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Monday, February 29, 2016

When Blood Falls Down - Ven[Ǝ]aH

When Blood Falls Down - Ven[Ǝ]aH

Written by Kelly Durrenberger on February 29, 2016 for Bloodrock Media

Mexico’s When Blood Falls Down re-released their brutal 2012 EP titled Ven[Ǝ]aH on March 4th, this time around releasing the album with Transcending Records. The death metal foursome consists of the dynamic vocals of Kubrick, face-melting guitar riffs of Varg and eWOLF, and insane hammering on the drums of Jose. 
The title track is unquestionably worthy, kicking off with an intense scream and followed by chest pounding bass drum, so fast that it is a surprise that Jose’s feet didn’t fall off. Every verse in Ven[Ǝ]aH is filled with so much detestation and abhorrence, fans will yearn for a mosh pit to release their pent up rage.
Ven[Ǝ]aH is frankly a work of art; so metal that fans will feel as though they are summoning the dark prince from the instant the first track The Rotten begins. From the onset, fans will hear and feel the torment, rage, and hatred in Kubrick’s sinister vocals paired with crazy guitar riffs and enough double bass to raise the dead.  The album is perfectly well rounded, so much so it is impossible to choose the best track; death metal fans will certainly agree that from start to finish Ven[Ǝ]aH holds their attention for ransom. Visit Transcending Records to grab a copy of Ven[Ǝ]aH immediately; it will be the most positively malevolent day of any death metal fan’s life! 

Thursday, February 25, 2016

Anthrax - For All Kings

Anthrax - For All Kings

Written by Ken Bowden on February 25, 2016 for Bloodrock Media

Let’s be honest, Anthrax is one of those old school trash bands metal lovers either fuck with or they don’t. Regardless what side one is on, they are icons of the metal scene, and they get their respect. The band’s newest release For All Kings or 4AK made its official debut on February 26th and sports some killer cover art, even though most jaded heathens will like.
The intro to 4AK is short and sweet, instrumentally ominous and all that good stuff. The first track “You Gotta Believe”, is like someone kicking in the front door, filled with sick riffs, more or less what you expect from trash Gods. Midway through the track, the guitar picks up a notch, as do the vocals, improving the track tremendously. At first it’s not seriously impressive, just typical trash, but when it picks up, it becomes a damn good song.
The next track, “Monster at the End” boasts a catchy chorus, the instrumentation isn’t bad either. It is simply an okay song, not for lack of energy, there just seems to be something missing. Following that are “Zero Tolerance” and “Breathing Lightning”, “Zero Tolerance”, as wicked as the guitar riffs are, this is probably a weak point in the album.
It is about this point where some may feel like 4AK is good but not great, not what you would expect from Anthrax, that is until “Blood Eagle Wings” comes roaring through their speakers and knocks them on their ass. Maybe it is production genius or intentional song place, one can never be too certain of these things, but from “Blood Eagle Wings” the entire album steps the fuck up. Pure, unadulterated domination rather!
When fans think of Anthrax they expect to get dope guitar, which is probably why Scott Ian is the most well-known member of the band, but from “Blood Eagle Wings”, the instrumentation is just all around spectacular, solid, and a well-oiled machine of trash. A perfect example of this is the phenomenal opening to “Suzerain”, which from start to finish drills fist pumping, horn raising metal into fan’s brains without apology.
Overall, 4AK is like the first season of Netflix’s series Daredevil, serious Marvel fans jump on it without hesitation; others may ponder the idea to see it but need some prompting but then are hooked. For All Kings is exactly like this, diehard fans will love the entire album, without question, whereas others may hesitate but will find some tracks on the album they really like, despite the albums slow start. It’s not groundbreaking, similar to recent releases by Iron Maiden, Black Sabbath, and Megadeth, but fans looking for fresh but familiar, A4K is definitely worth a listen.

Tuesday, February 23, 2016

The Maledict - Dread

The Maledict - Dread

Written by Kelsie Lunsford on February 23, 2016 for Bloodrock Media

Australian death/doom band, The Maledict, is set to release their self-produced debut studio album, Dread on March 4th. The four piece band consists of Ian McLean’s screaming vocals, Stuart Henry’s sick guitar riffs, Stuart McCarthy rockin’ the bass guitar, and Karl Freitag beating away on drums.
If you’re not familiar with The Maledict, you’re honestly missing out on some vantablack, exquisitely morose, death metal.
Dread will quite literally rock death metal fan’s Chucks off. One of the first things one will notice while listening to Dread is the feeling that you’re in a fantasy world. From the distinct guitar riffs, to melodic, intense vocals, and all around dramatic instrumentation, The Maledict is nothing but extraordinary.
‘Tenebrae’, is the first track off Dread and begins soft and melodic. As the song progresses, it becomes more well-rounded, and gives a strong sense of how the remainder of the album will sound. The second track, ‘Fast Unto the End’ gives a more powerful and fast paced start. It is during ‘Fast Unto the End’ that McLean’s diverse vocal range becomes apparent, from deep growls to cleans.
Lyrically, ‘A Muse in Requiem’, the album’s longest track, is nothing short of impressive. It is everything one lyrically wants in a song; intensity, emotion, and meaning. With skin-crawling, goose bump inducing lines such as, “And in her throes of dying, the Muse spoke unto me: ‘End this now, for only ever my shadow’s had any love for thee.’”. While the track is long, 12 minutes to be exact, one will not get bored; The Maledict does an impeccable job of keeping listener’s attention and desire to hear more. The final track on the album, ‘Deadened Eyes to the Horizon’, is 11 minutes long, and yet again, lyrically remarkable. The song, as a whole, is vocally, lyrically, and instrumentally well-crafted.
Dread, is one of the most beautifully melancholy, multidimensional, and intricate albums to come out of the death metal scene in recent history, if not ever. It is a must buy album of 2016.