Posts Tagged ‘nuclear blast’

Slayer – Repentless

There’s a certain inevitability that comes along with critiquing one of the “classics”; an act so well known that their very name rings throughout the air, from East to West and North to South of Heaven. What’s inevitable is that at some point during their new work, it starts to sound familiar, lacking any real drive. Whether or not this is countered with throwback performances can be the key factor in making an eleventh record jump or trip. Slayer are certainly not jumping, it can’t be expected with the loss of a man so key to their success.At this point, they may need a minute to check themselves because Repentless is definitely a toe stub of a step forward. The middle tracks of this album, “When The Stillness Comes” and “Chasing Death” are possibly the least attention grabbing eight minutes of 2015. King’s riffs here sound like they’ve been played through a surrogate, not entirely capable of playing as fast as the moment requires. Even one of his unique leads fails to get going, stuttering before failing to take off whatsoever. The stillness never leaves until the albums last track, which is probably only a touch more memorable than it’s preceding cuts due to the gleefully sassy nature of it’s title. The material all stalls because of riffs that go on for fucking ever. Don’t even bother with the intro track. Seriously. King is in a glass house when it comes to the extent of his song writing skills and he barely makes it out of this album alive because of it; only thanks to a couple of magic grooves and time changes into breakneck speeds does he remain with head above water. There is genuinely nothing new here and so be it. If Slayer are going to continue then this is probably the best thing that can happen. Get the first one outta the way and charge forward. To counter all of the bashing, Repentless doesn’t sound totally shit. Every cymbal and bit of kit rolls clearly and clearly and Araya’s bass is audible enough to remind everyone listening what it is he does between verses. The guitars are pretty flat and the tone is set from beginning to end of the record but Kerry King. Again, at this point it stops being that big a deal as it’s already clear where the albums strength comes from and it is not the ingenuity or skill on display here. It’s that it’s a Slayer album. People will find reason to continue to play this, long after being fully aware of how little this album has changed absolutely anybodies reaction to Slayer, regardless of their circumstances. Except for when Araya belts out a call to spark up – “Let’s get high!”. Pretty fucking funny. The most memorable part about the album for quite a few, would be a safe bet. Next time around might be different if King gives Holt something to do. Probably not. It’ll be a Slayer album. Slayer’s Repentless gets… 2.5/5

Lamb of God Release New Video – “512”

    Get ready to be creeped out by Lamb of God‘s new music video. A few days ago, Lamb of God debuted the track “512,” and now the single has got its own murderous clip. “512? references the cell number Lamb of God vocalist Randy Blythe found himself in after his 2012 Czech Republic arrest. If you […]

Machine Head – Bloodstone & Diamonds

It’s been a turbulent three years in the metal world since Machine Head released Unto the Locust to much critical praise. We’ve seen the continued rise of djent and it’s bastardizations, deathcore’s leanings into more progressive territories, progressive metal’s leanings into softer and more introspective territories, black metal through the eyes of shoegazers, and the return of a few old school death metal bands. The late nineties saw the band conform to the sound of the times, adopting the nu-metal style introduced by bands like Rage Against the Machine , Korn , and Limp Bizkit in years prior. Luckily, the current musical climate has had no impact on Machine Head, who have chosen to pound the flag they’ve been flying since their triumphant return to form with 2004’s Through the Ashes of Empires deeper into the ground, resulting in Bloodstone & Diamonds , their latest gem and first release for Nuclear Blast . Whereas Machine Head merely flirted with orchestral arrangements in the past, opening track ‘Now We Die’ starts off with a full on string section, setting the tone for the prodigious journey that lay ahead. The return of producer Colin Richardson is immediately apparent once things kick in: buzzsaw quad-layered guitars, drums punchier than Mike Tyson, and distorted bass sitting perfectly in the mix to complement the guitars. The sonics of Unto the Locust were perfectly appropriate for most metal albums of its caliber, but Richardson’s return makes it apparent that there is an intangible magic when the two work together. This is also the first album to feature new bassist Jared MacEachern after the well publicized fallout with original bassist Adam Duce , leaving Flynn as the sole original member. The band has been fraught with lineup changes over the years, but the heart of Machine Head has always been with Flynn. By the time second track, ‘Killers and Kings,’ bulldozes it’s way through the speakers, any apprehension is completely removed. Drummer Dave McClain ’s tasteful and simple ride bell play during the choruses carries the song masterfully, and his performance throughout the album is a testament to powerful modern metal drumming. Bloodstone & Diamonds does not wear any masks, exuding an honesty lost on much of today’s metal. In Machine Head’s case, perhaps it is a continued rebellion against their “experimental” period from 1999’s The Burning Red to 2001’s Supercharger . Despite this, the band have retained the best parts of said period while keeping the foundation they built in the beginning with Burn My Eyes , and also venturing into new territory. ‘Eyes of the Dead’ is the most representative track of their career by far, and perhaps the strongest track on the album. The intro reeks of early Megadeth with the ascending tapping lick over the pulsing drums, calling to mind ‘The Conjuring’ from the classic Peace Sells…But Who’s Buying? . The verses thrash about in the melodeath way the band adopted on Through the Ashes of Empires , with a deadly infectious chorus with Flynn chanting “Murder! Murder!” and a follow-up hook worthy of the best melodic moments from The Burning Red . Add a whammy bar breakdown groove in the mid-section worthy of 1997’s The More Things Change and you have a massive recipe for success, all while not sounding the least bit derivative. From a performance aspect, this album marks some of Robb Flynn ’s most impassioned and versatile singing in years. The airy falsetto of the verses on ‘Ghosts Will Haunt My Bones’ are simultaneously sensuous and foreboding, counteracting perfectly with the bendy groove that follows. Without a doubt the biggest surprise found here is the brooding and eerie ‘Sail Into The Black’. Parts of this song reek of Ulver ’s dark ambient masterpiece Shadows Of The Sun , which is absolutely not a bad thing. Whether this is mere coincidence remains to be seen, but the drone of the baritone choir, thick and enveloping vocal harmonies, and subtle orchestral elements call the album to mind. It’s not until around the halfway mark when the trademark chainsaw guitars, distorted bass, and pounding drums kick in do we have any inkling that we’re still listening to Machine Head. While past tracks like ‘Violate’ and ‘Down to None’ extracted the sludgiest roots of the band, they have dug even deeper into the muck with the swampy ‘Beneath the Silt’. The track opens like an audio engineer’s dream, with the drums pounding out a gigantic fill that highlights the perfectly roomy mix. This is followed by possibly the lowest tuning the band have used to date, with a simple, bluesy, and filthy riff flinging gunk all over the precious and pretty melodic moments delivered on the previous six tracks. The song is not lost on melody however, with Flynn’s hypnotic falsetto covering the chuggy verse like an opiate laced wine basted over a stuffed pig. ‘Game Over’ smacks of bitterness and regret lyrically, quite obviously being an elegy to the friendship between Flynn and Duce. As Flynn cries “Another time, when music’s all we had, bonded by anger and addictions, so glad, always together, but no words are spoken, this is the sound of a friendship broken”, it’s hard to imagine it being anything but. Flynn also took to the mic in the past to deal with former guitarist Logan Mader ’s departure with the Sabbath infused ‘Devil With the King’s Card’ from The Burning Red , so this comes as no surprise. The only downside to this album is the sprinkled on patriotism of ‘In Comes the Flood’. The majority of the music is superb, with the use of orchestra in the beginning and the cascading classical melodies on the tail of the main riff. The problem is the uninspired populist ranting over the top of everything, especially the tired sounding “Wake up, America!” over a riff that drags harder than Ru Paul. Leaving this track off the album would have eschewed a perfect score. Despite this setback, Machine Head have delivered yet another classic addition to their catalog to rival and revel in the most triumphant moments of their career. ? Machine Head’s Bloodstone & Diamonds gets… 4.5/5 -DW

Best Metal Songs of 2013 (So Far)

Ethan Miller, Getty Images / Loma Vista Recordings / Nuclear Blast While there is a bounty of metal music yet to come in 2013, it’s never too early to celebrate the brilliant works released so far this year. Metal powerhouses from around the world representing multiple sub genres have began to shape 2013, and we’re giving you a guide on where to aim your attention. From death metal legends to international heavy metal rookies to experimental enigmas, the Best 2013 Metal Songs (So Far) are ready to be absorbed by your years. Keep checking back as we’ll constantly be updating this list when a new must-hear track hits. Check out the Best 2013 Metal Songs (So Far) by clicking the button below: [button href=”http://loudwire.com/suffocation-cycles-of-suffering-best-2013-metal-songs/” title=”See + Hear the Best 2013 Metal Songs (So Far)” align=”center”]

Suffocation vs. Dying Fetus – Death Match

Nuclear Blast / Relapse Death metal legends Suffocation  trampled British metalcore band Bring Me the Horizon in our last Death Match. Supported by their blood-bound fans, Suffocation were able to achieve a massive win over their popular opponents. Those same fans demanded a purely brutal competitor for Suffocation to face. You demanded it, and now we deliver. Dying Fetus put out one of last year’s best and heaviest death metal albums, ‘Reign Supreme,’ and also achieved a spot in our Death Match Hall of Fame for the punishing track ‘Subjected to a Beating.’ The band now returns with an insane new video for the technical masterwork ‘Second Skin,’ which just premiered on BloodyDisgusting.com . For those of you with the stomach and iron ear drums for these two bands, we challenge you to choose your favorite of the two tracks. Which of these brutal legends will survive? The choice is yours. Cast your vote in the poll below. (This Death Match ends on Tuesday, Jan. 22, at 10AM ET. Fans can vote once per hour! So come back and vote often to make sure your favorite song wins!) Suffocation, ‘As Grace Descends’ ? Dying Fetus, ‘Second Skin’ ? Sorry, you need to have javascript running to see this poll. ? Email Me When Death Match Winners Are Announced Enter your email address below to receive the Loudwire newsletter, which will include notification of the weekly winner of the Death Match, as well as our top stories of each day. Email Rules of Death Match Two bands fight to the death each week. Fans can vote once per hour. The triumphant band goes on to compete in the next Death Match. If a band wins four straight Death Matches, its song will be honored as immortal in the Loudwire Death Match Hall of Fame.

Bring Me the Horizon vs. Suffocation – Death Match

Epitaph / Nuclear Blast Welcome to the first Death Match of 2013! Connecticut hardcore heroes Hatebreed  ended 2012 with four consecutive wins, locking up a spot in the Death Match Hall of Fame. With Hatebreed’s ‘Put It to the Torch’ declared as immortal, we have two vacant spots for this week’s match. Bring Me the Horizon have just released the single ‘Shadow Moses’ from the band’s upcoming fourth studio album, ‘Sempiternal,’ due April 30. The British metalcore heroes have secured their place as kings of the new school, but their opponents mapped out the very blueprint for brutal death metal. Death metal pioneers Suffocation unleashed ‘As Grace Descends’ during the final days of 2012, brutalizing all who had the bravery to listen. Suffocation’s next album, ‘Pinnacle of Bedlam,’ will be unleashed on Feb. 15, and it will surely prove to be one of this year’s heaviest albums. Can Bring Me the Horizon begin a successful quest to the sacred Hall of Fame? Or will Suffocation choke the life out of the British deathcore act? Your votes will decide the winner. Choose your favorite track in the poll below! (This Death Match ends on Tuesday, Jan. 15, at 10AM ET. Fans can vote once per hour! So come back and vote often to make sure your favorite song wins!) Bring Me the Horizon, ‘Shadow Moses’ Suffocation, ‘As Grace Descends’ ? Sorry, you need to have javascript running to see this poll. ? Email Me When Death Match Winners Are Announced Enter your email address below to receive the Loudwire newsletter, which will include notification of the weekly winner of the Death Match, as well as our top stories of each day. Email Rules of Death Match Two bands fight to the death each week. Fans can vote once per hour. The triumphant band goes on to compete in the next Death Match. If a band wins four straight Death Matches, its song will be honored as immortal in the Loudwire Death Match Hall of Fame.

Destruction vs. Hatebreed – Death Match

Nuclear Blast / eOne Legendary German thrash band Destruction , fittingly enough, destroyed Napalm Death in our latest Death Match. The band’s track ‘Carnivore’ is now on the treacherous path to the Death Match Hall of Fame, all they have to do is defeat three more bands, starting with this next act. Hatebreed are seen as an incredibly influential band when it comes to blending elements of pure hardcore and metal together. The band is slotted to release its seventh full-length album, ‘The Divinity of Purpose,’ in January 2013, but you can check out the new track ‘Put It to the Torch’ right here. Can Destruction continue their path to the Death Match Hall of Fame? Or will Hatebreed set fire to the thrash band’s reign as Death Match champions? The choice belongs to the fans. Vote for your favorite track in the poll below. (This Death Match ends on Tuesday, Nov. 27, at 10AM ET. Fans can vote once per hour! So come back and vote often to make sure your favorite song wins!) Destruction, ‘Carnivore’ Hatebreed, ‘The Divinity of Purpose’ ? Sorry, you need to have javascript running to see this poll. ? Email Me When Death Match Winners Are Announced Enter your email address below to receive the Loudwire newsletter, which will include notification of the weekly winner of the Death Match, as well as our top stories of each day. Email Rules of Death Match Two bands fight to the death each week. Fans can vote once per hour. The triumphant band goes on to compete in the next Death Match. If a band wins four straight Death Matches, its song will be honored as immortal in the Loudwire Death Match Hall of Fame.

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