MASTER

"on the seventh day God created master"

Year:  1991

Label:  Nuclear Blast

Format:  CD, LP

Tracks:  10

Time:  40 min.

Genre:  rock

Style:        Death Metal

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"faith is in season"
Year:  1998
Label:  Pavement
Format:  CD, LP
Tracks:  16
Time:  45 min.
Genre:  rock
Style:        Death Metal








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"the spirit of the west"
Year:  2004
Label:  System Shock
Format:  CD, LP
Tracks:  12
Time:  45 min.
Genre:  rock
Style:        Death Metal








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"the human machine"
Year:  2010
Label:  Pulverized
Format:  CD, LP
Tracks:  10
Time:  40 min.

Genre:  rock
Style:        Death Metal

Chicago based death metal band Master has been the primary musical vehicle for journeyman vocalist and bassist Paul Speckmann since the start of the 1990s, but his first known sighting dates back to 1982, as a short-term member of local power metal hopefuls, War Cry, who appeared on Metal Blade's Metal Massacre IV compilation. Speckmann and his rhythm partner, drummer Bill Schmidt, soon fell out with their band mates over creative differences (the duo wanted to play more extreme heavy metal, the others wanted to wimp out), but their new band took some time taking shape while they auditioned as many as 25 guitarists, without finding their man. In the meantime, Speckmann became involved in another side project called Death Strike and Schmidt with a band called Mayhem (no relation to the Norwegian black metal clan), and so it wasn't until 1985 that their collaboration was revived with the recruitment of guitarist Chris Mittelbrun -- thus was born Master. Taking money he had recently inherited from his father, Speckmann paid for some studio time to record an album-length demo, and this quickly spread Master's name through the metal underground.

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"the new elite"
Year:  2012
Label:  Doomentia
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Death Metal

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"the witchhunt"
Year:  2013
Label:  FDO
Format:  CD, LP
Tracks:  12
Time:  42 min.
Genre:  rock
Style:        Death Metal








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"an epiphany of hate"

Year:  2016

Label:  MB
Format:  CD, LP
Tracks:  12
Time:  44 min.
Genre:  rock
Style:        Death Metal

One of the genre’s founding figures, Czech Republic-based death/thrashers Master has literally been at the forefront of the style from the very beginning being one of the first bands to ever adopt to the style back in the genre’s infancy. Now, nearly thirty years on from their start and reaching album number twelve, the titans offer forth this crushing release January 29, 2016 on F.D.A. Rekotz.

Much like the majority of their work in the past, this here is a rather blistering and mostly primitive brand of death-infused thrash metal that charges along at a pretty generous pace here. The main basis for the swarming, mid-tempo attack here is given the main charge throughout here which keeps the tracks steady, simplistic and really straightforward as the rhythms buzz along through the tight patterns featured here as the bands’ thrashing energies are what really tend to drive this one forward rather than the riff-work. Since the tracks are generally given a much more explosive pacing that brings out the album’s rather simplistic nature quite well here as the album seems to pick one simplistic pace and then just holds it for the majority of the time here which makes the tracks bounce along when they’re given an up-tempo rhythm to play with yet when it comes to the more sluggish and plodding tempos it doesn’t really generate the same sense of energy with it never really deviating much in it’s patterns and arrangements. There’s some great work to be had when it really lets itself go since those tend to dominate the album, yet the rare occasions where it does drop these slightly is what causes this one to lose it’s steam as the disjointed pacing and tempos is slightly jarring overall here. Thankfully, it’s rare enough to not be that detrimental against the enjoyable remainder of the album as their craftsmanship and consistency allows them to do this better than most other acts in the genre by featuring enough to make it noticeably yet going for the jugular enough times to really make that impact.

As this is clearly a competent and highly professional act that knows what they’re doing, this is nicely displayed here with an album that has a lot to like about it and only a few real downer spots that leaves this a wholehearted recommendation not only for fans of the band as well as those who enjoy this ravenous style of old-school death / thrash metal (*Review by Slayr6 ).

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"vindictive miscreant"
Year:  2018
Label:  TO
Format:  CD, LP
Tracks:   8
Time:  45 min.
Genre:  rock
Style:        Death Metal








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THE CAPACES

"all that is"

Year:  2023

Label:  Filferro

Format:  LP

Tracks:  10

Time:  27 min.

Genre:  rock

Style:        Punk n'Roll

Preparing this review about The Capaces' eighth album, I reviewed the one I had written about their previous work. In Zoetrope's review, he commented that the Barcelonans had closed an impeccable trilogy, but at the same time he was sure that they would overcome it sooner rather than later. What he had no idea is that this was going to become reality in such a resounding way.

Only two years after that, All That Is achieves something unusual in long-distance formations; that after almost a quarter of a century of activity and seven studio albums we find ourselves before the best work of his discography. I know it may sound exaggerated, but believe me when I tell you that the ship led by Martillo and Cleve has finally completed its evolution when it already seemed impossible for them to go further.

Everything that they had been aiming for since the reset that For Good meant in 2015, marking the starting point in a coherent transition from the frenetic punk rock of its beginnings towards more rock and roller sounds, reaches a new level here. Although the instrumental opening of western airs of 'At Dawn' is already familiar to us, to which 'All That Is' sounds we appreciate that there is a different energy to that of previous chapters. Some may accuse the group of going with a gear less, but the intensity is still present. Something unquestionable and non-negotiable when it comes to them.

With 'Out Of My Head' the matter begins to take shape in a cut where Cleve and Jawa are in charge of distributing scores left and right. The quintet presses the accelerator and from there it does not go down in the remainder of the album. The first big surprise comes in 'Sudden Burst' with a rock touch driven by a frenetic piano and the contrast made by the voice of Francis Riera (The Meows, Piggies) with the register of a plethoric Hammer.

If there is a clear referent that will appear in every text that is written about this record, it will undoubtedly be that of The Stooges. 'Witch' is the one that best exemplifies it. That wavering saxophone takes you back to the times when the Detroiters were one of the wildest names of the time and The Capaces have had the ability to capture that essence without giving up their characteristic stamp.

We reached the equator and the band is unstoppable on 'Monsters', which could be one of the most well-rounded singles in their catalogue. A sample of how much they have grown compositionally by signing longer songs, without forgetting to throw some punk spit at us along the way like 'Danger' so that we don't think they have been tamed.

And it is that not even the most melodic start of 'Aimlessly' accompanied by keyboard arrangements manages to contain the beast that once again has the contribution of Francis Riera, signing up for another rock hit like 'No Turning Back'. The closing of 'Alone' is simply exciting, reminding us of those half-times that Social Distortion or The Hellacopters know how to do so well and that now, after all the accumulated experience, they are also capable of performing with mastery.

It remains to be seen if All That Is will really be the album with which The Capaces say goodbye to us before the 25th anniversary that they will celebrate next year. What is certain is that if they decide to say goodbye in this way, they will be able to do it with their heads held high (*Review Gonzalo Puebla)

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"zoetrope"

Year:  2021

Country:  Spain

City:  Barcelona

Label:  Filferro

Format:  LP

Tracks:  10

Time:  22 min.

Genre:  rock

Style:        Punk n' Roll

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"rawness"
Year:  2018
Country:  Spain
City:  Barcelona
Label:  Filferro
Format:  LP
Tracks:  12
Time:  26 min.
Genre:  rock

Style:        Punk n' Roll

The Capaces from Barcelona are probably one of Europe's most exceptional and outstanding punk bands. Founded in 1999, they are playing their furious mix of punk, hardcore and rock'n'roll with for more than 20 years now. Female fronted band who can to remind old bands such as:  Dead Boys, Johnny Thunders or Sonny Vincent, or more actual bands such as: Turbonegro, Zeke, Dwarves or Social Distortion, to mention just a few ones. More than music, their singer ("Martillo") is also an exceptional illustrator (comix, designs, covers, etc.), which can to see her art HERE .

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"for food"
Year:  2014
Label:  Filferro
Format:  CD, LP
Tracks:  12
Time:  26 min.
Genre:  rock
Style:        Punk n' Roll







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"whatever it is, Im against it!"
Year:  2010
Label:  Filferro
Format:  CD, LP
Tracks:  14
Time:  24 min.
Genre:  rock
Style:        Punk n' Roll







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"the restless breed"
Year:  2007
Label:  Filferro
Format:  CD
Tracks:  10
Time:  22 min.
Genre:  rock
Style:        Punk n' Roll







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"amplifired"
Year:  2005
Label:  Filferro
Format:  CD, LP
Tracks:  14
Time:  20 min.
Genre:  rock
Style:        Punk n' Roll







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"born to punk"
Year:  2003
Label:  Filferro
Format:  CD, LP
Tracks:  14
Time:  29 min.
Genre:  rock
Style:        Punk n' Roll







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RAINBOW GRAVE

"no you"
Year:  2019
Country:  UK
City:  Birmingham
Label:  God Unknown
Format:  CD, LP
Tracks:  6
Time:  40 min.
Genre:  rock
Style:        Sludge Metal

Rainbow Grave play primitive sludge punk...Bleak minimal mantras channel the blank despair of negative punk through layers of distorted psychedelic damage..Low rent caveman hate music...Disappointment guaranteed...

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RED FANG

"arrows"

Year:  2022

Label:  Relapse

Format:  CD, LP

Tracks:  13

Time:  40 min.

Genre:  rock

Style:        Stoner Rock

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"only ghosts"
Year:  2016
Country:  US
City:  Portland, OR
Label:  Relapse
Format:  CD, LP
Tracks:  10
Time:  40 min.
Genre:  rock
Style:        Stoner Rock

I was maybe a freshman in high school listening to an online radio station called Garage Monkey when a song called "Prehistoric Dog" came on. It was like nothing I'd ever heard before with the grungy, raw attitude of Melvins, sludgy sound of Mastodon, and all sitting upon a catchy foundation.

With the inclusion of producer Ross Robinson (Slipknot, Korn) and Joe Barresi (Clutch, Kyuss), the bar is already set pretty high for Red Fang's fourth album. Proportionally, the musicians contributions are most definitely more significant than an album's production team, however with a legendary duo as these just mentioned, I could confidently assume Only Ghosts would be the band's magnum opus.

I'll be blunt, I'm not big on the singles on this record. "Flies" and "Shadows" were nowhere near as dynamic as hits like "Prehistoric Dog" or "Wires." Their melodies have grown on me a bit, but they don't have same instantaneous effect as past album's songs. I also had a similar feeling with their last record, Whales and Leeches, when the flow of "Crows in Swine" and "Blood Like Cream" felt less captivating than the standard that was previously set. By this underwhelming attitude towards Red Fang's singles of their third and fourth LPs in their discography, I have my worries about their longevity and overall direction, but luckily as I'm about to explain, there's more than meets the eye.

Similar to their 2013 record, the subtleties on this record is where I actually began to very much enjoy the music. The atmospheric and experimental side of "The Smell of the Sound" has a Helms Alee stride, which is ironic because I always envisioned Red Fang influencing Helms Alee, not the other way around. Complexity shown in the ending of "No Air," vocal deliveries on "I Am a Ghost," or the drone instrumental of "Flames" also shows an impressive new territory for the band. I am a bit bummed the catchy songwriting along with the Melvins and Big Business sound isn't as abundant on this release, but there is progress on other fronts that I respect. I think it should be noted that Red Fang has always had a knack for unconventional songs dating back from their debut LP's "Humans Remain Human Remains" to their last record's "Dawn Rising."

When analyzing all ten tracks presented here, there is a mixed bag. As aforementioned, I could give or take the singles. And the same criticism I had of these current singles could be applied to "Cut it Short" or "Not for You," which are enjoyable pieces rightfully so, but appear to be vapid in comparison to dense composition such as "Throw Up" off Murder the Mountains. And funnily enough, the later tracks are the strongest. The point that I keep coming back to is that Only Ghosts is one of those phenomena albums that have more powerful material on the deep cuts rather than the radio singles.

With the knowledge and understanding of the idea that was expressed in the last paragraph, I can hope or assume that this LP is a transitional album. With the band's songwriting skills slowly fading and a stronger sense of experimentation on the rise, I hope an emphasis is placed on the moody and psychedelic material in the future as that seemed to be the highlights for this release. Contrary to my previous assumption, Only Ghosts isn't Red Fang's masterpiece, however the progress in non-conventionalities is a commendable move. Even if this album did not completely live up to the expectations I imagined, the diversity and scope of styles and structures on this record provide a likability amongst content satisfaction (*Review by Ryley Rowe ).

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"whales and leeches"
Year:  2013
Label:  Relapse
Format:  CD, LP
Tracks:  11
Time:  40 min.
Genre:  rock
Style:        Stoner Rock








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"murder the mountains"
Year:  2011
Label:  Relapse
Format:  CD, LP
Tracks:  10
Time:  36 min.
Genre:  rock
Style:        Stoner Rock








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TRENCHGRINDER

"peace is forfeit"
Year:  2018
Country:  US
City:  New York
Label:  The Horror Dimension
Format:  CD
Tracks:  9
Time:  33 min.
Genre:  rock
Style:        Death Metal

Trenchgrinder's name make strike some as a misnomer. This is not a grind band in anyway shape-or-form. Trenchgrinder, in this instance, is more about the actual act of trench warfare than any type of musical micro-genre flag planting. Trenchgrinder play Bolt Thrower (circa The IVth Crusade) style death metal with strong crust and doom influences. And while many bands peddle this type of music in the underground today, Trenchgrinder stand out in two aspects: insanely catchy, killer riffs and a vocalist whose register and approach is more akin to gutural.

Trenchgrinder excels in the riff department. Peace Is Forfeit is chocked full of dense, memorable riffage. And some of them come out of absolute nowhere, like a flinty breakdown or slow doom-y passage arising from the mire of blasting chaos that surrounds it. And while that BT-esque wall-of-chugging groove is omni-present, Trenchgrinder add some nice wrinkles to it, laying some microtonal dissonance and off-time drum patterns. Musically, this record is about as kick-ass as it gets in the BT worship department.

My issue remains with the vocalist. The kind of croaking, gurgling rasps and snarls provided here don't really fit the music that well. They have that lo-fi black metal quality that lacks the necessary oomph to really stand out against these riffs. In some ways, I almost feel like some of the vocal patterns actively work against the music beneath it. And while there have been improvements here over their demoed material, I would like to hear this vocalist take a slightly more traditional DM approach. Are his vocals unique to this style, yes but perhaps too much so. Overall, Trenchgrinder have self-released a (flaws-and-all) enjoyable record - one that feels more like a stepping stone to even better things. One hopes that with some minor refinements, they can take the next step and truly slay the metal underground. (*Review by Televiper ).

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EARTH SHIP

"resonant sun"
Year:  2018
 Country:  Germany
 City:  Berlin
 Label:  Pelagic
 Format:  CD, LP
 Tracks:  9
 Time:  40 min.
 Genre:  rock
 Style:        Sludge Metal

German band from Berlin, formed in 2011, who mix several music styles such as: sludge metal, doom metal, hardcore and punk, in the vein of bands such as: Mastodon, Baroness, Black Sabbath, Corrosion Of Conformity, Melvins, etc.

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"hollowed"
Year:  2016
Label:  Napalm
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Sludge Metal








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"withered"

Year:  2014

Label:  Pelagic

Format:  LP

Tracks:  10

Time:  40 min.

Genre:  rock

Style:        Sludge Metal

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THE DAMNED THINGS

"high crimes"
Year:  2019
Country:  US
City:  Los Angeles
Label:  Nuclear Blast
Format:  CD, LP
Tracks:  10
Time:  40 min.
Genre:  rock
Style:        Hard Rock

The Damned Things are an American rock supergroup consisting of Joe Trohman and Andy Hurley of Fall Out Boy, Scott Ian of Anthrax, Keith Buckley of Every Time I Die, and Dan Andriano of Alkaline Trio.

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"ironiclast"
Year:  2010
Label:  Universal
Format:  CD, LP
Tracks:  10
Time:  40 min.
Genre:  rock
Style:        Hard Rock








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HARM'S WAY

"posthuman"
Year:  2018
Country:  US
City:  Chicago, IL
Label:  Metal Blade
Format:  CD, LP
Tracks:  10
Time:  34 min.
Genre:  rock
Style:        Metalcore

Harm's Way is an straight edge (vegan, anti-drugs, anti-alcohol) and political hardcore punk band from Chicago, and this latest album shows their raw strength while adding shades of modern and alternative metal for character. the philosophy of Harm’s Way is the best offense is as much offense as possible. The Chicago band began as a hardcore group with some powerviolence thrown in, but soon juiced it all up with beefcake breakdowns and got ready to brawl. Isolation in 2011 and Blinded in 2013 injected that hardcore with Swedish death metal while never abandoning their roots. With 2015’s Rust, they swapped the death metal for more industrial and ’90s groove metal influences, essentially creating a hardcore version of Roadrunner Records’ heyday roster like Fear Factory and Roots-era Sepultura, and they continue on that path on their fourth record, Posthuman. There’s a beauty to how Harm’s Way throw around such weight like boulders are pillows. It’s difficult to not be in awe of how “Human Carrying Capacity” and “Sink” dispatch punches with efficiency and brawn, where asserting might is the same as breathing, effortless and necessary. Vocalist James Pligge is an imposing figure on stage—he’s a weightlifter who could easily pass for a younger, bulked up John Joseph of the Cro-Mags—and he sounds even tougher and more assured here than before. Even if you have a distaste for competition, the band’s dedication to pure athleticism really pays off. “Become a Machine” is a string of pummeling breakdowns, an especially muscular performance from a band who defines swole. Even when there’s a lot of reexamining masculinity in hardcore, in music, and across all of culture and politics broadly, there still is value in raw strength. While still a hardcore record, Posthuman does tip the balance towards Rust’s industrial flirtations. “Temptation” takes Godflesh’s rumbling, mechanical bass and sets it to a slinking Jesus Lizard groove, then charts a course that resembles if Deftones went further in on their dream pop influences. There’s a running joke that post-punk is something you get into once you age out of hardcore, ditching your Youth of Today crewneck for an ill-fitting Unknown Pleasures shirt. By “Temptation”’s end, though, Harm’s Way avoid falling into that trap by unleashing a blistering final attack, going harder than ever (*Review by Andy O'Connor ).

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"no Gods, no Masters"
Year:  2011
Label:  Closed Casket
Format:  CD, LP
Tracks:  11
Time:  34 min.
Genre:  rock
Style:        Hardcore








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