I Eat Music

MILLENCOLIN
“Machine 15”
Genre: Punk
Burning Heart Records

One of Sweden’s most successful punk rock bands, Millencolin return with their first album in three years, the follow-up to 2005’s “Kingwood”. The classic Millencolin sound remains firmly in tact, although the band do show signs of progression to new areas in their songwriting, particularly on “Done Is Done” and “Saved By Hell”, which are swathed in rich strings.
Elsewhere the band head into poppier territory, with nods to The Beatles and the Beach Boys, but fans need not fear, there are still plenty of catchy, uplifting punk songs to choose from and these, like the title track “Machine 15”, are among the best songs on the album.
Although not, perhaps, reaching the heights of 2000’s “Pennybridge Pioneers”, Millencolin’s eighth studio album is nonetheless a very worthy addition to a strong back catalogue and it’s pleasing to find them, after sixteen years together, still pushing in new directions.
7/10

MANIFEST
“Hedonism”
Genre: Metal
Morningstar Records

Now two years old, Morningstar Records add to their small but impressive back catalogue the second album from Manifest, “Hedonism”, the follow-up to 2005’s “Half Past Violence”.
Although it gets off to a slightly shaky start, the album quickly finds its feet and bombards the listener with some hard-hitting, time signature switching progressive thrash. “Unrelenting” incorporates 5/4 rhythms and hardcore mob vocals to give the first hint that this is something more than your average thrash album. “Swine” stands out from the rest of the songs with its slower pace and Metallica-esque sound that builds in intensity over four minutes until the song looms large over you, snarling and spitting. Another stand out track is “My Equilibrium”, which works syncopated beats into thrash riffs to great effect.
“Hedonism” is an impressive album and one that will have thrash fans screaming for more. Aside from some misguided vocal effects on a couple of tracks, it’s a hard album to fault. The musicianship is impressive throughout, the riffs very varied and the aggression unrelenting. What are you waiting for!
7/10

ANAL STENCH
“Red Revolution”
Genre: Metal
Metal Mind Productions

Despite the imagery in its title and artwork, “Red Revolution”, the second album from Poland’s Anal Stench is distinctly anti-Communist and displays a lyrical maturity that outshines that band’s name by a long way. Originally released in 2004, the album now makes its worldwide debut via Metal Mind Productions.
After looking at Communist regimes from various perspectives, taking in the space race, the Chernobyl disaster and the civil unrest that eventually won out in many former Communist countries, Anal Stench state their own beliefs on “Red Light Means Stop!” with a scathing attack on various leaders from throughout history.
As a curiosity this album certainly stands out, but the band (all of whom can be found playing in other top Polish death metal bands) back up the concept with great music and lyrics. They perform with as much passion for their songs as they do their message, and this elevates them to the level of world class metal.
7/10

SOILENT GREEN
“Inevitable Collapse In The Presence Of Conviction”
Genre: Metal
Metal Blade

Formed in 1988 by Eyehategod guitarist Brian Patton, Soilent Green have been through some rough times in their twenty year history, including two near-fatal van crashes and the deaths of two former members. The title of their fifth studio album “Inevitable Collapse In The Presence Of Conviction” is not without significance. However, this doesn’t sound like a band about to give in.
Still, with song titles like “All This Good Intention Wasted In The Wake Of Apathy” you can be pretty sure that this is no happy-go-lucky look at life. Instead, Soilent Green have taken a lot of negative energy and turned it to positive use, writing a string of tight, focussed songs that shoot right into your ears without touching the sides.
7/10

NEW GENERATION SUPERSTARS
“Crash Course… In Rock N Roll”
Genre: Hard Rock
Underdog Records

Armed with some old Sex Pistols and Wildhearts riffs, some Mötley Crüe vocals and a swagger that only the sleaziest of hard rock bands can muster, New Generation Superstars unleash their debut album, “Crash Course… In Rock N Roll”. So, top marks for being utterly sure of themselves and their ability to rock you to the core, but, in practice, it’s not quite as simple as that.
The energy and conviction is all there but these songs are carbon copies of songs you’ve heard a hundred times before. This album offers nothing new or interesting to really grab your interest and hold it. Sometimes sex, drugs and rock n roll aren’t quite enough.
“Crash Course…” is alright for a bit of fun, but you won’t respect it in the morning.
5/10

EKOTREN
“Light The Fire”
Genre: Nu Metal
Blind Prophecy Records

Following on from two EP releases comes Ekotren’s debut album, “Light The Fire”. Although distinctly nu metal in style, the band draw on influences broader than the genre’s usually narrow view.
The riffs on the album are low and raw, thanks to guitarist Keith Finnell’s decision to tune down to G, and vocalist John Sheldon’s roar shares more with black and death metal bands than any of his nu-metal contemporaries. The really difference comes when Sheldon sings, though. Over this brutal backing, he lays down pop harmonies. On some songs, particularly “Become”, the vocals are even given a pop treatment akin to something like Justin Timberlake to smooth them out even further. This juxtaposition is what really marks the band out from the rest and when it works, it works well. But when it doesn’t work (“Tranquilized”) it sounds like Linkin Park at their very worst.
Ekotron have tried hard to do something different within a rigid genre, which is commendable, and they have succeeded in some cases to come up with something really good. However, “Light The Fire” isn’t consistent enough to lead any new wave of metal.
6/10

CRASHPOINT
“Acid Vitamin”
Genre: Nu Metal
Crystal Productions

Czech nu metallers Crashpoint are heavily influenced by early Incubus, as well as bands such as Coal Chamber, Korn and (hed)p.e. Mainly it’s Incubus though. A lot of Incubus. Not that this is necessarily a bad thing, but if I wanted to listen to an Incubus album, I would.
By taking a solid and talented band as their muse, Crashpoint have developed as similarly tight and diverse sound for themselves and, to be fair to them, this is not simply straight emulation; they have hammered their own stamp onto the music. There’s a tendency for too much use of slap bass and samples, but when they’re good, they’re very good and when they slip into a more straight metal sound they’re very good indeed.
There’s definitely potential here, and given more time to find their own sound Crashpoint could do well for themselves. “Acid Vitamin” feels like a work in progress, though.
5/10

FATAL SMILE
“World Domination”
Genre: Hard Rock
Locomotive Records

“World Domintion”, the third album from Swedish hard rockers Fatal Smile mixes up Alice Cooper, Iron Maiden and Soundgarden with some sturdy, sleazy riffs. An all-new line-up, aside from founding member Y, who also produced this album, has the band sounding fresh and determined.
A strong statement of intent, “S.O.B.” sets the bar straight off, pushing everything to 11 and leaving it hanging. From their the band never let up, the riffs come flying thick and fast, drums pound, bass rumbles and Blade’s vocals charge straight through the middle of it all and right up into your face.
This album will have hard rock fans pushing the rest of their CD collection towards the dustbin. It’s not often that anyone brings anything new to the table in this genre but Fatal Smile have certainly whipped things up a bit.
7/10

ROMEO MUST DIE
“Befined By Enemies”
Genre: Metal
In At The Deep End

After 11 years spent together as members of Stampin’ Ground, Adam Frank-Sims and Ben Frost are old hands when it comes to the UK underground metal scene. So, when the vocalist and bassist form a new band, you can be pretty sure there’ll be no half measures.
Romeo Must Die – completed by Sam Sawkins (guitar), Paul Fletcher (guitar) and Tom Winch (drums) – don’t stray to far from the Stampin’ Ground mould and have understandably had fans on tenterhooks in the run up to this debut EP. With a fierce sound powered by thrash riffs and infectious grooves there are few faults to be found. The only complaint I can come up with is that the drum sound is often a bit flat. That aside, Romeo Must Die put most of their contemporaries to shame, proving that the underground can offer real contenders to take on any of the big names and win.
Signed to the same label that broke Gallows, Romeo Must Die could be about to do for UK metal what that band did for UK hardcore. Watch this space.
8/10

FOR BEG, STEAL OR BORROW:
Brutal debut EP from a band formed from the ashes of UK metal legends Stampin’ Ground

VERIFY
“Till There’s Nothing Left Inside”
Genre: Hardcore / Metal
Dead Vibrations Industry

Belgian hardcore crew Verify’s debut album “Till There’s Nothing Left Inside” couldn’t be more aptly titled. It sounds like the quintet have ripped everything they can out of themselves to provide the most brutal, punishing and impressive album they can.
As a straight hardcore band they are notable for the force of their delivery, but this alone doesn’t mark them out from countless other bands. What sets this apart is the metal influence that introduces smart song structures, sharp breakdowns and mid-tempo brooding. Pulled together, these ingredients give the band space to launch a more focussed and sustained attack – pulling, pushing, shaking and screaming.
“Till There’s Nothing Left Inside” is an excellent debut and one that should launch the band into the consciousnesses of plenty of hardcore and metal fans looking for something fresh and new.
7/10

DOCTOR HELL
“Stir Up The Fire”
Genre: Hard Rock
Bad Reputation

The second album from Doctor Hell is a bit of a mixed bag. As the title suggests, it does stir up the fire, but sometimes it lets bits of it go out. When they’re evoking “Spine Of God”-era Monster Magnet or the best parts of Turbonegro’s sleazy, speedy rock ‘n’ roll, Doctor Hell can be a joy to listen to. But when they fail to hit that mark, it all falls flat and you’re stuck with some pretty average pub rock.
Starting well with the album’s title track, “Stir Up The Fire”, which takes some simple riffs and plays them off each other to great effect and “For Each Day”, which sounds like a hard rock version of “Mr Self Destruct” by Nine Inch Nails, when “Feelin’ Better” fails to carry the trend, the disappointment hits hard. After that, “Brother” undoes all the early good work completely and the band find themselves out in the wilderness with a lot of work to do to regain the lost ground. Songs like the Hammond-driven “Pain & Pleasure” do go some way to managing but it’s never enough to completely draw back your interest.
“Stir Up The Fire” is not a bad album, by any means, but it lacks the consistency required to burrow into your consciousness.
6/10

LOS SALVADORES
“Attack Of The Clones”
Genre: Folk Punk
Corndog Records

More of a collision than a blend of folk and punk, Los Salvadores set banjos against frantic drums and power chords to create a sound that mixes Less Than Jake, Billy Bragg, Frank Turner and The King Blues.
Sly, rebellious and fun, Los Salvadores songs are filled with messages, catchy hooks and enough variations of sound and style to keep you constantly on your toes. A particular highlight is one of the slower tracks, “The Drinking Song”, with an infectious singalong chorus that is reprised in live, drunken glory at the end of the album.
“Attack Of The Clones” is an album with far wider appeal than the slightly niche genre of folk punk and will easily slip into the worlds of punk and ska, if not even further afield. Do yourself a favour and check it out.
7/10

RITUAL ABUSE
“Pandemonium”
Genre: Thrash Metal
Ritual Abuse

This brief demo from the London thrash and death metal-influenced Ritual Abuse introduces a band who, in less than a year, have built up a strong local following thanks to their intense live shows. Like a number of bands surfacing at the moment, they seek to revive the old school values many see as being missing from a lot of modern metal band’s music.
There’s certainly no compromising to attain mass market appeal. Ritual Abuse freely admit that their name is designed to conjure up unpleasant images and their lyrics are themed on carnality, self-abuse and domination, with subtle political messages buried within them.
The music is extreme, raw and unpretentious. Thrash and death metal fans old and new will find plenty to like about this band.
6/10

ONE KNUCKLE FIST
“Corroded Culture EP”
Genre: Metal
One Knuckle Fist

Hailing from Brighton, One Knuckle Fist list Pantera, Neurosis, Black Sabbath and Meshuggah as their main influences. Formed in May, the band have worked quickly, supporting Canadian metallers 3 Inches Of Blood late last year and recording the two tracks that make up this debut EP.
What they lack in originality, they more than make up for with sheer force of delivery and smart takes on well-trodden ground. Of the two songs on this EP, “Sick. And Proud” is by far the better of the two, fitting an impressive number of quality riffs into three minutes. The title track is less inventive and just a little bit too long.
It’s still very much early days for One Knuckle Fist but this first recorded output definitely bodes well for the future.
6/10

THIS IS HELL
“Misfortunes”
Genre: Hardcore
Trustkill / SPV

Coming only a couple of months after the UK release of This Is Hell’s debut album, “Sundowning”, their second effort “Misfortunes” arrives just as they begin to make waves this side of the Atlantic. Many are tipping them as the hardcore band to keep your eye on in 2008, and you’ll struggle to argue once you’ve heard them.
Formed in New York in 2004 by Travis Reilly (vocals), Rick Jiminez (guitar), Chris Reynolds (guitar), Johnny Moore (bass) and Dan Bourke (drums) and quickly became popular locally and around the United States, as they submitted to a punishing touring schedule. Their home turf well and truly conquered, the band have now set their sights on a global fanbase.
The songs on “Misfortunes” are a step up from those on “Sundowning”, cementing a distinct style that varies but never relents. Fans of Modern Life Is War and Comeback Kid will find plenty to get their teeth into.
7/10

DIE SO FLUID
“Not Everybody Gets A Happy Ending”
Genre: Rock
Parole Records

The only rock band I can think of to have appeared on a postage stamp, Die So Fluid return with their much-anticipated second album, which picks up where 2005’s “Spawn Of Dysfunction” left off and takes off into the distance.
With metal riffs, pop hooks and punk sensibilities in tact, everything about this album is bigger and better. And as ever, it’s hard to believe that such a big noise could emanate from just three people.
Fans will recognise the creeping verses and explosive choruses, but expect a few surprises, as well. Recent single “Existential Baby” finds Die So Fluid at their most danceable as they experiment with a ska back beat, and the addition of strings on “Throw You Away” and a choir on closing track, “Not Everybody Gets A Happy Ending” add new dimensions to the DSF sound. As if bolstered by this, Grog puts in her best vocal performances on these last two songs.
More personal and emotionally open lyrics on this album seems to draw more out of the performances, particularly on the title track, written and recorded at a time when the band were unsure if it would ever be released. All this goes together to make one vital British rock band.
8/10

FOR BEG, STEAL OR BORROW:
This British rock trio up their game considerably for album number two and leave all others standing

THE RED DEATH
“Godmakers”
Genre: Death Metal
Siege of Amida

New Yorkers The Red Death have been hard at work studying and absorbing their At The Gates and In Flames albums and have come up with their own take on the Gothenburg sound, mixing in thrash and other modern US metal influences.
The band’s second album “Godmakers”, the follow-up to 2005’s “External Frames Of Reference” may well have an obvious set of influences but it’s hard to focus on that when you’re faced with such a well-paced and executed set of songs. The Red Death are playing the Swedes at their own game and winning.
The album is a whirlwind of quick shifting riffs and machine gun drums. A well-timed brief acoustic-driven instrumental (and the album’s title track) sits halfway through, giving just enough time to breathe to ensure that you’ll be with the band on their terms all the way to the end.
Songs like “Godless” and “Static Divide” should leave you in no doubt that The Red Death are a welcome and essential addition to the world of extreme metal.
8/10

FOR BEG, STEAL OR BORROW:
Influenced by In Flames and At The Gates, the second album from US metallers The Red Death proves them to be an essential new face in the extreme metal world

OBSKURIA
“Discovery Of Obskuria”
Genre: Prog Rock
World In Sound

The idea behind Obskuria is so simple it’s amazing no one thought of it before. Take one well-established genre – 70’s prog rock – and put together a band whose members span three generations and three continents to try to put a new spin on it. Simple but very effective, as the varied cultural backgrounds of the six band members allow them all to see their subject with different eyes.
Having met at a German music festival in 2006 while performing with other bands, the idea quickly took shape and, not wanting to miss the opportunity, World In Sound Records booked the group into a nearby studio for four days. This immediacy and urgency is apparent throughout the album. Excitement and joy bristle in every note and are particularly prevalent on the twenty minute improvisation “Essence Of It’s Own”.
As well as the six original songs the band managed to record, there are also four covers of songs by Metallica, The Beatles, The Misfits and The Dayglow Abortions. All are given a 70’s rock, Hammond-heavy treatment, which works best on Metallica’s “For Whom The Bell Tolls”.
This should be required listening for all fans of prog and space rock.
7/10

NONPOINT
“Vengeance”
Genre: Metal
Bieler Bros. Records

“Vengeance” is Nonpoint’s seventh album and the follow-up to 2005’s “To The Pain”, which featured a cover of Phil Collins’ “In The Air Tonight” that later became the theme song for Michael Mann’s movie adaptation of Miami Vice.
While not one of the major players on the alternative scene, Nonpoint’s output has been strong and consistent across their ten year career, where other, bigger names have wavered and fallen. This has picked them up plenty of avid fans, to whom the band are so devoted that vocalist Elias Soriano recently completed a live show, despite having broken his ankle during the first song. Just as the fans weren’t disappointed with that show, there will be no glum faces after listening to “Vengeance”.
Heavy on grooves, this album’s twelve tracks feature dense riffs and razor sharp vocals. In their sound are echoes of bands like Machine Head, Nickleback, Staind and Linkin Park but Nonpoint are copying no one. Their style is distinctive and infectious – this album in particular stands up well to repeat listens and will always cause your limbs to twitch in time.
7/10

F451
“Think. Fight. Live.”
Genre: Rock
F451

Essex rockers F451 return with their fourth self-released EP “Think. Fight. Live.”, featuring new recordings of three songs originally released in 2005 and 2006. With proper production, their punky tunes really come alive, leaping out of the speakers with just the right levels of energy and venom.
Lyrically, F451 pull no punches and beat no bushes. Everything they believe is laid out clearly and simply so that you’ll be able to understand. As a result, they actually come across quite patronising, which serves as a turn off, rather than a call to arms. I can see that the songs are sung with specific characters in mind, but with lines like “science is everything – how else does everything work?” (“Science Is Everything”) it does feel as if they think they’re a lot smarter than their audience.
The tendency to be condescending aside, F451’s song are strong, well-written and primed for full-on mosh pit action.
6/10

DEATHSTYLE
“Deathstyle”
Genre: Metal
Deathstyle

Mixing up death, thrash and nu metal, Greek quartet Deathstyle’s self-titled debut album can often be a confusing affair. The band’s most obvious influence is Slipknot, particularly in Chris B’s vocal style, and shadows of their debut album appear in many of the twelve tracks on offer here. The guitar influences are less clear; references for the two guitarists seem at odds with each other. Slipknot also have a slight hold here, as do Korn. Then there are stronger echoes of bands like In Flames and Slayer and classic rock guitar solos that sit awkwardly on top of it all.
Having a diverse range of influences is, of course, no bad thing. But in this case, Deathstyle haven’t found a way to get them all to fit well together. At times it can feel like you’re listening to more than one song at once, and often the twists and turns as more and more styles are forced together can make it difficult to identify exactly where songs begin or end.
Deathstyle are not without the technical ability or talent to be a god metal band but they really need to find a focus for their songwriting.
4/10

MISERY SPEAKS
“Catalogue Of Carnage”
Genre: Death Metal
Dakkar Records

Hailing from Münster in Germany, Misery Speaks released their self-titled debut album in June 2006 via Alveran Records. Last year they sidestepped over to Dakkar Records and began working on album number two. Already they have drawn comparisons with bands such as The Black Dahlia Murder, Arch Enemy and Amon Amarth and have a substantial following in Germany, thanks to many favourable reports from the country’s metal media.
Although “Catalogue Of Carnage” is not without its moments – the track “To My Enemies” in particular features some great riffs – as a whole, the album falls flat. Originality only comes in short bursts and there’s not enough variation between songs to keep things interesting.
5/10

SKINTIGHT JAGUARS
“The Curse”
Genre: Hard Rock
MSKL Records / Hustler Squad

Recorded, mixed and mastered in just four days, the intensity of this brief studio stint, which yielded one damaged voice and two broken amps, is apparent throughout the twenty five minutes of Skintight Jaguars’ debut album, “The Curse”. The songs launch out of the starting blocks with little regard for anyone or anything that might be in their way. Everyone plays like their lives depend on it; the strain on instruments, equipment and musicians alike always threatening to descend into complete chaos.
The band’s glam-tinged hard rock could be likened to bands such as Motörhead, 80’s Matchbox, The Hives, Towers Of London and The Horrors, though no one comparison truly fits the mould. These guys are fired up, angry and ready to go off at a moment’s notice. You get the feeling that twenty four hours spent with these guys would leave you dead or at least seriously injured. What more do you want from a band?
6/10

SEVENDUST
“Alpha”
Genre: Metal
Asylum Records

If not one of the most popular bands to come out of the mid-nineties nu metal boom, Sevendust are now one of the longest-serving. Their sixth studio album “Alpha” makes it’s long-delayed appearance in UK stores just a few months before the next one (due out 3rd March 2008), so fans of the bands may suffer a bit of an overload as winter heads into spring.
In its class, “Alpha” is a reasonably good album. The riffs are sturdy, the vocals delivered with plenty of venom, the song arrangements ensure plenty of points for mosh pits to explode but… but… well, there just aren’t any new ideas. There’s nothing here you wouldn’t find on any other Sevendust album, or any other late nineties nu metal album. The riffs are sturdy but run-of-the-mill, the vocals are delivered with plenty of venom but no feeling, the song arrangements ensure plenty of points for mosh pits to explode but the structures are really just loud-quiet-loud-quiet-loud. Occasionally there are hints of a clever turn, but these split seconds always pass by without coming to fruition.
It’s not all bad news, though. The UK release of “Alpha” features two bonus tracks, “The Rim” and “Abuse Me”, on which the band completely come alive. Suddenly, they go from simply treading water to sounding like they really mean it. I assume these are newer recordings (otherwise they’re really weird choices to cut from the original release), which means things look a lot better for the next album. I’d keep that wallet closed for just a short while longer, if I were you.
5/10

SOLDIERS
“End Of Days”
Genre: Hardcore
Trustkill Records / SPV

Formed by five veterans of the Long Island hardcore scene, including members of This Is Hell and The Backup Plan, Soldiers’ debut album is fast, loud and very, very angry. Sure, there are few surprises along the way but what you see is what you get. And if what you see is what you want then you’ll be more than pleased.
With less posturing and more getting on with the task in hand than some other New York-area bands, Soldiers always give the song exactly what it needs and never play it for a second longer than necessary. The riffs laid down by guitarists Brian Audley and Chris Mazella roll out of each speaker as if emptying both barrels of a shotgun. Rick Jimenez’s vocals are razor sharp as he lays down the law matter-of-factly.
The occasional poorly executed drum fill and drop out on the guitar aside, “End Of Days” is totally engrossing. In fact, as if expecting to have to snap you out of a trance, the album’s final track “Living Hell” is a hip hop track, which is so sudden and unexpected on the first listen it’s almost as confusing as being woken from a deep sleep.
7/10

DESTRUCTORS 666
“Many Were Killed, Few Were Chosen”
Genre: Punk / Hard Rock
Rowdy Farrago Records

Destructors 666 is the eighth incarnation of The Destructors, resurrecting the band for the first time since 1984. Originally formed in 1977, the band regularly shuffled line-ups and modified their name throughout the late 70’s and early 80’s – the only constant being Allen Adams, who has taken various roles in the band but is currently lead vocalist. Notably, the band acted as a launching pad for Gizz Butt, who went on to play guitar for The Prodigy, The English Dogs and Janus Stark, amongst many others.
Reuniting three of the ’76 Destructors (although Dave Colton and Steve Rolls have both now gravitated to guitars), the band maintain strong links with their punk roots and there is an undeniable Crass feel to this album, as well as nods to 90’s rockers like Therapy? There are a lot of songs to get through on “Many Were Killed, Few Were Chosen” but the band hold your attention well, with plenty of hooks that get right in under your skin. Highlights are the Cramps-esque ”Decadence”, the defiant “Resistance” and the album’s poppiest moment, “Static Electric Repulsion Bomb”.
After 20 years, The Destructors are still knocking out great tunes by the bucket-load and it’s clear from all of these songs how much they enjoy doing it. With this kind of unbridled enthusiasm saturated every second, it’s difficult not to get caught up in it.
6/10

THIS IS HELL
“Sundowning”
Genre: Hardcore
Trustkill Records / SPV

Getting its UK release in the same week as Rick Jimenez and Dan Bourke’s other band Soldiers’ debut album, this is a pretty busy time for This Is Hell. Having spent the last 12 months on the road to promote the album in the US, the band have also managed a brief stint on this side of the Atlantic, too. Shows with Lost Prophets, Hatebreed, Unearth and Alexisonfire ensured an early buzz as the hardcore scene gets healthier than it’s been in years.
The band’s fast-paced hardcore could be compared to The Ghost Of A Thousand or Comeback Kid and the album is certainly very much of its genre. If you’re looking for experimentation, this isn’t the place to come. However, “Sundowning” isn’t without its own little quirks and charms. The looming aggression of “The Absentee Ballot” is one of the album’s many highlights, as are the staccato guitars on “Broken Teeth” and the two instrumentals “4/8/05” and “8/27/05”.
Hardcore is looking to be the buzz genre of 2008 (about time someone dispensed with emo!) and hopefully This Is Hell have made it in early enough to get their name known before the inevitable flood.
6/10

SUBLIMINAL FEAR
“Uncoloured World Dying”
Genre: Melodic Death Metal
Burning Star Records

Italian melodic death metal five-piece Subliminal Fear formed in 2001. The obligatory line-up changes, demo recordings and ground-covering gigs ensued until 2006 when they were signed to Greek label Burning Star Records to record an album. Almost two years later, that album finally makes it into stores.
Incorporating elements of Slayer, In Flames, At The Gates and Opeth, Subliminal Fear are fast and aggressive but the album is too samey. “I’ve Lost Control” and “Stare” are two great songs but overall, there is little variation between tracks. Unless you’re given your full and undivided attention, it can be difficult to spot where one track ends and another begins.
“Uncoloured World Dying” is a good debut and the band’s technical skills and performance are difficult to fault, but there just isn’t enough to mark them our from the countless other bands in the melodic death metal genre doing much the same thing.
5/10

PATHS OF POSSESSION
“The End Of The Hour”
Genre: Death Metal
Metal Blade

Formed in 1999, “The End Of The Hour” is Paths Of Possession’s third full-length album and the follow-up to 2005’s “Promises In Blood”. Fronted by Cannibal Corpse’s George “Corpsegrinder” Fisher, the band are heavily influenced by Scandinavian death metal and are a distinct voice within the Tampa Bay metal scene.
“The End Of The Hour” is a concept album telling the story of the horrors experienced by a soldier during war and his own death, which somehow warp him into some kind of supreme being with the power to destroy all life. I think that’s right, anyway. If, like me, you’re slightly sketchy on the details of the story, don’t worry. The songs on this album stand up perfectly well on their own.
The band are extremely tight but maintain a fluidity in there playing that can be lost in particularly technical music like this. Jay Fossen and Jack Goodwin’s riffs move with and against each other, taking you through many twists and turns and holding your attention throughout the 10 tracks. Fisher’s vocals, as you would expect, are suitably guttural and raw. A worthy investment for any death metal fan.
7/10

BIOMECHANICAL
“Cannibalised”
Genre: Metal
Earache

Combining Biomechanical frontman John K’s love of metal, soundtrack music and science fiction, “Cannibalised” is a concept album overseeing the death of humanity through spiritual decline and completing a trilogy of albums, started with “Eight Moons” and “The Empires Of Worlds”.
Containing elements of Strapping Young Lad, Dream Theater and Iron Maiden, the Biomechanical sound is amazingly heavy and schizophrenic. Once the album starts, the band fire ahead at breakneck speed, leaving no room for dwelling on the moment, always pushing you forward to the next idea. Eventually, respite comes with the Dream Theater-esque acoustic intro to “Breathing Silence”, but even this song’s quiet verses are torn apart by fast, hard choruses.
“Cannibalised” is an awesome achievement, listening to it can feel like you’ve gone ten rounds with a heavyweight boxer. It’ll certainly leave you breathless.
7/10

ONLY FUMES & CORPSES
“Read What’s In Between”
Genre: Hardcore
Only Fumes & Corpses

Hardcore five-piece Only Fumes & Corpses hail from Galway in Ireland and have been together since 2005. This self-released CD features eight tracks that bring to mind Minor Threat, “This Just Might Be The Truth”-era Refused and Comeback Kid.
Gone in just 17 minutes, it may be brief but the band get a lot done. Obviously keen to make their mark, they launch into the songs with all their energy, battering instruments and tearing throats until they’re sure you’ve got the point.
Only Fumes & Corpses certainly seem to have what it takes to stand up against the current surge of new hardcore bands coming through. This could well be their time.
6/10

AGNOSTIC FRONT
“Warriors”
Genre: Hardcore
Nuclear Blast

Produced by Madball frontman Freddy Cricien (who also happens to be Agnostic Front vocalist Roger Miret’s brother), “Warriors” continues the wholehearted return to the classic NYHC sound of Agnostic Front’s early 80’s recordings, which began with 2004’s Another Voice.
The result is a brutal, punishing album, packed to the rafters with breakneck hardcore that pulls no punches. Vinnie Stigma and Joe James hit you with riff after riff, while brothers Steve and Mike Gallo make a tight, solid rhythm section. Roger Miret, as ever, is up front spitting invective, putting in his two cents and reminding us of the strength of his hardcore family. The latter makes up the content of one of the album’s best tracks, “For My Family”, on which the band cast their minds back to 1982, remembering the Lower East Side Crew and how hardcore they all were back then.
It’s impressive that after such a long time, Agnostic Front are still able to produce such passionate and principled music. Regular line-up changes are sure to have kept the fire burning but Roger Miret and Vinnie Stigma still remain from the original band and are clearly the driving force creatively. With that in mind, “Warriors” takes on a greater meaning as the title for this album. Where others would have given up and gone home, Agnostic Front battle on and as a result, we get some great music.
7/10

KMFDM
“Tahuvabohu”
Genre: Industrial
Metropolis Records

Never let it be said that KMFDM would ever intentionally do what is expected of them. For the opening track of “Tohuvabohu”, which they have modestly named “Superpower”, the band have woven in answerphone recordings from fans explaining why they love KMFDM. The song itself sounds like a weird cover of “Know Your Enemy” by Rage Against The Machine with added pop and jazz. You can probably see why I wasn’t sure if this album and I were going to get on.
Thankfully, this song didn’t set the mould; there is no mould for songs on this album. “Saft Und Kraft” is recognisable as having classic KMFDM industrial sound, which is then updated on “Headcase”. “Looking For Strange” is more dancey and is one of the stand out tracks on the album, “Spit Or Swallow” mixes of industrial metal and acid techno, while final track “Bumaye” is a bit of a dark epic.
“Tohuvabohu” (its name derived from a Hebrew phrase meaning “wild and chaotic”) proves that even after 23 years, KMFDM are far from out of ideas and are still relevant to today’s music scene. In particular, Lucia Ciferalli’s vocals sound particularly good on this album, her versatility across so many changes in style make it worth a listen on its own.
8/10

FOR BEG, STEAL OR BORROW:
After 23 years, KMFDM are still churching out great albums and managing to keep their sound feeling fresh

EVITA
“Like An Ocean, We Rise Again”
Genre: Metal
Glasstone Records

No, we haven’t branched out into the world of musical theatre; Evita, in this case, are a Bristol-based band releasing their debut EP through Glasstone Records. With their old school death metal-style completely illegible logo and an impressive knowledge of the last 20 years of metal, you’d be forgiven for being more than a little surprised when you learn that the average age of band members is just 17 and a half.
I’m going to repeat that again – their average age is 17 and a half. This means some of them must be younger than that. When you hear them, you’ll understand exactly how unlikely this is. They play 80’s and 90’s influenced metal in a way that not only matches but very often betters the bands they are referencing. They play hard and fast and keep switching riffs regularly enough to ensure you’re always balanced on your toes.
The clean vocal that appears on a couple of tracks is one of few points for real criticism. I’m not saying they shouldn’t be there at all – the spoken word parts on “Lapdance Girl” bring in a hardcore influence that works with great effect – but they veer slightly too far into emo territory and don’t connect with the rest of the music very comfortably. Other than that, this is an excellent debut from a band still very early in their career. It can only get better from here!
8/10

FOR BEG, BORROW OR STEAL:
A bunch of kids wander in and embarrass all the grown-ups with their superior metal skills

THE PRETTY YOUNG THINGS
“Pretty Young Things EP”
Genre: Rock
Holier Than Thou

Formed in 2002, this Cambridge four-piece became The Pretty Young Things in 2005, and quickly began gigging around their local area, where they have built up a reasonable following. Influenced by such luminaries as The Stooges, The Rolling Stones and The New York Dolls, they belt out quite a racket.
“Eyes” kicks things off with chugging guitar riffs and a few lead flourishes that creates a strange mix of The Stooges and Ocean Colour Scene, particularly on the bridge, which leads into an explosive outro. “Pretty Young Thing picks up where the last song left off but adds some really unpleasant screaming/warbling, which gives way to classic punk staples of boredom and dying young. Although the energy levels on this song are very high, it’s the EP’s weakest and ends up outstaying its welcome by quite a stretch. The well-named “Pick Of The Bunch” gets things back on track with some fuzzed up bass and a sound that mixes “Bodies” and “Holiday In The Sun” by The Sex Pistols.
The EP peaks with its final song, which is the best way to be. However, the recording quality is only of demo level, giving it a reasonable pub rock sound but not enough oomph to really draw you in. It works as a hint of what the band could achieve but you might want to hold off parting with your cash until next time.
5/10

OPTIMUM WOUND PROFILE
“Lowest Common Denominator” / “Silver Or Lead”
Genre: Industrial
Metal Mind Productions / Roadrunner Records

Formed in 1991 in Ipswich, Optimum Wound Profile split five years later in 1996. Despite this short window of existence, the band still managed to record four albums (although their swansong, “Cult Of Saint 1425” remains unreleased). Along with a number of other lesser-known releases from Roadrunner Records’ back catalogue, Metal Mind Productions have remastered and re-released the band’s first two albums in limited pressings of 2000.
Optimum Wound Profile’s debut album, originally released in 1992, “Lowest Common Denominator” mixes Ministry, Nine Inch Nails and Pop Will Eat Itself. Of these bands, Ministry had the clearest effect on the band’s style, which is fast, harsh and heavy on distortion. Although the drums are all played live, drummer Vile plays in a mechanical style and is only given away as human by his tom-tom fills. The songs are all drenched in spoken word samples that are dropped in between the aural assaults of vocalists Simon Finbow and Phil Vane.
The 1993 follow-up, “Silver Or Lead” is a lot less chaotic than “Lowest Common Denominator”. The guitars are more prominent and everything from the vocal delivery to the selection and placement of samples seems carefully controlled for maximum nastiness. The Ministry influence is massively played down this time, in favour of a more traditional metal sound, although the music is still very much industrial.
“Lowest Common Denominator” is still a good album but it was on “Silver Or Lead” that Optimum Wound Profile really found a sound of their own and it’s this disc that stands out as the better of the two. Both albums are sure to provide a nostalgia trip for those that remember them but they will also still stand up well to being heard by new ears.
7/10

RATOS DE PORÃO
“Brasil” / “Anarkophobia” / “Just Another Crime In Masscreland” / “Feijoada Acidente? – International”
Genre: Thrash / Hardcore
Metal Mind Productions / Roadrunner Records

One of Brazil’s foremost hardcore/thrash crossover bands, Ratos De Porão originally formed in 1980 and continue to record and perform today. These four albums released by Roadrunner Records between 1989 and 1995 have been remastered and repackaged with extra tracks by Metal Mind Productions with limited pressing of 2000 copies for each.
“Brasil” was the band’s fourth album and the first that brought them to the attention of the international scene. Heavily influenced by the thrash stylings of bands like Slayer and Sepultura, it also holds firm to Ratos De Porão’s hardcore roots. Running up to 20 tracks (including the three bonus live tracks), it does get a bit samey and despite the quality of many of the songs, it’s easy for attention to wander.
The 1991 follow-up “Anarkophobia” is easier to stick with. The songs are fewer in number and longer, allowing more time for the development of ideas. On this album Ratos De Porão moved pretty exclusively to a thrash sound, remaining hardcore mostly in spirit, although a cover of “Commando” by The Ramones ensures that their punk roots don’t go unnoticed.
Notable as Ratos De Porão’s only album to feature all lyrics in English, 1994’s “Just Another Crime In Massacreland” came at a low point in the band’s career. Bassist Jarbas Alves left as the others struggled with drug problems and the album was not promoted as hard as earlier efforts. Still, it is in fact one of the band’s best. Having recorded the previous two albums with Harris Johns in Berlin, this time they opted to stay in Brazil and hired Fudge Tunnel’s Alex Newport. The quality of the recording doesn’t match up to the previous two albums but songs like “Massacreland” show the band on top form.
The final of these remastered releases is the international version of “Feijoada Acidente?” Keen to get back to punk rock, Ratos De Porão recorded two albums under this title, one featuring covers of Brazilian punk bands and the other bands from around the world. On this version are great versions of songs by Minor Threat, The Dead Kennedys, Disorder, Black Flag, Circle Jerks, Stiff Little Fingers and many more.
These four albums take you through a number of stages in Ratos De Porão’s career and each has it’s own plus and minus points. They are a band well worth hearing and these re-releases should cause plenty of memories to be jogged and interests peaked.
6/10

BLESSED DEATH
“Kill Or Be Killed” / “Destined For Extinction”
Genre: Thrash
Metal Mind Productions / Roadrunner Records / Megaforce

Thrash metallers Blessed Death formed in New Jersey in 1984 and were known as much for their music as for the fact that their rhythm section was made up of identical twins (bassist Kevin Powelson and his drummer brother Chris). The band’s first and second albums (released by Megaforce and Roadrunner respectively) are here remastered and re-released by Metal Mind Productions.
Blessed Death’s debut album “Kill Or Be Killed” was released in 1985, just as thrash really began to take off. The album features some innovative ideas, which even at this early stage could be seen as trying to push the genre into the next phase – they certainly weren’t cashing in on the latest big thing in music. However, the production is not great and Larry Portelli’s tendency for falsetto vocals is something of an acquired taste.
Two years later, in 1987, the band returned with “Destined For Extinction”. Despite its prophetic title, the album is a great improvement on the first, and seen by many fans as a classic of 80’s thrash. The production on this album is better but still far from perfect. Portelli’s high-pitched vocals had by this time developed into sudden yelps for emphasis and are even more an acquired taste than on “Kill Or Be Killed”. If you choose to go with it, you will indeed find some great thrash tracks.
Blessed Death did record a third album in 1991, which was finally released on their own label in 2006. Sadly, despite their clever and individual take on the thrash metal genre, they never achieved commercial success. Hopefully these re-released albums will find them some new fans.
6/10