Mychildren Mybride Gwar No Warning Cannibal Corpse
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MYCHILDREN MYBRIDE GWAR NO WARNING CANNIBAL CORPSE THROUGH THE EYES VICIOUS WORLD THE BLOOD OF GODS TORTURE CULTURE RED BEFORE BLACK OF THE DEAD METAL/ENTERTAINMENT ONE METAL BLADE METAL/ENTERTAINMENT ONE METAL BLADE DISOMUS While so many of their contemporaries The Blood of Gods is nothing less than a After nearly a decade away, No Warning Many words come to mind when you hear METAL/ENTERTAINMENT ONE cranked out disposable albums with forgetta- sacred text chronicling the rise of humanity return with Torture Culture, a third album that the name Cannibal Corpse, but one truly Revered as one of the groups that pioneered ble repetitiveness, in an effort to meet the de- against their makers, and the massive battle is as scrappy, self-assured, and unrelenting defines the soon-to-be thirty-year death metal the aggressive and abrasive mixture of death mands of the music industry, MyChildren between GWAR and the forces of all that is as it was once unthinkably improbable. No veterans: Unstoppable. Returning with their metal and hardcore, East Coast-based MyBride entered into a willful creative hiber- uptight and wrong with the world. Along the Warning is confrontational, uncompromis- fourteenth full-length slab, the monstrous Red Through the Eyes of the Dead nation instead. Like a creature that spins itself way, the band challenges the sins of their ing, and unapologetic, like the best in hard- Before Black, serves to not only reiterate this triumphantly return with Disomus, the long a cocoon to evolve into something bigger and great mistake, from politics, pollution, and core, metal, crossover, and thrash before but to once more raise the stakes, making it anticipated follow up to 2010’s Skepsis. Di- bolder, MyChildren MyBride emerge with organized religion, to fast food, and factory them, all of which are elements that find their very clear who sets the standard when it somus is the medical term describing an Vicious World. Stronger and reenergized like farming. Humans are shown as what they way into their too short but massively impor- comes to always compelling music that is abnormal fetus with two bodies but one never before, Vicious World is equally ener- are: a parasitical disease that must be tant discography. The new album is grimy, equally brutal and complex. “We always try head. The album’s subject matter includes getic, driving, dramatic, and cinematic. Each eradicated before they suck the planet pulverizing, and antagonistic street punk in to make our music aggressive, but where an the tale of a man buried alive by a cult song takes listeners on a moving journey from dry. Meanwhile, Sleazy P. Martini, the a mind-meld with menacing metalcore, com- album like A Skeletal Domain was definitely (“Obitual”), a dark magician’s creation of a start to finish, with special care and attention crooked entrepreneur who discovered the prised of towering riffage, blistering solos, aggressive, it has a targeted refinement that malignant entity via sacrificial killing (“Har- to structure and meaning. Songs like “God of Scumdogs, and has always envisioned them and raw vocals. No Warning don’t so the new album doesn’t. Red Before Black is uspex”), underworld spirits doomed to roam Nothing” and “The Endless” from their previ- as a sort of horrific boy band, finally much as borrow hooks from the past as as well-executed as anything we’ve done, the earth (“Dismal”), the Styx River of Greek ous self-titled album were but the tip of the managed to convince the group to write a hit they’ve studied the very essence of what’s but it has a rawness to it that we haven’t had myth (“Vortices in the Stygian Maelstrom”), artistic iceberg, setting MyChildren My- song called “I'll Be Your Monster.” The Blood come before – from Bay Area thrash metal to in a long time,” asserts bassist Alex Web- the themes of the Alien/Prometheus film fran- Bride toward the darker and more ambitious of Gods is the first GWAR album without the New York Hardcore, from post-grunge mel- ster. “And at the same time,” Adds drum- chise (“Teras,” alternately named for an ab- path that culminated with album four. The band’s fallen leader, Oderus Urungus. Born ody to melancholy balladry and back again, mer Paul Mazurkiewicz “I think it’s our normal fetus with two heads and one body), core duo of founding vocalist Matthew Hast- of adversity, The Blood of Gods is a sonic all through their own lens of discontent, sim- most focused, tightest and catchiest record.” and the real life tragedy discovered by ing and longtime guitarist/songwriter Robert scar. Death cannot kill GWAR. Nothing can! mering on compliance and stark rage. Danny Rodriguez – a Chicago police officer, Bloomfield have successfully created a brand- when called upon to check on the well-being new era of the band forged in ambitious art- of an elderly person who lived alone (“Till istry and deliberate focus. Solace, She’ll Haunt”). LEFT BEHIND 10 YEARS NARCOTIC TRIVIUM ANTISECT BLESSED BY THE BURN (HOW TO LIVE) WASTELAND THE SIN AND THE RISING OF UNBEATEN RECORDS AS GHOSTS DELIRIUM TREMENS THE SENTENCE THE LIGHTS West Virginia’s Left Behind follow-up their MASCOT RECORDS MRI ROADRUNNER RISE ABOVE wave-making 2016 debut Seeing Hell, which Sometimes when band members reunite, it’s Delirium Tremens is the new album from Recorded with producer Josh Wilbur (Lamb Thirty-two years on from the release of Anti- found the group augmenting their brand of as if no time has passed and nothing has Narcotic Wasteland – the full-time project of God, Gojira) at Santa Ana, CA’s Hybrid sect’s brutally prescient Out From The hardcore with sludge and thrash influences, changed. That couldn’t be further from the of former Nile frontman Dallas Toler- Studios, The Sin and the Sentence finds Or- Void seven-inch, the now revitalized band with their second album Blessed by the Burn. truth for 10 Years. And, that’s a good Wade. Delirium Tremens shines a spotlight lando, FL’s Trivium – Matt Heafy (lead vo- are reborn in flames of glory on their brand The record is ushered in by the heavy as hell thing. When guitarist/drummer Brian Vodinh on negative human behavior, again inspired cals, lead guitar), Corey Beaulieu (guitar, new full-length LP, The Rising Of The Lights: a lead single “Tough Love” which the band and guitarist Matt Wantland returned to the by – but not entirely based on – our country’s vocals), Paolo Gregoletto (bass) and Alex startling and absorbing return to action from says reflects, “(vocalist) Zach’s mental state alt-metal/post-grunge band for their eighth addiction epidemic. Loosely inspired by the Bent (drums) – returning with their first new a band whose inner flame has never stopped after his girlfriend’s death and the anger he album, (How To Live) As Ghosts, they burst unstable drug culture present in the band’s music since their celebrated 2015 LP, Silence blazing. Far from being a docile repeat of had towards her father, who had physically through their comfort zones to create some- stomping grounds of Fayetteville, North in the Snow. The new LP balances the band’s past glories, the new Antisect material and emotionally abused her throughout her thing new. With Grammy Award-winning Carolina, Delirium Tremens traverses an at- heavy and melodic elements like never be- takes the furious spirit of their early record- life and up until the night before her producer Nick Raskulinecz (Alice in Chains, mosphere of instability and toxicity that audi- fore and also features their first recordings ings and recasts them in viciously contempo- death.” Says Dead Rhetoric “The burly, Deftones, Ghost, Mastodon) behind the bly manifests as a gritty, unrelenting, with new drummer Bent who joined the fold rary sonic steel. The end result is an album macho aggression of hardcore seethes boards, 10 Years was able to create their pulverizing extreme metal storm. “The topic in 2016. The collection is ushered in by the that thrums and crackles with the electrifying through Left Behind and it pairs exceed- most dynamic and multi-dimensional record of drug use and death is still present, but we incendiary title track single “The Sin And The intensity of the anarcho-punk era while pack- ingly well with more extreme elements. to date. Raskulinecz also encouraged the are also branching off a bit to talk about Sentence” and equally as crushing follow-up ing the kind of jaw-shattering punch that fans Chunks of death ‘n roll (think mid-period En- band to strip away some of the vocal produc- venomous human behavior, self-reflection, “The Heart From Your Hate.” “Trivium have of modern heavy music demand. With sca- tombed) and sludgy doom riffing (think tion they’ve grown accustomed to in order to and big pharmaceutical companies ruining come roaring back,” declares Loudwire. brous, mantra-like grooves and numerous Crowbar) find their way into the music, reveal a more intimate side. “In the past, I’ve lives for big profits,” continues Dallas. On “The Sin And The Sentence combines a truck- moments of refined but unsettling electronic which never lacks for a viscous and utterly written a lot of songs that were pretty am- Delirium Tremens, Narcotic Wasteland load of classic Trivium dynamics to create ambience, songs like epic opener “Spirit– heavy tone.” biguous,” says singer Jesse Hasek. “But on manages to create challenging music without something fresh.” Level” and the monstrous, pitch-black “Wel- this record, I’m more comfortable being di- losing a sense of meaning and vital emo- come To The New Dark Ages” acknowledge rect and talking about things that are impor- tional connection with the listener.