Exhorder - Defectum Omnium (Nuclear Blast Records) [Mark Young]
From Doom to Thrash, this is the sort of week I love. Exhorder release their 4th full-length album, nearly 5 years after Mourn The Southern Skies. Covid got in the way of the momentum built from that album, but it didn’t keep them down for long. Bearing in mind that they have been around for a long time, and are one of metal’s perennial bridesmaids do they have enough here to warrant your attention?
Yes.
Yes, they do.
From Wrath Of Prophecies detonating your head starts to nod. It's an immediate grab of your attention and they don’t let it go for one minute. As opening tracks go, this is a stormer, from that bouncing riff to the solid drums to a suitably mental solo which this music cries out for. It leans into that Thrash style without sounding like a rehash of anything they have done previously and comes like a punch in the face.
Yes, they do.
From Wrath Of Prophecies detonating your head starts to nod. It's an immediate grab of your attention and they don’t let it go for one minute. As opening tracks go, this is a stormer, from that bouncing riff to the solid drums to a suitably mental solo which this music cries out for. It leans into that Thrash style without sounding like a rehash of anything they have done previously and comes like a punch in the face.
Under The Gaslight contains one of the most fiendish riff builds I’ve heard in ages. Kyle’s vocals here add that extra oomph to it, it sounds so vital and fresh, and you can see them headbanging under the solo break (Step forward Mr O’Brien). It’s the overall feel to it, of a band enjoying the material and each other that bleeds through.
There is a touch of punk to Forever and Beyond Despair that sits side by side with some blast-beats until it hits a sludge-like break-down. Again, Kyle puts so much vitriol into his delivery that this is one of the best 1-2-3 openers you will hear this year. The Tale Of Unsound Minds goes for that slow and measured attack that turns over into a stomper of a riff, and that is one of the key things here. They know that it needs something like this to keep your attention and they do that in spades. There are some face-melting moments on this record, and the solo here is one of them.
In the accompanying bio there is a note that suggested that the album has a little of everything that everyone can dig. This is so true, The Tale…is one such song, bringing just about everything to the table and doing it better than most. Divide And Conquer breaks out the thrash which will result in some collateral damage live.
It’s not hyper fast, it occupies that zone where it is perfect for headbanging. Live, you would think that they will up the BPM’s a touch. Year Of The Goat is more of that approach, but there is no danger of repetition or familiarity. Its similar in tempo only, its arrangement is one of ‘here is a riff, chew on that’ and I defy you not to nod your head along to this.
Taken By Flames chooses old-school brutality in its opening moments as it navigates its way through that slow style of chugging attack until the chains are thrown off and BOOM its head down time. Key changes, high register screams, this one has the lot. For me it hits like a modern-day classic. Its simple in arrangement but that is part of its beauty. It doesn’t try to be anything other than just pure heavy metal.
Taken By Flames chooses old-school brutality in its opening moments as it navigates its way through that slow style of chugging attack until the chains are thrown off and BOOM its head down time. Key changes, high register screams, this one has the lot. For me it hits like a modern-day classic. Its simple in arrangement but that is part of its beauty. It doesn’t try to be anything other than just pure heavy metal.
Stolen Hope with its opening choir, repeating a mantra thankfully gives way to a little bit of doom with one of those riffs that you know would be royal to play. Stolen Hope shows the breadth of their ability to craft a song with a cracking skill set in it, just as Taken By Flames is a stormer, this is the perfect companion to that song, possessing an impassioned vocal performance that ends so abruptly I thought my earphones had broken.
Three Stages Of Truth – Lacing The Well is another animal altogether. Starting with a haunting acoustical passage, they drop another stomper in, wild solo over the top and some proper down picked goodness. If you play guitar, its one of those songs that would reward the hard work you would have to put in to do it justice. Riffs come from all directions and is as strong as any of the songs that precede it.
Sedition goes for a punkish 3-minute blast which serves the purpose of setting us up for the final two –Desensitized just goes for the throat from the start, this is powered by Sasha Horn on drums knocking hell out of the kit and just powers along, taking no prisoners and is an absolute blast. Your Six is our closing track, deploying that controlled tempo once more. On here, Kyle unleashes vocal fire, which is just excellent, making the song fly. The solo breaks are just icing on the cake here and it’s a worthy end to an album I didn’t think would be this good.
And it's good. I’d go so far as to say it's one of the releases of 2024 because it has everything for everyone. It's not just thrash, it's not just groove, or doom, or sludge, it’s all of those things but done in a way that doesn’t jar when held up against the other tracks. And that is one of things to it, the flow of songs is fantastic. They don’t load up the front-end with the blasters, they start high and stay that way. Try them for size. Your ears will love you for it. 9/10
Early Moods - A Sinner’s Past (RidingEasy Records) [Rich Piva]
Early Moods is back, and dare I say earlier than expected, with a new album chock full of the Iommi worship and killer afros that made us all love their self-titled debut in 2022, even though it seems like it came out more recently since it is still in constant rotation for me. For their sophomore effort the L.A., California band brings us A Sinner’s Past which is more of the same Sabbath love and riffs that you got from the first record but with even better songwriting and an even bigger sounding record.
I mean take the opener, Last Hour. Wow, what a song, especially the back half hen the tempo picks up and the guitar work rules all. Blood Offerings reminds me a Sahg, with its creepy riff and chucky proto tempo. The vocals remind me of Witchfinder General on A Sinner’s Past, but if WG had a better studio to record in. This is some evil stuff, especially when Satan himself makes an appearance on vocals on this track. The title track is more of the same, which in this case is an excellent thing, with another killer and fuzzy riff and displaying Early Moods as the tightest they have been on record so far.
And it's good. I’d go so far as to say it's one of the releases of 2024 because it has everything for everyone. It's not just thrash, it's not just groove, or doom, or sludge, it’s all of those things but done in a way that doesn’t jar when held up against the other tracks. And that is one of things to it, the flow of songs is fantastic. They don’t load up the front-end with the blasters, they start high and stay that way. Try them for size. Your ears will love you for it. 9/10
Early Moods - A Sinner’s Past (RidingEasy Records) [Rich Piva]
Early Moods is back, and dare I say earlier than expected, with a new album chock full of the Iommi worship and killer afros that made us all love their self-titled debut in 2022, even though it seems like it came out more recently since it is still in constant rotation for me. For their sophomore effort the L.A., California band brings us A Sinner’s Past which is more of the same Sabbath love and riffs that you got from the first record but with even better songwriting and an even bigger sounding record.
I mean take the opener, Last Hour. Wow, what a song, especially the back half hen the tempo picks up and the guitar work rules all. Blood Offerings reminds me a Sahg, with its creepy riff and chucky proto tempo. The vocals remind me of Witchfinder General on A Sinner’s Past, but if WG had a better studio to record in. This is some evil stuff, especially when Satan himself makes an appearance on vocals on this track. The title track is more of the same, which in this case is an excellent thing, with another killer and fuzzy riff and displaying Early Moods as the tightest they have been on record so far.
The band is certainly showing a maturity in bot their playing and recording, as the start and stop towards the end of this track is some next level stuff. I love the instrumental opening of Unhinged Spirit leading you to another riff and a killer drum fill (the drumming on this track is the best I have heard from the band). It is this type of track that show that Early Moods is leading the way for proto/doom bands out there today.
You want more doom? How about we slow it down a bit to go all classic doom and get super evil with The Apparition, the band’s answer to the song Black Sabbath. I also get hints of Cathedral, musically at least. That Witchfinder General comparison hold for a track like Walperguise while Hell’s Odyssey leans towards some Candlemass territory and I love how they pick up the tempo on the back half for some NWOBHM love, dig those dual guitars. Soul Sorcery closes us out, with a evil proto ripper; no slowing down as we end this trip to hell.
I would put Early Moods up against and proto doom band out their today, especially with the step forward they take with A Sinner’s Past. The band has matured as musicians and songwriters while bringing the riffs even more this time, which is saying a lot. Early Moods is one of the best Sabbath worship bands out there, so if you dig that stuff, you know what to do, but these guys are no rip offs, they are the real evil deal. 9/10
Midnight – Hellish Expectations (Metal Blade Records) [Dr Claire Hanley]
It’s business as usual for the blackened speed metal maestros, Midnight. Gritty as ever, Expect Total Hell sets the tone for the record with a fast-paced and frantic onslaught of guitars and decay-laden vocals. However, while filth and depravity are common themes, Gash Scrape fails to have the impact you’d expect from such a title; feeling lacklustre and dare I say it, largely unimaginative to the extent of merely going through the motions. Masked And Deadly has more to offer in terms of dynamics with tempo switches and catchy hooks, as does Slave Of The Blade, but although Dungeon Lust was impressive in terms of the air of viscosity it levels, it lacks noteworthy elements.
The second half of the record is arguably much stronger, with Nuclear Saviour ripping through the record with gnawing vocals, organic energy and a blistering solo section. Deliver Us To Devil has a similar, seriously infectious and rotten aural aesthetic and the grinding, chainsaw guitars of Merciless Slaughter inspired involuntary head banging aplenty. While Doom Death Desire falls short on focal points, FOAL swiftly turns things around; closing out the record with the pulsating, raw aggression that Midnight are famed for.
Hellish Expectations offers up a collection of D-beat delights but clocking in at just over 25 minutes, I can’t help but wonder if the band have peaked and are starting to run out of steam. Much of the record was underwhelming as if I’d habituated to the angst and anarchy from previous releases. Nonetheless, it’s a Midnight album, so great for a quick burst of filth but not something I’d intentionally reach for on repeat. 7/10
Floya – Yume (Arising Empire) [Matt Bladen]
Having seen German duo Floya impress everyone in the building at Radar Festival last year, with only a few singles to their name. You could say their debut full length was anticipated. Phil Bayer (vocals) and Marv Wilder (guitars) are the two wildly inventive musicians behind Floya’s innovative sound where the delay driven guitar lines of U2 (Florescent) are put together with the funky electro pop of The 1975, as snippets of Peter Gabriel (Wonders) and The Pet Shop Boys are weaved within this highly layered musicals group. Both men have done their time in other bands and are influenced by late 80’s/early 90’s radio rock as well as a hefty helping of EDM culture.
I would put Early Moods up against and proto doom band out their today, especially with the step forward they take with A Sinner’s Past. The band has matured as musicians and songwriters while bringing the riffs even more this time, which is saying a lot. Early Moods is one of the best Sabbath worship bands out there, so if you dig that stuff, you know what to do, but these guys are no rip offs, they are the real evil deal. 9/10
Midnight – Hellish Expectations (Metal Blade Records) [Dr Claire Hanley]
It’s business as usual for the blackened speed metal maestros, Midnight. Gritty as ever, Expect Total Hell sets the tone for the record with a fast-paced and frantic onslaught of guitars and decay-laden vocals. However, while filth and depravity are common themes, Gash Scrape fails to have the impact you’d expect from such a title; feeling lacklustre and dare I say it, largely unimaginative to the extent of merely going through the motions. Masked And Deadly has more to offer in terms of dynamics with tempo switches and catchy hooks, as does Slave Of The Blade, but although Dungeon Lust was impressive in terms of the air of viscosity it levels, it lacks noteworthy elements.
The second half of the record is arguably much stronger, with Nuclear Saviour ripping through the record with gnawing vocals, organic energy and a blistering solo section. Deliver Us To Devil has a similar, seriously infectious and rotten aural aesthetic and the grinding, chainsaw guitars of Merciless Slaughter inspired involuntary head banging aplenty. While Doom Death Desire falls short on focal points, FOAL swiftly turns things around; closing out the record with the pulsating, raw aggression that Midnight are famed for.
Hellish Expectations offers up a collection of D-beat delights but clocking in at just over 25 minutes, I can’t help but wonder if the band have peaked and are starting to run out of steam. Much of the record was underwhelming as if I’d habituated to the angst and anarchy from previous releases. Nonetheless, it’s a Midnight album, so great for a quick burst of filth but not something I’d intentionally reach for on repeat. 7/10
Floya – Yume (Arising Empire) [Matt Bladen]
Having seen German duo Floya impress everyone in the building at Radar Festival last year, with only a few singles to their name. You could say their debut full length was anticipated. Phil Bayer (vocals) and Marv Wilder (guitars) are the two wildly inventive musicians behind Floya’s innovative sound where the delay driven guitar lines of U2 (Florescent) are put together with the funky electro pop of The 1975, as snippets of Peter Gabriel (Wonders) and The Pet Shop Boys are weaved within this highly layered musicals group. Both men have done their time in other bands and are influenced by late 80’s/early 90’s radio rock as well as a hefty helping of EDM culture.
They approached the debut album under the proviso that there were no rules and as such often the guitars don’t sound like guitars, they become shimmering synths on Stay, jangle behind a drum machine on Drift, while they actually get to ring out with jangly melodies on The Hymn. While these shifts in genre are done with ease, Phil’s vocal phrasing and tone is pitched just right to deal with the electro, pop or rock backing created.
Recorded and written alongside Chris Kempe, a lot of what Floya are about are the non-guitar and vocal elements, the drum programming on Wonders, the slow building Epiphany and others is perfect, locked in with some simmering synths and bright electronics pulses. There’s a sense of joy to this record that puts a smile on your face. It bristles with promise and positivity, a sunny outlook on a grey day. You may have heard some of the singles already but they live up to how good this album is. Modern crossover pop rock which takes risks that pay off. Floya shine bright on their debut. 8/10
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