Until this review, the name In the Presence of Wolves was unfamiliar. Now, during the course of this review, it is hard to imagine a band this good not being known by a wider audience for the fantastic music they produce. The Philadelphia, PA based group plays progressive metal that sound like a cross between a livelier, more energetic version of the modern-prog Between the Buried and Me, Coheed and Cambria and progressive metal/rock up and comers (as well as blog favorites) Thank You Scientist. If any of these bands tickle your fancy, you owe it to yourself to check out In the presence of Wolves. If that’s not enough to convince you, perhaps a breakdown of this concept EP’s tracks will lead you be a tad more curious.
These posts are written by: Ryan Castrati
With the return of Twin Peaks only hours away, I figure it’s the perfect time to go back and give attention to…
There are plenty of death metal, post metal and black metal bands that use the art of the aural assault to their advantage. It is not a new concept to just charge full speed ahead with little to no breaks along the way in order to convey an air of ferocity or ever-swirling evil. However it can sometimes fatigue the listener when all you have is this constant wall of sound blaring non-stop. Ulsect have a deft understanding of this on their debut, self-titled album. While quite a bit of the album is an endless barrage of sound, it uses select times to allow you to stop and take in the finer details before pulling you back under to struggle.
The artwork for the new Regurgitate Life record Obliteration of the Self may have drawn me in, but the music is what got me to pre-order. It’s bludgeoning death metal with the added bonus of being performed with the energy and exuberance of a hardcore punk record. Sometimes death metal records can feel so dull despite being technically impressive, but luckily Obliteration of the Self doesn’t fall into that trap. It helps that they incorporate elements of other genres, such as sludge and doom, to keep things from getting stale.
It could be said that three albums and one EP into their career, Fit for an Autopsy are one of the…
When analyzing art, it is important to keep both the artist’s experience in creating the art and the experience of the consumer absorbing the art in mind. Often times, an artist’s vision can be obscured by our view point and we can lose sight of what was meant to be gained from the experience. On the other side, regardless of what an artist’s intent may be, the consumer has every right to like or dislike something based on their own personal preference. There’s even the possibility that you can completely understand where the creator of art is coming from and appreciate their intent and artistic integrity, but think that the art itself isn’t something remotely enjoyable. In this middle ground of understanding and distaste for what is understood, we find the new self-titled Suicide Silence album nestled quite comfortably.
Run the Jewels’ Run the Jewels 2 (Known throughout the rest of this review as RTJ2) was one of the best rap…
Aversions Crown are keeping up the time-honored tradition of Australian metal bands doing what they do best: playing stupidly heavy music that makes you want to commit heinous acts of violence in the mosh pit. They’ve been doing this since their debut album Servitude, which showed the bands deft ability to play technical deathcore with a whopping three guitarists. After that, the band signed to Nuclear Blast and released Tyrant, which lowered the technicality of the instrumentals but added in a bit of experimentation with the atmosphere of the music. Their third and newest LP Xenocide sees the group settling into a healthy medium between the sounds their two previous albums established and refines them into a sound that the band could very easily settle into.
In April of 2012, London outfit When Our Time Comes released a short, yet sweet EP called the Test the Waters EP which had some ties to the still surging djent movement djent movement. The EP was produced by Justin Hill of former Sikth fame and was a solid chunk of groovy metalcore, with the vocalist sounding a bit like Sean McWeeney from The Safety Fire (RIP) at times. They released their self-titled full length debut album almost four years after their EP was released and it’s pretty safe to say that the wait was worth it. The choruses have gotten bigger, the riffs better and what already worked before works well here as well. It’s probably one of the most slept on metalcore hits of the year.
When an artist changes their musical path drastically and abruptly, there are usually two possibilities: the shift will blow up in their face for abandoning the sound they were known for or the shift will bring them praise and usher in a new artistic period that they can thrive in. Luckily, Actor/Writer/Rapper Donald Glover, AKA Childish Gambino, seems to be experiencing far more of the latter than he is the former with the release of his newest, and seemingly last full-length album under the moniker of Childish Gambino, “Awaken, My Love!”.