9.28.2023

MAQUINA

 









"why?"
Year:  1970
Country:  Spain
City:  Barcelona
Label:  Diabolo
Format:  CD, LP
Tracks:  4
Time:  33 min.
Genre:  rock
Style:        Prog Rock













Founded by Jordi Batiste (bass, flute), Enric Herrera (organ), Lluís "Luigi" Cabanach (guitar), and Santiago "Jackie" García Cortés (drums) as Sisa's backing band, "Máquina!" is maybe the very first underground rock group to have recorded in Franco’s Spain, their first single dating back to early 1969.

Their first LP in 1970 had striking artwork depicting a clock coming out from a croissant, meaning that it was time to wake-up in Spain: The album was called "Why? Máquina!" and it was clearly so rebellious under a dictatorship that fellow group "Tapiman" (founded by ex-Máquina drummer J. Mª Vilaseca, "Tapi", and Barcelona crosstown rivals/friends) answered them with a track called "Don’t Ask Why". The five-piece group developed a high-energy Hammond-driven psych/prog rock with two lead guitarists, with many extraordinary musical moments given the context of those years.

Two years later, the band recorded with a different line-up (both guitarists having left, and including Carles Benavent on bass). It was a live album with a much different bluesier sound complete with a brass section (and almost all new material) reminiscent of Chicago Transit Authority.
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"funciona"
Year:  1972
Label:  Wah Wah
Format:  CD, LP
Tracks:  4
Time:  30 min.
Genre:  rock
Style:        Prog Rock








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9.18.2023

IMMOLATION

 









"dawn of possession"
Year:  1991
Country:  US
City:  New York
Label:  R/C
Format:  CD, LP
Tracks:  10
Time:  40
Genre:  rock
Style:        Death Metal













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"here in after"
Year:  1996
Label:  Metal Blade
Format:  CD, LP
Tracks:  8
Time:  37 min.
Genre:  rock
Style:        Death Metal








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"failures for Gods"
Year:  1999
Label:  Metal Blade
Format:  CD, LP
Tracks:  8
Time:  40 min.
Genre:  rock
Style:        Death Metal















On the wave of chaotic and extremely gloomy death metal that emerged with the content of "Here In After", the Americans from Immolation decided to tighten the pace of work even more and with the successor of the "Here..." they hit after just three years. During this time, a very significant change in the line-up took place, because instead of Craig Smilowski there came Alex Hernandez - a drummer who significantly increased the level of intensity and brutality. This, in turn, meant that during the "Failures For Gods" Ross Dolan and the company decided to go to even more extreme regions, although with slightly different means of expression than the previous time.

Despite the simplified logo (which could suggest a softening of the sounds - completely wrong, as it turns out in a moment!), "Failures For Gods" went into a much more merciless paces (because for the first time with classically understood blasts) and even denser technique. It means that some of the dissonances from "Here..." receded into the background, and the main component was taken over by stuffiness, chaos, coarse growl and sophisticated blasting. The result, however, is excellent, because the band has not abandoned the atmosphere of its predecessors, and there are also more catchy moments. An example of such as "Your Angel Died", "No Jesus, No Beast", "Unsaved", "Once Ordained", title track or "Stench Of High Heaven", which are even more abusive than the songs from the previous albums (which was already attainment) and bring even more variety despite the increase in intensity (excluding the nonsense allegations that both cannot be combined). At the end, there is also a certain rarity called "The Devil I Know", which due to its more tearful character (I mean the leads played here by Robert Vigna) is an intriguing bridge between what is presented on "Failures..." and the next album. The production is also great here, dirty, but legible and with enormous power - which can also be heard in the fragments kept at medium tempo.

On the "Failures For Gods", Ross Dolan and the company significantly increased the degree of extreme, and at the same time showed that this type of death metal can gain a lot from even uglier sound. Interestingly, the evolution of this aesthetics did not end there (*Review by HERE ).
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"close to a world below"
Year:  2000
Label:  Metal Blade
Format:  CD, LP
Tracks:  8
Time:  45 min.
Genre:  rock
Style:        Death Metal








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"harnessing ruin"
Year:  2005
Label:  Listenable
Format:  CD, LP
Tracks:  9
Time:  43 min.
Genre:  rock
Style:        Death Metal








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"shadows in the light"
Year:  2007
Label:  Century Media
Format:  CD, LP
Tracks:  10
Time:  40 min.
Genre:  rock
Style:        Death Metal








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"majesty and decay"
Year:  2010
Label:  Nuclear Blast
Format:  CD, LP
Tracks:  11
Time.  36 min.
Genre:  rock
Style:        Death Metal








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"kingdom of conspiracy"
Year:  2013
Label:  Nuclear Blast
Format:  CD, LP
Tracks:  10
Time:  38 min.
Genre:  rock
Style:        Death Metal








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"atonement"
Year:  2017
Label:  Nuclear Blast
Format:  CD, LP
Tracks:  12
Time:  36 min..
Genre:  rock
Style:        Death Metal








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"acts of God"
Year:  2022
Label:  Nuclear Blast
Format:  CD, 2 x LP
Tracks:  15
Time:  36 min.
Genre:  rock
Style:        Death Metal








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9.12.2023

DYING FETUS

 








"make them beg for death"
Year:  2023
Country:  US
City:  Baltimore, MA
Label:  Relapse
Format:  CD, LP
Tracks:  10
Time:  45 min.
Genre:  rock
Style:        Death Metal













Entering the supposed twilight years of a lengthy career, Baltimore death metal legends Dying Fetus show no signs of losing their edge or slipping into a set-and-forget comfort zone. If anything, the veteran trio, consisting of band leader John Gallagher (guitars/uber low vox), Sean Beasley (bass/mid-low range growls), and Trey Williams (drums) have been on a tear since consolidating their slimmed-down power trio set-up back on 2009’s Descend into Depravity. Since launching their 1996 debut LP Purification of Violence Dying Fetus have long cemented themselves as big-time players, especially within the brutal death/slam field of thuggery. Overcoming a litany of line-up shuffles and finally consolidating a consistent line-up in later years has reaped dividends. The trio sound tighter than ever, the songwriting is still punchy and impactful. However, has six years in recording wilderness dulled the band’s well-worn killing blades?

2017s darkly visceral Wrong One to Fuck With was an immense follow-up to 2012’s outstanding Reign Supreme, with its main issue being album length dragging past the band’s usually concise platform. It was by no means a major flaw. The album still crushed and remains one of their stronger releases since 2000’s seminal Destroy the Opposition. Dying Fetus continue to work within the boundaries of their long-established and slickly executed brutal death/tech/slam formula. The rugged tone and slimmed-down runtime, clocking in at a tight thirty-seven minutes, finds the band in a particularly fun, slammy mood, more akin to Reign Supreme than its immediate predecessor. It’s meaty, thrashy, and blessed with trademark hooks and accessibility. Artfully combining slamming grooves, technical proficiency, and an effortlessly catchy streak, with thick-necked, beefy brutality that never skimps on the blasts, speed or intensity, Make Them Beg for Death is a gritty, back-to-basics throwdown, mixing classic old school vibes with refined modern tweaks.

Blazing opener “Enlighten in Agony” sets the tone early; a blasty, thrashing corker, bolstered by William’s authoritative percussion and punishing grooves. The ripping dual vox of Gallagher and Beasley, approaching classic Carcass levels of guttural harmony, lend the album a tough, vicious edge. Check their sick tradeoffs on the crushing, riff-fest of “Compulsion for Cruelty” for one example of their awesome work. Make Them Beg for Death may lack surprises but doesn’t want for killer songs. Shrewd melodic licks and endlessly chunky, hooky riffs collide with sweetly executed tempo shifts, technical tidbits, and an abundance of headbangable grooves and curb stomping slams. “Unbridled Fury” is an instant classic modern Dying Fetus tune, propelled by Williams’ thrashy, violent rhythms, hurtling bursts of speed, and a mix of Gallagher shred and moshable groove. Though not as manically unhinged as early classics “Killer Your Mother/Rape Your Dog” or “Pissing in the Mainstream,” the ultra-short, grindy rush of “Throw Them in the Van” is a tasty throwback nonetheless.

Gallagher is an imposing figure in the brutal death world and the dude excels in unleashing a spirited batch of top-shelf riffs and technical sweeps, knowing the precise moment to inject a scything melodic lead or shredding solo into the fray, such as the slashing solo that cuts through the muscle and bone of “Feast of Ashes.” Par for the course, Dying Fetus don’t muck around, preferring to get straight to the point, leading to a short, punchy album that goes hard from go to woah. Solid front to back, it is perhaps a tad front-loaded, with the second half featuring some belters (“Raised in Victory/Razed in Defeat,” “Hero’s Grave”), but also a couple of solid, fairly stock tunes that don’t quite match the album’s better moments. The production features trademark clear, crunchy tones, and a snappy snare, though could use a little more low-end oomph. Otherwise, it’s a neat package and fun listen, with the hooky writing, thrashy pulse, and melodic sensibilities also serving as a decent intro for the uninitiated.

Make Them Beg for Death may come up marginally short against their past couple of albums yet remains another distinguished slab of modern Dying Fetus quality, finding the band still punching out killer tunes and operating in fine form. As Gallagher proudly exclaimed, “let’s make it moshy, let’s make it slammy.” Dying Fetus succeed again in this regard, with a crunchy, addictive batch of rugged, no-frills staples to continue their hot streak and appease their legions of devotees. It may not be your favorite Dying Fetus album, but it’s a hell of a good time regardless (*Review by Saunders ).
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"wrong one to fuck with"
Year:  2017
Label:  Relapse
Format:  CD, LP
Tracks:  11
Time:  38 min.
Genre:  rock
Style:        Death Metal








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"reign supreme"
Year:  2012
Label:  Relapse
Format:  CD, LP
Tracks:  10
Time:  38 min.
Genre:  rock
Style:        Death Metal








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"descend into depravity"
Year:  2009
Label:  Relapse
Format:  CD, LP
Tracks:  8
Time:  24 min.
Genre:  rock
Style:        Death Metal








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"war of attrition"
Year:  2007
Label:  Relapse
Format:  CD, LP
Tracks:  8
Time:  36 min.
Genre:  rock
Stle:        Death Metal








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"stop at nothing"
Year:  2003
Label:  Relapse
Format:  CD, LP
Tracks:  8
Time:  38 min.
Genre:  rock
Style:        Death Metal








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"destroy the opposition"
Year:  2000
Label:  Relapse
Format:  CD, LP
Tracks:  8
Time:  36 min.
Genre:  rock
Style:        Death Metal








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"killing on adrenaline"
Year:  1998
Label:  Morbid
Format:  CD
Tracks:  8
Time:  34 min.
Genre:  rock
Style:        Death Metal








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"purification through violence"
Year:  1996
Label:  Relapse
Format:  CD, LP
Tracks:  8
Time:  38 min.
Genre:  rock
Style:        Death Metal








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9.10.2023

NILE

 








"vile nilotic rites"
Year:  2019
Country:  US
City:  Greenville, SC
Label:  Nuclear Blast
Format:  CD, LP
Tracks:  11
Time:  55 min.
Genre:  rock
Style:        Symphonic Metal













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"what should not beunearthed"
Year:  2015
Label:  Nuclear Blast
Format:  CD, 2 x LP
Tracks:  15
Time:  55 min.
Genre:  rock
Style:        Symphonic Metal








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"in their darkened shrines"
Year:  2002
Label:  Relapse
Format:  CD, LP
Tracks:  12
Time:  50 min.
Genre:  rock
Style:        Symphonic Metal








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"black seeds of vengeance"
Year:  2000
Label:  Relapse
Format:  CD, LP
Tracks:  12
Time:  42 min.
Genre:  rock
Style:        Death Metal








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"amongst the catacombs of nephrenka"
Year:  1998
Label:  Relapse
Format:  CD
Tracks:  11
Time:  36 min.
Genre:  rock
Style:        Death Metal









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9.03.2023

THE ARSON PROJECT

 








"God bless"
Year:  2023
Country:  Sweden
City:  Malmö
Label:  Selfmadegod
Format:  CD, LP
Tracks:  10
Time:  18 min.
Genre:  rock
Style:        Grindcore













Despite being established in 2005, the Arson Project broke the grindcore trend of releasing tons of splits and demos so they could solely focus on solid material, as this is only their second full-length. With the absence of modern bands like Trap Them that fused modern grindcore with other genres and created a demolishing sound complete with HM-2, the ARSON PROJECT fills that void greatly. A band that I would consider grindcore 2.0, as they take the blueprint of NASUM and make it their own. A solid album for the lovers of fast-grinding (anti-)music!
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"disgust"
Year:  2017
Label:  none
Format:  CD, LP
Tracks:  11
Time:  18 min.
Genre:  rock
Style:        Grindcore








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8.27.2023

LENG TCH'E

 








"razorgrind"
Year:  2017
Country:  Belgium
City:  Gand
Label:  Season Of Mist
Format:  CD, LP
Tracks:  14
Time:  26 min.
Genre:  rock
Style:        Grindcore













Back during my peak grindcore consumption, I fondly remember the now veteran Belgian grinders Leng Tch’e creating an impact with their deathly, groove-laced modern grind combo. The self-described “razorgrinders” played it brutal, but their sharp sense of humor, stylistic variables, and infectious songwriting was a cut above the bulk of modern grind acts when they operated at maximum potency on 2003’s ManMadePredator, and 2005’s vicious follow-up, The Process of Elimination. Those albums deftly coalesced grind, groove, death, and a ridiculously fun rock-out attitude, in creative ways somewhat reminiscent of Aussie legends Blood Duster. A revolving door of members and seven-year break since dropping 2010’s Hypomaniac hasn’t dulled the band’s commitment to keep on grinding, returning with their sixth full-length opus, fittingly titled Razorgrind. But do they still have what it takes to match it with the new breed of talented grinders? Or are Leng Tch’e destined to die a musical death by a thousand cuts?

Largely retaining their death-infused modern grind and groove approach, Leng Tch’e waste little time cutting to the chase. Kicking off with a violent trio of sub two-minute blasts, they stick fairly closely to the songwriting template that has served them well previously. Hardcore-ish death grunts and high-pitched screams, rigorous blasts, brutal down-tuned grind riffs, bloodied death metal uppercuts, and the band’s trademark emphasis on neck wrecking grooves take center stage. However, sidesteps into more melodic, sludgy and punky territory, along with some welcome song-writing deviations, work to stave off the monotony and blurred song-writing that threatens to derail the memorability and lasting impact of the album. The weightier song lengths are pushed towards the back-end of Razorgrind. So while short, fast blasts of chunky grind are concisely sliced into lean and meaty nuggets on the concentrated torrent of brutality on “Indomitable” and the unrelenting “AnarChristic,” the lengthier tunes provide more wiggle room for Leng Tch’e to mix things up.

“The Red Pill” begins with melodic subtlety and restraint, quickly gathering blasty momentum and locking into some tight, anthemic grooves, showcasing a potent blend of granite crushing hardcore and death metal authority. Although it breaks free from the band’s typical grindcore onslaught, it does so in a catchy and successful fashion. There’s definitely a more experimental streak permeating Razorgrind’s back-half. I’m talking experimental in the context of the Leng Tch’e method of groovy grind, mostly leaning on a pronounced incorporation of hardcore and death, rather than anything radical enough to scare off the bloodthirsty needs of the average grind fan. Fear not, there’s still ample amounts of the band’s focused ferocity on offer, such as the shrapnel spitting tornadoes of “Commitment Fail” and “Cirrhosis.” While Leng Tch’e sound hungry and remain a brutal force, the songwriting that defined their earlier career peak is certainly not on the same level here, with a handful of unremarkable songs wedged in and around the stronger material. Even its efficient run-time feels slightly overlong and Razorgrind is neither as brutally catchy, outright fun, or unhinged as their superior early work, despite the refreshing change-ups and scattered quality moments.

Amidst the numerous line-up changes plaguing their existence, Leng Tch’e have always boasted a tough as nails and musically vice-tight execution. Razorgrind is no different in this regard. I do prefer the character and style of original vocalist Isaac Roelaert, with the odd spoken word and semi-clean vocal sections particularly baffling here. I also recall Leng Tch’e riffs occupying a stronger presence in the old memory bank.

Leng Tch’e haven’t softened with age and despite my reservations about Razorgrind, it’s a competent, heavy, and diverse album that retains the band’s signature style. Perhaps the biggest downsides to Razorgrind is that it cuts a more serious profile, struggles for consistency, and falls short of the high standards marking their earlier material. Still, whether Razorgrind provides the sufficient mileage and grind protein required, for the uninitiated, Leng Tch’e is a quality band worth investigating (*Review by Saunders ).
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"hypomanic"
Year:  2010
Label:  Season Of Mist
Format:  CD
Tracks:  14
Time:  40 min.
Genre:  rock
Style:        Grindcore








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"marasmus"
Year:  2007
Label:  Relapse
Format:  CD, LP
Tracks:  16
Time:  30 min.
Genre:  rock
Style:        Grindcore








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"ManMadePredator"
Year:  2003
Label:  Willowtip
Format:  CD
Tracks:  19
Time:  29 min.
Genre:  rock
Style:        Grindcore








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8.08.2023

IRON MAIDEN

 









"senjutsu"
Year:  2021
Country:  UK
City:  London
Label:  Universal
Format:  CD, 2 x LP
Tracks:  10
Time:  45 min.
Genre:  rock
Style:        Heavy Metal













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"the bookof souls"
Year:  2015
Label:  Universal
Format:  2 x CD, 3 x LP
Tracks:  11
Time:  70 min.
Genre:  rock
Style:        Heavy Metal








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"the final frontier"
Year:  2010
Label:  Universal
Format:  CD, LP
Tracks:  10
Time:  45 min.
Genre:  rock
Style:        Heavy Metal








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"a matter of life and death"
Year:  2006
Label:  Universal
Format:  CD, 2 x LP
Tracks:  10
Time:  70 min.
Genre:  rock
Style:        Heavy Metal








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"dance of death"
Year:  2003
Label:  Universal
Format:  CD, 2 x LP
Tracks:  11
Time:  60 min.
Genre:  rock
Style:        Heavy Metal








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"brave new world"
Year:  2000
Label:  Universal
Format:  CD, 2 x LP
Tracks:  10
Time:  45 min.
Genre:  rock
Style:        Heavy Metal








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"virtual XI"
Year:  1998
Label:  Universal
Format:  CD, 2 x LP
Tracks:  8
Time:  45 min.
Genre:  rock
Style:        Heavy Metal








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"the X factor"
Year:  1995
Label:  Universal
Format:  CD, 2 x LP
Tracks:  11
Time:  45 min.
Genre:  rock
Style:        Heavy Metal








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"fear of the dark"
Year:  1992
Label:  Universal
Format:  CD, LP
Tracks:  12
Time:  45 min.
Genre:  rock
Style:        Heavy Metal








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"no prayer for the dying"
Year:  1990
Label:  Universal
Format:  CD, LP
Tracks:  10
Time:  45 min.
Genre:  rock
Style:        Heavy Metal








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"seventh son of seventh"
Year:  1988
Label:  Universal
Format:  CD, LP
Tracks:  8
Time:  45 min.
Genre:  rock
Style:        Heavy Metal








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"somewhere in time"
Year:  1986
Label:  Universal
Format:  CD, LP
Tracks:  8
Time:  45 min.
Genre:  rock
Style:        Heavy Metal








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"powerslave"
Year:  1984
Label:  Universal
Format:  CD, LP
Tracks:  8
Time:  45 min.
Genre:  rock
Style:        Heavy Metal








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"piece of mind"
Year:  1983
Label:  Universal
Format:  CD, LP
Tracks:  9
Time:  45 min.
Genre:  rock
Style:        Heavy Metal








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"the number of the beast"
Year:  1982
Label:  Universal
Format:  CD, LP
Tracks:  8
Time:  45 min.
Genre:  rock
Style:       Heavy Metal








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"killers"
Year:  1981
Label:  Universal
Format:  CD, LP
Tracks:  11
Time:  45 min.
Genre:  rock
Style:        Heavy Metal








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"idem"
Year:  1980
Label:  Universal
Format:  CD, LP
Tracks:  9
Time:  45 min.
Genre:  rock
Style:        Heavy Metal








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