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.
These posts are written by: Ryan Castrati
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!”.
In some ways, we did get Weightless Pt.2, but the similarities are not necessarily present in the composition so much as in the way that these compositions are not readily digestible upon first, second or even third full play-throughs. The Madness of Many is three people trying to accurately represent their musical ideas equally and it’s bound to cause a few parts here and there to buckle under that weight. However, the record overall holds up rather well and reveals itself to be laden with impressive passages well worth remembering, despite them not being as immediately gratifying as songs off their first and third albums.
There are are a handful of bands that somehow always manage to top their previous output with their latest output. These rare beasts push onward and upward with their new material without compromising a core-familiarity that’s been woven throughout their music since the start. With each album release it’s becoming apparent that Dance Gavin Dance are a part of this laudable group. After their last album Instant Gratification, Dance Gavin Dance could have gone anywhere and it more than likely would have been well received. luckily they chose to go above and beyond and release one of the best albums of their entire career, Mothership.
Experimental rap group clipping. always seem to be pushing the envelope when they release an album. With their debut midcity they used abrasive white noise to back gritty raps, pulling bangers from the static. With their sophomore album CLPPNG they added a diverse palette of sounds and samples (At one point they use an alarm clock beeping for a beat) while still staying gritty/heavy hitting and took what made them great to new levels with catchy tracks, technically impressive rapping and engrossing stories. Now on their third full-length Splendor & Misery, they’re taking aim at a sci-fi concept record which depicts the struggles of a slave who is the lone survivor of an uprising on a slave transport ship in the cold, unforgiving reaches of space. If anyone is capable of properly executing something like this, it’s clipping..