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Hacride – Lazarus (Listenable Records)

David E. Gehlke
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Hacride – Lazarus (Listenable Records)

Lots to wrestle and grapple with on this one…Hacride, as described by their bio as a mix of Gojira, Meshuggah, and Neurosis (nice one) have found themselves in that transient cyber-metal void that not many are piling into, surprisingly. Good ideas abound, though, and Hacride resist the temptation to beat us over the head with staccato riffing or lazy atmospheres. In fact,Lazarus is more than dynamic than the new Gojira. Really.

A lively, devoid of modern production details production job makes Lazarus more emotive than one would initially think, just take a stab at opener “To Walk Among Them” which crams some nifty grooves and sideways melodies into a 10-minute plus jam. “Act of God” is where the Meshuggah angle comes in, with the band employing some rather deft and punchy riffing.

Tech-wise, the band is pretty stout, just reference the title track (which is a colossal, by the way) and “Awakening.” Riffs remain are the fore throughout, with Hacride never straying too far from the industrious cyber metal void they’re filling and that’s probably why this album sticks – it’s the “blender” effect down to a science, almost.

We’ll see how much these lads are placed up next to Gojira. The similarities are there (both bands are French and call Listenable home, amongst others), but where Gojira is more content to let one or two ideas per songs do the talking, Hacride has a boat load of ‘em, and more often than not, they’re of distinct quality.

In all, very much recommended. Unique? Kind of, but not really, but you can’t take away from the immense depth and span of the seven songs here. Throttling.

www.myspace.com/hacride

(This content originally appeared on Blistering.com)

Isis – Wavering Radiant (Ipecac Records)

David E. Gehlke
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Isis – Wavering Radiant (Ipecac Records)

Crucial, vital, explosive Isis…that’s what we’re getting with Wavering Radiant. Sure, there was a bit of letdown with 2006’s In the Absence of Truth, but fact of the matter is the band could only go once place and that was down after 2004’s genius Panopticon. All this makes Wavering Radiant a rebound album and an excellent one at that.

Hardly a rehash of the aforementioned Panopticon and 2002’s equally as measured Oceanic, Wavering Radiant sees the now bi-coastal metalgazers make several firm indentations on the sound they (and Neurosis, to a much larger extent) created. Whether it’s opener “Hail of the Dead” – a big, boomy, carnival-like jam (the keys from Bryant Clifford Meyer make this go) or the now-patented gentle ebb and ebb and ebb and ebb of “Hand of the Host,” Isis has made a concerted effort to blow us up with the things they do best.

Singer/vocalist/main dude Aaron Turner turns in perhaps his best vocal performance of his career, weaving those rasps-from-hell into a controlled clean vocal attack. It’s quite massive, just take a peak at “Ghost Key” or album highlight “Stone To Wake A Serpent.”

We’ll keep coming back to how cohesive Wavering Radiant is, and that’s the defining trait here. The sonics are gargantuan, a credit to producer Joe Barresi’s knob-twiddling expertise, plus the band has to feel the likes of Rosetta, Cult of Luna, and Mouth of the Architect nipping at its heels. How could they not?

Very much the defining band of the metalgaze era (which has surprisingly been able to sustain itself), Isis now have a trifecta of albums (Oceanic, Panopticonand now Wavering Radiant) to their heralded name. Lap this up; soak it in – Isis are a resilient bunch. And still the kings of metalgaze, mind you.

www.isistheband.com

(This content originally appeared on Blistering.com)

Cauldron – Chained to the Nite (Earache Records)

David E. Gehlke
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Cauldron – Chained to the Nite (Earache Records)

Formed after the demise of Goat Horn (one of Toronto’s most revered metal bands), Cauldron slides ever-so-nicely into the classic metal pantheon.Chained to the Nite takes a nice little side-swipe at someone like a Dokken, perhaps with more gusto. Considering those NWOBHM splices thrown in, this adds up to a very worthwhile, appealing listen.

Vocalist Jason Decay takes a little warming up, as his laid-back, almost unrehearsed/unrefined clean vocals are in direct contrast to the polished, over-the-top stylings of his contemporaries. Decay proves to be an asset throughoutChained to the Nite, though, namely on “Witch Trial” and album closer “Chains Around Heaven.”

The NWOBHM vibe is pervasive, especially on opener “Young and Hungry,” which wouldn’t be out of reach for the Diamond Head’s and Tygers of Pan Tang’s of those days. “Conjure Up the Mass” takes some cues from power metal, slotted nicely in the #2 hole, while the 1-2 punch of “Chained Up In Chains” and “The Leaven/Fermenting Enchantress” provides the definitive album highlights, chalk-full of Maiden-esque melodies and a forceful mid-tempo plunge.

For all of the nostalgia present on Chained to the Nite, there’s some solid songcraft and that’s why we scored it so high. Nothing remotely new (see: Wolf), but executed oh-so perfectly. In earnest, it’s easy to fuck up classic metal, but Cauldron clearly aren’t fuck-ups, rather, a trio of Canucks with a handle on cherished sounds of yore.

www.myspace.com/cauldronmetal

(This content originally appeared on Blistering.com)

Nadja – When I See the Sun Always Shines On TV (The End Records)

David E. Gehlke
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Nadja – When I See the Sun Always Shines On TV (The End Records)

Having put out numerous albums, splits and EPs since their inception in 2003, along with touring, this Canadian duo don’t deserve to take any harsh criticism for putting out a covers record. The thing that’s always said about covers is that bands should put their unique spin on things – which is just what we get here. The songs may have kept their original structures pretty much intact, but everything is slowed down to a doomish, shoegaze pace (even Slayer) and the walls of sound are laid thick with buzzing noise. Not that it detracts at all, a constant feedback hum might be enough to put many listeners off, but there’s plenty to treat the ears here. And it’s not just beyond the noise. The perfection is in the noise. They even manage to add extra fuzz to My Bloody Valentine’s “Only Shallow,” no mean feat at all.

So MBV might not the most original choice, they are after all, pretty much the inspiration for so many bands whose trade lies in the more feedback, droning, pulsing noise end of the spectrum but from there it takes a turn into different territory. It’s like flicking through a vast record collection with broken, static rumbling headphones on. When “Dead Skin Mask” crawls in it takes you completely by surprise. It’s a “hang on, I recognise this, I think” kind of moment. Absolutely terrifying, slowed right down and with humming drones in the background it’s a contrast to the disembodied bliss of “No Cure For The Lonely” (Swans). The vocals in “Dead…” have something far more menacing in them, proving clearly the power of words. Delivered in pretty much the same style as “No Cure…” it’s definitely darker and at this pace, hammering guitars and drums swirling in the cloudy fuzz adding to the drugged out, hypnotic feeling. A starting cover version. Elliot Smith’s “Needle In The Hay” always had something of a light drone feel surrounding it, especially in the chorus vocals, so here it makes absolute sense.

The song the album takes its title from is of course, A-Ha’s “The Sun Always Shines On TV” which here is transformed back into a caterpillar. It’s like listening to the original on broken cassette and finding all these super, weird noises and parts you’d never heard before. Wrapping things up is the warm drone of The Cure’s “Faith.” Completely disentangling the original, it’s dreamy, floating nicely on a lulling, yet never intrusive drum beat, chopped up and drifting in a skin-tingling atmosphere.

If this was an experiment, it was a success, adding layers to already existing songs and proving you can rework your influences to make them look more like you. Love Nadja – it’s impossible not to.

www.myspace.com/nadjaluv

(This content originally appeared on Blistering.com)

Old Man’s Child – Slaves of the World (Century Media Records)

David E. Gehlke
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0
Old Man’s Child – Slaves of the World (Century Media Records)

With Dimmu Borgir in the throes of yet another lengthy break (talk about your momentum killers…) lead guitarist Galder returns with the seventh Old Man’s Child album in the form of Slaves of the World. Way better (we’re talking leaps and bounds) than 2005’s rather ho-hum Vermin, Slaves of the World sees the bald-headed one team up with drum maestro Peter Wildoer (Darkane, Pestilence) for an exercise in picture-perfect black thrash metal. And it’s a killer.

The thrash angle on this thing is very pervasive, as Galder peels off about a dozen or so would-be thrash world-beater riffs, melded seamlessly with traditional black metal undertones. The lead title track is proof of this, seeing the duo lock horns in a dual between the quasi thrash genius of Dimmu’s early 00’s output and the spiraling cyber-thrash of Darkane.

In fact, the combo of Galder and Wildoer seems perfectly suited for each other, just reference the jungle-gym riff flurry at the 1:56 mark on “Saviours of Doom” and the opening strands of “On the Devil’s Throne.” However, the real riff-o-rama happens on “Ferden Mot Fienden’s Land” at the 4:36 mark where the duo hook up once again for one of the best riff/drum synopations of the year.

“The Crimson Meadows” would sound very much at home on say, In Sorte Diaboli (love those opening keys), while “Unholy Foreign Crusade” (more Dimmu – the keys do it again!) and “The Spawn of Lost Creation” sees OMC dole out some rather impressive melodies that compliment the rigid riffing.

Call this scribe “pleasantly surprised” as to how dominating and engagingSlaves of the World is. Without question, OMC’s finest hour, Galder would be wise to lean on Wildoer and those to-die-for thrash riffs, ones that shine almost as much as the man’s bald dome.

www.myspace.com/oldmanschild

(This content originally appeared on Blistering.com)

Daath – The Concealers (Roadrunner/Century Media Records)

David E. Gehlke
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Daath – The Concealers (Roadrunner/Century Media Records)

Very interesting, this union between metal label heavyweights Roadrunner and Century Media. Has the industry really shrunk this much? God help us all if it has…

Anyway, this label partnership should only help Daath, who on their second album, The Concealers make a step in the right direction, expanding upon the groove-laden ground laid on 2007’s The Hinderers, but with more aplomb, force, and all-around gusto. At various times, it’s crushing, those deep, neck-snapping grooves led by drummer Kevin Talley (ex Dying Fetus, Chimaira, 80 million other bands) are the antithesis to the anti-groove that permeates the current North American death and deathcore scene.

New vocalist Sean Z. is more than competent, which is what Daath needs to carry forth with weighty jams like “Self-Corruption Manifesto” and “The Unbinding Truth.” Daath is privy to simplicity throughout this 11-song affair; rarely stepping outside of its riff comfort zone, allowing excellent numbers such as “Silenced” and album highlight “Waiting on the Vine” to develop an identity all its own.

In fact, Daath’s course of action and modus operandi is crystal clear throughout: they’re not going to try to beat with you an ill-timed beatdown, “bree-bree” vocals are non-existent and the cohesive nature of these songsallows for some major stickage.

There is a very clear line between the modern maneuverings of Daath and everyone else. Not to say Daath is ultra-original, ‘cause they’re not, but they do have certain sound staples that no one else in American death metal is willing to try. And when you subtract all the wrong things going down in this scene when it comes to death metal, Daath and The Concealers appear to be very much appealing.

www.myspace.com/daath

(This content originally appeared on Blistering.com)

Candlemass – Death Magic Doom (Nuclear Blast Records)

David E. Gehlke
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Candlemass – Death Magic Doom (Nuclear Blast Records)

By all accounts, this is not the best Candlemass album since Nightfall, contrary to what Leif Edling says, but it’s still a marvel, jam-packed with classic doom goodies that go on and on. The second album with Robert Lowe on the mic, Death Magic Doom is an extension of 2007’s King of the Grey Islands, perhaps more weighty (lots of slow-footed jams) and definitely more Sabbath-inspired.

In part to his increased comfort level (that’s what two full years in the band will do to you), Lowe plays a major role, rivaling the Messiah-dominated days ofTales of Creation and 2005’s self-titled platter. Lowe is given a lot to singover and sing he does. Opener “If I Ever Die” sees the Texan get a few solo spots in which to charm us and the album highlight “The Bleeding Baroness” appears to be tailor-made for his gruff, nearly flawless vocals.

Edling does his part, providing a handful of killer, trademark riffs that gets off on the right foot with “If I Ever Die,” which might be one of his more cunning riffs to date. “Hammer of Doom” is a slow-motion, Volume IV heavyweight, while “Demon of the Deep” opens with some melodic guitar strumming along with Lowe, only to develop into a standard CMass doom dancer and “Dead Angel” could be the fastest CMass song to date. So much for getting old and slowing down (yeah, pointing right at you, Vinny Appice).

Hats off once again to six-string slinger Lars Johansson, whose fluent lead work is the highlight on “House of 1,000 Voices” and literally every time he’s given a spot in which to solo. A totally underrated guitar God if there ever was one.

There’s a lot to like about Death Magic Doom and you’d have to think that there’s no one in European doom, including Heaven and Hell that can top Leif and his gang. Yet another worthy chapter in the Candlemass story, Death Magic Doom, may Candlemass continue to drink from doom fountain of youth.

www.myspace.com/candlemass

(This content originally appeared on Blistering.com)

Arise – The Reckoning (Regain Records)

David E. Gehlke
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0
Arise – The Reckoning (Regain Records)

Ah, melodic death metal done right. We’re quickly running out of bands like Arise, who while following the melo-death playbook play-for-play, are equally as competent, if not jarringly memorable. In a nutshell, that’s The Reckoning, the fourth offering from these mid-level Swedish deathsters.

Off the bat, Arise recalls latter-era Callenish Circle, who often were derided for their no-frills, almost robotic take on melo-death, but had more than a few fans here (yup, right here) and abroad. Arise proves to be more agile and more willing to take chances with extremity, just look at opener “Adrenaline Rush” and “The Fury.” The band tries its hardest to stay away from the general riff confines of the style in these jams and elsewhere, like standout “No Memory of Light,” they’re capable of simply pummeling with brazen tremolo picking.

There are a host of quality melodies to be found on The Reckoning, just reference the chorus section of “Reclaiming the Soul” or “They Are Coming For You.” Granted, these are far from the saccharine home-blend that has been coming out of Sweden since the dawn of the decade, but they have a character and loads of grappling ability. Punchy, staunch riffs highlight “Dead Silence,” pairing staccato guitars with Arise’s deadly groove, while closer “End of Days” winds things down with the melodies thrust to the fore.

There was once a time where bands like Arise seemingly fell from the sky. Heck, a lot of us journo’s had to step over bands like this just to find value and worth within the subgenre. Those days appear to be long gone, so kudos to Arise for hanging around and producing one of the more enjoyable melodic death metal albums of the year.

www.ariseonline.com

(This content originally appeared on Blistering.com)

General Surgery – Corpus In Extremis (Listenable Records)

David E. Gehlke
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0
General Surgery – Corpus In Extremis (Listenable Records)

Carcass worship at its finest, it’s most “exhumed,” so to speak. Veteran Swedish death metallers General Surgery have made a career out of aping Carcass circa 1991 and considering how well the recently reunited quartet’s songs held up in the live setting, it’s no wonder these Swedes have lasted as long as they have. Then again, there has to be some lack of fulfillment here; you can only mimic your heroes for so long.

Loads of riffs and rhythms here that could be yanked right off Necroticism: “Idle Teratoma Cove” has the meaty plunder of a “Pedigree Butchery,” “Restrained Remains” reeks of Symphonies of Sickness, “Final Excarnation” is total dead-wringer for “Indoctrination” to the point its almost sickening. Yeah, these puns are getting a bit diluted. Time to sharpen the tools of the trade!

But no, take Corpus In Extremis for what it is and at face value. There are some classic death metal moments worth heeding, namely the opening lurch of “Necrocrticism” and the Grave-on-steroids rampage of “Plexus Necrosis.” And good thing these songs and short and to the point: we’ve got 15 songs to pillage through.

When deciding which side of the Carcass worship fence to sit on, you’re better off with going with bands like General Surgery, vintage Exhumed or The County Medical Examiners. It seems like the bands trying to cop Heartwork-era Carcass over-extend themselves and wonder off into less-than desirable territory. General Surgery on the other hand, know what they’re doing, most likely have Steer’s riff notations memorized and do the right thing by waiting a few years, release a new album, figure everyone will forget about their last, then put a new one. Keep on rotting, gents.

www.generalsurgery.se

(This content originally appeared on Blistering.com)

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