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Aborted, Vault of Horrors Album Review

Written By Lindon Faynes

As creatures of habit, it is often easy to feel content with repetition and familiarity. We know what to expect and can find solace in homogeneity. This often applies to the music we listen to, something that follows a distinct style or sound that can make one feel gratification. Originality and personality can be and usually will be sacrificed for an indifferent but pleasing sound to feed this appetite.   

Belgium’s Aborted have always been a band that were “style over substance” as in whilst offering nothing new to the death metal spectrum, do add a direct-on-target sound that utilizes the influences from Suffocation, Cannibal Corpse & Carcass that quenches that grim death metal thirst. I very much doubt Sven ever set out to redirect or reinterpret the genre but to just play brutal and intransigent music which has been accomplished album after album.  

“Vault of Horrors” is an album comprised of drummer driven death metal. It is as fast paced and as frantic as any other current death metal sound. I am in no shape or form calling Aborted generic, but the riffs presented here are formulaic. Lots of tritone power chords & tremolo littered with syncopated chugging that draws a good amount of influence from the current deathcore sound sprinkled in with technical showmanship and the typical melodies used in most extreme metal. Not riff devoid by any means, however it is very paint-by-numbers in terms of songwriting and with the clean and very modern production does not help with differentiation from other similar acts. This is not a critique but more so an observation of the current extreme music scene what with bands using the same instrument brands, tunings and amp pre-sets. It all has a great sound however leaves a lot more to be desired in originality or ingenuity.   

One of the main selling points for this release was that all 10 tracks (not including the bonus song) feature a well-known guest vocalist. I have always found that the most unique feature of Aborted’s music was frontman Sven’s vocals. He, alongside other belching greats Frank Mullens and George “Corpsegrinder” Fisher, have very distinct styles & sounds. I have heard songs he has guested on without knowing and was able to pick that it is him which should display my reverence for his voice. Kicking the thesaurus aside and just stating it – he’s an awesome vocalist. Everyone else is great too. However, hearken back to my point on the production and writing, these songs could have been written by the guests bands themselves. Eric from Despised Icon does his vocals over a slam riff and isn’t too different sounding from his own band, same with Oliver from Archspire, his section could be either Aborted or Archspire and this echoes for a good portion of the guest spots here (Fleshgod & Cryptopsy are exceptions to the rule). Despite this, it is understandable that the album would have these features as all these bands are touring brothers, and it would help bring in new fans.

In short, this album is a solid slab of death metal; did you really come in expecting more than that? Songs like “The Shape of Hate”, “Death Cult” & the grindy “Insect Politics” still batter your ear drums effortlessly. Solid but not stellar, safe but not stagnant.

ORDER VAULT OF HORRORS HERE:

1.Dreadbringer (feat. Shadow Of Intent)
2.Condemned To Rot (feat. Francesco Paoli)
3.Brotherhood Of Sleep (feat. Johnny Ciardullo)
4.Death Cult (feat. Despised Icon)
5.Hellbound (feat. Matt McGachy)
6.Insect Politics (feat. Jason Evans)
7.The Golgothan (feat. Hal Microutsicos)
8.The Shape Of Hate (feat. Oliver Rae Aleron)
9.Naturom Demonto (feat. David Simonich III)
10.Malevolent Haze (feat. Ricky Hoover)

FOLLOW ABORTED ONLINE:

FACEBOOK X INSTAGRAM WEBSITE

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Tentacles of Influence Album Review

Written By Lindon Faynes AKA AUselessPileofFlesh

Let the tentacles of influence envelope you – It scored 88% out of 100

When it comes to brutal death metal & grindcore, Czechia owns the playing ground. Yes Poland, Sweden & Germany are top contenders HOWEVER it cannot be overstated how high quality and quantity the Czech scene truly is. With festivals like Obscene Extreme, Thirst For Grind, Groove & Stinky, Metalgate Czech Death etc and bands like Alienation Mental, Melancholy Pessimism, Jig-Ai, Lykathea Aflame etc Czechia has cemented itself the home base for extreme metal and punk. 

Needful Things are a 20+ years veteran status grind band with a 15 split & 3 full length album discography. The band’s chosen style is fast-paced metallic grind with a hefty death metal groove. Picture post-Earache era Napalm Death, “Murderer” era Rotten Sound and the entire Nasum catalogue. This style of grindcore is great because even at its most unoriginal form, will still provide an aesthetically pleasing sound. It’s that freight-train, “no holds barred/stop for no bitch” adrenaline pumping grind that gets your fist pumping and your legs running in a circular fashion. The riffs are a solid take on death metal forward grind and the aforementioned death metal grooves which still contain a frantic persona due to the incredibly adequate and supersonic drumming. Songs like the album title, “Constricted” & “Fallen Into Darkness” flow together effortlessly compiling of aggressive 2000’s era grindcore riffs that both punch and grab you, no time for powerviolence/hardcore/sludge metal breakdowns or brutal slams, just fast tremolo and chorded riffs, with the intro of “Party of Killers…” having the slowest groove on the entire album. Once again I have to commend the drummer for his technique and skill, the drums are very much so the spine for all present songs. 

One thing that definitely requires highlighting is the recording & production. It sits perfectly within the boundaries of a crisp, clear yet bass heavy production with all instruments shining brightly, yet still sounds organic and like an actual live band. You could tell me that the album was recorded live or layered and I would believe it. This gives the listeners an easy-to-digest production whilst also giving of an authentic feel. I would put this album as having one of the better productions in the grind genre, it’s that good! Now former vocalist Tomas has a pretty rambunctious vocabulary. His style alternates between the echoed screams (not unlike JR of Pig Destroyer) and your more typical death bellows which, whilst don’t go too deep or guttural, are a fit for the unrelenting barrage of blasting discourse. Of course the lyrics take swings at despotic dictatorships and (dis)organised religion which I’m all for, despite no lines really catching my fancy (PD’s “the chameleon is my favourite animal” is one to remember). 

Grindcore is a genre not too well known for being overtly original, this applies to Needful Things who are very much in the same vein of their influences, as both debut “Dead Point” and the more recent “Deception” are in a similar key, however I will say “Tentacles of Influence” takes this sound and perfects it, with genuine song-writing and top-notch production to boot. I don’t consider this to be a landmark album but it is a personal favourite for what the genre can offer. 

https://youtu.be/NpZpehCekHk?si=XoCsk5GNM8aHRKuM

Track Listing:
1.Intro – Tentacles of Influence
2.Constricted
3.Fallen In Darkness
4.Deprogrammed
5.Predator
6.Worshipper Of God
7.Money In God´s Hands
8.Collateral Existence
9.Narrator
10.Corrupted
11.Decision Points
12.Party For Killers / Massive Killing
13.End Of Your Life
14.Remains Of Life
15.DNA Freak Number
16.One Day Hero
17.Mask Of Arrogance
18.Firewall
19.The Mass

Best tracks: 
First 3 opening tracks, “Worshipper of God”, “Party of Killers…” & “One Day Hero”.

Needful Things Online

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“Unleashing the Sorcery: A Journey through Bruce Dickinson’s Mandrake Project”

Written By Sebastian Melmoth

In the vast landscape of heavy metal, there have been bands that have left an indelible mark such as as Iron Maiden. Emerging in the late 1970s, Iron Maiden quickly rose to prominence with their electrifying blend of galloping riffs, operatic vocals, and intricate storytelling. Led by the iconic Bruce Dickinson, the band became synonymous with the New Wave of the British Heavy Metal movement, captivating audiences around the world with their unparalleled energy and stage presence.

As Iron Maiden conquered arenas and cemented their status as metal legends, Bruce Dickinson’s soaring vocals and charismatic persona became the heart and soul of the band. Yet, amidst the thunderous applause and adoration of millions, Bruce embarked on a personal journey—one that would ultimately lead him to explore new musical horizons beyond the confines of Iron Maiden.

Driven by an insatiable hunger for creative expression, Bruce ventured into the realm of solo projects, each a testament to his boundless talent and artistic vision. And thus, the Mandrake Project was born—a bold exploration of sound and storytelling that pushes the boundaries of what metal can be.

Rooted in the legacy of Iron Maiden yet unafraid to chart its own course, the Mandrake Project represents the culmination of Bruce Dickinson’s musical evolution—a testament to his unwavering dedication to the craft and his relentless pursuit of musical innovation. So join us as we embark on this epic journey, where the spirit of Iron Maiden lives on, and Bruce Dickinson continues to push the boundaries of metal and beyond.

Step into the electrifying world of Bruce’s latest musical expedition, “The Mandrake Project,” where each track is a journey through the depths of metal mastery and experimentation.

Dive headfirst into the abyss with the haunting opener, “Afterglow of Ragnarok,” a metal symphony that will send shivers down your spine. From there, buckle up for the wild ride through “Many Doors to Hell,” a hard-rock anthem that channels the spirit of legends like Deep Purple and Iron Maiden.

But hold on tight as the tempo shifts with “Rain on the Graves,” a theatrical masterpiece inspired by the immortal words of William Blake. Witness Bruce’s vocal acrobatics as he effortlessly transitions from rap to operatic delivery, leaving you spellbound.

As the album unfolds, each track unveils a new layer of Bruce’s musical evolution. From the haunting melodies of “Resurrection Men” to the Middle Eastern-infused “Fingers in the Wounds,” prepare to be captivated at every turn.

And just when you think you’ve seen it all, Bruce delivers the gut-wrenching “Eternity HAS Failed,” a poignant reminder of his indomitable spirit in the face of adversity.

But it’s not all darkness and despair. Get ready to headbang with “Mistress of Mercy,” a high-octane anthem that will leave you craving more. And as the final notes of “Sonata (Immortal Beloved)” fade into the night, you’ll be left breathless, yearning for just one more ride on this aural rollercoaster.

The beauty of Bruce’s bold experimentation in a world saturated with imitation, “The Mandrake Project” stands as a beacon of creativity and innovation.

Strap on your protective head gear because Bruce isn’t just here to show us how it’s done—he’s here to redefine the very essence of metal itself. And at 65 years young, there’s no stopping him now.

Dickinson offered: “So, everybody, everybody on the planet who’s been going, ‘Oh my god. What’s this solo thing gonna be all about when it finally happens?’ Well, it’s finally happening. It’s called The Mandrake Project, and’ of course, it’s music. But, it’s also much, much, more. More than that, I’m not gonna reveal for now, ’cause it will become self-explanatory and self-evident as we go through and reveal more layers of the onion for you all.”

He continued: “We’ve been working on this since 2014, when it wasn’t called The Mandrake Project. And it’s had time to grow and mature. And, oh my God, has it ever. I think you will be really, really excited. And, I hope you love everything that we’ve created for you.”

“The Mandrake Project” track listing:

01. Afterglow Of Ragnarok (05:45)
02. Many Doors To Hell (04:48)
03. Rain On The Graves (05:05)
04. Resurrection Men (06:24)
05. Fingers In The Wounds (03:39)
06. Eternity Has Failed (06:59)
07. Mistress Of Mercy (05:08)
08. Face In The Mirror (04:08)
09. Shadow Of The Gods (07:02)
10. Sonata (Immortal Beloved) (09:51)

The Mandrake Project will be Dickinson‘s seventh solo album and his first since Tyranny Of Souls in 2005.

The Mandrake Project 2024 Tour Dates

15 April – The Observatory, Santa Ana, USA
18 April – Diana Theater, Guadalajara, MEXICO
20 April – Pepsi Theatre, Mexico City, MEXICO
24 April – Live Curitiba, Curitiba, BRAZIL
25 April – Pepsi On Stage, Porto Alegre, BRAZIL
27 April – Opera Hall, Brasilia, BRAZIL
28 April – Arena Hall, Belo Horizonte, BRAZIL
30 April – Qualistage, Rio De Janeiro, BRAZIL

2 May – Quinta Linda, Ribeirao Preto, BRAZIL
4 May – Vibra, Sao Paulo, BRAZIL
16 May – The Halls, Wolverhampton, UK
18 May – Barrowland Ballroom, Glasgow, UK
19 May – O2 Academy, Manchester, UK
21 May – Arena, Swansea, UK
23 May – Rock City, Nottingham, UK
24 May – O2 Forum Kentish Town, London, UK
26 May – L’Olympia, Paris, FRANCE
28 May – 013, Tilburg, HOLLAND
29 May – De Oosterport, Groningen, HOLLAND

1 June – Barba Negra, Budapest, HUNGARY
3 June – Arenale Romane, Bucharest, ROMANIA
6 June – Mystic Festival, Gdansk, POLAND *
5-8 June – Sweden Rock Festival, Solvesborg, SWEDEN *
9 June – Rockefeller, Oslo, NORWAY
11 June – Grona Lund, Stockholm, SWEDEN
13 June – House Of Culture, Helsinki, FINLAND
14 June – Noblessner Foundry, Tallinn, ESTONIA
16 June – Huxleys Neue Welt, Berlin, GERMANY
17 June – Grosse Freiheit 36, Hamburg, GERMANY
19 – 22 June – Copenhell, Copenhagen, DENMARK *
21 June – Graspop Metal Meeting, Dessel, BELGIUM *
22 June – Summerside Festival, Grenchen, SWITZERLAND *
24 June – Zeltfestival Rhein-Neckar, Mannheim, GERMANY *
25 June – Circus Krone, Munich, GERMANY
26 – 29 June – Resurrection Festival, Galicia, SPAIN *
27 – 30 June – Hellfest, Clisson, FRANCE *
30 June – Rockhal, Esch-Sur-Alzette, LUXEMBOURG

3-6 July – Rockharz Open Air, Ballenstedt, GERMANY *
5 July – Ippodrome Delle Capannelle, Rock In Roma, Rome, ITALY *
6 July – Bassano Del Grappa, Metal Park, Vincenza, ITALY *
9 July – Palladium, Koln, GERMANY
11 – 14 July – Masters Of Rock Festival, Vizovice, Czech Republic *+
13 July – Hala, Zagreb, CROATIA
16 July – Kolodrum Arena, Sofia, BULGARIA
19 July – Kucukciftlik Park, Istanbul, TURKEY
21 July – Release, Athens, GREECE *

* – festival performance

Get links for tickets at TheMandrakeProject.com

Released By: BGM
Release Date: March 1st, 2024
Genre: Hard Rock / Metal
Band Members:
Bruce Dickinson / Vocals
Roy Z / Guitars
Dave Moreno / Drums
Mistheria / Keyboards

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Final Coil Will Release Their Highly Anticipated Third Album, The World We Inherited, On January 16th

Final Coil Are:
Philip Stiles – Vocals/Rhythm Guitar/Lead Guitar/Synths | Jola Stiles – Bass Guitar | Richard Awdry – Lead Guitar/Backing Vocals/Synths

“Chemtrails,” the latest offering from Final Coil’s new album “The World We Inherited” under Sliptrick Records, stands out as a formidable and weighty composition. Undoubtedly the heaviest track on the album, it showcases a remarkable evolution in Final Coil’s sonic palette. Drawing parallels to Killing Joke, Philip Stiles astutely captures the nuanced influences that shape this powerful piece.

From their earliest roots, Final Coil has been a purveyor of music with substance, seamlessly blending inspired musical imagination with profound lyrical depth. “Chemtrails” exemplifies the band’s ability to craft compositions that resonate with deep wells of thought and emotion. As a sonic edifice, each release from Final Coil serves as a testament to their unwavering commitment to musical artistry.

Hailing from Leicester, United Kingdom, Final Coil positions themselves as an alternative, hard rock force. Their new album, “The World We Inherited,” not only delivers the heaviest track in “Chemtrails” but also showcases the band’s versatility and variety. Ideal for both new listeners and longtime fans, the album unveils a rich tapestry of sounds, firmly establishing Final Coil as a band capable of navigating diverse musical landscapes with finesse.


At long last, the concluding, climactic chapter of Final Coil’s magnificent Persistence Trilogy is here. Six years after the story began with debut album Persistence Of Memory, four years since the groundbreaking The World We Left Behind For Others challenged our preconceptions of genre and form, Final Coil have once more reached new heights with every aspect of their uniquely brilliant music. The World We Inherited is a breathtaking affirmation of everything Final Coil have ever stood for – musically, creatively, intellectually – a remarkable conclusion to an exceptional beginning and an enticing gateway to an exciting and unpredictable future.

As it heralds the future for Final Coil, The World We Inherited also gazes into the future of human society, drawing listeners into a dark and frightening world of conspiracy theories, vicious authoritarianism and isolation. Inspired in part by a long, night-time conversation between song writer and lyricist Phil Stiles and Killing Joke’s Jaz Coleman, in part by the dystopian fiction of George Orwell and in part by simple observation of our relentless tumble into collective madness, The World We Inherited is an all-encompassing listening experience.

Speaking about the bleak reflections that run through the new album Phil Stiles said:“We live in an era of unprecedented threat. Flashing headlines, endless conflicts both inter and intra-civilisational in nature, and the swirling voices of social media have coalesced to create a cold and unforgiving world. We heard freedom’s call, but we failed to keep it within our grasp.”

Musically, The World We Inherited is every bit as profound, enthralling and affecting as it is lyrically. The unmistakeable blend of grunge, prog rock and post metal that characterises the Final Coil sound has been sculpted and caressed into even more bewitching and surprising forms. Each song is a beautifully textured, multifaceted gem – exquisitely crafted and emotionally charged. From the grinding power of ‘Chemtrails’, via the aching fragility of ‘By Starlight’, to the sonic splendour of ‘End Of History’, these songs, without exception, represent new peaks in the Final Coil canon and will stay with you for years to come.

Recorded at Parlour Studios with the globally renowned producer Russ Russell (Amorphis, The Wildhearts, Napalm Death etc.), who also mixed and mastered the album, The World We Inherited sounds spectacular. And in keeping with the preceding chapters of the trilogy it comes adorned in the artwork of Andy Pilkington of Very Metal Art (Flotsam And Jetsam, Rock Goddess, Mordred, etc). Everything is in place, including a new deal with international label SlipTrick Records, who will release The World We Inherited on January 16th.Be ready for the return of Final Coil!

Track Listing:
1.The World We Inherited
2.Wires 04:26
3.Chemtrails
4.By Starlight
5.The Growing Shadows
6.Stay With Me
7.Purify
8.Out Of Sorts
9.Humanity
10.End Of History

PREORDER THE WORLD WE INHERITED HERE

Visit the Final Coil website here
Find out more about Final Coil and The World We Inherited here
Digital pre-orders for The World We Inherited are open here
Visit Final Coil on Facebook
Visit Final Coil on Instagram
Visit the on-line home of SlipTrick Records here

FINAL COIL ONLINE:

FACEBOOK X INSTAGRAM YOUTUBE WEBSITE BANDCAMP SPOTIFY SOUNDCLOUD DISCOGS SLIPTRICK RECORDS

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Chaos Horrific: Cannibal Corpse’s Brutal Return to the Death Metal Throne Album Review

Photo by Alex Morgan

CANNIBAL CORPSE:
George “Corpsegrinder” Fisher – vocals
Erik Rutan – guitar
Rob Barrett – guitar
Alex Webster – bass
Paul Mazurkiewicz – drums


Cannibal Corpse, a revered name in death metal, unleashes their sixteenth studio album, “Chaos Horrific,” via Metal Blade Records. This band needs no introduction, but what about their latest offering? Well, it’s exactly what you’d expect from these veterans of brutality.

“Chaos Horrific” delivers the classic Cannibal Corpse experience, with unrelenting speed, brutality, and the unmistakable growls of George ‘Corpsegrinder’ Fisher. The album kicks off with the thunderous “Overlords of Violence,” setting the tone for a fast-paced, riff-packed onslaught that rarely lets up. Clocking in at a tight 39 minutes, it’s refreshingly concise in an era of overstuffed albums.

Erik Rutan’s influence on guitar, alongside Rob Barrett, injects new life into the band’s sound. The solos add melodic nuance to the chaos, as seen in tracks like “Frenzied Feeding” and “Summoned for Sacrifice.” There are moments of monotony, but the album finishes strong with “Pestilential Rictus” and “Drain You Empty.”

The production packs a punch, although the mastering is a bit loud, but death metal is supposed to be experienced loud. George ‘Corpsegrinder’ Fisher’s vocals remain a force to be reckoned with, and drummer Paul Mazurkiewicz provides a rock-solid foundation.

“Chaos Horrific” doesn’t reinvent the wheel, but it’s a testament to Cannibal Corpse’s consistency and vitality. For long-time fans, it’s a solid addition to their discography, while newcomers will find it a brutal introduction to the band’s world.

Vince Locke’s gruesome artwork perfectly complements the carnage within. When Cannibal Corpse releases an album, you know you’re in for a blood-soaked ride. “Chaos Horrific” lives up to the legacy, proving that these death metal pioneers still reign supreme. Don’t miss their upcoming tour with The True Mayhem, where these songs are bound to ignite mosh pits and headbanging galore. “Chaos Horrific” is out now, so prepare for a relentless onslaught of death metal fury.

Chaos Horrific track listing:
1. Overlords Of Violence
2. Frenzied Feeding
3. Summoned For Sacrifice
4. Blood Blind
5. Vengeful Invasion
6. Chaos Horrific
7. Fracture And Refracture
8. Pitchfork Impalement
9. Pestilential Rictus
10. Drain You Empty

GET YOUR COPY HERE:

Coinciding with the release of Chaos Horrific, CANNIBAL CORPSE will embark on a month-long North American co-headlining tour with Mayhem. The journey begins September 22nd in Nashville, Tennessee and runs through October 21st in Louisville, Kentucky. Support will be provided by special guests, Gorguts and Blood Incantation! See all confirmed dates below.

CANNIBAL CORPSE w/ Mayhem, Gorguts, Blood Incantation:
9/22/2023 Marathon Music Hall – Nashville, TN
9/23/2023 The Fillmore – Charlotte, NC
9/24/2023 The Mill & Mine – Knoxville, TN
9/26/2023 Stage AE – Pittsburgh, PA
9/27/2023 Rebel – Toronto, ON
9/28/2023 L’Olympia – Montreal, QC
9/29/2023 The Palladium – Worcester, MA
9/30/2023 Brooklyn Steel – Brooklyn, NY
10/02/2023 The Royal Oak – Detroit, MI
10/03/2023 Hard Rock Live – Gary, IN
10/04/2023 The Fillmore – Minneapolis, MN
10/06/2023 Mission Ballroom – Denver, CO
10/07/2023 The Depot – Lake City, UT
10/09/2023 Temple Theatre – Tacoma, WA
10/10/2023 Knitting Factory – Spokane, WA
10/11/2023 Knitting Factory – Boise, ID
10/13/2023 The Warfield – San Francisco, CA
10/14/2023 SOMA – San Diego, CA
10/17/2023 The Aztec Theatre – San Antonio, TX
10/18/2023 The Factory – Dallas, TX
10/20/2023 The Eastern – Atlanta, GA
10/21/2023 Paristown Hall – Louisville, KY

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“Rhythms of Destruction: Cattle Decapitation and Fallujah’s Electrifying Brisbane Performance” A Concert Review

Photo by Becky DiGiglio

Written By Tom Alan

It seems like an eternity has passed since Cattle Decapitation graced our shores at The Tivoli in Brisbane on February 13, 2020. In the time that has elapsed, we’ve witnessed a world grappling with afflictions, natural disasters, conflict, and scarcity, and I’m not just referring to their album “Terrasite.” Art indeed imitates life’s trials and tribulations.

Fallujah delivered an exceptionally polished performance, showcasing Kyle Schaefer’s remarkable stage presence, which exuded a natural charisma. A notable departure from conventional band arrangements saw the bassist, Evan Brewer prominently positioned alongside Kyle, a departure from the typical rhythm guitarist placement. This unusual setup allowed for engaging bass solos, demonstrating Evan’s exceptional prowess. The clean vocal elements, while a subject of personal preference within the metal genre, were executed with finesse and artistry.

Cattle Decapitation, in contrast, provided a truly captivating experience. The proficiency of the sound engineering team must be acknowledged, as they successfully replicated the band’s studio sound, lending credence to the bands prowess. The frontman, Travis, displayed an unparalleled showmanship, characterized by his genuine enjoyment and frequent smiles throughout the performance. His unique on-stage antics, such as the unconventional act involving spitting into the air and catching it, along with audience engagement, added an intriguing dimension to the show.

Throughout the evening, Travis expressed his fondness for performing in Australia, emphasizing the enthusiastic response of the audience. The collective chant of “ONE MORE SONG” and the subsequent encore performance of “Kingdom of Tyrants” served as a testament to the crowd’s appreciation. The band’s rendition of tracks like “Scourge of the Offspring” and “Bring Back The Plague” ignited intense moshing, fostering an atmosphere of unbridled fun.

Unlike typical concert experiences for me, fatigue failed to set in as the night progressed. The room pulsated with a palpable positive energy, indicative of the profound connection the Brisbane audience shares with Cattle Decapitation. It’s apparent that the band enjoys widespread adoration, as evidenced by the unanimous passion among metal enthusiasts, who consistently express their unequivocal affection for Cattle Decapitation.

TERRASITE OUT NOW!

https://youtu.be/129_NOkSGsk? si=wh0fkkyPGUTkNB79

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COLOURMIND Have Pulled Out The Stops In ‘Perfecting Failure’

ColourMind Are:
Jimmy Watson – Vocals/Guitar Jonny Essiech – Backing Vocals/Guitar
Tristan Chopping -Backing Vocals/Bass
Matt Wenke – Drums

Perth’s ColourMind is set to drop their highly anticipated album, “Perfecting Failure,” in October 2023, and they’ve unveiled their latest track, “Endless.” The band’s music is an explosion of melodious intensity, igniting with colossal riffs and thunderous percussion. The vocals emanate a sound that’s truly captivating. ColourMind’s music is a visceral manifestation of unadulterated authenticity, delving deep into the realm of relentless metal fervency.

Much like the anthems “Trust” and “Fight For My Life,” their latest single, “Endless,” keeps the fires of rock and pop-punk burning brightly within the band’s repertoire.

“Endless” showcases the quartet’s ability to craft yet another irresistibly contagious musical gem. The track boasts the quintessential components of rock, featuring vigorous drumming that resonates with every heartbeat.

This song also carries the unmistakable essence of pop-punk, with lyrics that are both catchy and anthemic, practically begging to be sung and shouted at the top of one’s lungs.

The accompanying video for “Endless” is a whimsical and captivating experience, weaving elements of magic and mystical rituals, ultimately culminating in a riveting live performance by the band. Its sure to entertain!

With each listen, ColourMind’s allure deepens, leaving an indelible mark on the listener’s musical consciousness.

Despite the weighty themes explored throughout the album, ColourMind’s music remains infused with an unwavering sense of hope and positivity. The band’s unwavering commitment lies in sharing their profound message and music with the widest possible audience.


Perfecting Failure, the debut album from alternative Aussies ColourMind, has been a long time in the making. Jonny first started writing and composing the songs on the album when he was just a young teenager and the band has been working tirelessly to bring these songs to life in the studio. The album was recorded by Jay Huxtable at Oracle Sound in Perth and is set to be released in October 2023.

The album tackles a range of important themes, including social and political issues that are close to the hearts of the band members. The album’s title, Perfecting Failure, refers to the human race’s tendency to make mistakes and cause destruction, particularly through the actions of corrupt politicians and greedy bankers who prioritize their own interests over the well-being of the planet and its inhabitants.

Despite the heavy themes addressed on the album, ColourMind’s music is infused with hope and positivity. The band’s focus is on sharing their message and music with as many people as possible, and they are excited to get their music heard as well as played on radio stations, reaching a wider audience. With their catchy melodies, powerful lyrics, and energetic performance, ColourMind is sure to make a lasting impact on the pop punk and metal music scenes.

Tracklist:
01. Ouroboros
02. Fight For My Life
03. Neglect
04. Perfecting Failure
05. Wish It Was
06.Trust
07. Into The Forest
08. Say Goodbye
09. Friends With Enemies
10. Something To Me
11. Endless
12. Last Words
13. Perfecting Failure (Acoustic)

Perfecting Failure Release Date October 10th, 2023 via Sliptrick Records.

Band links: Facebook | Youtube | Instagram | On Sliptrick

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Unearthing the Depths: Metal Lair Reviews Crowbar’s Zero And Below

CROWBAR:
Kirk Windstein – vocals/guitar
Matt Brunson – guitar
Shane Wesley – bass
Tommy Buckley – drums

CROWBAR’s enduring presence in the world of music spans an impressive 32 years. They have steadfastly remained true to their unique identity. A synonym for suffering, the essence of Southern desolation, and masters of delivering guitar riffs imbued with a fierce bite. Across their extensive discography of 11 previous albums, their auricular signature has remained unwavering. It’s a deliberate fusion of languor, though never excessively, and a profound, melancholic density.

With “Zero And Below,” the band ushers bassist Shane Wesley into their ranks. Kurt Windstein’s gritty vocals, which have become an emblem of their raw sound, continue to stand out amidst a backdrop of downtuned riffs and thundering drums. They waste no time, launching into a high-octane rhythmic onslaught with “The Fear That Binds You,” immediately plunging listeners into the depths of despair. A sentiment further solidified in tracks like “Her Evil Is Sacred.” The tempo drags at a sluggish pace, the weighty guitars oozing like molasses throughout, imposing a crushing gravity on the senses.

Denial of Truth” slows the cadence considerably, tempering some of the aggression while retaining an ever-present sense of impending doom. “Chemical Godz” introduces a pervasive, bluesy groove, accentuated by the prominence of the bass, and its accompanying video delves into the harrowing consequences of addiction.

Bleeding from Every Hole” stands out as a track where the bass guitar takes center stage, providing a pulsating foundation. “Confess To Nothing” and “Her Evil is Sacred” maintain a slow pummeling pace, paradoxically radiating an enduring energy.

Denial Of The Truth” exudes a ’90s nostalgia, harkening back to the band’s early days of the bands inception. The album culminates with its title track, where Kirk Windstein’s raspy vocals traverse through a shimmering fog of sludge, perfectly encapsulating the melancholy, regret, and profound sense of loss that eternally haunts humanity, perhaps more poignant now than ever before. In these weighty times, the demand for heavy music remains, and CROWBAR consistently asserts their place among the heaviest of them all.

Zero And Below is available on CD, LP, cassette, and digitally. Preview and purchase the record at THIS LOCATION.

Track listing:

01. The Fear That Binds You
02. Her Evil Is Sacred
03. Confess To Nothing
04. Chemical Godz
05. Denial Of The Truth
06. Bleeding From Every Hole
07. It’s Always Worth The Gain
08. Crush Negativity
09. Reanimating A Lie
10. Zero And Below

CROWBAR w/ Primitive Man:
9/07/2023 Downtown Music Hall – Fort Walton Beach, FL
9/08/2023 Conduit – Orlando, FL
9/09/2023 The Orpheum – Tampa, FL
9/10/2023 Gramps – Miami, FL
w/ Primitive Man, Bodybox:
9/12/2023 Masquerade – Atlanta, GA
9/13/2023 New Brookland Tavern – Columbia, SC
9/14/2023 Asheville Music Hall – Asheville, NC
9/15/2023 The Camel – Richmond, VA
9/17/2023 Broken Goblet – Bensalem, PA
9/19/2023 Dingbatz – Clifton, NJ
9/20/2023 Song & Dance – Syracuse, NY
9/21/2023 Palladium – Worcester, MA
9/22/2023 Saint Vitus Bar – Brooklyn, NY
9/23/2023 Angel City Music Hall – Manchester, NH
9/24/2023 Space Ballroom – Hamden, CT
9/26/2023 Crafthouse – Pittsburgh, PA
9/27/2023 Hobart Art Theater – Hobart, IN
9/28/2023 Reggie’s – Chicago, IL
9/29/2023 Grog Shop – Cleveland, OH
9/30/2023 Pyramid Scheme – Grand Rapids, MI
10/01/2023 Wildwood – Iowa City, IA w/ Venom Inc #
10/02/2023 Red Flag – St Louis, MO
10/04/2023 Cobra – Nashville, TN
10/05/2023 George’s Majestic – Fayetteville, AR
# = No Support

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Reviews

“Body Void Unleashes Raw Power with ‘Cop Show’ Lyric Video Depicting Police Brutality” Via Prosthetic Records

Photographer credit: Skyler Williams

BODY VOID is:
Willow Ryan (guitar, bass, synths, vocals)
Janys-Iren Faughn (electronics, samples, live bass)
Edward Holgerson (drums)

Emerging like a tempest from the digital depths of New England’s avant-garde soundscape, Body Void, a formidable doom trio hailing from the Bay Area, unveils its masterpiece, “Cop Show.” This captivating composition serves as the second ethereal offering from their forthcoming opus, “Atrocity Machine,” slated for release on the hallowed date of October 13th, courtesy of the venerable Prosthetic Records.

In a brilliant symphony of apocalyptic reverie, “Cop Show” draws inspiration from the sacred annals of the 1987 sci-fi opus, ‘RoboCop.’ This haunting opus artfully dissects the unsettling spectacle wherein police violence, rather than yielding to the clarion call of abolition or reform, has morphed into a grotesque form of entertainment. A confluence of Paul Verhoeven’s surreal dystopian vision and the band’s artistic prowess breathes life into this cataclysmic anthem.

The aural architecture interlaced by Body Void is nothing short of a relentless, sonic juggernaut—an unforgiving gauntlet of auditory gravitas. With each resonating note, they forge a savage tempest of unprecedented proportions. Their signature sludge-laden, droning doom finds new horizons, fueled by the eclectic influences of Killing Joke and Wolf Eyes. This metamorphosis yields a harrowing soundscape akin to a cyberpunk nightmare.

“As Atrocity Machine unfolds, it unveils a remarkable evolution and descent into the darkest abyss of musicianship, crafting oppressive symphonies that defy convention.” The transformation is undeniable. Atrocity Machine stands as the zenith of their artistic journey, a testament to their creative prowess. With each tantalizing glimpse we’ve been granted thus far, it becomes evident that this odyssey promises a roller coaster ride through the chronicles of metal brutality. A cataclysm poised to leave an indelible mark on musical history. Brace yourselves, for Body Void’s “Atrocity Machine” beckons a promising voyage into uncharted musical territory.


BODY VOID has shared a new track, titled Cop Show, alongside an accompanying music video. Cop Show is the second single to be taken from the New England, Bay Area based doom trio’s upcoming fourth album, Atrocity Machine, which is due for release via Prosthetic Records on October 13. The song sees BODY VOID pulling influence from the dystopian sci-fi film Robocop, and serves as a critique on police violence.

WATCH THE LYRIC VIDEO FOR
COP SHOW BELOW
Stream Cop Show via Apple Music | TIDAL | Deezer | Bandcamp and Spotify
Pre-order Atrocity Machinehere.

PREORDER ATROCITY MACHINE HERE:

Speaking on the single, Willow Ryan (guitar, bass, synths, vocals) comments: “Cop Show lyrically might be the most specific on the album. It focuses on the way in which police violence, in place of abolition or even just reform, we’ve turned killings and assaults into a spectacle to be consumed and entertained by. Paul Verhoven’s brand of dystopian absurdity was a big influence on Atrocity Machine as a whole, but especially on this song with Robocop.”

BODY VOID‘s morose view of the world hasn’t lightened any since the release of 2021’s critically acclaimed Bury Me Beneath This Rotting Earth, although Atrocity Machine embraces absurdity on a new level. The subject matter in hand takes stock of the oppressive systems and societal functions that continually degrade the lives of millions as they passively become a cog in the very machine that subjugates them. Police violence is the thematic centre of the unravelling horror on Atrocity Machine, highlighted specifically on the track Cop Show which details the commercialisation of fear and violence being turned into a spectacle.

The grotesque reality of living in a capitalist landscape, with the value of human life decreasing daily provides infinite fuel for anxiety and trauma. The lurid tones of modern day news media are the backdrop to an Akira-inspired encounter with divine violence, Atrocity Machine offers a cosmic view of living under such systems of oppression. Specifically that the status quo can’t last forever; a self-destructive society will indeed eventually destroy itself.

The suffocating nature of oppression seeps into the sound of Atrocity Machine too. Although still a doom band at its core, BODY VOID in 2023 has expanded to incorporate dexterous layers of synths, samples and noise that makes their industrial-sludge sonic emissions an asphyxiating listening experience. The band credit producer Ben Greenberg (Portrayal of Guilt, VR Sex, Soft Kill) with bringing their electronic elements into a cohesive sound that embraces heaviness and claustrophobic chaos in equal measure.

Artwork is thematically on point – inspired by Tetsuo: The Iron Man (a person becoming a machine) – and created by Ethan Lee McCarthy. Marking a shift from their previously black-and-white-only artwork, Atrocity Machine is both visually and sonically drawing a line in the sand, delineating the beginning of a new chapter for BODY VOID.

Atrocity Machine tracklist:
1. Microwave
2. Human Greenhouse
3. Flesh Market
4. Cop Show
5. Divine Violence
6. Atrocity Machine

FOLLOW BODY VOID ONLINE:

FACEBOOK X INSTAGRAM YOUTUBE SPOTIFY BANDCAMP

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ROB ZOMBIE AND THE FREAKS ON PARADE TOUR ANNIHILATE WEST PALM BEACH


Over 10,000 fervent metal enthusiasts gathered under the night sky to partake in an unforgettable spectacle headlined by none other than the hard rock and heavy metal legend, Rob Zombie. Alongside him, the stage was graced by the presence of the iconic Alice Cooper, the electrifying Ministry, and the raucous Filter. This past Sunday, West Palm Beach, Florida, became the epicenter of the Freaks On Parade tour, merging the realms of metal and masquerade in a perfectly orchestrated chaos.

Alice Cooper’s performance was nothing short of extraordinary. He effortlessly tamed a boa constrictor, outwitted a towering Frankenstein, and endured electric shocks with unyielding resolve. He escaped from a straitjacket only to face a guillotine, Cooper’s onstage antics reached their pinnacle when he was gleefully decapitated by Marie Antoideath, portrayed by his wife, Sheryl Cooper.

Boasting a rich legacy spanning more than half a century in the realm of rock ‘n’ roll stagecraft, Cooper dazzled the audience with a 70-minute tour de force. His show seamlessly wove together iconic classics like “I’m Eighteen” and “No More Mr. Nice Guy” with lesser-known treasures from his middle years. Commencing with the electrifying “Lock Me Up” from his 1986 album “Raise Your Fist and Yell,” Cooper found his artistic zenith midway through the performance, delivering a string of early-’90s hits, including “Hey Stoopid,” “Lost in America,” and “Snakebite.”

Cooper’s band executed flawlessly, with guitarists Ryan Roxie, Tommy Henriksen, and the virtuoso Nita Strauss delivering a tidal wave of sound. Bassist Chuck Garric’s harmonious backing vocals completed this musical powerhouse.

Nita Strauss stood out prominently among the young guitar maestros of her era, enthralling the crowd with a mesmerizing solo act that showcased her prowess in tapping, sweep-picking, and whammy bar wizardry. Her limitless enthusiasm and undeniable skill elevated her to an essential role within Cooper’s ensemble, and the audience couldn’t contain their excitement, showering her with thunderous applause when she made her entrance during the grand finale, “School’s Out.”


Cooper’s set sparkled with satire and vaudeville, while Rob Zombie’s performance epitomized unbridled extravagance. It was a sensory overload of scorching flames, grotesque demon babies, and twisting devil statues. Zombie, adorned in fringe, gyrated across the stage, commanding an industrial metal tempest that would befit the darkest depths of hell.

His set, characterized by droning dirges and horror movie aesthetics, was a relentless onslaught of raunchiness and grotesquery. Tracks like “Superbeast” and “Living Dead Girl” struck the perfect balance, creating a dangerous and devilishly fun atmosphere.

During “Thunder Kiss ’65,” Zombie had the audience light up their phones, quipping, “it’s hot as hell out here!” Indeed, Zombie’s blazing pyrotechnics were merely a fraction of the sweltering 106-degree heat that earlier acts Filter and Ministry had to contend with. Yet, they rose to the occasion, each delivering formidable performances. Filter, led by Richard Patrick, roared through hits like “Take a Picture” and “Hey Man Nice Shot,” while Ministry’s Al Jourgensen whipped the crowd into a frenzy with incendiary tracks like “Stigmata” and the climactic “Revenge,” performed for the first time since 1984.

Both opening acts displayed headlining-worthy prowess, setting the stage for an incredible evening of music. The show, as a whole, was a sensory feast, a symphony of visuals and sounds that left an indelible mark. I wholeheartedly recommend catching this tour if it rolls into your town.

The Freaks on Parade Tour will continue to rampage across the United States for the next month, concluding on September 24th in Phoenix. For those yet to experience it, this tour promises an unparalleled fusion of music and mayhem that should not be missed.

Alice Cooper, 8/28/23, iThink Financial Amphitheater, West Palm Beach
1. “Lock Me Up”
2. “No More Mr. Nice Guy”
3. “I’m Eighteen”
4. “Under My Wheels”
5. “Billion Dollar Babies”
6. “Snakebite”
7. “Lost in America”
8. “Hey Stoopid”
9. “Poison”
10. “Feed My Frankenstein”
11. “Devil’s Food” / Nita Strauss guitar solo
12. “Black Widow” jam
13. “Ballad of Dwight Fry”
14. “Killer” (band only)
15. “I Love the Dead”
16. “Elected”
17. “School’s Out” (with “Another Brick in the Wall”)

Rob Zombie, 8/28/23, iThink Financial Amphitheater, West Palm Beach
1. “The Triumph of King Freak (A Crypt of Preservation and Superstition)”
2. “Feel So Numb”
3. “Well, Everybody’s Fucking in a U.F.O.”
4. “What Lurks on Channel X?”
5. “Superbeast”
6. “Demonoid Phenomenon”
7. Drum solo
8. “The Lords of Salem”
9. “House of 1000 Corpses”
10. “More Human Than Human”
11. “Living Dead Girl”
12. “Thunder Kiss ’65”
13. “Dragula”

FREAKS ON PARADE TOUR DATES:

Tue Aug 29 – Raleigh, NC – Coastal Credit Union Music
Park at Walnut Creek
Wed Aug 30 – Virginia Beach, VA – Veterans United
Home Loans Amphitheater
Fri Sep 01 – Tinley Park, IL – Hollywood Casino
Amphitheatre
Sat Sep 02 – Des Moines, IA – Wells Fargo Arena
Tue Sep 05 – Clarkston, MI – Pine Knob Music Theatre
Wed Sep 06 – Toronto, ON – Budweiser Stage
Fri Sep 08 – Scranton, PA – The Pavilion at Montage
Mountain
Sat Sep 09 – Wantagh, NY – Northwell Health at Jones
Beach Theater
Sun Sep 10 – Hartford, CT – The XFINITY Theatre Tue Sep 12 – Nashville, TN – Bridgestone Arena
Sat Sep 16 – Englewood, CO – Fiddler’s Green
Amphitheatre *
Tue Sep 19 – Ridgefield, WA – RV Inn Style Resorts
Amphitheater
Wed Sep 20 – Auburn, WA – White River Amphitheatre
Fri Sep 22 – Concord, CA – Concord Pavilion
Sat Sep 23 – Anaheim, CA – Honda Center
Sun Sep 24 – Phoenix, AZ – Talking Stick Resort
Amphitheatre
PERKSE

Categories
Reviews

Metal Lair Reviews Marduk’s New Album Memento Mori

MARDUK is:
Daniel Rostén (Vocals)
Morgan Hakansson (Guitar)
Devo Andersson (Bass)
Simon Schilling (Drums)

In the eerie stillness of a moonless night, a chilling revelation began to creep over those gathered by the old, decrepit necropolis. The air grew heavy with a sense of foreboding doom. The words of an ancient, cryptic song echoed through the tombstones, like a sinister incantation. Shadows danced ominously, and the world seemed to shift. The realization struck like a dagger to the heart: Life resembled not a ticking timepiece but an ever-depleting sandglass. The atmosphere grew tense, as if Death himself were watching, playing a macabre game with the living. A blade drawn across the throat, a grotesque test of fate. Life slipped away through a sinister portal. In this cursed place, all certainty crumbled. Hopeless and helpless, they gazed upon the haunting expanse, as if staring into the abyss itself. The soil beneath them whispered of impending darkness, while the spectral flames revealed a truth long buried that no one can escape

The band proudly presents their latest single “Shovel Beats Sceptre,” off MARDUK’s 15th studio album, set to be unleashed on September 1st via Century Media Records offering a spellbinding glimpse into their forthcoming album.

Renowned icons of the pure black metal realm, Sweden’s Marduk have consistently traversed the tumultuous path of their genre, standing as both doyen’s and figures occasionally shrouded in controversy since their inception in 1990. Their fifteenth studio offering arrives as the audacious “Memento Mori.”

Marduk’s enduring forte has always been their unrefined, unwavering potency and unbridled wrath, the very foundation of their musical identity. Beyond the breakneck tempos and venomous guitar leads lies a belligerent, warlike spirit that barely abides by containment; their inherent violence is an insatiable element of their chaos.

Mortuus, known by his given name Daniel Rostén, remains the sole constant member since 1990, asserting that this new album both reflects their roots and takes bold strides forward. In essence, Memento Mori embodies unadulterated Marduk, an unrelenting onslaught of black metal that pushes the boundaries of extremity in every conceivable manner. Tracks like “Blood of the Funeral,” “Shovel Beats Sceptre,” and “Red Tree of Blood” epitomize the quintessential Marduk experience. While it may occasionally evoke a sense of familiarity, it must never be underestimated or taken for granted. The chaos within is meticulously structured, propelling the entire album with a sense of purpose and visceral energy that defines both the band and their craft. Time signatures shift, and a relentless sense of urgency propels tempos against a relentless onslaught of guitars and Mortuus’ ever-present antagonistic vocals.

The mechanical procession of the closing track, “As We Are,” heralds the resurgence of their industrial edge, a facet always welcomed by their fanbase. Coldly calculated, unapologetically confrontational, and dripping with hostile intent, “Memento Mori” is quintessential Marduk—an unyielding, merciless, and formidable force. It represents a menacing, thunderous return!


The renowned Swedish black metal band MARDUK is back with a new release entitled Memento Mori. Today, MARDUK release the video for their latest single “Shovel Beats Sceptre”.

  • Ltd. Deluxe Gatefold Ultra Clear-Black Splatter Vinyl With Alternative Cover Artwork (Incl. LP-Booklet, Art-Print & Poster) (Limited to 2,000 copies / All Outlets)
  • Red Gatefold Vinyl (Limited to 300 copies / Available at Century Media Shop)
  • White Gatefold Vinyl (Limited to 500 copies / Available via Century Media Shop)
  • Golden Gatefold Vinyl
    (Limited to 500 copies / Available at Levykauppa ÄX, Bengans, Supreme Chaos)
  • Silver Gatefold Vinyl (Limited to 500 copies / Available at EMP & Nuclear Blast)
  • Black Gatefold Vinyl (All Outlets)
  • CD Mediabook (All Outlets)

Commenting on the album, MARDUK frontman Daniel Rostén shares:
“Memento Mori is, all at once, a bold leap forward, a calculated sidestep, and a wistful backward glance. Meaning, we have broken new ground without forgetting our legacy or the journey that brought us to this point.”

Pre-Order Memento Mori Here:

Commenting on the album, MARDUK frontman Daniel Rostén shares:
“Memento Mori is, all at once, a bold leap forward, a calculated sidestep, and a wistful backward glance. Meaning, we have broken new ground without forgetting our legacy or the journey that brought us to this point.”

MARDUK online:
www.MARDUK.nu
www.instagram.com/MARDUKofficial
www.facebook.com/MARDUKofficial

Categories
Reviews

“Take Me Back To Eden: A Serene Journey Through The Dreamscapes” Album Review

PHOTO CREDIT: SLEEP TOKENS FACEBOOK

It was a sleepless night, and I found myself wandering through the otherwordly soundscapes crafted by Sleep Token on their latest album, “Take Me Back To To Eden.” As the notes gently reached my ears, I was whisked away into a tranquil realm where emotions melded with melodies, and time lost its grip on me.

From the very beginning, Sleep Token’s genre bending style of alternative rock and progressive metal had me transfixed. The album is a musical kaleidoscope that creates an eidos of mesmerizing vocals, atmospheric guitars, and roaring synths. Its a sonic landscape that is both captivating and introspective.

The opening song, “Chokehold,” embodies the quintessential essence of their eerie, emotionally charged, and melodically captivating metal style. The track serves as a testament to the band’s undeniable talent, showcasing a fusion of colossal, rhythmic riffs and pulsating grooves.

Front and center is the captivating, enigmatic, frontman, Vessel, whose croon possesses a vocal gift that can only be described as angelic. Each note he delivers is infused with raw emotion, drawing listeners into a world of pure enchantment.

To complement the journey, the accompanying animated video takes us on a visually stunning and unsettling ride. We find ourselves engrossed in a dark realm, where a formidable arachnid creature, adorned in imposing armor, wields an imposing axe high above its head. Emerging from the shadows, this strange and ominous beastie exudes an aura of mystery and intrigue, further deepening the song’s enigmatic atmosphere.

Prepare to be enthralled by the artistry of Sleep Token’s “The Summoning.” This progressive metal gem effortlessly surpasses all expectations set by their previous surprise hit, “Chokehold,” striking a harmonious balance between brutality and melody.

In this masterpiece, Sleep Token showcases their unparalleled ability to seamlessly blend disparate elements. The result is a delightful fusion of heaviness and funkiness, where neither aspect overshadows the other. The cohesion of the track is nothing short of impressive, a magnum opus that flawlessly intertwines various musical dimensions.

The Summoning” elevates every element to extraordinary levels, taking the listener on an exhilarating journey. From the devastatingly powerful instrumentals in the intro and breakdown to the irresistibly groovy outro, Sleep Token demonstrates their musical prowess. Vessel’s vocal performance mastery shines brilliantly, marking a new pinnacle in his career.

“Take Me Back To Eden,” exudes an exquisite sense of sophistication, thanks in no small part to the artful inclusion of piano throughout the record. The gentle interplay of piano with the supple vocals and tender guitars in tracks like “Aqua Regia” elevates the musical experience to a whole new level, infusing it with a touch of refinement.

The talented ensemble of Sleep Token venture into diverse musical territories, masterfully blending elements of harsh vocals in “Ascensionism,” blackgaze in “Vore,” and metalcore in “Rain.” Remarkably, despite the wide array of styles, the album maintains an impressive cohesiveness that ties it all together seamlessly.

One of the stand out moments of the album for me is the song “The Apparition.” With its ghostly atmospheric rendition. It serves as a brief respite amidst the captivating chaos of the surrounding tracks. Its in these serene moments that Sleep Token showcases their ability to balance intensity with tranquility, evoking a sense of emotional catharsis.

The album’s closing track, “Euclid,” showcases versatility, driving the song towards a breathtakingly beautiful climax. Meanwhile, the incorporation of sweet acoustic guitar melodies in “Are You Really Ok?” adds an celestial quality, causing the song to soar with a resonant allure.

Take Me Back To Eden” stands as a remarkable body of work, skillfully uniting various genres under the Sleep Token banner. The band’s ability to navigate through this melody mosaic with finesse and precision is truly commendable, creating an album that leaves a lasting impact on listeners.

Lyrically, Sleep Token explores themes of vulnerability, loss, and self-discovery, inviting listeners to dive deep into their own retrospection. The enigmatic nature of the band adds an extra layer of intrigue, leaving room for interpretation and personal connection.

“Return To Eden” offers a refreshing take on the bands signature sound, exhibiting a refined and evolved musicality that takes listeners on a captivating odyssey.

While “Return To Eden” is an immersive and captivating album, it may not be everyones cup of tea. Its themes tropospheric and often melancholic nature requires a certain mood and mindset to fully appreciate. However for those willing to embark on this sonic pilgrimage, prepare to be jolted from the depths of your musical slumber. This melodic symphony will surge through your veins, injecting life into your dormant senses.

TRACKLIST

01. CHOKEHOLD
02. THE SUMMONING
03. GRANITE
04. AQUA REGIA
05. VORE
06. ASCENSIONISM
07. ARE YOU REALLY OKAY?
08. THE APPARITION
09. DYWTYLM
10. RAIN
11. TAKE ME BACK TO EDEN
12. EUCLID