Volumes - Volumes EP

Just Gotta Turn It Up!

Volumes is a California based tech/djent metal band. This is their debut release, as the band was formed only in the early stages of 2009. Their bio states a diverse collection of influences, and while they all might not be present within their sound, their sound is rather diverse.
The band site influences from metal and hardcore to hip-hop and funk. Like most artists within the new surge of tech metal/djent wave, the influence of Meshuggah is undeniable. Another similarity that these guys might get is from SikTh, but these guys aren't as technical or spastic as they were. These guys also have a lot of a groove, similar to a deathcore without the terrible lyrics, look, and vocals.
Breakdowns are used often in this band, not to the extent that they become the only thing within a song though. A prime example of the band utilizing all their influences would best be found in Wormholes, where the breakdowns are decent and the solo is quick and clean sounding. The use of these breakdowns are, unfortunately used in similar ways to deathcore and metalcore bands.
Another thing that is also up and coming within newer metal bands is the use of two vocalists; and not one doing one style and the other doing another. Like a lot of bands coming out now, dual vocalists who both scream or shout, Volumes has, not to say that this is bad. Volumes has enough differentiation between the two singers to recognize one from the other. While one has more of a hardcore shout style, the other has a more guttural yell.
Volumes is smart enough to include some Periphery into their sound, by utilizing lead guitar parts that are melodic and clean. Juxtaposing all the heaviness that one guitar brings, the other brings a lot of melodic and atmospheric parts into the songs. The chorus of Starstruck is a good example, where an almost proggy part leads the song before the heavier, rhythm guitar comes in.
In the final 2 tracks of the EP, Intake and Gateways, the band finally exhibits a proggy and melodic influence, to a much higher degree of. While Intake is an actually song that is probably the most melodic on the record the latter is an interlude with soft guitars, mellow drum work, and a peaceful piano melody. These ideas aren't new concepts at all, but a better influence into the band's sound.
Overall, this is a decent example of a fusion of modern deathcore with modern tech metal. While not overly mind-blowing, it is a better example of what a lot of bands are probably going to be doing in the future. This band definitely has potential and skill and is worth checking out if you haven't already.
Overall Score: 7
Highlights: Wormholes, Starstruck, Intake

House vs. Hurricane - Perspectives

The Sir Mix-A-Lot of Metalcore.

House vs. Hurricane is a progressive metalcore band from Melbourne. Siting influences from Poison The Well to Bjork to Circa Survive to Herbie Hancock, makes this band more diverse than the average metalcore band. But having diverse influences doesn't stop them from being a metalcore band.

The diverse collection of sounds and influences do make this album more entertaining than the average breakdown-chug-chug band, see all metalcore bands circa 2003. This band, as stated, is still very much a metalcore band, there are breakdowns found in almost every song. You will also find the super melodic guitar parts that make up a chorus section for a track as well.

But since this band is list as "progressive," they do have parts that make them stand out. The keyboards are in the vain of most metalcore bands now, that are adding elements of electronica and techno into the sound, but those are just a brief statement before getting to the prog part. The guitars are the section of the band that tend to make this band more technical or progressive than say Attack Attack. Guitar patterns have a bit of that newer and modern tech metal wankery that you'd find in bands like Periphery, but not quite as frequently used.

Song structures, from what I've heard, are not standard verse-chorus-verse-chorus with breakdowns thrown in randomly. Once again, breakdowns are periodically found within every song, but they don't make up the entire structure. In a song like So They Say, a structure is actually very well put together, with an actual progressive sound, when compared to other songs like Leaps & Bounds. Luckily, if you don't like some tracks, they're short enough that they're usually under 4 minutes.

Vocalists, main screamer Chris Dicker, sounds like you're typical metalcore screamer, using mainly a mid-range monotone scream. Guitarist/vocalist Ryan McLerie and bassist/vocalist Adam Meyers provide the average clean vocals for the band in a fairly usual tone. Screams dominate the album's vocal style, with cleans coming in during certain parts of the song.

While most of these songs are fairly typically metalcore heavy, the band does throw in a mellow melodic part within some of the later tracks, hear Complexing The Simple. You won't find a jazz section or experiment part though, so tough luck if you were expecting more Herbie or Bjork influence, it's mostly the keyboards and song structures that make up the experimental portion of the band's sound. The final 3 tracks seem to make up one longer track, with each track leading into the next; somewhat of a progressive idea, but the second track, II: Softlight, is actually pretty proggy compared to the rest of the album.

Overall, not that impressive, but this band has their moments, check the later half of the album. If you're a person whose really into metalcore, this is probably going to be the band that will get you into some more progressive music, and will probably be the band you think is the most progressive band in the world. Decent for what it is, some good parts, metalcore with experimentation; at least they're trying to be different.

Overall Score: 6

Highlights: Lessons Learnt, Experiences, So They Say, Orphan, Positively Shifted, III: Nevermore

Culted - Of Death and Ritual EP

A Step Into A Dark Closet.

Culted is a blackened doom metal band from mainly Canada. Following in the footsteps of fellow blackened doom styles of Brown Jenkins, mixing slow and bludgeoning riffs with raw and ambient sounds. The occasional odd time signatures help as well.
While, as stated above, this band is located mainly from within Canada, or at least the main portion of the band is, vocalist Daniel Jansson comes from Sweden. Having long distances separate the main band from their vocalist, these compositions are all created mainly through email and file sharing. While this may not be the most ideal situation from creating music, this band create some of the best blackened doom to come out since the now defunct Brown Jenkins.
The opening track, Spirituosa, is a short introduction of sorts. This is a song, but it really retains a different stylistic approach towards it's vibe than the other, longer tracks; feeling more crammed and almost punk-like as opposed to claustrophobic slow riffs. The track is not overly impressive when compared to the other tracks on this EP or on the band's previously released debut record, but fits as a good introduction to the following track.
Black Cough, Black Coffin is the second track and is really the track that the band's sound is primly location within. This track is slow and morbid, twisting atmospheres around each other into a bleak sounding song. Every instrument is clearly heard within this track, which actually increases it's dark and oppressing feeling emanating from the track. Vocals on here are actually just as twisted sounding as the rest of the track is. While this track is just over 10 minutes, it never becomes boring or disenchanting, luring the listener in closer with every riff.
Dissent is the third track on this EP. Unlike the previous tracks, this one has a more traditional doom sound to it, bringing to mind old Black Sabbath or Candlemass, but much darker. In the later portions of the track though, it morphs into a very brooding and ambient part where Daniel's vocals just sound agonizingly painful and sorrowful.
The final track, Whore, is a Swans cover. This is easily the most straightforward and clear sounding song on this EP, not to say that this song is cleaner, but is much easier to understand. The track is very repetitive and simplistically structured, but features an almost industrialized Sabbath sound to the guitars.
Overall, a very impressive EP and one of the better bands to be performing this style today. Even if you're not a fan of bands like Brown Jenkins, who I know I've repeated multiple times in this review, or Velnias, I would still suggest you check this record out. If you dig this, don't forget to look up their debut.
Overall Score: 8
Highlights: Black Cough, Black Coffin, Dissent

Acherontas - Theosis

Sometimes The Glass Is Half Full.

Acherontas is a black metal band from Greece. Having gone through many member changes within only their 3 year existence, the band seems to have found a line-up for creating a unique album. Following in the footsteps of recent black metal bands moving into progressive territories and including other elements within their music, "Theosis" is an album that contains many different styles within the context of black metal.

The many member changes under the banner of Acherontas, they had other names previous to this where members changed as well, have made it so no original members are now in the band. That is not to say that these new members are not capable musicians, pulling off this album that has more than a few surprises for the average black metal kvlt fan. Though this album is not the catchiest black metal album, it is actually quite accessible when compared to some of the other bands that are doing similar things.

Though the sound on this album is fully black metal, as mentioned above, elements of other styles come into play as well. Obvious inclusions of ambient soundscapes, recalling a bit of a Burzum-esque vibe, while the riffs contain a mix of more melodic and straightforward black metal, in Pestilence of Mortality some sections even recall early Mayhem. Other stylistic inclusions appear to be the obvious progressive elements, like the blues-esque solo on The Winged Skull Rissing, symphonic elements, but used in a way similar to the avant-garde neo-classical stylings of Pensées Nocturnes rather than Dimmu Borgir, but that's only on the opener.

While one wouldn't say that this album really behaves like a regular black metal album, though not every band can be like Dark Funeral, would be an understatement. Most of this album carries on at a mid-paced speed, never moving into a full blast-beat fest; though there are still blast-beats. The occasional mellow and cleaner guitar part helps as well, listen to Legacy of Tiamat. Even during the ambient prayer, Dreams of Adam Kadmon, the band manage to not sound all that cliche.

It is perhaps the cleaner and acoustic guitar moments that impress over the blackened metal parts. Sections within Conjuration of The Five Negatives and Legacy of Tiamat show an almost link towards a band like Opeth, but vaguely. While many will probably find these moments distracting from the more atmospheric black metal moments, they definitely give the band a little bit more than the average newer band doing black metal.

Overall, this record has surprised me by it's diversity and creativity. While not moving into new territory compared to other bands, they provide a bit of a different take on progressive black metal. If you're into bands like Enslaved or bands of that nature, you'll probably like this record as well.

Overall Score: 8

Highlights: Pestilence of Mortality, The Winged Skull Rissing, Legacy of Tiamat, Theosis, Finis Coronat

Sky Eats Airplane - The Sound of Symmetry EP

Didn't Someone Else Write Dead On The Dance Floor?

Sky Eats Airplane is an electronic metalcore band from Texas. Over the course of their relatively short career so far, they have endured multiple line-up changes to the point where only one original member remains in the band. While these guys may not be the most metal band to emerge in recent years, they are doing something that defies the norm a bit and mix it up.

As was just stated above, only one original member remains in SEA, that person being guitarist/programmer Lee Duck. While lead guitarist Zack Ordway has been in the band since 2007, every other member has been replaced in 2009. New drummer, Travis Orbin came from Periphery, and while the band had originally set out to find a vocalist, they wound up finding two. The first and main vocalist being Bryan Zimmerman and the second also doubling on bass being Elliot Coleman.

This EP was mainly released to demonstrate the abilities of the newest additions to the band. The band. While the band retains a similar sound to their previous two albums, each track on here demonstrates something a bit different from the other. Whether the band exhibits more melodic styles or more technical playing, they try to do them all without overpowering the other.

Opener, The Contour, is fairly heavy and relies a lot of the elements from electronica that they've use in their other work, for melody. The guitars and drumming show a newer technical playing style, while vocalists sing their hearts out, but still don't manage to sound original. This track hopefully demonstrates where the band goes on their next record.

The second track, and the title-track, Sound of Symmetry, as stated above, showcases the band's more metal leanings. The guitars demonstrate some technical playing similar to a couple of songs from their previous album, moving from technical metalcore verses into a more melodic chorus. For a band as "mainstream" sounding or known as this one, they actually manage to be quite proficient in their playing, moving from poly rhythmic sections into melodic parts fluidly, but that was already mentioned above as well.

The final track is Motion Sickness.begins like an ambient dance track. While it begins like a ballad, it slowly builds into an almost power-ballad vibe. This track builds, gradually getting a little bit heavier, and while dominated for the most part by clean vocals.

Overall, this is not a gigantic leap forward for the band in terms of sound, but shows what people can look forward to on their next record. The band has definitely increased the technicality of their songs, possibly thanks to Periphery drummer Travis Orbin, and it really makes them stand out from a lot of newer metalcore bands that mix electronica in their sound now. If you like this band already, check this out, but otherwise, try one of their other records.

Overall Score: 6

Highlight: The Contour, Sound of Symmetry

Svart - Förlorad

Suicide Serenity.

Svart is a one-man depressive/ambient black metal project from Sweden controlled by Draug. This new record is his second full-length, previous EPs have provided close to an hour worth of material. This record contains all the things you would expect from this sort of music, but there's something to be said for the quality of this record compared to Draug's peers.

First of all, this record is made up of only 3 tracks, they can hardly be considered songs, each growing longer than the previous one before it. The first track, I, starts at about 14:30 minutes and each of the 3 tracks builds upon the length and the ambiance more and more until the final track. Because of the nature of this style of music, and the length of the tracks, one can expect to either become entranced by these songs or be bored to tears.

The first track builds slowly, with simple chords and root notes being either strummed or plucked over and over, echoing. Drums don't enter until just after 11 minutes and they follow a slow marching-like pattern with guitars still echoing. During certain parts, the drums appear to build up towards an incoming climax, but the guitars never make that aggressive black metal climax come out to the surface on this track. For one to fully enjoy this track, you must allow yourself to become fully enveloped by the echoing guitar patterns. The vocals on this track are very distorted and are spoken.

Track two, II, builds up from where the first track left off. This track brings the bass into the fold, where it is fully audible. Distortion even enters this track fairly early in the track. While a typical black metal fan might not even call this black metal, due to the slow nature at which the tracks progress, the entrance of distortion brings a sort of aggression into this track that wasn't demonstrated on the first, it brings to mind a very funeral doom atmosphere. Real vocals emerge in this track as well, and they fit the funeral doom vibe by being very low death growls and very melodic cleans.

The final and longest track, this one is just under 40 minutes, is the best and most entracing track on this record. The guitars on this track move back to the more clean sounding and echo based vibe of the first track, but have a much more melodic tone to them. While the previous two tracks seem to flow from one section into another, like I mentioned before, this song is more melodic, and it returns to a central chord progression that is quite hypnotic. Vocals on this track also return to a distorted spoken word style, but fit much more within the context of this track than the opening one, they also feel a bit better placed as well.

This record is very minimalist, obviously coming from funeral doom/ambient black metal, but features a sound that is not as dirty and gritty as some of Draug's peers. It's not that this is the cleanest record ever, but due to a lack of grit, this record comes off a bit more listenable than most of the records from guys like Trist. Repeated listens are much more foreseeable with this record when compared to come of the other bands within this genre.

Overall, this record is a very good representation of what funeral doom and ambient black metal should sound like together. The slow and repetitive nature of the music is perfect for the style and never loses the attention of the listener, if they like this sort of music. While this not be my favorite black metal record of this year, it's one that had exceeded my expectations. Check this out if you like doomy and atmospheric black metal.

Overall Score: 8

Highlights: II, III

Periphery - Periphery

This Is The New Breed.

Periphery is a tech metal band from Maryland. This band formed under the newest guitar wizard to emerge from the Internet, Misha "Bulb" Mansoor. This debut record exhibits some of the most refreshing sounding progressive metal to emerge in recent years.

The sound of Periphery's brand of tech metal/djent, was best described as a mix between Meshuggah technicality and Soilwork melody. Both those things are found in spades on this record, melody and progressive playing ability. On here you will find both ambient sounding mellow sections as well as stop-start Meshuggah djent parts, which is pretty much the basis of the style.

Periphery contains three guitarist who all showcase great playing skills. While the main-brain and main writer in this band is Misha, fellow guitarist Alex Bois and Jake Bowen are no slouches on their strings either. Pulling off amazing sounding technical riffs, that would sound just as comfortable in a sped-up Dream Theater as much as they would in a Dillinger Escape Plan song.

Drummer Matt Halpern also demonstrates great skills on his own instrument. Keeping up with all three guitars and bass is tough just to imagine, but when all four have an equal part in a sound like Periphery's, it's mind blowing. His drumming borders on spastic on occasion, seeming to just keep everything from jumbling into a mass of technical riffs. The electronic percussion is added to also bring a new element into even drumming, which is a bit different, and bring to mind a vibe a kin to Animals As Leaders, on a track like Jetpacks Was Yes!.

It is also worth mentioning that bassist Tom Murphy is also an exceptional player, bringing the low end, but also some little flairs that stick out, like what could possibly bass slaps on Letter Experiment. His playing is not limited to being in the background as a faceless man, but is pretty clearly heard in every song. While he is not the standout player on this record, he is a great player non the less.

The newest member of the band, and probably the one people are the most curious about on this album, is vocalist Spencer Sotelo. His vocals are equally as great as every other member of the band. His screams aren't so much guttural, but throat shredding while his cleans are melodic and precise on key. For all those who would ever imagine this to be some sort of band the uses cleans only for choruses, they would be mistaken; many if not a good 50% or more of this record is done with clean vocals.

Songs demonstrate your typical djent technical riffs, but also more melody than most bands coming out in this genre. While two of the three guitarist usually provide the groove, another might perform a lead, solo, or some ambient parts behind the others. This record is actually very cohesive sounding despite everything that goes on in a song, with no song really sticking out like a sore thumb as a bad track. While tracks like Icarus Lives! or Light tend to be ones that most who've heard Periphery have heard, every track lives up to those two.

The final, and probably the best track, on this album is Racecar. This track is a whopping 15 minutes long and every last bit of it is music, no empty spaces filled to gap between a short track and some sounds at the end, this is pure djent. I won't spoil this track with a bunch of filler space, but let me sum it up by saying that all progressive metal heads, from Dream Theater to Meshuggah to Opeth to Dillinger Escape Plan, will all find this song to be a modern progressive epic.

Overall, there isn't a whole lot that isn't good with this record, the whole thing being a stellar work of musicianship demonstrating a new level of technicality and melody. Mind blowing would be an understatement with this record, as my mind has been effectively destroyed by this record. This is sure to make others turn heads as well as a lot of bands want to copy this sound, as these guys are going to create a lot of waves in the metal community with this record. Check this record out.

Overall Score: 9.5

Highlights: Every Song Is A Highlight