12/16/2018

DEATH SOVEREIGN: A Fire Emblem: Heroes Playlist



This is evident through the trailer for Fire Emblem: Heroes’ newest chapter, simply known as Book III, featuring a new storyline and cast of characters. What few were probably expecting, however, was its choice of music. To match the dark and sinister tone of Book III, the trailer opts for aggressive vocals, loud instrumentation, and an overall cinematic atmosphere. Although refreshing, it was not enough to sell viewers on taking Fire Emblem’s storyline any more seriously. On top of that, it does not represent the theatric and extreme side of metal and hardcore music particularly well. Below are six songs that bring out the dramatic and brutal impact this story intends to bring, both musically and lyrically. Click the header images to listen to their respective songs!
Artwork (Above) by Yuzuke Kosaki.



SepticFlesh has always been kingpins of brutal and symphonic metal, and one of their most recent songs, titled “Dante’s Inferno,” is solid proof. It very much plays like a deathly march of trumpeting orchestras and brutal instrumentation, but said march is intertwined with fast-paced moments to up the chaos. The result is both captivating and cataclysmic. Meanwhile, vocalist and bassist Spiros Antoniou’s demonic gutturals belt out lines describing a journey through the underworld, hence the song’s title (“Threatening and cold, a poem for the underworld, where shadows walk, beyond redemption”). Seeing as how both the written work of Dante’s Inferno and the song itself, it makes sense a story dealing with death and a hellish realm would mesh well with SepticFlesh’s outing.
"Codex Omega” was released on September 1, 2017 via Season Of Mist/Prosthetic Records.



“Martyr Art” by The Agonist has much to be admired in as an example of dark, melodic, and vicious metal music. Its main highlight, however, would be Alissa White-Gluz’s vocals, both melodic and aggressive. Her delivery is not only very emotionally charged, but also versatile; her range consists of ferocious roars and dramatic clean singing, and it showcases them very strongly without feeling as though she is merely showing off. This, combined with the equally vicious guitar and drum performances, paves the way for a very compelling and cinematic track worthy of Book III’s dramatic tone. Although The Agonist seems to have already reached their peak almost a decade ago, there is no doubt said peak was very high.

“Lullabies for the Dormant Mind” was released on February 23, 2009 via Century Media Records.



Shadow Of Intent’s “The Heretic Prevails” can be described as many things: Brutal, epic, loud, energetic, and so on. This is thanks to a combination of blaring drums, wildly melodic guitars, and synthesized keyboard and orchestral effects. Its rapid-fire pacing and wicked energy are rather contagious, to the point where listeners may have difficulty remaining still while listening to it. Ben Duerr’s vocals are also monstrous and almost inhuman, with both his low and high pitched growls being both dynamic and grotesque. The destructive and symphonic sound “The Heretic Prevails” brings fits perfectly with Book III’s rather apocalyptic setting involving the rising dead. Whatever the case, “The Heretic Prevails” is a shining specimen of modern extreme metal.
“Reclaimer” was released on April 28, 2017 under no record label.




Normally, Dyscarnate’s music is an excellent soundtrack to somebody throwing and breaking things, but a few songs such as “Nothing Seems Right” are more haunting than anything else. Unlike other hits such as “This is Fire” and “Iron Strengthens Iron,” this track boasts a much slower pace than usual and delves into creating a desolate and ruinous atmosphere. Nevertheless, it is no less heavy and brutal, with every guitar riff and drum beat hitting like a megaton punch. This, along with the dual vocalists delivering brutal roars, highly thunderous sound production, and some dismal lyricism (“I’m against the tide and time, this feeling is hard to describe”) makes for a great contender for a Book III playlist. All in all, “Nothing Seems Right” is a grand finale for such a grand record.
“With All Their Might” was released on September 15, 2017 via Unique Leader Records.




Hence the title, Architects offers a more uplifting approach to the dark and dramatic with “Death is Not Defeat.” An uproar of vocals, The anthem-like chorus is also downright infectious in terms of delivery and lyricism, and this applies to the rest of the track as well (“The everlasting sleep returning through the veil, far beneath the deep, another soul sets sail”). Seeing as how, keeping with Fire Emblem tradition, Book III will have a bright ending, “Death is Not Defeat” goes well in terms of its mood and theme of death and optimism. This song is a great and explosive way to open an album as fantastic as “Holy Hell,” as well as a high note to this list end on.

“Holy Hell” was released on November 9, 2018 via Epitaph Records.


11/11/2018

METAL JERKY'S 10 SONGS OF DARKNESS


Metal is such a versatile genre. It has plenty of ways of delivering feelings of coldness, dread, and horror. Whether it achieves this through gloomy melodies, thunderous sound production, or dreary lyricism, dark metal takes on the form of many bands under its umbrella. Said bands are capable of crafting darkness in an artistic fashion, and their means are immeasurable. From somber and quiet to loud and sinister, below are ten songs that dish out the darkness in their own manner. Click the header images to listen to their respective songs!


With a name like "Atra Mors," literally translated from Latin to "Black Death," there is no doubt a harrowing experience is well on its way. This opening track to Evoken's album of the same name proves this, what with the howling winds and ghastly singing. Ritual-like drums and slow, murky guitars overlap soon after. This continues until the song finally bursts into a chilling march of brutal instrumentation and guttural vocals, truly showing the kind of violent bleakness the album has to offer. The downright apocalyptic lyrics also make their presence known, "for it is not the singing of angels that beckons, but the feral groans of death." "Atra Mors" has haunted my eardrums since middle school, and evidence points to it doing the same for many listeners down its dark and dreary road. 

“Atra Mors” was released on July 31, 2012 via Profound Lore Records.


Although darkness and gloom are often associated with ugliness and brutality, they can still be portrayed in a beautiful and emotional manner. Draconian proves this with "Seasons Apart," and most of this stems from Lisa Johansson's tear-jerking yet haunting singing. Each note cuts extremely deep, exuding an undeniable amount of power and elegance. This isn't to say the rest of the song has nothing to offer, however; On the contrary, the guitars and piano dish out equally dramatic melodies, and the aggressive low vocals alternate with Lisa's clean singing very smoothly. The song also progresses well, weaving through somber and brutal passages without losing its ghastly atmosphere. The end product is one that is both gloomy and graceful. 

“Turning Season Within” was released on February 29, 2008 via Napalm Records.



Imperial Triumphant's approach to darkness is an eccentric one, if anything. Even the lyrics of "Lower World" are somewhat unorthodox, lamenting the pollution and thanklessness of underground industry ("Writhe below in stagnant exhaust, as we breath in the light of God"). It's fitting, therefore, that the song chimes in with the quiet ambience of a subway station. This ambience isn't meant to last, however, as it is soon replaced by a brutal mix of dark and twisted guitars, snarling vocals, and jazz-like drumming. Despite this chaos, however, the song builds smoothly, allowing every haunting segment to burrow deep into the audience's heads. One such section in particular involves a flurry of blast beats with a choir aggressively chanting in a chaotic yet cinematic moment. In the end, everything comes together in a bizarre yet haunting masterpiece. 

“Vile Luxury” was released on July 13, 2018 via Gilead Media.


"Chalk Point," for an example, opens with a dreary soundscape with what sounds like footsteps, ghostly distortion, and radio noise. It immediately but steadily lowers the audience into a dark atmosphere, almost as if someone were exploring a deep cavern or abandoned structure (It's fitting, therefore, that the album artwork consists of a photograph of such a building, courtesy of Brian Ulrich). A slow and equally somber piano tune kicks in as the soundscape continues, further solidifying the song's bleak ambiance. Sluggish and distorted guitars enter the picture, and the track finally blooms. The drums form a weary beat while monotonous singing echoes from a distance. These vocals teem with a phantom-like ambiance, with abstract lyrics upping the unsettling factor ("The final echoes -- Ancients departing -- Total immersion"). Overall, the build-up throughout "Chalk Point" is nothing short of powerful, making for a dark, derelict, and haunting listen.

"The Clearing & The Final Epoch" on August 14, 2012 via Relapse Records.


"Caustic" is an appropriate name for an album so brazen and venomous. Right out of the gate, its opener "My Will" drops the sledgehammer on its audience. The thunderous guitars and drums pulverize very slowly, allowing each riff and hit to sink in and create a terrifying atmosphere. The sludgy vocals are equally slow but dismal, roaring about oppression, cruelty, and hatred ("My regret will burn bright, like the lump of shame that grows in your throat"). Ultimately, however, the mixing is what ties everything together, courtesy of Dave Otero (Cattle Decapitation, Cephalic Carnage). Every musical element sound resonant, brutal and bleak, with violent and suffocating results. Out of all the entries in this list, Primitive Man's is undoubtedly one of the most punishing. 

“Caustic” was released on October 6, 2017 via Relapse Records.



"Disgusted by the Light" is exactly what it says on the tin; Ghost Brigade's entry on this list is not a very pleasant one. Similar to Draconian's outing, however, this one takes a more emotional and melodic approach to the idea of darkness and sorrow. The guitars crow melancholy melodies, accompanying the equally-low dual singing and steady drums in an already engaging track. Even in its moments of explosion (i.e. The chorus), the song's dark melodies continue to soar and chill its listeners to their very core. The lyricism gives no respite either, with the line "This is my hell, go find your own one" being particularly heart-rending. Even over a decade since its release, "Disgusted by the Light" remains a dark yet compelling hit.

"Guided by Fire" was released on September 5, 2007 via Season Of Mist.



The Acacia Strain is anything but light-hearted; their music has always marked the line between bone-crunching brutality and an extremely pessimistic atmosphere. They show no signs of relenting, either, with their most recent release "Gravebloom" once again slamming listeners with megaton instrumentation and monstrous vocals; the track "Dark Harvest" is certainly no exception to this. It's one of their more fast-paced tracks, but the wicked guitar melodies and brutal drumming are as powerful as ever. Meanwhile, Vincent Bennett's roars belt out words of total hopelessness and misanthropy, and the result is not a pleasant one ("Sickness and death as you wallow in wealth, burn in the hell you made for yourself"). All of this and more prove that The Acacia Strain remains a kingpin of dark and grisly music.

"Gravebloom" was released on June 30, 2017 via Rise Records.



SubRosa is no band to approach if one was in search of something uplifting; "The Inheritance," one of their greatest works, The instruments move in a tired march, though this in no way means they lack energy; the absolutely somber guitars and violin churn out raw melodies that do a fantastic job of creating a haunting image of sorrow and blackness. The vocalists also sing drearily of the ills of a modern and industrialized society ("They say the meek shall inherit the earth... but all I see are the helpless, crushed by the wheel of man"), proving the song is hopeless in both sound and subject. "The Inheritance" offers not even a shred of hope, and it's no wonder why SubRosa is often referred to as one of the greats of depressive metal.

"No Help for the Mighty Ones" was released on February 11, 2011 via Profound Lore Records.



Just like how Evoken's album is titled "Atra Mors," Nightbringer's "Terra Damnata," (Meaning "Doomed Land/Earth") is not to be taken lightly. More specifically, the song "Misrule" shows anyone who stumbles across it just how dark, hellish, and terrifying metal music can be. The guitars' rapid melodies are downright petrifying, as if they came straight from some sort of cosmic nightmare. They are the highlight of this whole track, acting as the centerpiece for the song's violent brand of darkness. It doesn't help that they join forces with the rapid-fire drumming and shrieking vocals into a seemingly endless vortex. Pushing this further is the mixing, with every instrument resonating and blending into each other in an overwhelming feat. Nightbringer ultimately does its namesake justice, dragging its audience into a dark world and never letting go. 

“Terra Damnata” was released on April 14, 2017 via Season Of Mist.


Shape Of Despair's "Monotony Fields" is an extremely powerful record, but atmospherically and emotionally. Its very first track, named "Reaching the Innermost," is itself proof enough of such a claim, entering with a very slow synthesizer melody; it places the audience in a very vast setting already, like a dark castle hall or the like. This quietude isn't meant to last, however, as said melody is accompanied by an explosion of equally melancholic guitars and keyboards. The drums slowly tread as well, but each hit resonates thanks to the cinematic sound production, making for a surprisingly invigorating experience. The low, deathly vocals add no levity, of course ("We could only gaze at the eager distance that would soon live within us"). Later, as the song draws to a close, a sung melody is the last layer peeled away from said track until it hits its final note, wrapping everything up in a very satisfying and emotional manner. Everything from the performance itself to the mixing to the writing mesh together into a dramatic but invigorating package.

"Monotony Fields" was released on June 15, 2015 via Season Of Mist.

From atmospheric to brutal and slow to rapid, all of these songs exemplify the different sorts of darkness many bands achieve. Musically and lyrically, they are not for the faint of heart, as they draw listeners into the shadows one way or another, yet are absolutely worthy of acclaim. Darkness can certainly be an ugly thing, but all of the bands listed above (and plenty more) wield it to their advantage, creating pieces that are artistic and compelling in their own right.

6/02/2017

REVIEW: Extortionist - The Decline

DEADLY DOWNER

Idaho quintet Extortionist formed in 2013 in Coeur d’Alene, with the following year marking the release of their debut EP “The Black Sheep.” A few years and singles later, they would put out their first full-length album in early 2017 called “The Decline.”

I learned about Extortionist’s music through a compilation video back when they released “The Black Sheep.” Despite being initially drawn in by their dark, murky sound and creepy album cover, I walked away underwhelmed. It had its moments, but not only was it rather generic for a deathcore EP at the time, but the writing was pretty dull, and the sound-mixing was even more so; frankly, if I still gave numerical ratings, I'd give it a 5 out of 10, tops. Regardless, part of me was still interested in what direction the band would take after this debut, leading me to try their latest outing to see how their music may have evolved; As it turns out, “The Decline” is more than a sign of improvement; it's a deliciously destructive and dynamic record from start to finish.

Right out of the gate, the most remarkable aspect of “The Decline” is its marriage between brutality and gloom. Just one look at the less-than-cheerful artwork (Courtesy of graphic artist Hari Fadil and vocalist Ben Hoagland), depicting a distraught man slumped against a desk littered with pills, used cigarettes, and alcohol bottles, signifies that this album isn't exactly a cheerful one. There are plenty of bands of the same genre who go for this mood, but they tend to turn out more-or-less the same; either as slow-paced chug-drenched deathcore (i.e. Feign, Bodysnatcher) or as somewhat more fast-paced hardcore with higher-pitched screamed vocals (i.e. Sworn In, Graves). Not that there is necessarily anything wrong with this, but what makes “The Decline” stand out is that it lands right in-between both sides of the spectrum, with the heavy side being balanced out by the more emotional, angsty side, creating a mix that is all the band’s own.

There is no shortage of songs here that best demonstrate this deadly mix in action, right from the very beginning. The opener “Regression” creeps in with an ambient entrance before suddenly bursting into a tirade of aggressive vocals and equally potent instruments, perfectly setting the stage for what the audience is in for. What follows is “Guilt,” dishing out blistering, heavy grooves mixed-in with angst-ridden vocals (Featuring guest vocalist David Libert of Barrier), keeping a single, steady pace throughout without losing any of its violent momentum. Other highlights include the nightmarishly fast-paced “Animosity” and the title track, an atmospheric interlude complete with a monologue dwelling on loneliness and anxiety, followed by the appropriately explosive closer “Imbalance.” It's highlights galore in this record, and is hardly a dull moment that goes by throughout its running time.

Of course, no good album would be complete without good musicianship,; “The Decline” has that, too. Granted, the main vocals are a little monotonous, mostly just consisting of the same mid-to-low-range growls throughout; they sound good, but there is a noticeable lack of range. Thankfully, there are a couple of guest vocalists to help bring a little more variety to the table. As stated earlier, David Libert from Barrier lends his vocals in "Guilt," belting out screamed vocals expressing regret and self-loathing (“I would do anything to put my thoughts at ease!”). Adam Warren of Oceano also has a moment in the spotlight in "Malediction," dishing out his signature low gutturals during a sickeningly slow-paced moment part-way into the song. They’re great and fitting additions to the album’s vocal roster and help break the monotony a bit.

Meanwhile, the instruments (The guitars and drums, to be specific) also hold their weight rather successfully. The guitars aren’t anything that innovative when it comes to the deathcore genre, consisting of a lot of the chugs and brutal riffs we’ve come to expect of the genre; the good news is, however, that it doesn’t need to be. They have so much ferocity and are written into the music in a way that keeps the guitar-play from becoming stale and repetitive. It also helps that every now and then, there is a particularly impressive moment involving it, such as the brief melodies in “Neglect.” The drums are also very solid, boasting plenty of energy and some technical prowess while keeping the technique simple enough to absorb easily. 

Lastly, “The Decline” also has great production values, being recorded and mixed by Calvin Russell of DJSM Studios. He did a spot-on job bringing every vocal and instrument involved to life. Everything sounds crisp, clear and powerful, and a lot of the music’s haunting atmosphere derives from how full-bodied and heavy the instruments sound; this makes for a versatile sound that helps in making the album so memorable. Also helping this record are some of the post-production sound effects that reinforce the music’s dark and ferocious tone, such as the guitar stutters during the last third of “Animosity” and the high-pitch guitar shrieks in “Regression” (Although they can be a tad too loud at times compared to the rest of the song). To wrap things up, the mixing is certainly on-point here.

BOTTOM LINE: “The Black Sheep” may not have exactly been impressive, but its successor has definitely takes on that mantle. Even in a world where so many deathcore bands are working the same tired formula and churning out the same generic tunes, Extortionist manages to come into their own with tight musicianship and writing. Most importantly, however, the album’s biggest strength has to be its distinct balance between its sheer deathcore-style chaos and doom-laden atmosphere. It may not be the most original or innovative record out there, but this full-length release is an incredibly solid and entertainingly dark specimen that crushes any expectations, and then some. This is no decline.


"The Decline" was released on February 17, 2017 under no label.

10/30/2016

COUNTDOWNS: Top 10 Songs to Play on Halloween

Halloween is well on its way! It's a time for trick or treating, dressing in goofy/scary costumes, going out for parties, and so on. For me, however, my time will probably be spent listening to some deathly tunes, and sharing them with you in the hopes that you'll enjoy them as much as I do, if not more! From chillingly atmospheric and eerie tracks to in-your-face bouts of brutality, here are fifteen songs that are more than fitting for the spookiest time of the year for your entertainment. Click on the images to listen to their corresponding songs!

With a name like Infant Annihilator, the last thing you’d should ever expect from this band is subtlety. Despite being almost twenty minutes long, "Behold the Kingdom of the Wretched Undying" manages to dish out a consistently exciting helping of wicked, brutal death metal, complete with Dickie Allen’s gruesome, inhuman vocals, blaring instrumental play, and energetic writing jumping between the (relatively) quiet and the loud. The song also features a sleuth of guest vocalists (Chris Whited of Lost Fortune, Bryan Long of Dealey Plaza, Dillon Becker of AnimalFarm, and Tyler Shelton of Traitors), helping to provide more dynamic and adding an extra layer of fun to the song as well; they almost give it this haunted-house-tour vibe, except instead of a haunted house, it’s an exhibit of some of the grisliest modern death metal out there.

“The Elysian Grandeval Galeriarch” was released on July 29, 2016 under no label.

I was debating whether to include either Gaza or their follow-up project Cult Leader on this list, since they have a near-identical sound and might as well be the same band. Ultimately, I decided to go for Gaza’s material, since their album “No Absolutes in Human Suffering” has a more eerie, downright terrifying feel to it compared to Cult Leader’s newest effort “Lightless Walk,” which comes off as a bit more angry and exhilarating. “Not with All the Hope in the World” is its best offering, bludgeoning listeners with roaring vocals and chaotic instrumentals. Even during the second half, in which the track transitions into a slower-paced march, is no less abrasive and downright apocalyptic. This song is one angry dose of nightmare fuel.

“No Absolutes in Human Suffering” was released on July 31, 2012 on Black Market Activities/Metal Blade Records.

Enterprise Earth's previous full-length "Patient Zero" currently holds the position as one of my favorite modern death metal albums ever released. Their newest single, however, definitely comes off as one of the band’s creepiest outings to date. The bone-crunching brutality and tight song-writing continue to thrive from the last studio record, but this song has a much more horror tinged to it than in most of the band’s other ones. Dan Watson’s monstrous vocals lamenting turning into some horrid monstrosity (“Deformed and destined to die…”) and the eerie-sounding, distorted guitar play in particular are what really sell the song as a brutal, haunting listening experience. The sound mixing could use a little more polishing, given that this likely isn't the final version, but it hardly matters; “This Hell, My Home” is nothing short of a haunting offering.

“This Hell, My Home” was released on July 15, 2016 on Stay Sick Recordings.

"When the Sun Drowns in the Ocean" wins the award for 'Creepiest Introduction for a Song I've Ever Heard in My Entire Life.' I kid you not, when I first heard that Irish funerary chant (Keening) setting the stage for the rest of the song, I had a hard time sleeping the following night (Probably because I listened to it right before I went to bed. Brilliant.). Of course, that isn't to say the rest of this eight-minute instrumental track is something to brush off either, being just as chilling and visceral as it began; darkly ambient noises and effects are layered with a rather simple but very effective beat between the guitars and drums, resulting a steadily-paced but staunchly atmospheric and genuinely haunting interlude that builds and builds. It's been a while since I last listened to "Mammal" in its entirety, but this track remains as frightening and engaging as ever.

“Mammal” was released on May 17, 2011 on Profound Lore Records.

Dimmu Borgir is one of the first symphonic metal bands I ever came across next to Nightwish and Shade Empire, and I still find a lot of their songs to be very entertaining to listen to. "Gateways" is among their numbers, but unlike the other entries on this compilation, it has a much more cinematic approach to the 'frightening-the-listeners' routine. The grand, chaotic orchestra and atmosphere make for a compelling listen, and Agnete Kjølsrud's wicked-witch-like style of singing make the track all the more creepily entertaining. "Gateways" is a perfect fix for those looking for haunting music delivered in such an epic fashion.

“Abrahadabra” was released on September 22, 2010 on Nuclear Blast Records.

This track is by far the oldest entry on this list, but even over a decade after release, it's aged very gracefully. Although I could never get into Behemoth as much as other fans, "Slaves Shall Serve" is definitely one of my favorites, amounting to a destructive specimen of raw, ritualistic metal. It makes its grand entrance with a Sumerian chant, sounding like it's being recited by demons, before exploding into an unrelenting whirlwind of death metal; complete with ferocious musicianship and a thick, resonant atmosphere, this song is quite the fearsome beast. It has an overwhelming sense of apocalyptic dread throughout, thanks to the instrumentation, production, and writing combined, thus making it a perfect addition to any metal fan's Halloween playlist.

"Demigod" was released on October 25, 2004 on Mystic Production.

A few years back, I listed doom metal group Evoken's latest full-length "Atra Mors" as one of the best albums to grace 2012; After re-visiting its title track, I was reminded why this was the case. It has a slow pace and goes for over ten minutes, but these aspects shouldn't scare listeners away; what is scary about this track, however, mostly stems from its creepy build-up throughout and ghastly, dreadful ambiance. Listening to it feels like standing in some foggy landscape on a cold, rainy day; it's a chilling listen from start to finish. For a little quick trivia, "Atra Mors" is a Latin phrase that translates as "black death" (My couple of years of Latin classes in middle school paid off!); a more than appropriate title for music so dark and despondent.

“Atra Mors” was released on July 31, 2012 on Profound Lore Records.

I listed Gnaw Their Tongues' "Abyss of Longing Throats" as one of my top albums of 2015, and that position more-or-less stands; its second track, "Through Flesh," remains one of its biggest highlights. Looking at this... charming cover artwork alone should give you a decent idea of what you're in for; bleak, visceral music meant to chill listeners down to their very core, and "Through Flesh" is a very remarkable example of that. On top of the one-man band's signature sound of creepy, atmospheric black metal mixed with distorted noises, some orchestral elements, mostly strings, also play a crucial role in delivering its frightening effect; the resulting track actually gives off an 80's-horror vibe that's very intriguing to listen to. Whatever the case, this song isn't exactly for the faint of heart.

“Abyss of Longing Throats” was released on August 7, 2015 on Crucial Blast Records.

Not too long ago as I'm typing this, I wrote a review for Yuth Forever's most recent full-length, praising it for its impressive writing, musicianship, ferocity, and so on. With that said, while the whole record has this eerie feel to it, "Inseparable" is definitely one of its most haunting offerings. From the tortured mid-pitch vocals to the heavily distorted guitar-play to the rather unsettling lyrics pretty much bordering on Stockholm Syndrome ("Because one plus one makes two, and I hate being alone; But at least, misery, I’ve got you"), this song is not exactly for the faint of heart. That isn't to say it's purely doom-and-gloom, however; the energy and groove that it boasts not only make for quite the creepy listen, but a very fun, gripping one as well. I highly recommend checking out the whole album, but for this occasion, "Inseparable" takes the spotlight.

“Skeleton Youth Forever” was released on June 3, 2016 on Prosthetic Records.


I've only gotten around to listening to experimental duo Anaal Nathrakh's music very recently, namely their newest material from their full-length album "The Whole of the Law." After listening to singles such as "Depravity Favours the Bold," however, I can definitely see how the band has gained such a large following over the last decade. The song's blend of black metal, grindcore, and even tinges of industrial/electronic noise render it as very loud and chaotic from start to finish, but nevertheless highly engaging and somewhat terrifying. The shrieking vocals mixed with rapid-fire instrumentals, static-like sound mixing, and pummeling electronic sound effects make for a track that's sure to pulverize your speakers into oblivion. It is not one to chock up to easy listening.

“The Whole of the Law” will be released on October 28, 2016 on Metal Blade Records.

And so ends the list for some of the best songs to blast on your speakers during this holiday... for now. There is absolutely no shortage of metal and hardcore songs that are easy candidates for such a compilation, but these ten in particular are among the most highly recommended. I know I'll be running through these songs tomorrow (while drawing things in architecture school), and hopefully at least one of them will stick to you if you haven't checked them out already. Whatever the case may be, have a safe and Happy Halloween, folks!

9/26/2016

REVIEW: Yüth Forever - Skeleton Youth Forever

TWISTED-CORE

Yüth Forever formed in 2009 in Oswego, Chicago, starting off under the moniker Villains. They released two full-length albums, “10 Code” in 2010 and then “Freudian Slip” in 2014, before changing their name and signing to Prosthetic Records (Trap Them, Last Chance To Reason, InAeona). They would then go on to release their third full-length album in the summer of 2016 called “Skeleton Youth Forever.”

I discovered Yüth Forever years ago, back when they had just released “10 Code” under the name Villains. They immediately caught my interest after I stumbled across their song “Directions to Servants,” thanks to its distinct, distorted hardcore sound. In hindsight, while “10 Code” and “Freudian Slip” aren’t exactly fantastic, they are very solid records that showcase a lot of the band’s potential. Said potential would be fully realized with their newest effort “Skeleton Youth Forever,” an album that demonstrates the band’s energetic sound and complex writing at their best to date.

The first thing that struck me while listening to it is that the band seems to be taking on a much groovier sound than before. This is a great direction for them to head towards, as the music can hold onto its dark, dissonant atmosphere and tone while being energizing at the same time. A great example of this would have to be one of the first songs off the album, “People Pleaser,” which boasts these funk-like grooves combined with distorted guitar-play and lyrics dripping with anger and insecurity (A point I’ll get back to later in this review).

“Bitterromantic Pt. 3” is another example showing off this dynamic. This is definitely one of the most flowing songs out of the whole album, transitioning between grooves and dark, low-tuned riffs remarkably smoothly. In fact, in an interview with Chugcore Productions*, vocalist Devin MacGillivray stated that “Bitterromantic Pt. 3” was one of his favorite ones to write because of how well it flows both musically and lyrically, and it definitely shows; the song is very impressive, both energetically and technically. Instances like this show off a dynamic between grim and exhilarating that plays an extremely crucial part in making “Skeleton Youth Forever” so entertaining.

Another important element that makes the album so great is the instrumentation. The guitar and drum-play are remarkably complex and well-performed, and have really come a long way since the release of “10 Code” about half a decade ago. At the same time, however, they don’t fall into the common trap where it feels as if the musicians are just showing off; they’re integrated into the album very nicely, dishing out the raw emotion and energy that they're meant to bring. Well-written and executed, the instrumental prowess in “Skeleton Youth Forever” does not disappoint.

If I had to pick out one significant “problem” with this album, however, it would be the vocals. Granted, Devin’s screamed vocals do deliver in the energy department just fine, and there's nothing inherently bad about them, but they’re also a bit too monotonous. Considering how incredibly dynamic, explosive, and versatile the instrumental performances are in this album, they do come off as a little underwhelming. They consist purely of mid-pitch screams and yells, and after a while, their novelty does start to wear a tad thin. Again, not that there’s anything particularly wrong with how they’re delivered, but some more variety would have added a little more intrigue.

That isn’t to say there is no abundance of intrigue in this album’s sound, mind you. “Skeleton Youth Forever” proves otherwise, with lots of great atmosphere and writing emanating throughout the record’s running time. Going back to the dynamic between dark and vigorous, A few other examples I haven’t mentioned yet are “Growing Pains” and “Villains,” the last one being an obvious callback to the band’s previous moniker. The former is one of my personal favorites off the whole record, with the creepy groove about a minute into the song latching onto the brain like glue thanks to the vocals, rhythm, and instrumental layering.
                           
Not only that, but the music also gives off a very engaging and rather haunting atmosphere. More than ever, the musicianship, sound mixing, and post-production effects all have their hand in creating this eerie and somewhat industrial ambiance; this album almost feels like a soundtrack to some violence-ridden city slums. This is brought on by tidbits such as the guitar distortion and the electronic sounds and effects (i.e. The guitar/electronic stuttering in tracks such as “Bitterromantic Pt. 3” and “Inseparable”), which really help in pulling the audience into its rather unsettling ambiance. This even applies to the album’s interludes (i.e. “Do You?” and “Innocence”), showing how much attention to detail the band has put into pretty much every crevice of this record.

“Skeleton Youth Forever’s” lyrics also hold their weight rather well. Just like with the band’s previous records, they focus strongly on themes of hatred and social anxiety. For the former, “Growing Pains” digs into family troubles, with the song ending with the chilling line: “Don’t think about me too much; After all, I’m only your son.” As for the latter, tracks such as “People Pleaser,” “Inseparable” (Which might as well be called “Stockholm Syndrome: the Song”), and “S.Y.F.” dwell on topics such as loneliness, love, insecurity, and addiction. They’re basically what you’d expect from an angry, dissonant hardcore album, but they still work, especially with such energetic vocals screaming them out loud.

BOTTOM LINE: As good as Yüth Forever's older works are, they've always felt like they were missing some of the punch to make a serious impact; there was something there, but it just wasn’t completely brought into the light yet. This has changed thanks to “Skeleton Youth Forever,” with its powerful musicianship and tight song-writing launching it to its position as one of the better albums to be birthed this year. Heavy, complex, and oozing with angst, this record is not one that should be brushed off from the get-go. It might not be for everyone due to its noisy and off-beat nature, but “Skeleton Youth Forever” is very much worth checking out.


“Skeleton Youth Forever” was released on June 3, 2016 on Prosthetic Records.
*Interview with Devin MacGillivray, courtesy of Chugcore Productions (Quote about “Bitterromantic Pt. 3” is at 03:56): https://www.youtube.com/watch?v=1oGcrcUvuaY