Metalation has to be good? Right? It almost led to the breakup of Paragon. Their previous album Controlled Demolition was recorded fast, something they didn’t want to repeat as bassist Jan Bünning and guitarist Martin Christian started to write the new record in 2019 and decided to record everything themselves due to the pandemic putting a halt to their touring. This proved to be much more stressful to the band than they first thought as they strived to make it a bit more melodic and wider ranging, bringing in Piet Sielck to produce/mix/master Metalation is an album that looks back at the Paragon discography and tries to recreate some of their earlier work but with modern trappings.
Due to lockdowns their guitarist left, his replacement left, then their drummer left, all these setbacks led there to be a serious conversation about disbanding the band after some farewell shows. However Paragon’s metal resolve is stronger than that so with Martin’s son Jason on drums and the line-up is renewed and enthused, which can be heard in their best album to date. Metalation blasts out of the gates with the snarling Fighting The Fire, Teutonic heavy metal at its best, a speed injection from the drums and bass sets a galloping pace while the twin axes are ablaze, MarioNET going full speed metal.
Slenderman is crunchier suiting the gruff vocals with a horror theme, getting darker with Beyond The Horizon, Battalion though is a mid-pace battle metal track. There’s a breadth of styles within this record, you can hear how well it’s been thought out as it keeps your attention and more importantly your head banging. Filled with horror themes and darker lyrical imagery, Metalation is a heavy metal record that nearly didn’t happen, however it has strengthened the union between these German metal veterans. 8/10
Dead Icarus – Zealot (MNRK Heavy) [Zak Skane]
Dead Icarus shows former Atreyu vocalist Alex Varkatzas putting his past behind him by collaborating with members of Enterprise Earth Gabe Mangold and Brandon Zackey to create a fiery new beginning.
The Unconquerable opens up with walls of symphonic tinged guitars before we are launched in with gothic influenced death and metal core aggression. The frantic and precise tried and tested pedal tone riffs are accompanied by berserk skank and blast beats whilst being laced in a gothic cocktail of choirs and synths. Alex brings in a mix of classic metalcore style fry vocals whilst also bringing in some new modern deathcore low gutturals into the mix.
Dead Icarus – Zealot (MNRK Heavy) [Zak Skane]
Dead Icarus shows former Atreyu vocalist Alex Varkatzas putting his past behind him by collaborating with members of Enterprise Earth Gabe Mangold and Brandon Zackey to create a fiery new beginning.
The Unconquerable opens up with walls of symphonic tinged guitars before we are launched in with gothic influenced death and metal core aggression. The frantic and precise tried and tested pedal tone riffs are accompanied by berserk skank and blast beats whilst being laced in a gothic cocktail of choirs and synths. Alex brings in a mix of classic metalcore style fry vocals whilst also bringing in some new modern deathcore low gutturals into the mix.
The following track Bearing Burdens and Saving Skin comes in faster, heavier and catchier with it opening with some hyper energetic hardcore beats before we are lured into walls of chaos that consists of frantic riffs and stab chords before we are brought up for air with some classic 2010’s styled choruses before plunged back down with some brutal sounding breakdowns.
The title track Zealot brings in the classic nu metal riffs with the vocalist trading in the vocal frys for the classic post- grunge growl taking the bands directions to a more Pantera type sound but with a more modern twist. 1 Million Ways brings in some classic nostalgic All That Remains style metalcore, with it’s anthemic American rock radio styled soaring choruses that match with technical level of guitar work whilst machine gun precise kick patterns provide some face tearing brutality. Temptations Kiss transcends us to the second part of the album by bringing in some ominous atmospheric layers whilst hi passed classical guitars are plucked in the back ground whilst the haunting reverbed male and female vocals float over the mix.
Fountains Of Death continues the melodic direction but bringing it back the gothic vibes with the vocals floating over the dark dissonant guitar riffs, whilst dark angelic pianos flutter over the chaotic arrangements. Fountains Of Death continues the melodic direction but bringing it back the gothic vibes with the vocals floating over the dark dissonant guitar riffs, whilst dark angelic pianos flutter over the chaotic waltz rhymed arrangements. Casting Spells brings together wizard like technicality along with caveman brutality with it’s fast melodic lead playing flowing into bludgeoning breakdowns. Hell Opens It's Mouth basically advertises it’s self.
As soon as the first notes are played we get discordant heavy noise and pounding breakdowns from the first and last bar. Secrets In The Dark brings another short interval track which features chilling guitar harmonics, spacey crunch guitars whilst the vocals brings in some bluesy lyrical phrases before it crescendos into heavy lead harmonies and powerful backing chords and triumphant pounding drums. Betrayal Shaped Daggers brings this album to a balls to the wall closer with it’s anthemic choruses, classic swinging riffs whilst featuring the rhythms sections going hell for leather.
Dead Icarus' debut album brings in their classic metalcore influences to be re-sharped with a modern edge, for example the brutality on songs like the opening track The Unconquerable and Fountains Of Death have the classic metalcore technically whilst being glazed with their gothic influences of twinkling pianos and gothic tinged clean vocals. There are also moments on the album where it feels like it takes a few sharp turns where it goes from being gothic influenced metalcore, to Pantera sounding groove metal on the track Zealot whilst 1 Million Days is just classic nostalgic All That Remains style metalcore containing technical melodic riffs and soaring radio friendly choruses.
Dead Icarus' debut album brings in their classic metalcore influences to be re-sharped with a modern edge, for example the brutality on songs like the opening track The Unconquerable and Fountains Of Death have the classic metalcore technically whilst being glazed with their gothic influences of twinkling pianos and gothic tinged clean vocals. There are also moments on the album where it feels like it takes a few sharp turns where it goes from being gothic influenced metalcore, to Pantera sounding groove metal on the track Zealot whilst 1 Million Days is just classic nostalgic All That Remains style metalcore containing technical melodic riffs and soaring radio friendly choruses.
For album connoisseurs this can feel a bit jolting when listening to the album from start to finish, but if you like your metalcore made by the masters in the game then this is the one to check out. For fans of Bleeding Through, All That Remains and old school Motionless In White. 8/10
Molder - Catastrophic Reconfiguration (Prosthetic Records) [Mike Pickett]
"This time around, I'm listening to Molder and their latest full-length album, Catastrophic Reconfiguration. Founded in 2017, this foursome from Shorewood, Illinois, has already released its third studio album—a quick pace for most bands. As I hadn’t heard of Molder before receiving this album, I wasn’t sure what to expect.
Molder - Catastrophic Reconfiguration (Prosthetic Records) [Mike Pickett]
"This time around, I'm listening to Molder and their latest full-length album, Catastrophic Reconfiguration. Founded in 2017, this foursome from Shorewood, Illinois, has already released its third studio album—a quick pace for most bands. As I hadn’t heard of Molder before receiving this album, I wasn’t sure what to expect.
The opening track, Catastrophic Reconfiguration, begins with a brief three-second synth intro, making me think I was about to hear some technical death metal. But I was quickly pulled in a completely different, and welcome, direction. The album is packed with chunky riffs that recall the birth of the genre, along with vocal stylings that feel like a tribute to early Death or Obituary. Each track pays homage to death metal’s forefathers, taking listeners on a gritty trip down memory lane. While the nostalgia is real, there isn’t much here that stands out as unique.
Don’t get me wrong—it’s a solid collection of songs, and I’ve come back to it a few times since my first listen. But the album feels like a band deeply devoted to the old-school sound, working to stick closely to a classic formula set by the genre’s pioneers. That said, Catastrophic Reconfiguration is well-executed. The lyrics plunge into the grotesque and putrid, perfect for a journey through death metal’s dark side. The slow, chunky riffs carry a level of distortion that’s satisfyingly grimy.
The vocals transport even the most die-hard death metal fan back to the genre’s roots, while the beats and bass fill every gap, giving fans everything they need to headbang along. It may sound at times like I’m being harsh, but I have nothing but respect for this album. I just want to be clear—it’s old-school death metal, not a reinvention of the genre. If you’re looking to add a band with a Death- or Obituary-like sound to your roster, then this is a great pick. While not highly original, Catastrophic Reconfiguration is still a strong listen. 7/10
MC5 - Heavy Lifting (Crash Records) [Rich Piva]
There is no denying the impact that MC5 had on the music scene. It was a short stint, between 1969 and 1971, with their two studio albums and their debut live record, but the influence Wayne Kramer and crew had upon music and the culture in general is as large as any other band with such a small window and limited discography. Kick Out The Jams could be considered the reason punk exists, not just from the song but the whole movement behind the band as well.
MC5 - Heavy Lifting (Crash Records) [Rich Piva]
There is no denying the impact that MC5 had on the music scene. It was a short stint, between 1969 and 1971, with their two studio albums and their debut live record, but the influence Wayne Kramer and crew had upon music and the culture in general is as large as any other band with such a small window and limited discography. Kick Out The Jams could be considered the reason punk exists, not just from the song but the whole movement behind the band as well.
Sadly, we lost the last two remaining living members of the band this year, with Kramer passing away back in February and drummer Dennis Thompson in May, both before they could see the band enshrined in the Rock Hall and before their new album, their first in 54 years, Heavy Lifting, was released to the listening world. It is close to being a Kramer solo record, and Thompson plays on a couple of songs too, along with a whole bunch of their famous friends, but it is a fitting send off to the trailblazing group.
It is hard to be too negative in listening to a record by a band like MC5 at this point given all that has happened, but what I will say is Heavy Lifting is a fun listen. Sure, the record sounds like old guys coming back and releasing new material, like what the new Blue Oyster Cult and Deep Purple records sound like. I mean it has been 54 years, the fourth longest gap in a discography ever. But hey, I enjoyed both the Blue Oyster Cult and Deep Purple records for what they are, and the same goes for this one. Gone is the frantic energy and not knowing what is going to happen next. Now we have some solid heavy rock songs with a message and great playing from the original members and their guests.
It is hard to be too negative in listening to a record by a band like MC5 at this point given all that has happened, but what I will say is Heavy Lifting is a fun listen. Sure, the record sounds like old guys coming back and releasing new material, like what the new Blue Oyster Cult and Deep Purple records sound like. I mean it has been 54 years, the fourth longest gap in a discography ever. But hey, I enjoyed both the Blue Oyster Cult and Deep Purple records for what they are, and the same goes for this one. Gone is the frantic energy and not knowing what is going to happen next. Now we have some solid heavy rock songs with a message and great playing from the original members and their guests.
The title track is solid, with Kramer’s playing sounding great and of course Tom Morello weaselled his way into the project to add some of his signature noodling. I dig The Edge Of The Switchblade that has William Duvall of Alice In Chains and the other guitarist that shows up on all albums like this, Slash, with a great solo. The guestless Barbarians At The Gate may be my favourite track and has the most spirit of the old days that any of the thirteen tracks have. Change, No Change has a serious 60s protest song vibe that works today and is another standout track. Thompson plays on two tracks, including one with Vernon Reed shredding, Can’t Be Found, which is another favourite of mine on the record.
I am not sure there is a better way to say goodbye to Wayne Kramer and the band than with Heavy Lifting. The MC5 did not need a eulogy, instead they needed one more “Kick Out The Jams, Motherfucker”, and 54 years later that is what we get. 7/10
I am not sure there is a better way to say goodbye to Wayne Kramer and the band than with Heavy Lifting. The MC5 did not need a eulogy, instead they needed one more “Kick Out The Jams, Motherfucker”, and 54 years later that is what we get. 7/10
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