, as Blood Tsunami’s straight-forward thrash attack is culled right from the latter-80’s, drinking from the same fountain as Kreator and Zetro-era Exodus.

Choice, bristling riffs highlight the opening strands of “Personal Exorcism” and “Laid to Waste,” in spite of the occasional Slayer noodling. Only when the lengthy instrumental “Eceladus Rising” does the band really branch out, employing expansive twin-guitar melodies (read: lots of Maiden, some Wolf for good measure) and climatic runs that if used in other areas outside of instrumental territory, might widen Blood Tsunami’s span.

Since we’re still in the thick of the retro-thrash boom, Blood Tsunami should be afforded the chance to continue to ride that wave (ugh, terrible pun), butGrand Feast For Vultures doesn’t rage like a Merciless Death or ooze exuberance like Warbringer. Rather… it’s more revisionist than retro-thrash should allow itself to be. It’s not all Slayer worship, though – the ending of “One Step Closer to the Grave” is a total homage to Metallica’s “Call of Kthulu.” Now, that’s a great instrumental.

www.myspace.com/bloodtsunami

(This content originally appeared on Blistering.com)

Warbringer – Waking Into Nightmares (Century Media Records)

David E. Gehlke
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0
Warbringer – Waking Into Nightmares (Century Media Records)

Growing up in the original thrash wave of the mid to late 1980’s, I’m happy to see a return thanks to the second generation of fans who desire to keep the energy, the spirit and vitality of the movement alive.

Hailing from California, Warbringer blaze across the world with their incessant tour schedule, putting in time with opening slots for Exodus, Kreator, and Soilwork among others. Hard to believe they squeeze in between the shows enough rehearsals and composure to write and record a new album during their break, yet they show with their second album, Waking Into Nightmares that this quartet will be a force through the coming decade.

Waking Into Nightmares benefits from a robust, thick guitar attack and sharp punch courtesy of producer Gary Holt [Exodus]. John Kevill rips his larynx apart much like an acidic death meets Tom Araya mix on winning tracks such as “Jackal” and “Prey for Death.” The expansion of their thrash base comes into play on “Nightmare Anatomy” where newest acquisition Nic Ritter along with bassist Ben Bennett instrumentally show a flair for an airy progressive dynamic with their off time hand, finger and feet display.

Musically, the band prefer the latter edge of thrash and almost death period of the late 80’s/ early 90’s, as you can hear reference points to Dark Angel, Demolition Hammer and Viking especially during their mach train excursions such as “Shadow from the Tomb” and “Living in a Whirlwind.”

Sure, the gang choruses can be a tad derivative, possibly paying homage to Exodus, but I believe the compact songwriting and attention to delivery outweighs any negatives. You’ll get another slew of chances to see them on the road, this time opening for heavyweights like Obituary and Vader through the end of the year. Waking Into Nightmares proves Warbringer will not be one of the groups jumping onto the next trend – they’ll be at the forefront and seeking headlining opportunities before you know it.

www.myspace.com/warbringer

(This content originally appeared on Blistering.com)

Merauder – God Is I (Regain Records)

David E. Gehlke
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0
Merauder – God Is I (Regain Records)

When hardcore stays in the metallic vein, the results are more often than not, above-average. Merauder, who have made a career out of just staying a notch below the likes of Madball, Sworn Enemy, and Terror, fall into that category, having enjoyed a mildly successful run on Century Media, only to land on the not-very-hardcore Regain Records for the release of God Is I.

God Is I stays away from rampant beatdown territory, preferring to let quasi-thrash riffing to take hold on opener “Until,” the swinging “God Is I” and the call-to-arms “Forgotten Children.” Vocalist Jorge Rosado has always been the best thing about Merauder and upholds that statement with an inspired, oftentimes zealous performance, highlighted by “Gangsta,” a song about, uh, gangsters and hardcore.

“Perdona Me” takes on a more personal, down-to-earth feel, something that hardcore (in spite of its rampant chest-beating) has always embraced. Not like Merauder is getting soft, but songs of sincerity – which there are too many to count in hardcore – somehow translate well. “Ahora” (which is sung entirely in Spanish) and “Never Surrender” hold down the back end of the album with Merauder’s usual aplomb.

Hardcore, in its infinite simplicity and lack of expansion usually keeps its heritage bands, Merauder being one of them. God Is I, as noted above, is definitely on the metal side of the fence, which can strike one as funny – aren’t hardcore kids supposed to hate metal? Who cares – Merauder lay ‘em out and throw it down on God Is I.

www.myspace.com/merauder

(This content originally appeared on Blistering.com)

Horde of Hel – Blodskam (Moribund Records)

David E. Gehlke
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0
Horde of Hel – Blodskam (Moribund Records)

Comprised of members of the Swedish black metal scene (we’re guessing at least someone from Marduk is in this band), Horde of Hel’s industrial BM leanings are without the over-produced and futuristic vibe that usually permeates this tiny niche. Rather, it’s more vitriolic and primal, relying heavily on samples, pounding guitars and mid-level production values, none of which can rescue Blodskam from going the milquetoast route.

If the aesthetic behind Horde of Hel (human atrocities, evil, blah, blah) are meant to overshadow the music, than so be it. Most of Blodskam just skirts the drab dribble that oftentimes buries industrial black metal. And while the thrust of “Born Again Into Submission” and feral attack of “Living Abomination” are good and just, there’s nothing that gives off the sinister or charismatic vibe the band projects.

Watain, these fellas are not, Horde of Hel and Blodskam has the proverbial “all bark, no bite” slant to it. Thanks to the convoluted, oftentimes too varied approach, Horde of Hel might not find a great deal of suitors in the black metal realm. And, can anyone else guess who’s in this band? We’re stumped…

www.myspace.com/heldivine

(This content was originally posted on Blistering.com)

The Psyke Project – The Dead Storm (Lifeforce Records)

David E. Gehlke
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0
The Psyke Project – The Dead Storm (Lifeforce Records)

A stark contrast to the overly-glossy sounds currently emanating from Denmark (read: Raunchy, Volbeat, et al), The Psyke Project keep it ugly and uglier throughout The Dead Storm. It has the necessary rumble and roll of post-hardcore alright, but buried deep within are melodic strains just begging to come up, which probably would have boosted this album’s rating and overall accessibility, but perhaps that’s what the above bands are for.

Opener “Fire Blizzards” sways back and forth like a swinging light bulb, cued in by singer Martin Nielskov’s convincing bark, of which the band relies heavily upon. Nielskov turns in a rousing performance on “Dead People Never Lie,” which is probably the most caustic number here; augmented by a barreling tempo and very intense crescendo toward the back end.

That’s what The Dead Storm does best: it builds and builds, sort of like a non-atmospheric Cult of Luna, minus the unnecessary drivel the Swedes often drag themselves down with. There’s also a striking post-metal element to a couple of these jams, most particularly “Mile High Pillars” and “Polaris,” the latter of which almost takes The Pskye Project into non-metal territory, even though de-tuned-as-all-hell guitars keep most of the album in the metallic vein.

Of what little there is to latch onto with The Dead Storm, The Psyke Project have managed to make a redeemable, frothing album. Nary a glossy, gleaming melody here…The Dead Storm is a difficult, non-discerning body of work that is worlds apart from the very much plastic and gleaming output from their countrymen.

www.thepyskeproject.de

(This content originally appeared on Blistering.com)

Evile – Infected Nations (Earache Records)

David E. Gehlke
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0
Evile – Infected Nations (Earache Records)

What’s the old cliché of the rock business? You have forever to write your first album but six months to capture magic in a bottle for the follow-up? UK thrashers Evile hit the scene running with 2007’s Enter the Grave, receiving decent praise for their blend of Slayer, Metallica and Annihilator as well as classic Flemming Rasmussen rhythmic riff-heavy production values. Evile took 2008 to crisscross the European continent, opening for acts from Megadethto Satyricon in preparation for its second offering, Infected Nations.

The first two songs “Infected Nation” and “Demolition” proceed with conventional speed parts or Metallica …And Justice for All-era up and down chord sweeps, rhythm guitarist Matt Drake roaring his lyrics much like the clearer James Hetfield/Warrel Dane melodies he reveres. “Nosophoros” allows Ol Drake a chance to show off his blitzkrieg machine gun fire finger solos and equally furious picking technique, certainly loving Jeff Waters and Marty Friedman while keeping things in a thrash manner.

What kills my enthusiasm for Infected Nations would be the longer, drawn out arrangements with too many mid-tempo parts that really sit in the world devoid of bite or excitement. It’s as if the second half of the album is more a collection of riffs put together with duct tape or paste rather than a seamless construct which dynamically keeps your interest from beginning to end. The worst offender would be the 11-minute-plus instrumental “Hundred Wrathful Deities,” a pitiful attempt to conjure up the classic Bay Area-meets-Metal Church instrumental sound which meanders into a boring yawn fest – the main riffs once again lifeless which makes the solo parts better off being on a Shrapnel or Inside Our offering.

Evile have ability and talent, unfortunately the songwriting for Infected Nations relegates them down a notch from many of their US compatriots.

www.myspace.com/evileuk

(This content originally appeared on Blistering.com)

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