Kirk Windstein is a figurehead in metal and especially in the NOLA sludge scene. From fronting Crowbar for 29 years to his work with supergroup Down to his collaboration with Jamey Jasta (of Hatebreed) in Kingdom Of Sorrow the man is pretty much universally revered in metal circles so it was high time the man did a solo album. Dream In Motion was recorded in Louisiana (where else) over the past two years in between tours and commitments with his other bands and despite being in that quintessential Kirk Windstein style he has forged over the past 30 years this album also has its differences to his main outlet Crowbar. Whilst Crowbar is dense sonic destruction with the subtlety of a brick to the face, Dream In Motion is a far more relaxed and melodic experience. The dense NOLA riffage is prevalent but is delivered in a far more mellow format with a cleaner sound and throwbacks to the classic rock and metal that Kirk listened to in his formative years.
The opening title track delivers the riffs and groove in plentiful servings and Toxic is the closest to Crowbar the album gets whilst Enemy In Disguise and instrumental The Healing ably display the more emotional and soulful side of Kirk’s writing. With all instruments (bar drums) performed by Kirk this is very much the epitome of a solo album and a very good one. It’s not a million miles from Kirk’s other output but is a far more relaxed, soulful and introspective release from the NOLA legend. It is a bit on the repetitive side and doesn’t stray from its mid paced tempo but is an album well worth checking out if you love that NOLA sound. 8/10
Anti-Flag: 20/20 Vision (Spinefarm Records) [Alex Swift]
We begin on radio static before one of the many worrying comments from Trump crackles in ‘In the good old days this doesn’t happen because they used to treat them very rough, and when they protested once they wouldn’t do it again so easily’. From there we charge into Hate Conquers All, a seething, mocking anthem with quickfire shouts of dystopian slogans, followed by equally commanding stints of machine-gun fire guitars and percussion. It Went Off Like A Bomb is more pointed in its critiques the tense and angered melodic phrasing excellently matching the songs messages of anti-fascism and learning from history. The title track feels infinitely more positive in the optimism in which the huge melodies, double harmonies and inspiring instrumentation, yet brings the listener back down to earth by asking ‘Which side are you on?’. Living up to Justin Sane and Chris #2’s typical penchant for triumphant, fist in the air anthems, Christian Nationalist and Don’t Let The Bastards Get You Down, prove rallying cries, imploring fans to stand up in the face of hatred, never getting crushed by catastrophic defeat.
The same could be said for the powerfully confident Unbreakable, which confronts mental hardship and the everyday toil we endure just to feel worthwhile, especially in the face of a political environment which feels increasingly hostile towards the natural world, and the rights of minorities. Even on the throttling and visceral Disease, the infuriated A Nation Sleeps, and the humorously poignant, You Make Me Sick, the record retains that sense of trying to empower the listener against adversity. We finish on Un-American which utilizes horns and crescendoing phrases to dismiss fallacies that questioning society, and standing against violent nationalism, constitutes disrespect or treachery – ‘No peace comes from a greedy hand. Who is un-American?’ While 20/20 Vision is in many ways an expected Anti-Flag album, the passion which they pour into every single moment of their records makes them one of the finest punk acts still around today. Far from shying away from social issues, they confront them with honesty and precision.
Music may not be able to change the world, yet in hearing the hope or indeed anger that records in this vein convey, you come to realize we are not indeed at the end of the road as a species and that fairness and righteousness will survive, as long as there are people ready to stand up and act! 7/10
InMe: Jumpstart Hope (Killing Moon) [Alex Swift]
InMe very much emerged as part of the early 2000s tradition of modern rock acts, and while their melodic alt-rock stood apart from the nu-metal and metalcore of the time, make no mistake their brand of loud riffs, huge production and emphasis on emotion-driven choruses integrated them well into the scene of the time. 20 years later, how have they adapted to meet the musical landscape of today? Well, put simply, they haven’t. Let me be clear, while these anthems are powerfully performed, the synth and guitar work contemplative, and the moods carried in a way that makes them appear realistic, nothing on Jumpstart Hope makes these songs raise above the lofty heights of competency. ‘I’m waiting for something to happen’ frontman McPherson sings on the track of the same name, and frankly, I couldn’t have described my thoughts better myself. Everything here leaves me with a cold sense of tedium.
InMe: Jumpstart Hope (Killing Moon) [Alex Swift]
InMe very much emerged as part of the early 2000s tradition of modern rock acts, and while their melodic alt-rock stood apart from the nu-metal and metalcore of the time, make no mistake their brand of loud riffs, huge production and emphasis on emotion-driven choruses integrated them well into the scene of the time. 20 years later, how have they adapted to meet the musical landscape of today? Well, put simply, they haven’t. Let me be clear, while these anthems are powerfully performed, the synth and guitar work contemplative, and the moods carried in a way that makes them appear realistic, nothing on Jumpstart Hope makes these songs raise above the lofty heights of competency. ‘I’m waiting for something to happen’ frontman McPherson sings on the track of the same name, and frankly, I couldn’t have described my thoughts better myself. Everything here leaves me with a cold sense of tedium.
There are moments as on the brisk I Swear or the vigorous Blood Orange Lake where I find myself nodding my head in quiet harmony with the admittedly sharply performed grooves, and sprightly rhythms. Yet I never feel my emotions lifted to the point of exaltation that these songs are aiming for. There’s a tone that’s incredibly reminiscent of acts in the vein of Breaking Benjamin, or Young Guns. The album kills 40 minutes or so, without presenting any degree of replay value. The entire piece can be summarised in one word: Serviceable. Perhaps if you are a huge fan of their particular brand of sentimental alternative, you might get something of value from InMe. For everyone else, take or leave. You won’t be missing out on anything impressive by giving this one a miss. 5/10
Rat King: Vicious Inhumanity (Self Released) [Rich Oliver]
What do you get when you combine the two dirtiest and filthiest sounding subgenres of metal and combine them together? The answer is Rat King with their combination of squalid sludge metal and festering death metal. Vicious Inhumanity is the second album by the Seattle filth merchants. Seeing as I am partial to the dirtier and scummier side of metal Rat King have plenty on offer to appeal to my repugnant tastes. This is an album that knows when to slow things down to a crawl but also when to be blisteringly fast and these changes in pace are used to great effect throughout. As you can imagine with a combo of sludge and death metal, the sound is dank and murky with a wonderfully revolting guitar tone which is the aural equivalent of rancid offal leaking out of your speakers. Whilst the album does have a fabulously rank sound to it, the songs can get a bit on the repetitive side but with an album duration of just over 33 minutes nothing really outstayed its welcome. Vicious Inhumanity is an enjoyable release which perfectly marries sludge and death metal together in disgusting harmony. 7/10
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