Unbreakable Hatred - Total Chaos (2011)

Band: Unbreakable Hatred
Country: Quebec City, Canada
Style: Technical Death Metal
Label: Lacerated Enemy

I remember a time when there were boundary pushing death metal acts emerging from Cananda, granted, I wasn't listening to death metal back when they were doing that, but regardless, the point stands. Now all I hear from Canada's death metal scene is all the same rehashed stuff bands were doing in the 90s. The whole tech-death scene really flourished back then, while I don't listen to all that many newer groups within the death metal scene anymore, maybe this one will impress me.
The press release for this band had said that their sound was comparable to early Unique Leader Records bands, which got me thinking of groups like Gorgasm, Deeds of Flesh, and Pyrexia, none of which I could say I'm a fan of. There's a decent amount of variety going on within this band's sound however, they are certainly death metal, but various sub-genres could be applied to their sound, this isn't an all out brutal/technical assault. Unbreakable Hatred really showcases a little bit of everything on the album, from some black metal sounding parts to very technical guitar lines and even straightforward death metal parts, essentially the quintessential track on here. Other tracks are still very good, but simply don't express as many ideas as that track does, even the five-plus minute Years of Violence. The guitar playing on here is great, though not really all that original, his playing on tracks like Anger and Fury really caught my attention, you can tell there's a lot of influences coming in from outside of straight death metal, black and thrash metal riffs are used quite frequently throughout this album as well.
I have to say that the live videos that I saw of this band when they had a lead vocalist, do not match up to how the vocals on here sound. Their former vocalist had more of a metalcore sort style of vocals, no cleans though, while the vocals on here are somewhat more of an early death metal kind of vibe, they kind of remind me of early Vader albums. Having said that, I do find that the vocals are still the biggest drawback for this album, to me anyway, I'm not really the biggest fan of the performances on tracks like Condemned to Serve or Religious Intervention.
Overall, for a debut album, this was pretty good, definitely a lot of talent here. Like I said, the vocals were really the only thing holding this album back for me, but that's an issue others might not even have trouble with. If you're into technical death metal, or death metal in general, I'd suggest you look into this band.
Overall Score: 7.5
Highlights: Total Chaos, Unbreakable Hatred, We Can't Exist In This World of War

The Fierce & The Dead - If It Carries On Like This We Are Moving to Morecambe (2011)

Band: The Fierce & The Dead
Country: London, UK
Style: Progressive/Post-Rock
Label: Independent

I haven't listened to a whole lot of post-rock recently, and I'm a little sorry I haven't, sorry for me not for others. Sure, I've indulged now and again in the genre, but not enough to really say I've enjoyed a lot of what the genre has produced this year. But when one of the members of this band emailed me about this album, I was like, "It's about friggin' time I listened/reviewed a new post-rock record, god dammnit!"
Now, the term post-rock certainly applies to this band, much less than I had thought it would when I first started listening or from the little bit I had read about them, but it is a much looser term for what's going on in here. Post-rock, progressive rock, dream pop, noise rock, and little hints of other styles can all be found on here, making for a diverse, yet very concise sound. The clean guitars give it that dreamy and more melancholic vibe while the drums and bass are much more upbeat and, dare I say, danceable, hear songs like opener Flint or Part 2. I actually have to commend the bass work on here, as it does play a more melodic role in the band, really creating the main groove that keeps the song going while the guitar plays on top either lead melodies or more atmospheric stuff.
In sense of songwriting, I feel that this trio do a good job at writing short, melodic songs that are much more upbeat, than the usual post-rock songs, mind you I'm comparing them to the bands I listen to here. But really, this might be the trio's biggest fault, with all these more upbeat melodies, it really does constrict the band's style and ability for others to connect with it. Personally, I like it when there is a broad range of emotions within an album, or a band's style, so it adds a different dynamic, even when they get heavy, hear tracks like H.R. or Landcrab for those moments, they still feel too happy or upbeat, I would have liked to have heard a more melancholic song in here. I also feel like some of these shorter tracks, Hotel #6 and Woodchip are still pretty undeveloped, they just present an idea and as soon as I'm getting into it, the song ends, which is disappointing, but the longer tracks do feel more flushed out by comparison.
This album has it's highlights as well as it's flaws, but more of the former than the latter, so I did enjoy this. I have to say that while none of this album was bad, I did feel like it could have still used work. Fans of any of the genres mentioned above, I suggest you definitely look into this band.
Overall Score: 7
Highlights: H.R., Daddies Little Helper, 10x10

Cinématique - Life In An Infinite Loop (2011)

Band: Cinématique
Country: Wien, Austria
Style: Art/Post-Rock
Label: Independent

As soon as I saw this cover, I knew I had to listen to whatever this was, luckily it was a style that I actually liked. The post-rock sound, while very defined, is one that I enjoy due to how different bands make it their own. I also find that if a band is creative, chances are they're sound will appeal to me, personally, more so.
As soon as Air opens, I get a wave of melancholic beauty hit my square in the face. The wind chimes ringing over a very somber atmosphere while building more and more instrumentation as the song progresses, this is the essence of what I love about post-rock, very beautiful sonicscapes that just build into these huge sounding finales. I find that the sounds I love in post-rock are not always found when I listen to an album from that genre, which is fine, all bands should be different, but on an album like this, where it's basically everything I love from the genre, I can't help but be excited when listening to it. For me, the clean, very atmospheric and delayed guitars with extremely huge sounding atmospheres is what really gets me into, and got me into, the genre and it's what a lot of this album makes use of. Even on a track like All I Do Is Watch Time Pass By, a piano/synthe led ballad of sorts, the same dreamy atmosphere remains in tact.
Unlike a lot of post-rock groups that I've listened to, this band actually manages to rock out on some of these tracks, break into a heavier, or more distorted, guitar tone and just go for it, Oceanic Has Drowned being a prime example. I'll say that most of this album rarely reaches into the driving rock moments that that track does, but I find that the inclusion of those parts only adds to the dynamics of the overall album. Personally, I still like the more spacey and ethereal clean guitar parts over the rare distorted ones, which is why tracks like Into The Sunlight stick out so much to me. The little bit of vocals on here also doesn't really do much for me either, they're not bad, but they're really not all that relevant to any of the songs, you can totally tell he's totally trying to come off in a similar style as Jonsi from Sigur Ros, and they could have easily done away with them and it wouldn't have made a huge difference on the album.
While I felt this album started strong, I felt that there were some spots on the album that just really brought it down for me. I definitely liked the atmospheres and the clean guitar tone on this album, definitely the essence of what I like to hear from the genre, as I previously stated. I'd say that if you're into post-rock at all, definitely look into this album, definitely do so.
Overall Score: 8
Highlights: The Flight of Icarus 1 That Flew Through A Thunderstorm On Its Way Back to Earth, Into The Sunlight, All I Do Is Watch Time Pass By

Dona Eis Requiem - The Litanies of The Quietus (2011)

Band: Dona Eis Requiem
Country: Riverside, California
Style: Experimental Death/Doom Metal
Label: Baneful Genesis

I think it's always a shame when a new band calls it quits so early in their career, so I was shocked that this band actually broke up right when this debut was just coming out. While I had no real prior expectations for this record, I guess I've sort of learned from past experiences to just expect the unexpected. Being a debut full-length, I'm expecting at least some good ideas.
This album's sound is actually a lot more developed than I would have anticipated from a debut full-length, considering the band formed in 2006. Sure, there are still pretty obvious indications of where their influences come from, early My Dying Bride, Opeth, and Katatonia. The use acoustic guitars, somber melodies, a variety of vocal styles, these are all things that usually don't make it onto a newer bands first full-length, usually. I find my personal taste towards death/doom is one where I like to see a band experiment, so it's always a plus if a band can do that, so debut with a sound I like that is willing to experiment, must be a win right?
Honestly, and this is just a personal preference that I find on a lot of debut records, is that the production can be a bit shabby. I feel like some, mind you not all, of the tracks on here have a sound that features a bit too much treble, Flagellum Remedium. The aforementioned track also demonstrates some of the lackluster performances on this album as well, the acoustic sections sound really messy while the flow from one section to another is just bad. Personally, I also found a lot of the tracks on here to also be, at best, average, with some of the longer songs, Children of The Poisoned Womb, progressing into different areas, but nowhere different or interesting, it sounded very bland, blame it on me being brought up on progressive metal that I find this to be standard. While very few songs actually impressed me, or even intrigued me, I did find that the closing title-track, The Litanies of The Quietus, was probably the best way to end the album, with it's very progressive stance and experimentation being fully utilized.
Honestly, I wish I could have gotten into this album more, but with just how badly some of the parts are performed and arranged, I can't say this does anything for me. I still wish this band could have stayed around for a few more years though, maybe released another record or two, to see where they could have taken this sound. If you're into doomy death metal, check this out, but it's not one of the best albums the scene has produced this year, so it's not really essential.
Overall Score: 4.5
Highlights: Lamentations of A Fallen Angel, The Litany of The Quietus

Benighted In Sodom - A Resplendent Starless Darkness (2011)

Band: Benighted In Sodom
Country: Fort Lauderdale, Florida
Style: Atmospheric/Post-Black Metal
Label: Independent

Like I said last month, I was going to review this album. I'll tell you right now that this album is very much the height of Matron Thorn's writing and composition for this project, easily his most developed. This is also his longest album yet as well, topping eighty minutes.
As I'm sure long time listeners will know, Matron Thorn's sound has been moving into a very 80s sounding gothic, almost darkwave at times, sound mixed with his more post-black metal sound. The inclusion of this sort of sound definitely makes his sound stand out, as the keyboard sounds on here are very different from anything else I've heard come out of the black metal scene. The nice and clear bass lines shine through on here, surprisingly, and really do add a sense of that 80s goth vibe to songs like Heroin Is A Reason to Be Happy, which really has a vibe similar to The Cure. It's also a little weird to hear more electronic and dancy beats on here, this is clearly exhibited on Æthertopia, some that are clear dance music influences. I think it's also worth mentioning that most of this album is instrumental, with Matron Thorn abandoning vocals more all but three tracks.
In terms of songwriting, I think this is easily his most developed and original album yet, as I stated above, with a lot more interesting and original soundscapes intermingling with some nice riffs. It's the atmosphere on here that, in my opinion, really makes this record distinct and different from the past releases from this band, with this album atmospheres are similar to that of the recently released "Reverse Baptism" but are even further in that early gothic and darkwave sound. I particularly like the fact that the few songs that make use of vocals on here are more gothic tinged tracks, with the vocals being done very clean and low with plenty of chorus effects used on them to really give it that dark sound, hear Devour The Stars. It's clear that to me, at least, that some of the more gothic influences are overtaking the metal influences in this band's sound, which may turn some fans off, but I think that the progression is actually not only logical, but well done, it's been gradual and on tracks like Cryonic Burial Aesthetic or Præternatural, the sounds of the two really are melded together in a near flawless fashion.
Now, while I personally feel that "Reverse Baptism" is the more accessible and catchy album, I feel that this album is much more developed and well-rounded. I could see some not liking this for the more gothic sound or the lack of vocals, but, once again my own opinion, is that this is a stronger album and shows the most original sound crafted yet. Definitely check this out if you're into gothic or darkwave music, or black metal than leans more towards the post and atmospheric side.
Overall Score: 9
Highlights: Mecha-Elohim, Præternatural, Deus Ex Machina

White Medal - Alone As Owt (2011)

Band: White Medal
Country: Gomersal, UK
Style: Raw Black Metal
Label: Seedstock

Well it seems like just yesterday I was first discovering the blackened noise scene through the great blog The Inarguable and looking into some really underground and great bands. White Medal has been a one-man solo act for a few years now, releasing several demos and EPs throughout the years, but this is apparently his first full-length. Raw, brutal, noisy, all characteristics that have been in his sound before, hopefully they're here as well. The riffs on here are pretty strong in and of themselves, which doesn't mean that it's like listening to a high-pitched buzz throughout the disc.
Now, for new comers to this band, I'm not sure what you think this sounds like, but the term raw is pretty much the one word that is accurate on here. This thing is not as noisy as some of White Medal's previous releases, but it's certainly still very underproduced. Sure, it doesn't sound like early Darkthrone records, cause things are still pretty easy to pick apart, but it's no Dimmu Borgir, that's for sure.
The five tracks on here only amount to just under nineteen minute of music, and what you get is an aural assault of blackened punk. You won't find brutal blast-beats or lightning fast tremolo picking, in fact, the drums maintain a pretty punk style for most tracks and the guitar playing is pretty mid-paced, opener Nine Senses really demonstrates that well. The title-track, Alone As Owt, is the slowest track on here, seeming almost like an attempt at a doom metal song.
Overall, this is an enjoyable record, maybe not one that'll be the easiest to find or listen to, but a good one none the less. Certainly this is a much easier listen that some of the demos that have been released over the years, so this is actually a decent place to start. Check this out if you're into the whole blackened punk sort of thing.
Overall Score: 6.5
Highlights: Todmorden Wood, Alone As Owt

Acephalix - Interminable Night (2011)

Band: Acephalix
Country: San Francisco, California
Style: Death Metal/Crust
Label: Southern Lord Recordings

Crust punk made death metal, that's something I had to hear when I saw the description for this album. Personally, I love when death metal is raw and very dirty, which is probably why I like 90's death metal more so than newer bands, and the idea of crust totally got me excited this album. This is a new band for me, but I do have some expectations for what it'll sound like, hopefully they're met.
That raw, gritty, and crusty guitar tone that I associate with genres like sludge and death metal, as well as the obvious crust punk, is what I love to hear in those genres, and it really is what I love about the bands that come from that genre. Right from the get-go, this album starts off with a great crusty riff that just got my blood pumping, nice and thrashy but also groovy. There's actually a lot more variety on here than what I had expected, sure the crusty death metal is definitely the core sound, but there flirtations with black metal on Immemorial Past, a bit of sludge on Warm Flesh, which really did make this album more enjoyable for myself.
Now, I really have to raise a complaint with this album, in my personal opinion, I feel that the vocals are too high in the mix, they really should have been mixed down a little bit. When vocals come into a track, especially when they're going for a lower and more guttural style, it just sounds way too loud, hear opener Christhole. The vocals themselves aren't even that bad, the gutturals aren't really my thing, but they're not bad, I think the highs are actually really well done in fact but a little underused.
Overall, this was a pretty solid album, some good riffs and nice solos, but the vocals weren't really my cup of tea. Maybe a bit better of a production could have helped make this a better record, but I'm sure other people won't have the same complaint I did, so this is all subjective. Definitely some great stuff going on in here though and I'm sure fans of both crust punk and death metal could get into this.
Overall Score: 6.5
Highlights: Immemorial Past, Rebirth Into Perversion, Interminable Night