British heavy metal five-piece Synaptik recently announced the re-release of debut album “The Mechanisms of Consequence,” arriving as a heavier remixed album due out on January 30th.
The Norwich men show no signs of slowing down as they are also set to make a huge impact in 2017 by following that debut with the release of sophomore album “Justify & Reason,” due out March 10th.
For U.S. fans, it’s a double dose of metal as the remixed album and the new record “Justify & Reason” will be released as a double album directly via Divebomb Records.
Synaptik describes “Justify & Reason” as: “A collection exhibiting real finesse, true technicality but not at the expense of neck-snapping riffs and a progressive air that’s both bracing and intimidatingly menacing.”
1. The Incredible Machine
2. Human / Inhuman
4. White Circles
5. Esc Ctrl
6. A Man Dies
7. As I Am As I Was
8. I Am The Ghost (intro)
9. Your Cold Dead Trace
Second Horizon, a four piece from Cologne in Germany, have quite a challenge as with any new band playing this stylistically demanding music. They either need to add something exciting and original to the genre, or be so bloody good at delivering captivating instrumental rock (that visits quite a few genres) in its conventional form that they stand head and shoulders above the oceans of ordinariness that surround them. While they will not win any awards for innovation, the debut release Albdruck does in fact rise most convincingly from the latter category, and has enough variation in its six tracks to keep interest levels high.
Beginning with the short intro “Zucht,” Second Horizon expertly marry the sludgy histrionics of Panopticon era Isis to the noise rock sensibilities of Melvins. The band doesn’t fuck about with long intros, and like to get on with the business at hand, with only two tracks passing the 6-minute mark. This makes for a more urgent and also provides a much more organic feel to the band’s playing.
In addition to Isis and Melvins you can undoubtedly hear the massive influence of Cult of Luna, Mono, Mastodon, all the major names, but Second Horizon somehow manage to put a unique stamp on this rather derivative framework.
Second Horizon have risen far above the sum of their influences, and delivered a very fine instrumental rock album. Check it out!
In some ways many metal listeners have divided opinions when the topic is “black metal.” Most of them find it raw or pretentious, but there are some that adore every melody that could come out of a black metal song. Juodvarnis, a lithuanian Epic/Pagan Black Metal band is just like a problem solver at this point. This band’s versatility lies in combining epicness of the pagan take on the black metal genre and folk, heavy, doom, and stoner metal elements, wrapped with a touch of progpower.
The band from Vilnius released two albums so far. “Mirusio Žmogaus Kelionė”, their second album carries every single element that is specific to the mentioned genres. Very epic, at times softened by great high pitched clean vocals, you can also find a fair dose of doom metal. Lyrically the album has its own dark side either. The songs are written in Lithuanian, a language that sounds as a perfect fit for the music Juodvarnis creates.
There is astonishing black metal drumwork in the songs, there are great heavy metal guitar solos, accompanied with tasty folksy elements. But besides that what takes the attention at the most is high-pitched clean vocal that is combined with screams. A rare singing style, which also makes the album unique itself.
There is a similarity between with the known doom bands such as Candlemass, While Heaven Wept, maybe a little of Solitude Aeternus and there is a smell of Void of Silence in the vocals. In some parts you find similarity with Moonspell and a little bit of early Amorphis. As all these bands are far from black metal, and that is what makes Juodvarnis different. A must-listen album of the year right here.
New York City is still home to one of the most avant-garde, forward-thinking and influential music scenes of all time. Off the top of my head, I can mention more than a handful of NYC-grown bands and musicians who chellenged the musical status quo and influenced the alternative music world for years to come – from the Velvet Underground to Sonic Youth. The local metal scene is also part of the city’s diverse and intricate network of creative and innovative band, and Infinity Shred is definitely a perfect example. The sound of the band is indeed a very personal and very distinctive blend of metal and synthwave, with electronic music influences creeping in into the natural metal roots of the band’s upbringing.
Long Distance was released on October 14, 2016, and it is the band’s second full-length.
Listening to this album is almost an enlightening experience. As the setlist progresses, the sound I hear from my speaker keeps surprising and redefining my perception of what metal could sound like when cross-contaminated with other influences. Post rock drones? Why not. 80s synth pads? You bet! No-Wave style noise burst? Oh yes. This record is a live, colorful and unpredictable beast that channels the diverse sound of NYC under the scope of its metal music scene in a truly brilliant way.
Nomadic is an American black/death metal accompanied with various other influences. The band has released their debut EP record Horror in April.
Horror features some impressive death metal riffs and brutal vocals, which manages to catch the listener’s attention from the beginning! Although the record is not the typical ‘raw’ death metal one, the vocals and the drums (from time to time) give us that raw atmosphere. The guitars, on the other hand, are quite brutal and show us the diverse and melodic side of the album. In this sense, the record is brutal but also melodic and catchy; I am sure that the listeners will want to hear the record again and again to hear a certain guitar riff, brutal vocals or the crushing drums.
A highlight in the atmospheric elements; this aspect made the record much more fascinating and even a bit diverse in my opinion. I even thought to myself that the band could have gone a bit further with the atmospheric approach by using more synths or orchestral elements.
Horror marks the great start for the band. I am looking forward to what Nomadic will come up with in the future. If you have a chance to see them live, don’t miss it!
There are times in every music lover’s life where a record’s concept, ambition, and execution is understood and loved immediately. Not just by the heart and how it makes you feel but on an intellectual level as well. These moments are when one truly appreciates an artist’s creation. Glory of the Supervenient has all the essential ingredients to conjure up this feeling in anyone who listens to it with no fluff added.
More focused than the meandering nature of Trioscapes and more immediate than the sometimes glacial pace of TesseracT, Glory of the Supervenient has the project, led by composer and drummer Andrea Bruzzone, striking a balance seldom can attain, much less in the realm of progressive jazz/fusion. The sheer number of ideas as to where to go and what to do with the medium has resulted in many albums either going too far with the wall of noise or holding back too much in fear of doing so. Glory of the Supervenient doesn’t experiment with the plethora of soundscapes and instruments available to those subscribing to the jazz/fusion moniker but instead chooses to hone its more contemporary musicianship to a razor sheen. Every instrument is clearly differentiated and contributes to the different cascades of mood every song portrays. The guitars in particular showcase a perfect mix of distorted riffage and technical fret play which play through and off each other artfully. The noodling all has a clear focus in each song, and never seems to just fill space. In fact, the entirety of the record gives a definite sense of progression, carrying the listener from one section to the next seamlessly and gives off a welcome cohesiveness.
At the heart of Glory of the Supervenient is its concept, which is that of stripping away the superfluous qualities of emotion, situation, and inspiration and leaving behind only its essence. This is the “concept” in terms of following certain vibe and structures, and perfectly describes the band’s direction with the absence of a variety of instruments and the sharp focus of the songs. That is not to say Glory of the Supervenient drags on at any point, in fact the pacing is beautifully crafted. Musically, the record achieves everything it was made to do.
Glory of the Supervenient may be a new kid in the block, but they bestow upon the masses a genre-defining album, displaying a marvellous blend of experimentation, songwriting expertise (not using that word lightly), and the feeling of plain rocking. The strange juxtaposition of using a concept of stripped-down instrumentation, conveying feeling and moods at their most basic level using a framework as frequently ostentatious and gaudy as progressive jazz-fusion is not lost on this reviewer and the fact that it’s pulled off so well by one man only releasing a debut album is quite a feat. Those who want thrills without frills in their music cannot go wrong by giving this a listen.
One of the most striking aspects of this debut EP from Make Way For Man is a rather majestic flow, which takes a run of six songs and turns them into something with much grander allusions. Taken at surface level you may think that there is not an awful lot of new going on, but taken as a full on narrative, a whole new world opens up.
Evolve & Repair starts with a gallop with the self-titled song which is full of rolling vistas of bass and drum rolls, and portentous riffs. Full on metal with one foot in prog and the other in djent, Make Way For Man have done their homework and know what makes each sub-genre tick. By the time the inevitable whinny of a horse leads into a clatter of hooves on second song “We Will Surely Drown,” all reservations have been cast to the wind and you will be fully on board.
The great thing about Evolve & Repair is that the quality level not only stays the same, but actually rises up a notch and on arguably the best song here, “The Other Side of Fear,” they move on to another level as the pace slows down, but the music gets heavier. Following this with two last pieces on the record “If You’re Going Through Hell Keep Going” (instrumental) and “The End is Up to Me” serve to make an unbeatable part of the record that more than matches anything else released in 2016 so far.
Over the last couple of years, since I’ve been writing about albums, I’ve had quite a few opportunities to listen some really great records. One such record, precisely an EP titled “Collapse” by UK metallers Perception was recently given to me, and I’ve been listening it from front to back quite a lot.
In the interview below, the band members tell us about this stunning piece of music, so make sure to press the play button below and indulge yourself.
Alright, first thing is first. Before we dive into all the music stuff, how’s life?
Life’s pretty good right now, Collapse has had a great reaction and we’re super appreciative for that. We’re currently having some beers and talking over plans for the next 6 months.
Speaking of new music, you have an EP. What can people expect from “Collapse”?
Some songs are more melodic, whilst some songs are straight up heavy, the EP really varies across the board and it shows our writing process evolving over a space of 2 years.
What was it like working on the EP?
It was quite a long process. We finished writing the EP about December 2014 but we had to postpone its recording & release because of line-up changes. But in hindsight I think it worked out for the better.
Are there any touring plans in support to “Collapse”?
Yes. I hate to be boring but we can’t reveal anything just yet but we’re in talks with some really cool up and coming UK bands.
While we are on the subject of touring, what countries would you love to tour?
Germany, Czech Republic, Hungary, Japan and maybe the USA, so long as Trump doesn’t become president.
Who and what inspires you the most?
Tom Searle. RIP.
What other genres of music do you listen to? Have any of the other genres you listen to had any impact on your playing?
Al – Aside from metal, I’m a massive hip-hop fan, artists like Kendrick Lamar, J-Cole and Dr Dre are some of my go to artists in the genre. Some of my favourite releases metal wise over the last year includes bands like Silent Planet, they’re killing it currently. My everyday listening can vary massively though, from Kendrick all the way to Justin Bieber (sorry not sorry).
As far as influence on my playing, allot of funk bassist push me to make my playing as groovy as possible. But still keep it appropriate for the music we play. Also Dirty Loops bass player is fucking sick. If you don’t know who they are, go check them out right now.
My musical taste is a bit of mess if I’m honest.
Will – enjoying a bit of Mars Volta and Porcupine Tree at the moment. Also loving a bit of Creeper too and Normandie (check both of them out). In the past I’ve been a big fan of alt-rock and indie i.e. Arctic Monkeys, Foals and Foo Fighters.
Paddy – Massive Ellie Goulding fan (Pre-Delirium, wasn’t a fan), so a lot of her. There’s also this weird indie (ish) band called Agent Fresco who Simon (UK-Tech Fest organiser) showed me and I’m still rocking their latest album ‘Destrier’. Pink Floyd’s Animals and Oh Wonder’s self-titled. All these things definitely effect my playing, perhaps not in the way you might expect, but it does.
Ben – My music music taste varies massively. Im currently well into The King Blues after seeing them at Reading, big on those chilled vibes. As a vocalist I appreciate good singer/songwriters but it varies from Michael Buble to Genesis, to soundtrack music, to nails! Listening to all these different styles has a massive effect on my writing and performance as it opens my mind up so much!
I really appreciate you giving us your time today. Is there anything else you would like to tell us and the fans before we wrap things up?
Shove our EP in your ears ‘cause it’s so bad it’s good.
Letters of the Lost is a metal band hailing from the hot Miami, and same as the weather in the southeasternmost U.S. state the metal this quintet serves is nothing less hot.
So about how much their metal is hot, and the band’s recently released “Walk With Us” EP, I talked with the guys.
How do you feel now that “Walk With Us” has been unleashed?
It’s a mix between excitement and relief, honestly. It’s been a very eye-opening experience that has taught us a lot about ourselves, both as a group, and as musicians. Now, it’s all about making it count, so expect our name to slowly and slithery, creep onto the radar.
Are you satisfied with feedback you received so far for the new EP?
It’s been a very rewarding feeling from all of the hard work over the past two years. Our fans have been supporting & sharing it online, and we have received some amazing messages of their favorite songs.
What was recording process like for “Walk With Us”?
It was a great experience altogether. Tracking at Arcsound Studios in Miami took us about nine weeks, going in just on weekends to knock the songs out. It was a very smooth process, all of the staff members there knew exactly what kind of record we wanted to produce, so they were very easy to work with. Andrew took the biggest beating, having to track his drums 3 times per song, so he was like a pool of pudding by the time he finished.
How do you feel about the EP’s production?
Anyone can tell you that there are always crazy, unexpected things happening when conceiving an album, or any project for that matter. We are five young guys with, an incredibly unhealthy passion for music, that had a vision and not a lot of funds to make it happen. Nonetheless, we have made it happen, and now it’s up to the listeners to give us their feedback, and hopefully, their support.
What inspired “Walk With Us”?
Musically, we wanted to delve deeper into that sound the band was creating as a two-piece, and stray away from the cliches as much as possible. Lyrically, a lot of the EP circles around social interactions and relationships, whereas a couple of them also hit close to home. “Kenospia” for example, is our single and a song that was written with a name in mind. The name in question can be decided on by the listener.
After two EP’s, I believe the time has come for Letters of the Lost to release a full-length. What are your plans on that?
Well, allow us to clarify very quickly; “Merkio” was just a demo, this is our first EP. As of right now, we are planning on spending the majority of 2017 touring, to promote our EP, and spending the time we have at home to write out the rest of the tracks for our LP. We are planning to go back into the studio in 2018 to record and release it.
What does the future hold for Letters of the Lost?
Lots of touring, lots and lots of grinding to make things happen, as well as a music video. Later on, we will enter the studio for an LP, and oh boy, that will be sooner, rather than later
Is there anything else you would like to add?
Of course! To all of the readers, thank you for spending these past couple minutes of your lives checking out a band you’ve never heard of. But, now that you’ve heard of us, stick around and join this journey we have overtaken.
Tribal is a new band on the international metal scene which combines modern metal sound with traditional Brazilian music. Massive riffs accompanied with djent and influences of metalcore add to the variety.
Their debut self-titled EP was released this past February. It includes six songs and it is a little longer than 30 minutes. The EP starts with “The Age of Frustration.” The song has an epic intro, which directly parts the album from a “classic” djent work. Well thought piece that gives variety. What ultimately grabs listener’s attentions in all songs are guitar solos which often change direction towards more traditional heavy metal sound.
The thirrd song “Unconditional” also has a different atmosphere that makes the band’s sound separated from the other acts. Additionally there are clean vocals in this one; we could describe this piece as ‘slow’ and maybe we could keep with the word epic a little bit more. This song changes your mind completely about where Tribal are headed to. In the end, everybody loves new, different and well made things.
Tribal is a metal release that didn’t forget its heavy metal roots and with tons of different influences it makes for sure that this band has a lot of potential for something greater.
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