ALBUM REVIEW: High On Fire, "Electric Messiah"

By: Richard Maw

Album Type:Full Length

Date Released:05/10/2018

Label:eOne Heavy

Riffs? Huge and drilled into the listener's ears. Drums? Played with animalistic fervour and power. Bass? Distorted and maxed out. Solos? Wild and emotive. Vocals? Vicious and snarling. There is no let up, no backward step. There is only volume, aggression and power.  

“Electric Messiah” CD//DD//2LP track listing:

1. Spewn From the Earth
2. Steps of the Ziggurat/House of Enlil
3. Electric Messiah
4. Sanctioned Annihilation
5. The Pallid Mask
6. God of the Godless
7. Freebooter
8. The Witch and the Christ
9. Drowning Dog

The Review:

At this point, High on Fire are nothing less than underground metal royalty. The ferocious power that the trio exude leads to inevitable Motorhead comparisons- not only that, but the comparisons are actually apt. With HOF you know what to expect and their records deliver what the fans want... even if the band has been developing and progressing from album to album.

Kurt Ballou returns as producer for the third time and the sound and performances are as mighty as we have come to expect. The opening speedball of “Spewn from the Earth” is what the band do best: balls to the wall, take your head off, axe wielding fury. Pike, Matz and Kense  play fast, tight (but loose) and with so much fire. It's breathtaking stuff. The band can do epic just as well; “Steps of the Ziggurat/House of Enlil” is over nine minutes of very weighty sounds. It's tribal in its sound and focus, huge in sound and zealous in its pursuance of bludgeoning power- no matter which section of the track the band moves through. From there on, the scene is set and the band deliver an absolute tour de force of dirty, greasy rock n roll. The title track is feral, the second epic- “Sanctioned Annihilation”- is a brutal exercise in dynamics, endurance and volume.

Really, that is the key to High On Fire's appeal: they provide an almost alchemical sound in that they take the straightforward  approach and push it to the max. Riffs? Huge and drilled into the listener's ears. Drums? Played with animalistic fervour and power. Bass? Distorted and maxed out. Solos? Wild and emotive. Vocals? Vicious and snarling. There is no let up, no backward step. There is only volume, aggression and power. 

The second half of the album is no less powerful or masterful. There is some melody, on “The Pallad Mask”, for instance- but again the key here is the straightforward approach embodied in the likes of “God of the Godless”. You can feel the force of this stuff through the speakers; it's just elemental and percussive on every level. The band have honed their style and gone more metallic, perhaps, over the years and away from the stoner grooves of earlier works but this has only made them more effective. Just have a listen to “Freebooter” and name one band doing this type of thing at the same level.

The final two tracks both push over the six and a half minute mark and while “The Witch and the Christ” showcases the more rhythmic facets of the band's sound, it is still desperately heavy. “Drowning Dog” introduces an almost maudlin sound to the riffing before swinging like a baseball bat and provides an expert finish to this superbly vicious record.

“Electric Messiah” is certainly up there with the band's best work and further elevates Matt Pike's deity status within the scene. For my money, this knocks Pike's other band's release of this year into a neatly cocked hat. It's just so... adrenaline inducing. It reminds me of why I got into metal in the first place: unadulterated exhilaration. A tour de force, in every sense of the term.

“Electric Messiah” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Uniform & The Body, "Mental Wounds Not Healing"

By: Dominic Walsh

Album Type: Full Length

Date Released: 08/06/2018

Label: Sacred Bones Records

Mental Wounds Not Healing” is a phenomenally heavy 27 minutes of music. Throughout the seven tracks, there are some extremely harsh vocals, mountainous droning guitar riffs and glitchy distorted beats.  This record is well worth your time if you like having your boundaries of music tested.

“Mental Wounds Not Healing” DD//LP track listing:

1). Dead River

2). The Curse of Eternal Life

3). Come and See

4). The Boy With Death in His Eyes

5). In My Skin

6). We Have Always Lived in the Castle

7). Empty Comforts

The Review:

With a title taken from an Ozzy Osbourne lyric (“Crazy Train”), Uniform and The Body have joined forces for a collaboration that pushes both bands far beyond their roots in industrial music and metal - creating an immersive listening experience that truly transcends genre. 

“Mental Wounds Not Healing”is a phenomenally heavy 27 minutes of music. Throughout the seven tracks, there are some extremely harsh vocals, mountainous droning guitar riffs and glitchy distorted beats. Think NIN, Einstürzende Neubauten, Sunn 0))) and bits of Ministry mixed together with Pharmakon and Blanck Mass. It’s a complete maelstrom of industrial noise throughout.

Most of the song titles are culled from horror literature and cinema. “The Boy With Death In His eyes” is a particular highlight at the midpoint of the album. The beat is more orthodox, and the distorted synthesizers and guitars that accompany the beat create a dark, tension filled backdrop to the despairing vocals.

“In My Skin”contains a particularly unnerving screaming sound throughout the entire track, but the track also contains one of the most notable guitar melodies that spins its web around more twisted and distorted noise. As you disappear down the hole of this track, the ending of the track feels almost serene against many other parts of the song, but don’t be fooled into thinking this is full of lush melodies! “Dead River” also has the same screaming motif that runs throughout the track. It takes you wonderfully out of your comfort zone.

“We Have Always Lived in a Castle” is pure drone. “Empty Comforts” and “The Curse of Eternal Life” are the most NIN style moments on the album as the electronic beats are clear and punchy, but the former really lacks any kind of recognisable rhythm; like a heartbeat with no real idea of what it is doing. The guitars again convene towards the end of “Empty Comforts” to show that this collaboration is not simply about making a glorious racket; there is melody rooted deep within this album – you just have to have the endurance to stick around to find it. “Mental Wounds Not Healing” is well worth your time if you like having your boundaries of music tested.

“Mental Wounds Not Healing” is available here

Band info: facebook|| facebook

ALBUM REVIEW: Blaze Bayley - “The Redemption of William Black (Infinite Entanglement Part III)”

By: Richard Maw

Album Type: Full Length

Date Released: 02/03/2018

Label: Blaze Bayley Recordings

“...this is one of the best metal records of recent times. Completely engaging and deftly handled; this is creative, different and daring. “The Redemption of William Black”, and by extension every record of the “Infinite Entanglement” trilogy, exhibits the very best of the heavy metal genre: it goes against the grain, stands alone and dares to be different. A triumph.”

“The Redemption of William Black (Infinite Entanglement Part III)” CD//DD track listing:

1. Redeemer
2. Are You Here
3. Immortal One
4. The First True Sign
5. Human Eyes
6. Prayers Of Light
7. 18 Days
8. Already Won
9. Life Goes On
10. The Dark Side Of Black
11. Eagle Spirit

The Review:

As noted in my review of “Infinite Entanglement Part 1 and Part 2” (Endure and Survive), Blaze Bayleyhas been on the form of his life these past couple of years. Now nearly twenty years into his solo career, the creative urge is still flowing through Blaze's veins. One album per year over a three year stretch is no mean feat; most brand new artists could not manage it. In fact, you would have to look back to the heady days of classic Motorheador Saxon to find this kind of output in metal. With Manchester's mighty men of metal, Absolva, still providing an immense musical bedrock, this is the concluding part in the Sci Fi Concept trilogy that is “Infinite Entanglement”; the story of William Black and his 1000 year journey from darkness to personal redemption.

Now, far be it from me to suggest that the tale is completely allegorical- but the vocal performances are so emotional, so heartfelt, that there could well be some element of personal experience within these high concept fantasy songs. Opener “Redeemer” continues the tale with voice-overs to set up the listener for the next developments. Blaze's distinctive tones come in after a minute or so while the track soars majestically out of the speakers. There is a blazing solo and several sing along sections, begging for a live airing.

The album continues with “Are You Here”, propelled by a kind of dark energy that lends a genuine air of uncertainty as to how things are going to conclude. The material is anthemic and it seems to have struck a balance between the relatively upbeat “Infinite Entanglement” and the much darker “Endure and Survive” album. The storming “Immortal One” follows, ratcheting up the tension in the story and exhibiting very nifty rhythm playing from Chris Appleton with Martin McNee and Karl Schramm playing very deftly indeed (the double pedal work is absolutely on point). In fact, McNees's performance throughout the record is fantastic- great phrasing and good use of the whole kit for varied sounds and textures throughout; just listen to “The First True Sign” for proof- a very catchy track, filled with operatic vocals, time changes and great melodies.

When Blaze slows things down, as on “Human Eyes”, the effect is fantastic- the more ballad orientated tracks on each of the trilogy lend an ebb and flow to the records and allow breathing room in between the songs where the pedal is placed firmly to the metal. “Human Eyes” stands as testimony to great song writing and Blaze really gives his all.

Fozzy's Chris Jericho crops up as a voice-over artist and backing vocalist on “Prayers of Light” and the song is a barn stormer- again, it is begging to be played live with its catchy hooks and riffs. The emotionally gruelling “18 Days” is rhythmically inventive with a very strong vocal melody through both verses and choruses- this one will get stuck in your head for days. Blaze duets with Liz Owen on this one and the contrast in voices works superbly- again highlighting the range of textures present on the record. Great song.

Owen crops up again via a writing credit for “Already Won”, which sounds like absolutely vintage Blaze; hard rock melodies, metal styling and big hooks. “Life Goes On” utilises acoustic guitars along within a pragmatic and wistful message. Once again, Blaze's vocal performance is fantastic. Gone are the rushed sounding takes present on 2012's “King of Meta”l and in their place are the performances of a man who is absolutely committed to his craft and taking the time to get things just right. Similarly, the instrumental section is truly a thing of joy- the band play sublimely.

The final two tracks of the record are the ones that have to tie up the story and finish the trilogy in fine style. Blaze and band rise to the challenge easily and “The Dark Side Black” fairly sprints out of the speakers and delivers a master-class in proper heavy metal, from the riffs and solos to the melodies and the rhythm section, it is a classic track and keeps the listener engaged ready for a very big finish. The big finish is positively massive- “Eagle Spirit” is nigh on nine minutes of majestic metal. Atmosphere, drama and pathos are all here; created both by the music, lyrics and vocals- with a grizzled and gritty voice over to set up the final part of the tale.

Blaze seems to have used no small amount of introspection to write the lyrics. When he sings “They said I was nothing but that is not true. How could I survive after all I've been through?!” I got the sense that Blaze was answering his own questions with defiance and conviction. Indeed, with these three records he has met critics and adversity head on and given a riposte so forceful that it is a coup de grace.

Certainly, this is the conclusion to the best trio of concept records I have ever heard, but more than that this is one of the best metal records of recent times. Completely engaging and deftly handled; this is creative, different and daring. “The Redemption of William Black”, and by extension every record of the “Infinite Entanglement” trilogy, exhibits the very best of the heavy metal genre: it goes against the grain, stands alone and dares to be different. A triumph.

“The Redemption of William Black (Infinite Entanglement Part III)” is available here

Band info: official|| facebook

ALBUM REVIEW: Insect Ark, "Marrow Hymns"

By: Marika Zorzi

Album Type: Full Length

Date Released: 23/02/2018

Label: Profound Lore

With “Marrow Hymns,” Insect Ark create a sound based on profound introspection and the listening experience, an intense journey through themselves. Drones, loops, echoes and layers of sounds engulf, distort and stimulate the listener’s perceptions in an attempt to reawaken a distant, lost awareness. 

“Marrow Hymns” CD//DD//LP track listing:

1). Thelema

2). Arp 9

3). In The Nest

4). Skin Walker

5). Slow Raw

6). Sea Harps

7). Tarnish

8). Windless

9). Daath

The Review:

Combining elements of horror-film soundtracks, psychedelic doom, and atmospheric noise, Insect Arkis comprised of Dana Schechter (bass, lap steel guitar, synthesizers) and Ashley Spungin (drums, synthesizers). Insect Ark’s intensely visual music weaves interludes of fragile beauty with crushing passages of swirling doom, spinning like a backwards fever dream. “Marrow Hymns” is this duo’s new album, one that exceeds all expectations.

Formed in 2011 by Schechter (who has also been part of bands such as Michael Gira’s Angels of Light, Bee and Flower, Zeal & Ardor, Gnaw, and Gifthorse) as a solo project, from its inception Insect Ark has been about creating work that transports, both physically and psychologically. Spungin (Taurus, Purple Rhinestone Eagle, Negative Queen) joined in 2015 to provide support on the “Portal/Well”tour, and over the following year, Insect Ark became something much greater than the sum of its parts. Both women are firmly rooted in unbounded creativity – they are DIYers, multi-instrumentalists, gearheads, and visual artists.

With “Marrow Hymns,” Insect Ark create a sound based on profound introspection and the listening experience, an intense journey through themselves. Drones, loops, echoes and layers of sounds engulf, distort and stimulate the listener’s perceptions in an attempt to reawaken a distant, lost awareness. The songs seduce and glide slowly toward darkness in a continuum interrupted by unexpected changes in direction that unveil a striking sense of melody that reaches compelling, cathartic and totally unsettling peaks of tension.

This record is a wordless song, a hypnotic voice that screams and whispers from a place deep in the furrows, from the bones, from the blood. Defying easy categorization, Insect Ark’s uncommon sound is in part the amalgamation of these two women’s passions: Schechter’s sinister bass lines and unconventional use of lap steel guitar (and her complete omission of electric guitar), and Spungin’s lucid, exacting drumming and synth work with her own hand-built analog noise pedals (Ormus Electronics).

“Marrow Hymns” is a work of rare beauty that conveys sounds and images and finds its supreme expression in songs like “Arp9”, “Skin Walker” and “Sea Harps” in which sounds seem to meet and overlap to take shape in the absurd. Although this is an instrumental album, nobody will miss the vocal element. The sounds speak on their own, immersing the listener in a 45-minute journey. Its nine tracks pursue each other in a sequence of melodies and pauses that is a constant musical quest.

This is an album to be absorbed, played and replayed, interpreted, and loved.

“Marrow Hymns” is available here (USA) and here (Europe)

Band info: Facebook || Bandcamp

ALBUM REVIEW: Keiji Haino & Sumac, “American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On”

By: Charlie Butler

Album Type: Full Length

Date Released: 23/02/2018

Label: Thrill Jockey

“American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On” demonstrates there is chemistry between Keiji Haino and Sumac that results in dark magic and although the lack of structure and orchestrated riffage is initially disorientating, once immersed in the intense atmosphere of this unpredictable ride there is no turning back. 

“American Dollar Bill...” CD//DD//LP track listing:

1). American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On

2). What have I Done? (I Was Reeling In Something White and I Became Able to do Anything I Made a Hole Imprisoned Time Within it Created Friction Stopped Listening to Warnings Ceased Fixing my Errors Made the Impossible Possible? Turned Sadness Into Joy) Pt. 1

3). I'm Over 137% A Love Junkie And Still It's Not Enough Pt. 1

4). I'm Over 137% A Love Junkie And Still It's Not Enough Pt. 2

5). What have I Done? (I Was Reeling In Something White and I Became Able to do Anything I Made a Hole Imprisoned Time Within it Created Friction Stopped Listening to Warnings Ceased Fixing my Errors Made the Impossible Possible? Turned Sadness Into Joy) Pt. 

The Review:

The jagged opening of “Image Of Control”from Sumac’s incredible “What One Becomes” LP hinted at an interest in more chaotic realms of musical expression. It’s no surprise to see they have found a kindred spirit in Keiji Haino, a veteran of free improvisation and explorer of the outer limits of noise. “American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On” documents the results of the meeting of these two sonic heavyweights for a session of unrehearsed, improvised mayhem in Tokyo.

While undoubtedly heavy, the five tracks that make up this LP sit more in Haino’s usual domain rather than Sumac’s. Coming at it as a fan of the latter, the lack of structure and orchestrated riffage is initially disorientating but once immersed in the intense atmosphere of this unpredictable ride there is no turning back.

The title track is a 20 minute rollercoaster of shifting moods where both parties bring their own distinct essence to the table. Aaron Turner provides guitar that builds from disembodied ominous chords to pillars of furious noise and back again while Brian Cook rides the shifting waves with rumbling bass. Nick Yacyshyn demonstrates his mastery of the kit continues outside of his usual style, relishing the opportunity to freak out with bursts of octopus-limbed rolls and providing more subtle accompaniment during ambient passages. The most striking element in all of this is Haino’svocal performance. From intense muttering to impassioned barking, Haino covers a startling range of sound that encompasses inhuman squeals and howls that are particularly unsettling against the unexpected calm at the centre of the track.

Parts 1 and 2 of “What have I Done? (I Was Reeling In Something White and I Became Able to do Anything I Made a Hole Imprisoned Time Within it Created Friction Stopped Listening to Warnings Ceased Fixing my Errors Made the Impossible Possible? Turned Sadness Into Joy)” are slabs of full tilt insanity with each player thrashing their instrument to within an inch of its life. Each one breaks down into a stuttering groove that threatens to coerce into a riff but collapses back into noise-ridden uncertainty once more.

Part 1 of “I'm Over 137% A Love Junkie and Still It's Not Enough Pt. I” is the closest this record comes to a standard track. Haino and Sumaccreate a warped lullaby that sits somewhere between a jazzy shuffle and a slowcore lament. The bizarre vocals complete the otherworldly feel, as if the players were providing the music behind the red curtains in the Black Lodge. Part 2 erupts into a pummelling racket that comes across like broken grindcore before falling back into the weird ambience of Part 1.

“American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On”demonstrates there is a strange chemistry between Keiji Hainoand Sumac that results in dark magic. Hopefully another meeting is on the cards soon to see how far they can push into the beyond.

“American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On”

is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Sinistro - "Sangue Cassia"

By: Ernesto Aguilar

Album Type: Full length

Date Released: 05/01/ 2018

Label: Season Of Mist

Think a heavier Massive Attack, a dash of post-rock, a helping of menace and a blend of orchestration that makes it really an interesting listen.  This is exceptional stuff for a band you may not hear lots about, but they’re definitely worth your time.

"Sangue Cassia"CD//DD//LP track listing

1. Cosmos Controle

2. Lotus

3. Petalas

4. Vento Sul

5. Abismo

6. Nuvem

7. Gardenia

8. Cravo Carne

The Review:

Most people have heard of Cirque De Soleil, the French-Canadian aerial troupe that has evolved from a hipster, no-animal circus into an entertainment powerhouse in Las Vegas casinos, Beatles and Michael Jackson-themed acrobatic arena tours and worldwide television. Even if you have never attended, you have probably heard of Cirque's elaborate stunts and interpretative dance. It caters to the culturally curious, while staying relatively accessible to the suburbs. Its performances are punctuated by a rich score, one that melds influences from world music, contemporary rock and pop and live instrumentation in a fashion aimed at pulling together its often quirky tales. If you are familiar with Cirque's soundtrack, hearing Sinistro is probably one of the few times you'll be brought back to that mental space of being inside one of the act's big tops.

Such a comparison is a compliment and not a put down. Cirque has a fine attention to detail and effortlessly sets up a scene in a way most musicians struggle with. "Sangue Cassia" is an intelligent and infinitely listenable album. However, the comparison may also serve as fair warning to you, generous listener. If you read the standard descriptions of Sinistro as doom or a rock/metal derivative, you will soon learn the five-piece is not. It shares an atmospheric or tonal quality of doom, possibly – most strongly on cuts like "Cosmos Controle" and "Cravo Carne" – yet it's not that really. It is instead a dash of post-rock, a helping of menace and a blend of orchestration that makes it really an interesting listen. Think a heavier Massive Attack. You may not like it if Morbid Angel or Tombs are your jams, though.

The Portuguese band has been around a minute – 2012 to be exact – but it seemed to take off in 2013, when it added vocalist Patricia Andrade. Andrade brings to Sinistro a particular beauty to the double-guitar stylings of Rick Chain and Ricardo Matias. You will soon discover her range is formidable; songs like "Lotus" and "Vento Sul" are an outstanding showcase for what Andrade does best, using her strong voice to draw the emotion out of Sinistro's heady blend of an experience, creatively supported by Paulo Lafaia on drums and Fernando Matias on bass and synths.

"Sangue Cassia" is at its greatest when his forceful guitars show out on tracks such as "Petalas"or "Abismo." Andrade is commanding with her singing (it's clean, by the way), while the bass and drums foment the energy. A post-rock song like "Nuvem" matches Andrade's ethereal vocals with droning rhythm and guitars. The noise influence on "Gardenia"has underlying hints of paradoxical subtlety. Overall, across these divergent selections, is an aesthetic that has a distinctly symphonic flair. It's not the Carach Angren kind of symphonic, but it has a 'big' feel. Exceptional stuff for a band you may not hear lots about, and worth your time.

"Sangue Cassia" is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Corrosion of Conformity - "No Cross No Crown"

By: Ernesto Aguilar

Album Type: Full length

Date Released: 12/01/2018

Label: Nuclear Blast

Dissipated is the more prevalent punk and thrash of "IX" in favor of the sound that made CoC its name, but done in a contemporary way. As such, this is Corrosion of Conformity's finest work in many years.  "No Cross No Crown is something Corrosion of Conformity fans can rejoice in.

"No Cross No Crown"CD//DD//LP track listing

1. Novus Deus

2. The Luddite

3. Cast The First Stone

4. No Cross

5. Wolf Named Crow

6. Little Man

7. Matre's Diem

8. Forgive Me

9. Nothing Left To Say

10. Sacred Isolation

11. Old Disaster

12. E.L.M.

13. No Cross No Crown

14. A Quest To Believe (A Call To The Void)

15. Son And Daughter

The Review:

Runs as long and lovely as Corrosion of Conformitysadly do not come often. While there are a few collectives that manage to stay together for extensive stretches, maintaining their levels is tough. Since 1984's "Eye for an Eye,"few bands have navigated being musically innovative, commercially successful and faithful to their roots as the boys from North Carolina. Although there have been some rocky spots, the results for CoC have largely been positive.  The band has undergone some changes in its style over the decades (see its punk ethos of the 1980s and thrash/punk/crossover in the late 2000s), as well as among its lineup (most importantly the departure of frontman Pepper Keenan in 2005, after leading CoC to its biggest hits and largest arenas). Yet Corrosion of Conformity has survived it all and managed to stay a popular touring – albeit less on the sales front – performer.

When Keenan departed CoC in 2005 to lead Down, the group continued on, but never attained the heights previously touched. A break was punctuated with 2012’s self titled album, 2014's solid "IX" album and EP "Megalodon," and occasional appearances with Keenan. However, the remaining members were coy about a reunion for quite awhile. Yet the lineup's chemistry with Keenan was undeniable, and CoC headed to the studio in 2015, with Keenan back at the mic. "No Cross No Crown" is the product of those sessions.

CoC's history has been marked with many long recording pauses – keep in mind, they've had only five albums since 2000 – and lots of touring. The layoff between the harder edged "IX" and the latest is noticeable, in a positive way – not only because of the stylistic change, but because of the renewed vigor you catch early on "No Cross No Crown." Such fresh energy is irrefutably due to Keenan's rejoining the group. He and the rest of the band have an old spark back. And still, Keenan's vocal is not only enduringly compelling, but comes anew from the heavy blues cloth from which classic metal oftentimes takes cues. Dissipated is the more prevalent punk and thrash of "IX" in favor of the sound that made CoC its name, but done in a contemporary way. As such, this is Corrosion of Conformity's finest work in many years.

If you got turned on to CoC during its "Deliverance" period, a lot of that power and swagger is back. Opener "Novus Deus" slinks through your earbuds and careens right into "The Luddite," with mammoth riffs and Keenan's wicked generalship. What makes Corrosion of Conformity so fascinating in its run is how it has managed to rise above what you think about the music it does. Meaning, CoC is probably most clearly associated with hard rock and metal, but can attract fans among those who like alternative rock, stoner and heavy blues. A song like "Little Man" could easily find a home on mainstream rock radio, for instance. There are a few bands in our contemporary cadence that have managed to do a decent crossover in a fashion that flouts their genre – think System of A Down, Slipknot and a few others – which Corrosion of Conformity enters the conversation with. Obviously, that isn't a musical comparison insofar as CoC has turned their music into something that attracts attention from music fans who might vibe with their particular charisma and originality as much as the songs on "No Cross No Crown." Breathe easy for no Ed Sheeran-esque rapping or elements that detract from its brand; CoC accentuates what it does best instead, while highlighting other influences beguilingly well.

There are lots of durable metal moments on the latest recording that are sure to get longtime CoC fans hyped. "Forgive Me" is a hard rock romp with a roadhouse chaser. "Old Disaster" and "Wolf Named Crow" are vintage CoC, harkening back to its "Clean My Wounds" glory days. Lyrically, Keenan remains poignant as ever, spinning tales with many meanings and conveying messages that avoid being heavy handed, like "Cast the First Stone" ("Back in time before they crossed the line, and the truth was made of gold/Cross of paths that was based on the past, or so the story goes/Strike fear and the end draws near, and the peasants wore a blindfold"). You get the feeling, hearing something as inescapably catchy and aggressive as "E.L.M.," that there's simply a particular pleasure the foursome gets in playing together. Familiarity is part of it. So must knowing they've captured a special bolt of lightning, such as with album closer "A Quest to Believe." However that enthusiasm is distilled, its result is something Corrosion of Conformity fans can rejoice in. Now, bring on the tour.

"No Cross, No Crown" is available here

Band info: facebook

ALBUM REVIEW: Black Label Society - "Grimmest Hits"

By: Richard Maw

Album Type: Full Length

Date Released: 19/01/2018

Label: Spinefarm Records |

Entertainment One

“Grimmest Hits” is a Sabbath-esque listen with bluesy inflections and is chock full of riffs and solos.

“Grimmest Hits” CD//DD track listing:

01. Trampled Down Below
02. Seasons Of Falter
03. The Betrayal
04. All That Once Shined
05. The Only Words
06. Room Of Nightmares
07. A Love Unreal
08. Disbelief
09. The Day That Heaven Had Gone Away
10. Illusions Of Peace
11. Bury Your Sorrow
12. Nothing Left To Say

The Revew:

After 2014's “Catacombs of the Black Vatican”, I was interested to see what Zakk and BLS would do next. The short answer was that they would tour and then... disappear for a while. BLS are now back with “Grimmest Hits” and my first impressions are that this is a step back towards riffs and more exciting writing. “COTBV” lacked memorable tunes and was rather too laid back for my tastes- although it was a polished and melodic album. Bearing in mind that I absolutely love “Sonic Brew”, “1919 Eternal”and “Order of The Black”, it is pleasing to hear something more akin to those albums rather than the lacklustre “Shot to Hell” or “Mafia”.

Opener “Trampled Below” is a foot stamper- very Sabbathy- and sets out the record's stall via big grooves and riffs and melodic vocals while “Seasons of Falter” is much mellower, but is a finely crafted song with a  pretty great central riff (think Sabbath again). Wylde has toned down his Ozzy-isms, vocally, and is back further towards how he sounded on earlier albums, but the riffs on the album really are very much in the vein of classic Ozzy-era Sabbath; as might be expected considering Wylde's recent foray in the live arena with his very own tribute, Zakk Sabbath. There is plenty of bluesy feel to the riffage of “The Betrayal”- it would have fit right in on Pride and Glory- so the album starts to take shape: bluesy, hard rocking stylings with a heavy Sabbath influence- this is not the full on metal fest of “Order of The Black”, but is much weightier than “Catacombs...”

Wylde delivers a fine vocal on “All That Once Shined”, and more melodic hard rock as the track progresses. As ever, the guitar work is fantastic (if you like pinch harmonics and blazing leads- not so much of the former on this offering, mind, but plenty of the latter). There is a lovely bluesy break in the middle of the song, too- fantastic! The first ballad is “The Only Words”, but it is a good one and light years away from the sombre (and dull) offerings of mid period albums. Again, it is closer to “Pride and Glory” than “Hangover Music”, by way of comparison.

The head gets nodding again for “Room of Nightmares”- still not warp speed or all out aggression, but good solid heavy riffs abound with a solid groove and a focused playing time. “A Love Unreal” starts acoustic and elegant, but mutates quickly after that brief intro into a swaggering riff and then melodic chorus- shades of “Sonic Brew” in the middle section spring to mind, too. The opening to “Disbelief” is pure Iommi and the main riff is too! A cracking track, not without some light and dynamics, this possibly represents where Wylde is at these days; hard rocking, but not frantically so.  “The Day That Heaven Had Gone Away” employs a similarly one paced approach but is much less interesting as the second of the album's ballads- great solo, of course.

“Illusions of Peace” puts the pedal to the metal effectively and uses a stop start motif which becomes a swaggering groove- prime BLS- with a Led Zep influence: the track is a corker. “Bury Your Sorrow” has a swinging feel and an off kilter riff, offering something different again. There are strong hooks on this one and it is weighty as well. Again, things switch down a gear for “Nothing Left To Say”, a conventional piece of soft rock, essentially, but a likeable one and closer to Wylde's “Book Of Shadows” releases than his usual BLS output. It makes for a question mark of a closing statement instead of an exclamation point and is a well crafted track. Not the incendiary pyrotechnics I was expecting the record to close with, but so be it. Wylde is now over 50 years old- the changes make sense, I think.

At 55 minutes, the album is perhaps a little over long- the easiest solution for me would be to cut a couple of ballads, of course! This is much stronger than “...Vatican”, which although I reviewed it fairly positively at the time just lacked staying power and memorable tunes. “Grimmest Hits” is a much more focused effort and rocks hard enough to keep fans like me happy and has enough melody to entice fans of less extreme metal fare. It is a Sabbath-esque listen with bluesy inflections and is chock full of riffs and solos. Zakk's back!

“Grimmest Hits” is available here

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