MORROW'S MEMORY - TAKE CONTROL

Morrow’s Memory - Take Control

Written by April Baggins for Bloodrock Media on August 15, 2016   

Five years is an eternity in the music world but as the saying goes, good things come to those who wait, and good things have happened for Detroit area alternative rockers, Morrow’s Memory, with the release of their five-track EP entitled Take Control on July 24^th.  With sounds ranging from the poetic crooning of Richard Marx (circa 1989) to the technical transcendence of Tool, Morrow’s Memory, is a heaping portion of fiery passion smothered in controlled chaos with a side of  unadulterated badassery (it’s a word, trust us).

“Bloodlust” the first track on Take Control is heavy, but still has that pop catchiness.  Fans will find themselves confused on whether to bang their head or break out into ‘the Carlton’ on the dance floor.  Imagine Tool covering early Killers that is how “Bloodlust” feels.  The growls give it a bite.  The second track, “Ones and Zeros”, is that one song that will make fans fall in love with music all over again.  The intro is breathtaking, the lyrics have attitude but are still beautiful; this track is how every song should make a listener feel.  

“Sapphire”, the fourth track on the album, was actually released in early 2013 as the band’s first official music video.  Beautifully composed, “Sapphire” is pretty damn close to how lyrical and vocal perfection would sound.  It definitely has that ‘OH MY GOD’ factor and showcases the bands enormous talent.  The last track, “Find My Own Way” comes back to the heaviness of “Bloodlust”, but is more of roller coaster ride, a ride that fans won’t want to get off.  It starts out fist pumping heavy, only to slow down to a gentle sway, only to get fists pumping again…controlled chaos…gentle and passionate, yet powerful and aggressive. Absolutely flawless.  

Take Control is by far one of the most intense and stunning EPs released in the recent past.  There isn’t an age maximum or minimum, or a specific genre of music fan that should pick up Take Control.  The album seriously covers all of the bases from pop to rock and old and new; all of this in five tracks.  Still can’t quite figure how that is possible, but it is, and Morrow’s Memory should be very proud of the final product.  Take Control is spectacular and brilliant from start to finish and if it isn’t getting radio attention now, it definitely should and will be.   

Filter - Crazy Eyes

Filter - Crazy Eyes

Written by Kelsie Lunsford for Bloodrock Media on April 13, 2016

I’ve got my reasons and my reasons are sound…. I’ve got my reasons for enjoying Filter’s newest album, Crazy Eyes and those reasons are nothing short of neu-industrial excellence. Crazy Eyes, released April 8th, has a futuristic, industrial sound; a very different approach than fans will have seen from the band in the past. 

The newest release boasts catchy and fun tracks such as “Mother E” and “Tremors”, listeners will definitely claim these two as their favorites on the album. “Nothing In My Hands” will remind fans of Muse, in a fantastically dark, euro-pop, glamorous way. For those that seek the old Filter sound, the third track, “Pride Flag” will give them what they seek and transport them back to 1999.  

Over all Crazy Eyes is a solid album; possibly the best we’ve heard from Filter. With it’s very distinct futuristic, electronic sound, it will appeal to those that are hearing Filter for the first time or fans that have followed them since the mid-1990′s.  Fans can catch Filter on their tour, “Make America Hate Again” with ORGY, Vampires Everywhere, and Death Valley Heights.

Soliloquium - Absence

Soliloquium - Absence

Written by Kelsie Lunsford on March 14, 2016 for Bloodrock Media

The Swedish, melodic doom metal trio known as Soliloquium, released their album titled Absence on February 1, 2016 courtesy of Transcending Records.  Absence is a compilation of their previously released EPs, When Silence Grows Venomous, The Concept of Escape, and A Night of Burdens; featuring six original songs and two covers, ‘Forever Failure’ by Paradise Lost and ‘Zombie’ by The Cranberries. The overall feel of Absence is reminiscent of hard rock of the 90’s with a doom metal twist brought by Stefan Nordstrom’s deep growl vocals. 

The first track, ‘Garden of Truculence’, opens very melodic, mellow even, listeners will be searching their pockets for their lighters, well that is until about two minutes into the song and it is time to head bang and mosh. The third track, ‘Crossroads’, kicks off with a long, powerful guttural scream by Nordstrom. ‘Crossroads’ is powerfully catchy; the clean vocals are beautifully executed, and a nice contrast to the typical screams and growls, fans will find themselves repeating this track over and over. The lengthiest track on Absence, ‘Nighttime Revelations’, is quite unique, beginning very whimsically; listeners will almost feel as though they are reliving the scene in Lord of the Rings when Pippin sings ‘A Walking Song’ to a noisily gluttonous Lord Denethor in Gondor, that is until the proverbial shit hits the fan…..in the most fantastic metal way.  The track very diverse, with strong guitar riffs and a beautiful guitar solo around the four minute mark. The song is exquisitely composed and executed, while it is very long, fans will find it worthy of every moment of ear time. The final track on Absence, ‘Zombie’, was originally written and recorded by alternative rockers, The Cranberries in 1994, while Soliloquium’s doom metal twist on the classic 90’s is well executed, the addition of clean vocals and integrating more of the higher range screams that listeners will hear in the chorus would have taken the track from good to most excellent.

Overall, Absence is phenomenal, extremely powerful, well written, and unique spin on what doom metal should sound like. Metalheads will appreciate Soliloquium’s take on melodic, doom with fantastical and whimsical twists, and the familiar sound of what metal used to be; a group of dudes, serving metal fans everything that they love: killer guitar riffs, beats to head bang to, and tracks that they will want to listen to over and over again. 

Whisker Biscuit - Whisker Biscuit

Whisker Biscuit - Whisker Biscuit

Written by Kelly Durrenberger on March 11, 2016 for Bloodrock Media

Canadian hardcore, punk grind band, Whisker Biscuit is scheduled to release their twelve track, self-titled, debut album, Whisker Biscuit, on April 15, 2016 courtesy of Transcending Records. Fans that are searching for a band to rock their dirty, grungy, nasty socks off need not look any further than Whisker Biscuit. The quartet’s debut self-titled album, Whisker Biscuit, is twelve tracks of a rock-a-holic’s party playlist featuring titles such as ‘Pizza Slut’ and ‘Drink Til Death’. The album was recorded live on the floor and in a single session in order to give the album the same energy the band offers during their shows. The band as a whole is one of those that will make fans want to immediately find a college party to crash and fuck shit up. Kyra’s raspy, punky vocals certainly bring that youthful inner angst front and center, right where it belongs.

The tracks on Whisker Biscuit come together in a disgustingly beautiful way; sort of like the brief marriage of Lyle Lovett and Julia Roberts. It could almost be compared to unicorn poop; there’s something orgasmically grotesque about it but it’s so majestic and rare that you can’t help but marvel and adore it. 

From beginning to end, fans will be enamored by this powerful woman and the rest of the band, in the same way the band is captivated by the amber colored eyes of beer and greasy pizza. And, let’s be honest, if pizza were a person named Pat, ‘Pizza Slut’ would basically be a cheesy love song dedicated to Pat. 

When the album ends, fans will want to break stuff or least aggressively push play again to restart the party. All in all, Whisker Biscuit is a wonderful combination of party style grindcore and hardcore punk, that’s the perfect mix of cheesy and delicious.

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! 

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.

Aranda - Not the Same

Aranda - Not the Same

by Kelly Tucker for Bloodrock Media

Aranda, a post-grunge duo hailing from Oklahoma City, is comprised of brothers, Dameon Aranda and Gabe Aranda.  Their overall sound, self-described to be “like combining Woodstock with hearing the blast of an atom bomb”, is radio-ready pop rock that while simple, is still quite complex. Their third album, released on June 29th, “Not The Same” succeeds where many fail in the genre. The album is truly a free-form, from-the-heart product with prodigious drumming, guitars, and vocals. What stands out the most about the album is that while it is very catchy, it is void of monotonous choruses and boring verses, giving the album a beautiful complexity, rarely found in the genre . “Not The Same” is sure to be the stepping stone to the next level for the Aranda brothers.