David Bazan–Blanco
Genre: Indie Rock, Electronic
FFO: Pedro The Lion, Bon Iver, Modest Mouse
Despite which moniker he is performing under, David Bazan has always been an artist with no difficulty capturing his most inner struggles through his art whether they are emotional, spiritual, or political.
Pedro the Lion‘s discography illustrated his relationship with God leading to an inevitable turn to agnosticism pictured as a breakup. The third solo LP from Bazan continues this layered, heartfelt lyricism with a sudden turn to electronics for his instrumentation. Fans of Bazan‘s previous works will be pleased with Blanco but should note the album’s sound is primarily focused on his vocals and lyrics with his instrumental approach serving as an enticing backdrop.
Eagulls–Ullages
Genre: Post Punk
FFO: The Cure, Wire, Interpol, Title Fight
Armed with a frontman with a voice identical to Robert Smith, British punk quintet Eagulls released a strong self titled LP a few years back channeling the sounds of The Cure mixed with modern punk bands such as Title Fight.
Fair comparisons to The Cure were made, and instead of running from such associations with their sophomore effort, the group embraces it boldly.
Ullages is everything a follow up LP should be. It’s darker, more muture, and hones in on and improves the strengths of the debut.
Gorguts–Pleaide’s Dust
Genre: Technical Death Metal
FFO: Immolation, Beneath the Massacre, Suffocation
Candian Death Metal legends Gorguts emerge from the depths of hell once more for a single track EP spanning over a half hour in length!
Pleiade’s Dust is a musical journey encompassing the entirety of the Gorgut‘s massive career with movements ranging from the group’s most intense and technical abilities to the most mellow and entrancing.
Gorguts proves with this EP that they not only still have it but they can also manage to keep our attention for 33 minutes with ease.
Hatebreed–The Concrete Confessional
Genre: Metalcore
FFO: All Out War, Killswitch Engage, Slipknot
As the old saying goes “if it ain’t broke, don’t fix it.”
Throughout the two decades of the Connecticut mosh metal legends career, experimentation has never really been a factor.
Hatebreed‘s discography shows similar patterns to groups such as Slayer that have easily stood the test of time despite very few differences varying from record to record.
It may not be recognized as an instant gem like Satisfaction is The Death of Desire or Perseverance, but The Concrete Confessional is Hatebreed doing what Hatebreed does best.
Head Wound City–A New Wave of Violence
Genre: Noise Rock, Grindcore, Mathcore, Thrash Metal, Experimental Rock
FFO: The Blood Brothers, Refused, Converge, The Dillinger Escape Plan
After a decade of silence, the supergroup formed from the ashes of Blood Brothers, Yeah Yeah Yeahs, and The Locust bring punk back from the grave in the most chaotic way imagineable.
A New Wave of Violence hones in on all of the strengths of the member’s previous projects releasing an adrenaline pumping 25 minutes of mathy instrumentation supported by ear piercing shrieks from Blood Brothers‘ Jordan Billie.
I’m not sure if the world is ready for the new wave of violence.
Kvelertak–Nattesferd
Genre: Black Metal, Rock n’ Roll
FFO: Mastadon, Baroness, Doomriders, The Sword, The Hellacopters
Norwegian black metal sextet Kvelertak somehow finds the strange halfway point between traditional black metal and classic rock n’ roll with their third LP.
Nattesferd is a self produced monolith calling upon their central genre’s raw edge whilst somehow pulling off the vintage sensibilities of Van Halen.
I’ve listened to this record front to back countless times this week and it still boggles my mind they manage to pull off this formula so effortlessly.
When metalheads think of throwback metal, their minds instinctively takes them to the endless abyss of fuzzy sabbath worshippers. Kverlertak‘s blast from the past is a unique one but may take a few listens to grasp. Give Nattesferd a spin if you’re up for the challenge.
Nothing-Tired of Tomorrow
Genre: Alternative Rock, Dream Pop, Shoegazing
FFO: Deftones, Radiohead, Ride, Swervedriver, Slowdive
I stand corrected. I recently expressed fear through this blog regarding this band’s first two singles off this record that Nothing had lost what made them so special to me.
Downward Years to Come and Guilty of Everything are two records in the shoegazing revival movement I specifically view as masterpieces, so seeing these alternative rock jams stripped of their crushing yet dreamy fuzz made me anxious to the say the least.
Tired of Tomorrow is leaps and bounds beyond what I expected it to be, but so also drastically different than their earlier works. While the lyrics suggest otherwise, the Philly quartet’s sophomore LP shows a much more bright, optimistic sound than the darkness found on their debut.
Each track is so sonically different than the previous but in the proper context the album flows gracefully from start to finish. Nothing can do longer be pigeonholed as Jesu/Mbv worship outfit. This new record is all over the place with its influences and showcases the band’s desire to grow and try to new things. I don’t do full reviews often, but expect one on this record soon.