Rotten Sound at myspace

Rotten Sound along with Pig Destroyer are the joint world leaders in the modern Grindcore scene. Both bands have a distinct style which is deeply rooted in the genre’s 80’s Hardcore Punk roots and neither could be described as technical as certain other grind bands. Where Rotten Sound differ on this release from both their main competitor in Grindcore and those bands such as Phobia and Kill the Client who are snapping at their heels is the influence of Stockholm Death Metal on their sound particularly Grave. Amidst the fast punkish grinds there are several chunky breakdowns that wouldn’t feel out of place on “Into the Grave” and some of the riffs are more reminiscent of the Stockholm sound than say Napalm Death or Terrorizer and are effortlessly slotted into the Grindcore structures of the songs. Other songs like “Praise the Lord” sound like Amebix at 100 miles per hour.

The most common criticism of Grindcore is that all the songs sound the same, but this is definitely not a complaint one can make about the songs on “Cycles” with the barely structured Crusty chaos of “Deceit” being placed next to the groove laden two minute epic “Caste System” being a prime example. This is truly top draw grind and this album would be my recommendation for anyone looking to get into the genre.

Toxic Holocaust at Myspace

Long time underground darlings Toxic Holocaust were the first significant American Thrash revival band and “An Overdose of Death” their third full length and their debut for Relapse Records is definitely an album that lives up the hype. Toxic Holocaust have the most original sound of any thrash revival band and instead of taking the usual influence from the big four, crossover thrash and the bay area the sounds of 80’s UK Hardcore Punk (Discharge, G.B.H), 80’s First wave Black Metal (Venom, Bathory, Sarcofago) and Canadian Speed metal (Razor, Exciter) are most prevalent.

“An Overdose of Death” displays a style that is punky without falling into the usual D.R.I/Crumbsuckers clichés that say Cross Examination have, and the Blackened edge is exquisite as it is primeval and raw whilst taking the concept of blackened thrash further than the typical nostalgic Luddite concepts that plague the genre. With the Punk elements Toxic Holocaust are more reminiscent of Abigail/Barbatos genius Yasuyuki Suzuki (who Toxic Holocaust mainman Joel Grind collaborated with on the Tiger Junkies side project) than say Destroyer 666 or Nifelheim. The Speed Metal elements differentiate Toxic Holocaust from Suzuki’s approach with their meaty leads and classic metal-esque yet lightning quick solo’s making “An Overdose of Death” a very different beast from say Barbatos’s “Rocking Metal Motherfucker”.

Like all good thrash revival records this is a record that would have sounded as fresh as in 1985 as it does now. Listen to the riff at 0:40 of “Feedback, Blood, and Distortion” and tell you don’t feel the urge to hurl yourself at the nearest object of a similar mass to yourself whether it’s a water cooler or your grandma. If you don’t, then you should probably listen to Fairyland or whatever kind of lame metal most paintywaist’s like to listen to as this is one for real thrashers.

Meshuggah at Myspace

Let’s face it the quality of Meshuggah’s material has been on a downward spiral since 1998’s “Chaosphere”. 2002’s “Nothing” was a mid paced boring trudge and 2005’s “Catch Thirty-Three” was an overly pretentious journey to the musical equivalent of the middle of nowhere with nothing to show for it. The problem with both of those releases is they were too obtuse and for want of a better term ‘mathematical’. You are probably saying “but the whole point behind Meshuggah’s music is their use of complex almost mathematical rhythms; how can their music be too mathematical!” The problem is when the mathematics overpowers all the other elements of the bands formula so that it becomes a staid series of theoretical musings in obscure time sequences and forgets the adrenalin rush and off kilter momentum that made songs such as “Future Breed Machine” and “New Millennium Cyanide Christ” so memorable.

The songs on “Nothing” and “Catch Thirty-Three” had the momentum of a bulldozer stuck in quicksand and instead of making you want hurl yourself around your room instead lulled one into a feeling of drowsiness. “ObZen” at first listen seems to have rectified this problem with the first song “Combustion” which is a full throttle poly-rhythm attack that engages the senses like having a hive full to the brim of hornets flung at you at top speed. In theory if there are a few fast songs on “ObZen” then that should allow the slow ones to be more memorable as they won’t blend into one featureless mid paced chug a la “Nothing”.

However, this is not the case as the next six songs are mid paced and whilst tracks such as “Lethargica” and “This Spiteful Snake” have unnerving yet atmospheric discordance that the material on “Catch Thirty-Three” could never hope to achieve. Unfortunately tracks two to seven to seem to blur into half an hour of mathematical chugging nearly always at the same tempo that betrays however unworldly and mind-blowing this material may appear to be at first listen, when presented like this with not enough fat cut away from the meat, the Meshuggah sound seems as formulaic as Cannibal Corpse or Dark Funeral.

“Pravus” is a faster paced and less samey track which helps to some degree to bring any listeners attention that may have wandered back to the fore. It’s too late though as it’s the penultimate track and its now the turn of the nine and half minute album closer “Dancers To A Discordant System” to finish off the job of disappointing us once more. A moment roughly around 5:45 is oddly reminiscent of Gojira which isn’t surprising given the influence Meshuggah have had upon them, but it further hammers it home that barring a surprise return to form, Meshuggah’s time as innovators and leader seems to be over. With one brilliant track with the rest ranging from “kinda alright” to “deserving to be on “nothing” ” this has proven to be a disappointing album.

Gama Bomb at Myspace

Hailing from Northern Ireland and at the forefront of the thrash revival, Gama Bomb have created an exuberant and irrelevant brand of thrash metal that is primarily about generating an atmosphere perfect for brainless fun, good times and any occasion with a large amount of alcohol is involved. The most socio-political they get is on “global warming” that is more a lurid exaggerated tale using climate change in the same way that they use Zombies in other songs; over the top entertainment. Lyrically these guys are Tankard if they were born 15-20 years later with songs about video games as well as the expected alcohol, B Movie and cartoonish violence.

Musically it’s hard to compare them to any other artist as they have a take on thrash that would have been relatively fresh if it had emerged in the late 80’s and on the evidence of this album they are certainly a more talented prospect than Evile, SSS or even Municipal Waste. Crunchy riffs feed into brief but compelling leads, and the solos are tasteful whilst remaining rip-roaring. Lead Vocalist Philly Bryne is able to switch from a nasal punkish snarl to a glass breaking falsetto at a moment notice and despite the jovial nature of the subject matter, he adds a certain edge of intensity to the proceedings. “Citizen Brain” is for me in the top ten thrash releases of this decade. If you like thrash, buy this album.

Svartsot at myspace

Folk Metal is something you either love or hate. Apart the odd artist such as Agalloch or Hammers of Misfortune it’s usually exuberant, joyous and unashamedly cheesy. It’s an easy recipe to get hideously wrong, in a widdly keyboard smorgasbord and ye olde worlde theme park style charm offensive that certain acts end up just sounding smug and self-referentially ironic in one of those oh so ‘random’ ways that appeals to the same kids who thought the Lostprophets “megalulz” t shirt was the height of hilarity until their friend introduced them to metal hammer magazine last summer.

Svartsot, thank fuck are not one of those bands. There are no keyboards on the recording of ‘Ravnenes Saga’ their debut album, but instead an array of Flutes, Whistles and the Celtic percussion instrument the bodhran all played by at this point now ex member Stewart Lewis (who had to quit due to his wives ill health) which add to the air of authenticity that pervades this album. The guitar riffs have more of a folk influence than those of say Turisas or Korpikplaani, and the folk stylings of Svartsot’s home country of Denmark make a welcome change from the now textbook Finnish style. The cheese is kept at a welcome minimum with the searing death metal vocals and beautiful production job of Jacob Hansen who has worked with Yrkoon and Destruction in the past and is at this moment in time working with reunited Dutch Death Metal legends Pestilence, helping to create a non too serious but in no way at all goofy atmosphere.

With a lot of the similar bands in this genre, you feel they are trying too hard to create a party album, but ‘Ravnenes Saga’ is a rare all purpose folk metal album. You can party, headbang, or relax to this album and with not a comedy cover in sight to make one groan; this is certainly one of the finest folk metal releases of the past two years.