April 7, 2012

A quick slew of reviews for metal heads and rock music afficcionados featuring new releases from  both unsigned and veteran bands.

Case in point, if you’ve never had the chance to listen to  Max Cavalera’s post-Sepultura (I mean, before Cavalera Conspiracy) efforts, then Enslaved is as good an introduction as any to the joys of Soulfly.

Also appreciate the feedback from the Sunpocrisy guys. Glad you enjoyed it and thanks for the tweet.

It’s still a hot and humid Black Saturday so remember to listen to these at a discreet volume or with earbuds or headphones. Just because we like loud music doesn’t mean we don’t know how to respect the Catholics.

Music review: New metal releases to make your Holy Week a little less holy

BY KARL R. DE MESA April 5, 2012 1:00pm
If heavy metal is more your kind of music, check out these capsule reviews of new CDs. For best results, remember to play at discreet levels or through personal headphones.


Joyful proof that very few can beat Max Cavalera and Co when it comes to grit and attitude. If it wasn’t for the whole Sepultura fallout we’d never have Soulfly or Cavalera Conspiracy so I guess a smidge of sibling feuding is good for musical evolution. “Enslaved” is like the spectacle of a tribal ritual complete with human sacrifice as a means of communal apotheosis. The single “World Scum” is a balls out pit churner but the veteran skill for subtlety and complexity is where it gets interesting, as in “Gladiator” and the exquisite “Plata O Plomo,” sung in Max’s native Portugese.

Harbour of Devils

What I like about this album is that it brings so much song craft to the table. You can actually hum some of the hooks in this instrumental release. What the Blood Revealed are from Irvine on the West Coast of Scotland and I have no idea if they’ve been shooting up strong stuff ala “Trainspotting” but this LP straddles melodic thrash in the post-metal vein with overtones of political activism, the dangers of science gone awry and a keen dystopic vision. There’s even some black metal chromaticism here. “We find our inspiration in science, and the truths it reveals,” says their MySpace profile and you can actually hear their misgivings about the future, especially in my fave, longishly titled track “The Corporation As We Know It is Dead, Dead, Dead.”

Samaroid Dioramas

They took copious notes from Tool and A Perfect Circle and then used it as a lodestone to chart their own exploration into heaviness. Obsessed with celestial bodies, their formations and the occult significance thereof, there’s a wry, space metal affectation in their songs but that doesn’t mean they’re just a drugged out new Hawkwind (they do have projected images and choreographed lights at their gigs). The hunger and rage of “Apophenia” or the freight train speed of “Samaroid” is all too modern in its technicality. Hear Jonathan Panada’s growl and tremble at the prospect of the end times which, according to them, are well nigh.

To read the rest of it, click HERE. 


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