Mixed and mastered by Dan Korneff (Breaking Benjamin, Paramore), the self-titled, full-length debut record from Belmont is an explosive collection — one bursting with heart-stopping urgency.
If we were to describe Mantar’s new Nuclear Blast release The Modern Art of Setting Ablaze in terms of baseball, we would say that they emphatically knocked it out of the park. It’s searingly brutal.
Manes now live life as an art-fused experimental rock outfit that is quite hard to pin down. The latest offering, Slow Motion Death Sequence, is listenable and flows well, but it might struggle to find a market.
Dee Snider’s first metal album is a lot of fun. Thought there are hard-hitting tracks and classic Dee vocals, overall it falls a little short of the mark.
Uniform put out stomping industrial riffs with a twist of melody. The Long Walk is an album that revels in its humanity, as pained, flawed, and contradictory as that spirit is.
Void Ritual’s Death is Peace represents the sharp end of grief, the white-hot anger that broils and writhes and lashes out, and yet is tempered by the depressing fact of one’s own inevitable demise.
Maybe As It Is do have good intentions with the style and sound change on record number three, but something about The Great Depression - out August 10th on Fearless Records - feels insincere.
A good progressive technical death metal record, Aethereus’ Absentia is only lacking in truly memorable riffs.
Japanese dance/metalcore act Crossfaith dive into their usual EDM/metalcore blend with their fifth album, “Ex Machina“ and, while occasionally on-point, the album suffers overall from too many forgettable moments.
Threnody is the latest release for Rottweiler Records’ extreme metal act Death Requisite. The first three songs of this EP are full performances, with the last three being instrumental versions of the first half.
Halestorm are in fine form, and Vicious has all the elements to make it go down as a modern classic.
If the artwork turns you off, this record was never intended for you. If you’re on board with it, then Pink Mass’ Necrosexual is one of the most invigorating and vital extreme metal records to be released in recent times.
Skeletonwitch’s Devouring Radiant Light comfortably straddles multiple genres of extreme metal while still effectively retaining appeal to fans within each of those sub-genres; a mature expression overall, but lacking some of the grit of prior offerings.
Packing plenty of punch and crunch, Diamond Boy (Frontiers Music), the latest from Chicago-based power pop/rock stalwart, Enuff Z’nuff, “scratches” the “itch” of longtime enthusiasts.
The Temperance Movement teamed with Earache Records in February to release A Deeper Cut, and, in celebration of the album‘s re-release via Snakefarm Records in August, we’ve reviewed the band’s most meaningful and sincere record to date.
Jonathan Davis, the iconic frontman for US nu-metal titans Korn, dropped his new solo album Black Labyrinth this spring. Check out our take on the expansive, explorative collection.
Daughtry return with their fifth album but will their newest offering rattle the rock scene? Read our review here?
Just when you thought Fridays couldn’t get any better, Oh, Weatherly and Hopeless Records team up to ensure July 27th is the best day it could possibly be... check out Lips Like Oxygen, the Dallas quintet’s debut full-length.
Out via Relapse Records, Diluvium, Obscura’s fifth album, closes their four-album run with a balanced blend of progressive composition and technical mastery that continues to impress the most hardened listener.
On Hekatomb, Funeral Mist craft a black metal record that merges multiple styles and techniques without the usual progressive and over-intellectualised trappings that usually accompany such ambitious undertakings.