Following on from 2019’s colossal Death Atlas Cattle Decapitation return with new album Terrasite - ‘Terra-’ meaning earth and ‘-site’ derived from the Greek word ‘-sitos’ which means ‘food’. “The combination of the two meaning ‘earth-eater’, as a metaphor for humanity’s role in the destruction of the planet, and is a play-on-words of the very fitting word ‘parasite.
Our introduction to the album comes in the form of Terrasitic Adaptation which starts off with some ominous tones before the familiar maniacal and unforgiving tempo’s reign down with Ryan’s vocals still as punishingly poignant, as he frankly states come “from a place of distress. Anger, rage, resentment, depression, anxiety, a poor outlook on our species both on a day-to-day level, a broader, worldly level as well as a philosophical level.” This is then followed by the combination of We Eat Our Young and Scourge Of The Offspring which are laden with unravelling layers.
The highlight of the album for me which was also goosebump inducing The Insignificants which takes on a dramatic shift which almost amplifies the intensity of the whole album whilst adding a dynamic that I just cannot do justice with the mere typed word but that moment from 2:45 onwards is just breath-taking. The Storm Upstairs is abrasive and aggressive whilst …And The World Will Go On Without You lays down a stark warning of mortality and once again has a mid-section that just engulfs the listener and manages to coax them deeper into the album.
As the album moves to A Photic Doom provide another metaphorical picture for being alone in your head and turning away from the life that is exposed by the light of day as Dead End Residents would satisfy even the most bloodthirsty of riff chasers. It was incredibly difficult to pin down the albums most extreme track, but after a few listens I feel it’s more than justified to give it that title, finally Terrasite concludes with the longest and most ambitious track of the album, piano’s are one thing I didn’t think I would hear, neither too the sheer depth of atmosphere but it is something the band pull of fantastically well, but don’t be fooled because embedded in this is still very much menacing heaviness.
I honestly thought that Death Atlas would be my forever go to album after its release, but Terrasite has shifted that dynamic exponentially.
Once again, another stunningly flawless release. 10/10
Veil Of Maya - [m]other (Sumerian Records) [GC]
It’s been a good while since we have heard from Veil Of Maya, 6 years in fact! But they are back with their seventh album [m]other. Over the course of their previous albums, they have carved out a solid reputation for technical deathcore mixed with djent rhythms, let’s see where this new album takes us.
First up, Tokyo Chainsaw opens up with a definite djent influence and the staccato riffs jab and jostle and have the sort of standard electronic sound that most metalcore bands seem to be using now but its all done in a clean and precise way that can sometimes get lost in the mix its all very good but nothing spectacular, Artificial Dose doesn’t stray too far from the opener but it mixes in some hardcore type bounce to the sound and introduces us to a big clean vocal lead part which while again is done well doesn’t do much for me and breaks the whole flow of the song up and weakens what was a promising start, it does pick up again towards the end but then in come the cleans again and it just ruins it for me again!
Our introduction to the album comes in the form of Terrasitic Adaptation which starts off with some ominous tones before the familiar maniacal and unforgiving tempo’s reign down with Ryan’s vocals still as punishingly poignant, as he frankly states come “from a place of distress. Anger, rage, resentment, depression, anxiety, a poor outlook on our species both on a day-to-day level, a broader, worldly level as well as a philosophical level.” This is then followed by the combination of We Eat Our Young and Scourge Of The Offspring which are laden with unravelling layers.
The highlight of the album for me which was also goosebump inducing The Insignificants which takes on a dramatic shift which almost amplifies the intensity of the whole album whilst adding a dynamic that I just cannot do justice with the mere typed word but that moment from 2:45 onwards is just breath-taking. The Storm Upstairs is abrasive and aggressive whilst …And The World Will Go On Without You lays down a stark warning of mortality and once again has a mid-section that just engulfs the listener and manages to coax them deeper into the album.
As the album moves to A Photic Doom provide another metaphorical picture for being alone in your head and turning away from the life that is exposed by the light of day as Dead End Residents would satisfy even the most bloodthirsty of riff chasers. It was incredibly difficult to pin down the albums most extreme track, but after a few listens I feel it’s more than justified to give it that title, finally Terrasite concludes with the longest and most ambitious track of the album, piano’s are one thing I didn’t think I would hear, neither too the sheer depth of atmosphere but it is something the band pull of fantastically well, but don’t be fooled because embedded in this is still very much menacing heaviness.
I honestly thought that Death Atlas would be my forever go to album after its release, but Terrasite has shifted that dynamic exponentially.
Once again, another stunningly flawless release. 10/10
Veil Of Maya - [m]other (Sumerian Records) [GC]
It’s been a good while since we have heard from Veil Of Maya, 6 years in fact! But they are back with their seventh album [m]other. Over the course of their previous albums, they have carved out a solid reputation for technical deathcore mixed with djent rhythms, let’s see where this new album takes us.
First up, Tokyo Chainsaw opens up with a definite djent influence and the staccato riffs jab and jostle and have the sort of standard electronic sound that most metalcore bands seem to be using now but its all done in a clean and precise way that can sometimes get lost in the mix its all very good but nothing spectacular, Artificial Dose doesn’t stray too far from the opener but it mixes in some hardcore type bounce to the sound and introduces us to a big clean vocal lead part which while again is done well doesn’t do much for me and breaks the whole flow of the song up and weakens what was a promising start, it does pick up again towards the end but then in come the cleans again and it just ruins it for me again!
Godhead has some deathcore tinges to the sound which pricks my interest somewhat and keeps me interested to the end, the usual djent is in there too mixed with some background atmospherics and a bottom-heavy end thanks to the bass of Danny Hauser it all makes a very good listen and finally kicks life into the album. [re] connect opens with some nice twiddly guitar work by Marc Okubo that shows there is a decent depth of talent here but is then rudely interrupted by some jagged and brutal riffs that proceed to drag into another clean vocal but this time it all fits together well and adds more quality to the sound and the whole dynamic of the song is handle beautifully throughout, Red Fur isn’t a complete departure from everything that has proceeded but, it starts with a soft vocal/atmospheric opening that leads into short sharp shocks before the melody takes over again and washes over you and truly shows Lukas Magyar’s range to full effect and this track is well placed to mix everything up and not sound out of place.
Disco Kill Party is certainly nothing to do with disco and more to do with bludgeoning but mixed through with some solid electronics that heighten the verses and mix well with the onslaught of guitars. Mother Pt4 is another mix of heavily melodic and atmospheric that mixes with savagery and has some absolutely massive riffs included here. Synthwave Vegan gets the award for best title on the album and puts its hand up for most straight up heavy track of all so far, its full of big chugging djent riffs, another class vocal performance, and some unhinged electronics add yet more texture to the beating.
Disco Kill Party is certainly nothing to do with disco and more to do with bludgeoning but mixed through with some solid electronics that heighten the verses and mix well with the onslaught of guitars. Mother Pt4 is another mix of heavily melodic and atmospheric that mixes with savagery and has some absolutely massive riffs included here. Synthwave Vegan gets the award for best title on the album and puts its hand up for most straight up heavy track of all so far, its full of big chugging djent riffs, another class vocal performance, and some unhinged electronics add yet more texture to the beating.
Lost Creator is just a whirlwind of technical and brutal guitars and the drumming from Sam Applebaum is on another level here a truly stunning performance all round and to have a track this good towards the end of the record just seems rude, could have probably not has the first 2 tracks and opened with this as that would have been a real statement of intent! Onto last track Death Runner which does the electronic soft opening into ugly wall of savageness to perfection and the next 3 minutes are just a brutal joy to listen to and end everything on a solid and heavy high.
I really enjoyed this album, it started off a bit suspect but then just got better and better as it went on, everything you need and expect from this style of music was present and it was all done brilliantly. For a seventh album this is a strong statement and will probably sit very highly in their catalogue and with very good reason. Well worth your time and highly recommended. 8/10
I really enjoyed this album, it started off a bit suspect but then just got better and better as it went on, everything you need and expect from this style of music was present and it was all done brilliantly. For a seventh album this is a strong statement and will probably sit very highly in their catalogue and with very good reason. Well worth your time and highly recommended. 8/10
Battle Born - Blood, Fire, Magic And Steel (Prosthetic Records) [Matt Bladen]
I have to apologise to Battle Born as I may have been a little harsh on them previously, comparing them unfavourable to Manowar et al but on their debut full length album they prove this old hack wrong by being one of the breakout power metal stars of this decade! Having signed with Prosthetic Records, the expectation is for big things and Blood, Fire, Magic And Steel is big, Legacy Of Kings (Hammerfall), Hail To England (Manowar) big!
I have to apologise to Battle Born as I may have been a little harsh on them previously, comparing them unfavourable to Manowar et al but on their debut full length album they prove this old hack wrong by being one of the breakout power metal stars of this decade! Having signed with Prosthetic Records, the expectation is for big things and Blood, Fire, Magic And Steel is big, Legacy Of Kings (Hammerfall), Hail To England (Manowar) big!
Perfectly positioned battle ready power metal with fantasy lyrics telling of war and quests for glory (to the brave) all based in the Elder Scrolls Universe. They do this through twin guitar harmonies; Will Kerr and Tom O’Dell in glorious unison, triumphant choruses and rampaging drums from Charles Lamacraft-Perrett. Bands such as Manowar, Hammerfall (especially), Virgin Steel and Blind Guardian are all huge factors in Battle Born’s sound and much like the Swedish Templars did back in the late 90’s early 2000’s Battle Born defiantly play the sort of music they love, this record even having a production job that is similar to those Glory To The Brave – Crimson Thunder years, although infused with some modern magic and bit of 80’s synth on Meridia and When Empires Die, the latter a proper electronically driven banger, guitarist/keyboardist Will Kerr take a bow.
It’s a credit to producer/engineer Kurt Fagan and mix/master by Orden Ogan’s Sebastian “Seeb” Levermann, who recently revived Angus McSix for other excellent power metal album of this year so far, that this album sounds as if it could have come from that heyday of European Power Metal of the 90’s and 2000’s, without losing the youthful modern touch. Tracks such as Dragonheart, Down Your Drinks And Raise Your Swords and galloping opener Wind Caller could well be European Power Metal classics, as Ride North For Winterhold brings the theatrics in four minutes, the backing choirs adding to the brilliant vocals of Jack Reynolds and a keyboard solo!
As Blood, Fire, Magic And Steel closes with the romantic notion of Sky Guard You, you want to go back and press play all over again, which is exactly what I did. So yes apology for labelling them as copycats, that’s not true, Manowar haven’t made an album this good in decades, Battle Born look set to knock out plenty more where this came from. 9/10
Duskwood - The Last Voyage (Ripple Music) [Rich Piva]
There are some bands in the desert/stoner rock community that if you say a band “sounds like” or is “for fans of” people are going to jump all over it and check it out. One of those bands is the universally loved Valley Of The Sun. Well folks, if you like Valley Of The Sun, you are going to love the record from the Somerset, UK band Duskwood. Like the aforementioned VOTS, Duskwood has partnered with the best label in rock, Ripple Music, to unleash The Last Voyage, a killer desert/stoner rock groove fest that is going to be a winner with this community for sure. I was vaguely familiar with the band prior to the Ripple signing announcement, but:
1. I trust in Todd
2. After hearing the first single and some of the back catalog it was obvious this was going to be a huge hit for the people who dig this vibe
Right off the bat you know this is going to rock with the opening track, Vagrant. You get those VOTS vibes and maybe a little bit of Kyuss/Early QOTSA too. The guitar work on this track is killer, and that groove is right there up front. We get some grungy call backs with an opening that sounds a bit like a song off Superunknown (I have a feeling these guys dig Soundgarden) on the mighty Gammon Lord until it kicks in and rocks your socks off, with a bridge that will satisfy your VOTS appetite. She Calls is a three-minute, catchy ripper that is a nice bridge to Blackhand. I know I mention the band they remind me of a lot, but the thing about Duskwood is that there is an underlying dark element to their trips to the desert that sets their stuff apart from others playing this style, and Blackhand is a perfect example. The pace is slowed, and there is something ominous lurking about this track.
Duskwood - The Last Voyage (Ripple Music) [Rich Piva]
There are some bands in the desert/stoner rock community that if you say a band “sounds like” or is “for fans of” people are going to jump all over it and check it out. One of those bands is the universally loved Valley Of The Sun. Well folks, if you like Valley Of The Sun, you are going to love the record from the Somerset, UK band Duskwood. Like the aforementioned VOTS, Duskwood has partnered with the best label in rock, Ripple Music, to unleash The Last Voyage, a killer desert/stoner rock groove fest that is going to be a winner with this community for sure. I was vaguely familiar with the band prior to the Ripple signing announcement, but:
1. I trust in Todd
2. After hearing the first single and some of the back catalog it was obvious this was going to be a huge hit for the people who dig this vibe
Right off the bat you know this is going to rock with the opening track, Vagrant. You get those VOTS vibes and maybe a little bit of Kyuss/Early QOTSA too. The guitar work on this track is killer, and that groove is right there up front. We get some grungy call backs with an opening that sounds a bit like a song off Superunknown (I have a feeling these guys dig Soundgarden) on the mighty Gammon Lord until it kicks in and rocks your socks off, with a bridge that will satisfy your VOTS appetite. She Calls is a three-minute, catchy ripper that is a nice bridge to Blackhand. I know I mention the band they remind me of a lot, but the thing about Duskwood is that there is an underlying dark element to their trips to the desert that sets their stuff apart from others playing this style, and Blackhand is a perfect example. The pace is slowed, and there is something ominous lurking about this track.
Iliad starts with some driving bass that keeps The Last Voyage consistently moving along its path (all these songs are about travelling or moving it seems) and keeps the desert meets Seattle vibes going strong. I think a lot of albums today are missing brevity, but not here, as Duskwood uses the three-minute rock song effectively throughout The Last Voyage as bridges to the few longer tracks or in some cases just saying what they need to say and moving on, keeping this album fresh and never a laborious listen. The VOTS comparisons are inevitable in the amazing track Skyriders, where the guitar work shines super bright. The last couple of tracks are the more epic tracks of this journey, with Deathproof bringing out the heavy alt metal side of the band and is a song that fans of rock music in general will dig. There is something both very 90s and very today to this track, and I love the layered vocals on this track. I love how Deathproof seamlessly bleeds into the closer, Legacy, which brings the riffs, the best vocal performance, and is the heaviest track on The Last Voyage. Do not stop this album early, as the last song may be the best.
Ripple Music has done it again with another amazing release (I have this statement saved so I can just cut and paste it into my reviews), as Duskwood has brought to us a top-notch desert/stoner rock future classic album with The Last Voyage. I can’t imagine how the people who read my stuff will not be all over this and have it appear somewhere on their year-end list. Both familiar and unique, let’s hope The Last Voyage is a title only and these guys partner with Ripple to put out a whole bunch more killer desert/stoner rock for years to come. For now, enjoy The Last Voyage and bask in the glow if its desert moon awesomeness. 9/10
Ripple Music has done it again with another amazing release (I have this statement saved so I can just cut and paste it into my reviews), as Duskwood has brought to us a top-notch desert/stoner rock future classic album with The Last Voyage. I can’t imagine how the people who read my stuff will not be all over this and have it appear somewhere on their year-end list. Both familiar and unique, let’s hope The Last Voyage is a title only and these guys partner with Ripple to put out a whole bunch more killer desert/stoner rock for years to come. For now, enjoy The Last Voyage and bask in the glow if its desert moon awesomeness. 9/10
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