Here is Keefy’s final Top Ten from his overall Top 40 Metal Albums of 2012 list! Enjoy!
#10. CRYPTOPSY- Cryptopsy (Self Released)
To paraphrase comedian Chris Rock, I’m tired of apologizing for CRYPTOPSY. I was in the minority among people when I loved The Unspoken King. I’m sure as people are reading this; they are scratching their heads again. No matter, CRYPTOPSY has silenced all their critics with an album that matches the best work of their career. A brutal slab of technical death metal on every level the album is great for all the reasons that made the band stellar in the first place. Obviously, people talk about the inhuman level of Drummer FLO MOUNIER. However, the real strength of the band is returning guitarist and writer JON LEVASSEUR and mainstay guitarist/uber producer CHRISITAN DONALDSON. The songs they wrote are superb. I was nervous about Oliver Pinard being able to replace ERIC LANGLOIS on bass, but even he was great too! Lastly, MATT MCGATCHY‘s performance provides the shut the fuck up moment of the year to all the haters. Well done sirs!
#9. PRONG- Carved Into Stone (Long Branch Records/SPV)
I thought my birthday came early this year when PRONG’s new album came out. PRONG has always been one of my favorite bands and all of their recorded output has been always been strong. Carved Into Stone is actually the bands best album since 1996′s Rude Awakening. Not only is the album full of sick tunes, but over the top, guitar playing in general is terrific. TOMMY VICTOR (DANZIG, MINISTRY) has been known for two things in his career: great songs and being a riff master general. The album displays an unexpected depth for any record in 2012. Packed with just the right touch of technical mastery and catchy songwriting to please and the hardcore soul, which hearkens back to Tommy’s NYC metal roots. The performances from TONY CAMPOS (SOULFLY/ MINISTRY/STATIC-X/ASESINO/POSSESSED/OTEP) and ALEXI RODRIGUEZ (ex-3 INCHES OF BLOOD) are matched perfectly too, making this one of the baddest power trio’s around.
#8. GOJIRA – L’Enfant Sauvage (Roadrunner)
GOJIRA albums, when they come out, are an event. The metal world waits with baited breath and the results are always stellar. Armed with a new deal from Roadrunner, the band put out L’Enfant Sauvage over the summer to roars of approval. Perhaps, even I was too cynical to believe that GOJIRA would continue to get increasingly popular as they stayed true to who they were? L’Enfant Sauvage is a great blend of theProgressive Rock/Metal, Tech Death, old-school Death Metal and Thrash influences they are known for. Then there is their subject matter: they are one of the most thoughtful and socially conscious bands around, lyrically. The album hits the right mood on every level, every time and has the musical confidence of a band much more senior in years. Songs like “Explosia”, “The Axe” and “Liquid Fire” are going to be talked about in metal head circles for years to come.
#7. CANNIBAL CORPSE- Torture (Metal Blade)
Like a beautifully marbled steak or a legendary work of art, CANNIBAL CORPSE truly does get better with age. It seems likely that much like SLAYER, the death metal godfathers will keep right on trucking on to oblivion, making skull splitting, gore filled albums for as long as they can. Torture is perfect in every way and all of the things you love about the band are in the mix. Perhaps due to being the most collaborative written album in the bands history, the sound from song to song is quite eclectic. Not like Dubstep, power-ballad eclectic, mind you, but the band has figured out how to blend different song styles seamlessly. Inventive new chord structures and riffs, hard to fathom bass lines and stupendous drumming are all topped off by GEORGE “CORPSEGRINDER” FISHER‘s impeccable voice from hell. Plus, don’t forget the grooves. Oh those crushing grooves! Nobody writes a grooving-ass, brutal riff better than ALEX WEBSTER. The band continues to be the yard stick by which all death metal music and consequently, all death metal bands are measured.
#6. C.O.C. – C.O.C. (Candlelight)
That C.O.C. was able to make a comeback as a trio at this point in their career is not a surprise. The fact that they reunited to make an amazing album is not even a question. What I am surprised by, is that it seems like the rest of the world has caught up to the sound of the band and the love from fans and the press is over flowing. When last we saw C.O.C. as a trio it was the 80s and they were mostly an underground phenomenon. Lots of bands like to say they were influenced by the Sludgy, Crossover Doom masters, but in this age of the Internet; flattery goes a long way to help a new bands rep.To hear WOODY WEATHERMAN tell it, the reunion circuit was totally un-interesting to the band, unless they were gonna make new music. C.O.C., the album has more quality and vitality than many of the upstarts of the genre they helped put on the map. MIKE DEAN‘s bass is full of fuzz and style; Woody‘s soloing is on fire and REED MULLEN, back for the first time in over decade, drums and sings like a man possessed. Let us not forget the poignant political lyrics, much welcomed in these troublesome times of a divided America. You might say the metal world needed C.O.C. to come back, as much as they needed to make a comeback themselves.
#5. MESHUGGAH- Koloss (Nuclear Blast)
What can you say about MESHUGGAH that hasn’t been said already? It’s not hard to run out of superlatives when talking about the most influential metal band of the last fifteen years. Whether Koloss was going to be great or not was likely not debatable. What was up for grabs, was what direction these geniuses would take the iconic music we have all come to expect. The results were stunning. Can you change things up, and still be the same band? By definition no, but that is MESHUGGAH for you. Koloss is a collection of songs much like the rest of the bands’ storied catalog: brutal, and complex. Most of the songs feature a pulsing groove that has come to the fore in the bands work of late. Every beat and riff is a maelstrom of twisting delight, overlapping time signatures and finger-defying licks galore. Most of all, the album sets another technical high water-mark for guitarist FREDRICK THORDENDAL and drummer TOMAS HAAKE.
#4. TESTAMENT- Dark Roots Of Earth (Nuclear Blast)
The return of TESTAMENT to their former level of greatness is nothing short of a triumph for all of metal. 2008′s Formation of Damnation was an excellent comeback album, after almost a decade of no new music. In the interim years since getting back together, they have toured tirelessly around the world, reignited their chemistry and fulfilled the promise of their early career. Dark Roots of Earth takes the concept of the old-school Thrash style, added a modern sensibility and took it all one step further. Only EXODUS and ANTHRAX have been able to pull of the feat of making new music for modern ears, staying true to their past and begin able to add a level of panache. ERIC PETERSON finally got his dream come true by getting GENE HOGLAN to write and record drums for a TESTAMENT album. The unrelenting bottom end of the songs gives the band a new power they have never had. Every song is a gem. “Native Blood” is one of the catchiest, yet grooviest songs I’ve heard in ages. The chorus is also the best of 2012. CHUCK BILLY‘s ageless voice carries the day and ALEX SKOLNICK displays the chops that verify his legions of fans. Even GREG CHRISTIAN is heard from, with some excellent bass lines. Dark Roots of Earth is all killer and positively no filler.
#3. BARONESS- Yellow And Green (Relapse)
One of the most anticipated albums of 2012 did not disappoint when BARONESS dropped the latest in their color-themed recent discography. The band made no pretense that this album would be not be metal and frankly, that was OK by me. If you have been following the band, they have been less concerned with the trappings of fitting in, in their career up to this point. They instead stayed true to their artistic authenticity. What BARONESS delivered is a double-album of incredible songs, displaying great chops and the best dynamics overall of any album on this list. Some of the songs are quite heavy, but more often than not, that heaviness never came the expense of melodies or tones. “Take My Bones Away” was my out and out favorite song of the entire year. “March To The Sea” was another stone cold rocker, the likes that haven’t been heard since the heyday of QUEEN or THIN LIZZY. Some of the best moments are the most unexpected ones; like the freak-out synth work in “Cocanium”. All of the keyboard work is stellar as is the bass playing, which band leader John Baizley played all of too. “Back Where I Belong”, “Eula” and “Board Up The House” will also rank at the top of the bands’ song book for years to come. The “Green” side of the double set is equally tuneful and more mellow, but no less mint song-craft wise. Finally, tying it all together is the brilliant cover artwork, the years’ best; also by Baizley once again.
#2. DYING FETUS- Reign Supreme (Relapse)
DYING FETUS is such a great band in its current incarnation that one almost forgets there were entire years in their history marked by upheavals and departures. The present day lineup has been intact since 2007 and the comfort level they have together creating the most brutal Death Metal possibly known to man is sky high. Through it all, JOHN GALLAGHER has been the one constant: constantly growing as a guitarist and writer and constantly writing pissed the fuck off, baffling and sick lyrics. Reign Supreme might be remembered years from now as one of the top three releases of the bands’ career with its non-stop violence inspired songs. GALLAGHER and his p-i-c SEAN BEASLEY crush it out of the park on the guttural vocals. Beasley, who was always an underrated bassist for the genre, plays some of the best passages ever recorded for the instrument in the context of technical death metal. TREY WILLIAMS also one-ups his performance from Descend Into Depravity, being a might less technical, but still precise as fuck and bludgeoning as all hell. His blasts are far and away my favorite of any drummer on album this entire year. The album is a masterpiece of death metal brilliance, and that is really saying something considering how deep the sub-genre is these days.
#1. IHSAHN- Eremita (Candlelight)
In what was a high quality year at the top of the heap of metal music, IHSAHN‘s fourth solo outing is my choice for the album of the year. It’s not the sexy choice compared with typical years past, but it is the best choice, by far. Eremita is a sprawling, ambitious album full of musical twists and turns, yet perfectly coalescing into a sensible piece of art. In an interview I conducted with him for Metal Army he talked about the creative process as a continual evolution, a death followed by a rebirth. That would just begin to cover the emotional and lyrical depth in the music. In many ways, this is the album that IHSAHN, famously known as the legendary front man of EMPEROR, has been building up to for his entire career. His mastery as a composer, guitarist, vocalist and lyricist is without equal at this point in his career. Musically the songs cover the gamut of emotions and styles and reveal a complexity that mirrors the artist himself. Songs like “Arrival”, “The Paranoid”, “Something Out There”, “The Eagle And The Snake” and “Departure” are among the best of the year. Topping off the package are the guest performances by the likes of DEVIN TOWNSEND, JEFF LOOMIS, EINAR SOLBERG (LEPROUS), JEFF MUNKENBY on sax and IHSAHN’s wife HEIDI S. TVEITEN‘s enchanting vocal turns, which sends the quality of the album into the stratosphere.
People seem to love or hate these Year End Top Metal albums list-thingys. As a long-time reviewer, I enjoy doing them, but you have to find the right balance. Last year I tried to do a top 100 list, and honestly it was brutal, and I don’t mean the music. This year I have cut the list down to a more manageable number. A full list of Top 40 albums will run next week, but for the next two days, we’ll run the top 20. Without further ado here is my list from 20-11.
#20. ALCEST- Les Voyages de L’Âme (Prophecy Productions)
Hauntingly beautiful, disturbing and introspective. Those are the words that describe ALCEST in general, and their early 2012 offering. Maestro NEIGE is one of the most creative thinkers, genius lyricists and bravest art makers in all of music, not just metal.
#19. ROYAL THUNDER- CVI (Relapse)
For a band that has only had the public ear for a few years, ROYAL THUNDER’s CVI is amazing and refreshing. MLNY PARSONZ is a reluctant hero and front woman for the bluesiest, brooding proto-metal band to come along in ages.
#18. WOODS OF YPRES- Woods V: Grey Skies and Electric Light (Earache)
With the one year anniversary coming up of the tragic death of DAVID GOLD, it was bittersweet revisiting this album recently. His passing looms large over the music left behind in retrospect. Woods V is an epic masterwork of gloom ridden, melodic Doom. A terrible loss for the music world.
#17. HIGH ON FIRE- De Vermiis Mysteriis (E1)
Another concept album that made the top 20 list. Another magical, proto-metal burst of grand musical ambition from Messrs MATT PIKE and company. This is a band that keeps getting better and better. The record is also a guitar playing tour de force from start to finish too.
DEVIN TOWNSEND is at the pinnacle of his powers. He might also be the JAMES BROWN of metal, the hardest working man in the business. Epicloud is his most straight forward, rocking and fun effort. Worth buying for the performance of ANNEKE VAN GIERSBERGEN alone.
#15. GOATWHORE- Blood For The Master (Metal Blade)
One of the top outfits in metal, 2012 saw the band release another great album. They even get some commercial exposure for the first time ever. It was long overdue for a unit that has made some of the most consistently harsh, and evil music from America in a long time. Kudos!
#14. CONVERGE- All We Love We Leave Behind (Epitaph)
For a band that has rewritten some of the heaviest music in their career, they shun the term metal or the typical definition of it. Yet, their latest album is one of the hardest to come out this year. A band that continues to write and re-write the book on modern music.
#13. THE DEFTONES- Koi No Yokan (Reprise)
Not quite as heavy as their previous efforts, but still an astounding melodic statement from one of the most creative forces in modern metal. Few albums can be said to be this rough and gorgeous sounding too. THE DEFTONES pulled it off.
#12. LAMB OF GOD- Resolution (Epic)
One of the heaviest and bad-ass albums of the year. Credit to the band for also making the most diverse album of their career, without sacrificing what has made them the leaders of modern metal. The shame of RANDY BLYTHE‘s legal troubles abroad has been not enough attention has gotten paid to how adventurous and cool Resolution is musically.
#11. MARES OF THRACE – The Pilgrimage (Sonic Union Metal)
Just missed the top ten. A complex, heavy concept-thick album that stays with you long after the music stops. G THÉRÈSE LANZ doesn’t get nearly enough notice for her lyrics, which match the best of any album in 2012. Another brilliant release from the most brutal band in Canada, and maybe sonically; the heaviest tone in modern metal too.
Although a certain someone could get tired of giving out good scores, some are not. Cancer Bats have released the highly anticipated follow up to Bears, Mayors, Scraps, and Bones entitled Dead Set On Living, and is in the running as hardcore album of the year. Starting off with the heavy yet catchy “R.A.T.S.,” Cancer Bats start off with a bang. It transcends into the metal realm with it’s almost 80’s era type of groove, but it still retains a hardcore, well, core for the lack of a better word.
In the running for single of the year, “Bricks And Mortar” is a heavy track that is more street oriented hardcore as compared to the other songs. While the music doesn’t really deviate much at all, it’s a reminder that you don’t need to be technically diverse to be an awesome band. “You can tear away my flesh / You can crush all my bones” is reminiscent of the kind of lyrics found on their last release. And when Liam speaks in a spoken voice “Grieve like a halo around my neck” is gold.
Going back to their older style, the title track is faster and just makes you want to get up and move while listening. “The day the doctor told me you’re gonna die / …you got another year at best” is another prime example of well written lyrics that really capture the mood of the album. One thing this song has that the album also shares is the constant, non-stop level of music that Cancer Bats are best known for.
Going at a more slower tempo than the last album, Dead Set On Living is definitely a different beast, but in no way is it bad. It’s another must have for your music collection and an album that should be played when the end of the world comes. Either that, or if you want really good workout music to get you pumped up.
After releasing the excellent albums A Haunting Curse and Carving Out The Eyes Of God, Goatwhore have released what is easily the best album of their career, Blood For the Master. Curse was primarily a death metal album, while Carving really showed the band bringing out more of the black metal influence. This album has that equal ground that the other albums were missing.
Led by the stellar single “Collapse In Eternal Worth,” this shows just how much Goatwhore have grown into their music. After a wicked black metal intro, they slap false metal across the face with the brutal death-thrash that only they can pull off. The actual riffs don’t really change much, but instead Sammy just changes the pitch and execution of the riffs. This is the musical equivalent of the rhino tank in Grand Theft Auto (Goatwhore) running into a crowded intersection full of cars and people (everything else).
For a more groove metal approach, “When Steel And Bone Meet” does that very well. I mean, the name of the track literally speaks for itself. A little off putting after going through the brutality of the last track, but it is on par with most of the metal that is out there today. Falgoust really steps up the menacing factor of his vocals with this track. Fast and furious metal is the core.
One thing that really sets this album apart from the rest is that they explore a lot more musical territory instead of being tied down with a specific formula. “In Deathless Tradition” is a slowed down and heavy behemoth of a song that runs down the competition. Full of sludgy black metal riffs and healthy doses of chugging groove, “Deathless” is a track that will be the soundtrack of that really big guy that annihilates the pit.
“Beyond the Spell of Discontent” injects more of their punk/black metal roots in the album. It has a lot of the same type of guitar tones and riffs that are synonymous with black metal. Combine this with the production difference of the drums as compared with the rest of the album and you will see for yourself. Along with the speed and raw feel of punk, and you have a track that stands on its own from the rest of the album.
This is another prime example of a band that sticks their past catalogue in a oak barrel till it ferments even more, then adds in more new flavors to create the signature blend of Louisiana whiskey that Goatwhore delivers.
No doubt the first thing you’re asking yourself is “Who the hell is Dave Monomania, and why do I give a dang what records he liked from last year?”
Fair. I’m just some dude without long hair who sings/plays guitar in a band that isn’t even metal. However, my opinions on the subject are pretty much gospel, so just trust me ALRIGHT?
That said, here are my Top 10 Records of 2011, some not even metal per se, but still totally worth your time.
1. Between Earth and Sky – Of Roots and Wings 12″ (Refuse)
Without a doubt my most anticipated release of the past many years, BE&S are the new band featuring vocalist Greg Bennick from Trial, drummer Alexei Rodriguez (Trial, 3 Inches of Blood, Catharsis, Prong, etc) and a cast of other hardcore/metal veterans. And not surprisingly, this is the best hardcore record I’ve laid my ears upon since who-knows-when. Of Roots and Wings is by no means a complete departure from Trial’s Are These Our Lives? sound, but with an added sense of dark melody and dynamics (coupled with Bennick’s always thought-provoking and heart-wrenching lyrics). An incredible, cerebral, sincere, near-perfect record. The debut LP is due later this year, and I’m already chomping at the bit.
2. Burzum – Fallen LP (Back On Black)
Sure, some people will probably give me shit for rating someone whose politics are as ‘questionable’ as Varg’s this high up on my list (particularly right under a record like BE&S’) but for some inexplicable reason (that I won’t even try to make excuses for) I can’t help but love Burzum (at least the BM records). And I think Fallen just might be Varg’s masterpiece. Certainly not ‘necro’ as far as production goes (although it’s hardly radio-ready), and featuring more melody and clean singing than ever, but man, this record is brilliant.
3. Blood Ceremony - Living with the Ancients LP (Metal Blade)
The occult-rock thing seems to be having one hell of a resurgence recently (pedestrian wordplay intended), and to my ears, no band is knocking it out of the park like my fellow Canadians (and even Ontarians!) Blood Ceremony. Their self-titled LP was great and showed a lot of promise, but dang, Living with the Ancients is on a whole other level. With the Tull quotient upped significantly and a darker, dare I say more EVIL mood, these cats have written the record to beat in their particular subgenre (and that includes the brand new Devil’s Blood LP!).
4. Austra – Feel It Break LP (Domino)
Yep, this is a gloomy pop record that takes plenty of cues from Kate Bush, but goddamn it, it’s dark and brooding as hell and is absolutely recommended. Vocalist Katie Stelmanis is a trained opera singer and manages to incorporate that style into these songs without coming across as cartoonish or over the top whatsoever (as operatic vocals have been known to do when used outside of their intended world). These songs are bleak yet upbeat, moody yet danceable, and, in a word, bewitching. Plus, I’ve rarely seen a more impressive live vocal performance. This woman is mesmerizing.
5. In Solitude – The World, The Flesh, The Devil LP (Metal Blade)
I don’t imagine I need to say too much about this band or this record, as it seems to have found its way to a shit-ton of Top Tens this year, but if you dig Mercyful Fate/King Diamond mixed with a hearty dose of NWOBHM (all without sounding like too much of a retro-copycat thing) than I can’t recommend this any more highly. Possibly the best straight-up metal record of the year.
6. Today is the Day – Pain is a Warning LP (Black Market Activities)
I will say that when I heard the opening track from this record, I thought that just maybe TITD had created their magnum opus. Hell, even track 2 (all with the help of Kurt Ballou’s punishing production) is among Austin & co.’s most vicious aural assaults. However, the rest of Pain is a Warning tends to meander occasionally into some less-than-spectacular, middle-of-the-road hardcore/metal (even hard rock) territory - but overall the record is still a total slayer. It’s just no Temple of the Morning Star or In the Eyes of God… but what is, really?
7. Ringworm – Scars LP (Victory)
One of the angriest bands in the history of hardcore/metal (and definitely one of my all-time faves) dropped a fucking scorcher on us last year in the form of their fifth full-length LP, Scars. And, while it’s undeniably a Ringworm record, with each successive release Cleveland’s favorite purveyors of devilry and whoredom inject even more metal into their venomous design, and have now put out their most ambitous record in their catalog (we’re even talking a 7-minute song here!). Essentially, if you dig what the band’s done to date, you won’t be let down. On the other hand, if you typically dig a little more metal in your heavy than these maniacs have spit out in the past, Scars just might be your ideal Ringworm point of entry.
8. Integrity – Detonate World Plagues 12″ (Holy Terror)
Fitting that this would come right after the Ringworm LP (historically Integrity’s musical sibling). This record is a collection of everything that Integrity frontman Dwid has recorded with his current axe-wielding partner in crime Robert Orr (not to be confused with the NHL’s finest defenceman of all time!). These tracks pretty much continue what began with The Blackest Curse LP, and you’ll get no complaints from me about that. Anyone not familiar with Integrity’s trendsetting brand of metal/hardcore/crust (since 1988!) is encouraged to check out pretty well any of their evil, dense, pummelling output (I’d personally start with Seasons in the Size of Days). Absolutely one of the most important, influential hardcore bands ever.
9. Cold Cave – Cherish the Light Years LP (Matador)
I KNOW. Another dance-y record. I can’t help it if two terrific gloomy-yet-ass-shaking pop records came out in the same year. And y’know what? I’m not going to apologize for it either. I fucking dig A LOT of poppy music, and Wes Eisold (American Nightmare/Some Girls) happens to be one hell of a pop songsmith. If you enjoy the darker side of the New Order/Joy Division/Cure/Depeche Mode/etc catalogs, then there’s very good chance you’ll be feeling this slab of wax as well. Just check it out.
10. 40 Watt Sun – The Inside Room LP (Cyclone Empire)
It’s been a long time since I’ve been this into an entirely slow, sludgy record. After the flood of Neur/Isis copycats earlier in the new millenium, I was pretty much soured on any band that namedropped those bands in their influences list, or were tagged under the ‘sludge’ umbrella. But when reviews started rolling in about the 40 Watt Sun LP, I couldn’t ignore the hype. The enthusiasm was almost universal, and after one listen, I was no exception. All the shoegaze/indie pop comparisons have already been made, but I will say this: metal has never sounded as sincerely pained, downtrodden, and heartbroken as it does on The Inside Room. This record is devastating.
All in all, 2011 was an incredible year for heavy music, and with the slew of highly-anticipated upcoming releases for 2012 (Ghost, Converge, Burzum, Municipal Waste, Neurosis, High on Fire, ahem Crusades mhm…), this year should be no different.
The Netherlands’ own gothic metal outfit Autumn have made a series of smart moves over the course of their fairly lengthy existence (having formed as Stonehenge back in ’95), smoothly ushering in a mellower and more melodic rock sound to replace the harder edged yet conceptually lacking sound of old.
As a result, Cold Comfort sounds more like The Gathering than it does Lacuna Coil or Evanescence, and all the better for this fifth release displays a more confident and focused Autumn than we’ve heard thus far in their career. Although the guitar production is a bit muffled by the blown-out, bass-heavy sound, frontwoman Marjan Welman’s clear ‘n comforting voice more than makes up for this misstep by creating stirring choruses and driving verses for these nine songs.
While still possessing the Euro-goth/metal guitar work popularized by bands like Within Temptation crossed with a slight influence of Finnish love rock like H.I.M. or Negative, Cold Comfort simultaneously presents a spacy ‘n hazy psychedelic atmosphere at times, reminiscent of the aforementioned Gathering’s mid period work with former singer Anneke van Giersbergen, after their breakout releases Mandylion and Nighttime Birds.
As such, Cold Comfort is easily the most memorable and best arranged release of Autumn’s career, and a positive step forward for a band who was in clear in danger of being overshadowed by their more popular contemporaries. With Cold Comfort, however, Autumn prove that they, too, pose a challenge for the game.
Martyr’s Circle of 8 is a fine example of why some obscure bands are probably best left that way, to lounge in the shadows of collector’s lists and cut-out bins.
While the heritage of this Dutch act extends all the way back to the early 80s with a duo of full lengths back-to-back in ’84/’85, Martyr never really made much headway here in the States, with most American metal fans probably associating the moniker of ‘Martyr’ more with the Canadian tech-death outfit than anything remotely power or traditionally minded.
Regardless of this fact, however, this Martyr has returned with their Circle of 8 comeback album, ready to make the day of every early 80s obsessive and/or the encyclopedic amongst us, for sure. Although the end results here are by no means piss-poor or ear-grating-check the aggressive and catchy thrash disaster ‘Art of Deception’-the bulk of Circle of 8 tends to be extraneous to need, rehashing many power/speed cliches without any real identity or the spark required to stand out from the ever-growing heritage pack. The love ‘em or hate ‘em tone of frontman Robert Van Haren is also a sticking point, as the singer tends to flip flop in and out of tune half the time.
To their credit, Martyr has ably arrived with the times, melding their old school influences with a bevy of lower-tuned, heavier attacks-think old Pantera or even mid-era Nevermore at times-and Circle of 8 does pick up speed ’round the half way mark, preventing a total and utter loss from these old schoolers. However, the real selling point for this album still eludes the listener, with Circle of 8 not really doing much to kick up things from idling in first gear. This one’s only for die hards.
Dropping an EP in between albums is becoming de riguer of late in metal. They are always a good bet to trying out new material, throwing down on some covers and testing out new members mettle in the studio. For WHITECHAPEL that have achieved the trifecta with all of those goals and the results are good. The limited edition Recorrupted EP will tide fans over until the next record drops likely later in 2012. In the meantime the band found time to hit the studio and stretch out for some experimentation, as well as hand some tracks off for remixes too. Still on the road behind 2010′s A New Era of Corruption the band is still killing it out on the road and growing into the monster they have become as a vaunted live act.
The new track “Section 8″ opens the EP and after a slick backwards recorded drum beat the song kicks off and crushes like the band is known to do. Frenetic and urgent, the bands brand of violent deathcore is on display and in full effect. The patented three guitar attack is maximized for ultimate groove and creativity. In addition to standout vocalist Phil Bozeman, new addition Ben Harclerode just slays in his recorded debut with the band. His blastbeats are true and he has the right amount of prowess to power this visceral enterprise. The future looks bright for the band after losing the talented Kevin Lane. Over all the song falls somewhere between their original death metal style and pushes a little further out from where they have been hanging their hat. This is perhaps a sign that the band will incorporate more death and be less “core” on their next release. The second cut is the deepest and a cover. Lots of bands cover PANTERA and I for one am damn happy not to have to hear one more cover of “Walk” for a change. By doing “Strength Beyond Strength” in their own style and not just another rote, note for note attempt at greatness they have earned some new respect from me. They did a solid job with Bozeman sounding possessed and evil and the track itself is legit. Next up are the two remixes. “Breeding Violence (Big Chocolate Remix)” is firmly in the dance/dub-step genre and while it sounds interesting it totally neuters the heaviness of the track. I’ve no quarrel with dub-step leaking into metal here and there when it is done right, but this seems a little gratuitous for this band. “This Is Exile” gets the remix treatment from Ben Weinman from THE DILLINGER ESCAPE PLAN and is a touch more interesting than its predecessor. This re-imagined track reminds me of the old WHITE ZOMBIE or FEAR FACTORY remix albums in 1990s when the songs would undergo a wholesale, but still interesting and heavy changes. I think for this kind of band that approach just works better. The real surprise of the record comes with the closer, an acoustic version of “End of Flesh”. It definitely show cases the underrated abilities of Ben Savage, Alex Wade and Zach Householder. I even heard a tiny bit of “Beck’s Bolero” in there and little Spanish guitar influence as well. Nice job.
WHITECHAPEL drops a new EP, but are really swell guys in spite of the brutal music they make.
