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When the assertion is made that an artist’s newest effort demonstrates homage to their roots, it is typically met with at least a small shred of doubt, especially when the claim is aimed towards a more veteran act. This is due to the tantalizing concept of revisiting the “golden years” often having a difficult time fitting through the mold of the actual band in their current state. Godflesh’s reunion album A World Lit Only by Fire, the band’s first in over a decade, would seem to be a perfect example of this theory. For even forgetting the fact that Justin K. Broadrick’s work with Jesu bears little resemblance to Godflesh’s crushing debut Streetcleaner, none of the five albums that Broadrick and bandmate G.C. Green released after their introduction truly reiterated their initial sound either.

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Giant Squid – Minoans


Post metal is a grandiose and ambitious genre. Even more so than its doom counter-parts, bands that operate in this genre rely on emotional weight and tone to relieve their music of repetitiveness and simple-minded heavy-just-to-be-heavy sound. To temper this type of emotional appeal, to make sure the album doesn’t simply fall into a series of epic passages, two main qualities are required of the artist: composition skills and cohesion. Giant Squid, a veteran band in the field of post metal and doom, lack no composition skill. However, their recent offering Minoans, does sadly fall short in the cohesion department.

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In the time span between Beyond Creation‘s 2011 debut The Aura and now, one would argue they’ve already made their way to the forefront of the technical death metal genre. Non-stop touring around the world in addition to word of mouth has brought their uniquely progressive brand of tech death to a well-deserved spotlight, and with just one album they have easily joined the big leagues as it is. But considering the lofty expectations set by The Aura, does Earthborn Evolution hold water? View Full Article »

Eden Circus – Marula


Almost getting what you want and then having it snatched away just before you reach it is a terrible feeling. No matter how good the object of your desire appears to be, that sting when it gets pulled away can stay with you for a long time. That being said, it doesn’t detract from the sweetness of the denied fruit itself and should you one day acquire it, perhaps it will be all the more sweet for it. This metaphor is sadly apt for Eden Circus‘s debut album, Marula. The potential is definitely there but it feels as if it fails to come to fruition. The critical flaw lies somewhere within the composition phase, a hidden core which just feels incomplete.

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Pianos Become The Teeth – Keep You


When a band changes their sound, it is usually to appeal to a wider audience. It brings forth more opportunities for the group and lets them put their hands in as many markets as possible. When Pianos Become The Teeth declared that their new record would have no screaming on it, there was intrigue in regards to whether or not they could still convey the same level of intense emotion they are known for while reaching out to these new audiences and markets. Keep You, an apt title, does indeed keep the emotional intensity, but does so in a different way. This record draws you in through being incredibly personal lyrically and instrumentally and continues to do so throughout the duration of the album.
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Empty Yard Experiment – Kallisti


In a year filled with the most impressive technical death metal and vile sludge to be heard in a long time, Empty Yard Experiment and their debut album Kallisti are a welcome distraction. Containing a multinational lineup and based out of Dubai, not exactly known for its metal output, the band have released an album that is as much a throwback to the likes of early Alice In Chains as it is a great example of modern production values. With plenty to praise there also comes a fair few nits to pick also – the criticism of a debut album would not be complete without them.

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Piss Vortex – Piss Vortex



Grind, sludge and noise rock are three genres that do actually tend to describe the musical content of the bands they encompass. Piss Vortex, with their self titled debut album, find the point where these three meet and proceed to urinate all over the boundaries of each. Piss Vortex is 25 minutes of lo-fi, unashamedly filthy music that fans of Nails, Pyrrhon and Today Is The Day could quite happily put differences aside to sit down and enjoy. Something wicked this way comes, all the way from Denmark. View Full Article »

The Acacia Strain – Coma Witch


The Acacia Strain are lauded as one of the bands that lead the way in terms of the most brutal and heavy Deathcore on the market. Their signature sound is recognizable across all their releases, and the band has put out consistently good music since their inception. However, their last two records received somewhat lukewarm receptions in regards to how similar they sounded, and having to follow up to their opus, Continent, is a tough challenge. Nevertheless, the band has shown over their 12 years in existence that they can still make brutal music while also putting out one of their most experimental works to date.

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Bloodshot Dawn – Demons


Every once in a while there’s a band that comes out of nowhere and completely blows one away. Bloodshot Dawn did that with their self-titled 2012 debut, coming to a scene where melodic death metal was more or less dead, and they put a very strong statement of “No it’s not dead, everyone else is just doing it wrong” out there, with emphasis on the “death metal” part of “melodic death metal”. The self-titled album was excellent, but where can the band go from there? Turns out that they still have a lot of room to develop. Their follow-up album, titled Demons, was crowdfunded and released completely independently yet again, and it goes to show that the genre still has a lot more to offer.

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twir1019In This Week in Reviews, one of the lowest scores in recent memory but also som real winners. We’ll run it all down after the jump.

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