Deicide released their first album just over 23 years ago, initiating a reign of blasphemy that shows no signs of ending. In fact, unlike the inverted cross burned between vocalist/bassist Glen Benton’s eyes, the intensity and message haven’t faded with time. In the Minds of Evil, Deicide’s eleventh studio release, doesn’t let up, and it doesn’t stray from the shadowed
Dead Letter Circus are a big deal in their native Australia, but the band’s progressive sound is now lapping the shores of the United States. With their newest release, The Catalyst Fire, their sound grows louder here, and their presence – thanks to tours with Animals as Leaders, Periphery, and others of their ilk – is growing stronger. Despite recent
American Sharks dive into their eponymous debut with gusto, and they get out as quickly as a Navy Seal fleeing Bin Laden’s compound. But this isn’t punk, as you would expect from a band whose ADHD plays out over nine songs and a little over 19 minutes. It is stoner rock at its fullest – and shortest – and these
Zakk Wylde and the denimed denizens of Black Label Society have outdone themselves with Unblackened, a live album boasting semi-acoustic arrangements of songs spanning their catalog. But don’t let “acoustic” fool you. This is no “Coom-By-Ya” campfire party; in fact, there is plenty of electrifying rock-and-roll here. Recorded at Los Angeles’ Club Nokia earlier this year, Wylde’s electric guitar is front-and-center,
Satyricon continue to move toward a more mainstream black metal sound (if there is such a thing) on their somewhat awkward eponymous album. And if you aren’t sure what I mean, you will as soon as “Phoenix” emerges from the doom and gloom with its clean vocals and crystal production. In the context this album, it begs the question, “WTF?”
The death rattle of Japan’s Coffins is impossible to ignore. They sling sludge and dole out doom with serrated guitars and rumbling bass that is only slightly lower than the gurgles that color The Fleshland in hues of grey and black. These guys have been at it for years, and it shows. They have hollowed out their own echo chamber,
Garth Arum is a one-man project, but the multifaceted, hyper-complex compositions that fire from Nightmarer are befitting of a full-blown prog metal collective. The composer has a wily way with melody, and he merges the guttural and the gorgeous at every turn on The Dawn of a New Creation. The pace of the album is freeing; it ebbs and flows
Few metal acts today channel the early days of thrash better than Havok. Boasting a feel that recalls Among the Living-era Anthrax (among other genre cornerstones), but with technicality that eclipses their predecessors, they are keeping the circle pits swirling with a fury that recalls the genre’s halcyon days. Unnatural Selection, the band’s third long-player on Candlelight Records, feels like
Philip H. Anselmo is a ball of aggression. But this isn’t news to anyone reading this, so it’s certainly no surprise that his debut solo release is akin to a street brawl, and the listener is on the losing end. The former Pantera frontman hasn’t softened with age. In fact, his ferocity seems more focused than ever on the eight-track
Immolation’s Kingdom of Conspiracy boasts many of the traits that you’ve grown to expect from death metal; the drill-bit rhythms, the guttural vocals, and hyper-fast guitar-work. But after more than two decades together, the New York veterans continue to push their sound into new, sonic directions, and this release boasts interesting technical twists-and-turns that eclipse the abilities of the their
Deicide released their first album just over 23 years ago, initiating a reign of blasphemy that shows no signs of ending. In fact, unlike the
Dead Letter Circus are a big deal in their native Australia, but the band’s progressive sound is now lapping the shores of the United States.
American Sharks dive into their eponymous debut with gusto, and they get out as quickly as a Navy Seal fleeing Bin Laden’s compound. But this
Zakk Wylde and the denimed denizens of Black Label Society have outdone themselves with Unblackened, a live album boasting semi-acoustic arrangements of songs spanning their
Satyricon continue to move toward a more mainstream black metal sound (if there is such a thing) on their somewhat awkward eponymous album. And if
The death rattle of Japan’s Coffins is impossible to ignore. They sling sludge and dole out doom with serrated guitars and rumbling bass that is
Garth Arum is a one-man project, but the multifaceted, hyper-complex compositions that fire from Nightmarer are befitting of a full-blown prog metal collective. The composer
Few metal acts today channel the early days of thrash better than Havok. Boasting a feel that recalls Among the Living-era Anthrax (among other genre
Philip H. Anselmo is a ball of aggression. But this isn’t news to anyone reading this, so it’s certainly no surprise that his debut solo
Immolation’s Kingdom of Conspiracy boasts many of the traits that you’ve grown to expect from death metal; the drill-bit rhythms, the guttural vocals, and hyper-fast
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