These posts are written by: Colin Kauffman

Car Bomb – Meta

Adversity and struggle are the genesis of a significant amount of great art, and Long Island mathcore band Car Bomb are no exception. Whether it’s touring and playing shows relentlessly and constantly, as seen in their excellent documentary [Why_You_Do_This], or losing the majority of their gear and rehearsal space in a flood, Car Bomb are the poster children for authentic, working class modern metal. 2012’s second full length album w^w^^w^w was a masterclass in weird, angular mathcore, and now, after an agonizing four year wait and much teasing, the band have released it’s follow up, entitled Meta. Can it live up to the acclaim and hype? Could it possibly be better than w^w^^w^w?

Mick Gordon’s Work Spells DOOM For Traditional Soundtracks

Earlier this year, iD Software released the newest game in the storied Doom series, and despite negative reception to early builds of the game, the final product turned out to be the most entertaining and bad-ass shooter in years. According to the developers, the final build of the game was inspired by “Huge demons, fast movement, big fucking guns and metal” and it certainly shows. That design philosophy extends to the incredible soundtrack that goes a long way towards selling the whole aesthetic. Bringing back the talent of Australian composer Mick Gordon, who also did the soundtrack for the excellent Wolfenstein: The New Order and season one of Microsoft’s rebooted Killer Instinct, Doom’s soundtrack, officially (finally) released yesterday. It’s over 2 hours of grooving metallic riffs and pounding industrial/electronic elements blended together so seamlessly you’ll wonder why it hasn’t ever been done this well before.

Hey! Listen to Embers!

It’s always a little disheartening to only discover a band after they’ve broken up, and even more so when the band’s body of work is as small as Embers’ is. Consisting of little more than an EP, a split, and a full length LP, this Oakland, California based band wrote some of the best blackened doom/crust this writer has heard in a long time, all topped off by a unique visual identity courtesy of the album art by bass player and vocalist Kelly Nelson that went a long way towards informing a potential listener what might lie in store for them. In fact, the cover art of their full length album is what initially drew me to listen to them in the first place.

Enthean – Priests of Annihilation

Greenville, South Carolina may not be your first guess when asked where the next big, modern tech/melodic death metal band might hail from, but apparently nobody told Enthean. The band, formed in 2012, quickly attracted attention with their demo recording, which effortlessly blended black metal, technical death metal and melodic death metal into a surprisingly effective musical concoction. Now, almost four years later, the band are set to release their debut, Priests of Annihilation, and they’ve done much to avoid resting on their laurels.

WAKE – Sowing The Seeds of a Worthless Tomorrow

Calgary, Alberta’s WAKE are torchbearers of a specific dissonant, dark and experimental brand of grindcore that reminds of acts as diverse as Napalm Death, Brutal Truth, Discordance Axis and perhaps most of all, the late, great Nasum. It’s in the Nasum influence where this record, their third, truly shines. Channeling all the darkly melodic guitar lines and song structures they can, WAKE have crafted an album that not only does justice to the legacy of a fondly remember, gone too soon extreme metal band, but carve a niche all their own in the grindcore genre.