The good people at Sumerian Records have seen fit to upload all of the tracks from the latest Dillinger Escape Plan album, One Of Us Is The Killer, onto YouTube. Hit the link above and try out the tracks.
Death metal outfit Abyssal drops its second full-length LP, and it’s an extremely atmospheric take on one of music’s most extreme genres. To most people out there, death metal sounds like pure noise; however, I wouldn’t be surprised if even some death metal fans came away from this album feeling that way. The reverb-heavy production drowns much of what this album has to offer in a cloudy, hellish haze. To me, though, it gives the eleven tracks here a certain kind of allure.
The band’s blast beats and down-tuned guitars come off every distant, sounding as if they’re flying at me from the darkest depths of a, well, abyss. The band manages to throw some surprisingly harmonic guitar leads out there in numerous tracks as well. Give it a try, and see if it gives ya some chills.
Brisbane band IDYLLS reaches the threshold of grindcore-inspired extremity without beating an eye on “Paradise of Blood,” and the band manages to litter the short and to-the-point sonic assault with some of the most colorful and frenetic guitar phrases I’ve heard in a while. Oddly enough, it reminds me a bit of the band An Albatross back when they were still making some waves.
To put it bluntly, this is just straight up orchestrated chaos. So much detail and planning went into this two-minute assault, but it still comes off feeling like a whirlwind of noise that’s difficult to wrap the mind around.
IDYLLS’ new album, Farewell All Joy is out now. Grab a copy on Bandcamp.
One of the heavier industrial albums I’ve listened to in a while, No Youth by Wreck and Reference, is the followup to the project’s 2011 album, Black Cassette. Hailing from California, Wreck and Reference are infusing heavy, doom-esque moments into otherwise spacious and hypnotic tracks. The track “Nausea” even showcases some loud and mechanically delivered black metal-style blast beats.
No Youth sets a very specific mood, but utilizes a variety of percussion, and a large range of intensity to stand out amidst its peers. The album was even mixed and mastered by Colin Marson of Krallice, which definitely gives the album somewhat of a seal of approval in some circles–this being one of them.
The new High On Fire album won’t officially be out until next week, but you can experience the heavy, crushing guitars and Matt Pike’s relentless vocals right now through the NPR Music stream linked above. Enjoy responsibly. More volume, more results. Wake the neighbors. Win friends. Influence people. All that.
If you remember the post for “Fertile Green” earlier this year, you know Converge’s Kurt Ballou produced this record. On numerous albums, I’ve praised this guy’s ability to record a great metal record, and I have to do that again this time around, too. While 2010′s Snakes For the Divine had HOF’s trademark aggression, the bassy thickness just wasn’t as prevalent. Thankfully, Ballou has brought it back, and the resulting rush of sound has inspired the band to start flexing with a little more melody and some stellar drum fills. Can’t wait to talk about it next week!
Here’s a video for a track that was recently dropped on the Wormrot EP Noise. The EP can be downloaded here.
The video portrays some kind of sick, disturbing grindcore karaoke. Maybe it’s not too far off base, because this is probably the turnout a grindcore karaoke session would normally have.
Check my review for Wormrot’s last album, Dirge, here.