Showing posts with label Switzerland. Show all posts
Showing posts with label Switzerland. Show all posts

Monday, 4 December 2023

Alex B Kurbis - never had a chance, mind. EP


Labels: Self-Released

Formats: Digital

Release Date: 01 Dec 2023


Tracklist:


1. Onion Heart

2. Pedestrian Roulette

3. Something Nice

4. Plancton/Commute


Completely unexpectedly, a new EP was released by Swiss indie/emo/punk band Alex B Kurbis on December 1st. Considering the band's debut full-length Mondays And Tuesdays was only released in June, this shows incredible productivity (or just plenty of songs left over. Who knows!). Alex B Kurbis appeared on my radar earlier this year and I really didn't expect new music so soon. Guess I shouldn't have expectations. then they can always be smashed for the better!


There are just four songs on this EP but then again good things come in small packages. Opener ‘Onion Heart’ beats to the tune of old-school punk once again. The melodic, minimalist type that gets toes tapping and hips shaking. Happy and upbeat. We all need a bit of that.


There’s a tinge of folk on ‘Pedestrian Roulette’, which isn’t out of place during the gentle first half of the song. The second half is louder, complete with added vocal layers, distorted guitars and a great sense of rowdiness.


Nothing needs to last too long and Alex B Kurbis know that. ‘Something Nice’ brims with constant rhythm from the drums that holds everything else together. The rest of the instrumentation and vocals keep pace as if they were hitching a ride by grabbing the rear bumper of a fast moving vehicle. 


EP closer ‘Plancton/Commute’ is the outlier here as it contains more of an art-punk vibe, which isn’t anything new to the band. It works majestically in this song. Helping to expand on what’s already been. As the choir of voices ring out towards the end it reminds me of a family or a group of friends singing together in happy times, even if the feedback at the end tears that vision.


Another really enjoyable release from Alex B Kurbis, who seem to be settling nicely into a sound that’s warming and soothing. There’s a lot of soul here. Embrace it.


You can stream and purchase the EP digitally below:-



Alex B Kurbis - https://www.facebook.com/alexbkurbis

Tuesday, 4 July 2023

Alex B Kurbis - Mondays And Tuesdays


Labels: Self-Released

Formats: CD/Tape/Digital

Release Date: 12 Jun 2023


Tracklist:


1. While Not In Paris

2. In And Out Of Moment And Focus

3. Bargain Hunting

4. Topical Kinda

5. Lesson 3

6. Aurora Babsealis

7. While Not In Manchester

8. Crowbar Handy

9. Mondays And Tuesdays

10. Finders Keepers

11. Beehive


I've been trying in vain to find out who Alex B Kurbis is. I thought they might have been a historical figure that could have added a bit of weight to this opening paragraph. Lack of educational facts aside, Alex B Kurbis (the band) only recently came to my attention. The band is based in Switzerland and is about to embark on a UK run of shows later this week! Mondays And Tuesdays is the band's debut album and was released last month. An amalgamation of punk, indie, emo and more.


Opening with a song that has the most apt title (if you’re up on current events), ‘While Not In Paris’  is less chaos and more sweet melody, wrapped up in a slice of mid-paced indiemo/punk. A glorious sing-along if ever there was one. ’In And Out Of Moment And Focus’ brims with understated post-punk alongside it’s more upbeat moments. The production/mixing/mastering for what is essentially a DIY solo-recorded album is brilliant. It was mastered by Joe Caithness (who has also worked with Doe, Human Hands, Renounced amongst many others). If you’re a fan of UK emo/post-hardcore and computer game soundtracks, you’ll know how good his work is.


I’ve forgotten how much fun it is just to listen to a band like Alex B Kurbis to be honest, as I tend to have my ears buried deep in much heavier bands but ‘Bargain Hunting’ is the feel-good hit this summer needs even if it’s not blaring out from festival stages (which it should be!). Mondays And Tuesdays is an intricately written album when you delve deeper into it, as no song sounds the same. ‘Topical Kinda’ is darker than it first seems, taking subtle cues from The Cure and Franz Ferdinand. My sphere of reference when it comes to similar bands is limited but comparisons aside, I like it a lot.


The riffs jump out on ‘Lesson 3” with a whole heap of upbeat melody and joyous colour. Colour that’s magnified by the vocals and all-round song-writing. The percussion gives off so many pop-punk vibes without being cheesy (though maybe it’s only me that can hear Lit in this song!). More intricate musicianship fills the relatively short ‘Aurora Babsealis’. It’s hooks are subtle but they still make it memorable. For an album that features eleven songs it goes by way too quickly, especially when you cross over the midway point here.


‘While Not In Manchester’ isn’t an ode to Britpop. Instead, it weaves a vitriolic and celebratory collage of sound that’s way more engrossing than it first appears. Noise (in the scuzzy rock sense) isn’t really a thing on Mondays And Tuesdays, but if it was then the intro to ‘Crowbar Handy’ would be as close as it gets. It gives way very quickly to reveal more warming punk. The album’s title-track ‘Mondays And Tuesdays’ acts like an interlude but It’s perfectly placed to lead you into penultimate song ‘Finders Keepers’. By now, you’ll know what to expect from Alex B Kurbis and if you’re not on board with it then you’ve got no soul.


Final song ‘Beehive’ closes things out with a bleary eyed nostalgia that’s rooted in the UK music scene of old, with it’s anthemic melodies and sensitive instrumentation. It’s been a breath of fresh air listening to this record this evening and I’m feeling way more positive because of it. Props to Alex B Kurbis for writing such an enjoyable album.


You can stream and purchase Mondays And Tuesdays as a name-your-price download below:-



The flyer for the band's imminent UK tour is below, where CD and Tape copies will be available:-



Alex B Kurbis - https://www.facebook.com/alexbkurbis

Thursday, 5 January 2023

Chaoseum - The Third Eye


Labels: Self-Released

Formats: Vinyl/CD/Digital

Release Date: 04 Nov 2022


Tracklist:


1. I Sexy Zombie

2. Unreal

3. Dance On my Grave

4. The Third Eye

5. Fly Away

6. My Wonderland

7. Welcome Home

8. Until The End

9. Sanctum Cinerem

10. What If


Switzerland, a country lauded for it's most well known extreme metal exports Hellhammer and Celtic Frost, isn't one that spawns a lot of bands nowadays (though I'm probably not the most clued up on their modern day scene). Chaoseum are one of the most recent bands I've come across and late last year they released their most recent album The Third Eye. Citing their sound as being somewhere between nu-metal, metalcore and industrial metal, I was especially intrigued as I'm trying to write about a broader range of metal this year. This is their third album, following 2018's First Step To Hell and 202's Second Life.


The nu-metal term is dying one minute and then alive the next. The US is leading the way with bands that carry it’s influences into their music, yet Europe also has it’s share too, including Chaoseum. Their sound on opener ‘I Sexy Zombie’ sits somewhere between Korn, Fear Factory and Threat Signal for me. It’s certainly not offensive on the ear, with crunching industrial guitars, groove-laden percussion, orchestral melodies and vocals that flip between both clean, and harsh.


There’s an impact to Chaoseum’s music that does grab you even though ‘Unreal’ invokes the aforementioned Korn a bit too closely at times. I’m not being critical of the band here as it’s fine to wear your influences on your sleeve, and I may be off the mark with the comparison but that’s what I hear. With that being said though, the guitar work really stands out especially during the solo towards the end. The glitchy electronic intro of ‘Dance On My Grave’ is exhilarating and highlights the industrial side to Chaoseum’s music, though it doesn’t hide their penchant of Americanisms. It is a bit hard to tell that they’re from Europe at times, especially thanks to some questionable lyrics here and there.


Eastern musical tones break things up on instrumental interlude ‘The Third Eye’, which is also curiously the album’s title-track, leading straight into ‘Fly Away’. There’s an obvious comparison I could make at this point but instead I want to appreciate what I’m listening too, as despite all I’ve said so far, it’s very listenable and I’m sure many of you will grow to appreciate it for what it is too. This song in particular is more mature musically. In no time at all you’re being thrust into the album’s second half with the stirring vocal harmonies of ‘My Wonderland’. More grooves and some pleasing off-kilter rhythms seem to drag The Third Eye away from it’s nu-metal leanings and down a darker path. It’s excellent to be honest.


This half is definitely more enjoyable than the first half to me (but then again music and opinions are subjective). ‘Welcome Home’ contains angsty atmosphere and melodies that give way to a great up-tempo verse/chorus-like passage. The rest of the song follows in the same vein pleasingly (despite my neighbour upstairs trying their best to drown it out with overly noisy movements!). ‘Until The End’ comes across as a very personal song lyric-wise and because of that it tugs at your emotions more so than others on The Third Eye. It’s more like a ballad and there’s nothing wrong with that. It’s isn’t much longer though before Chaoseum whips out their Korn impression again on penultimate song ’Sanctum Cinerem’ and despite my cynicism, there’s nothing really to dislike about it at this point. 


Closing song ‘What If’ starts with what sounds like a sample that’s a bit weird but not out of place. It leads into a song that shows Chaoseum at their melodic best. It leads me to think that they’re still finding their true sound. Musically they’re pretty spot on and when they’re not trying too hard to sound like their American influences, on ‘Fly Away’ and ‘Welcome Home’ for example, they’re excellent. Ultimately, there’s much more to love about them than to dismiss. Let me know what you think!


You can stream and purchase The Third Eye digitally below:-



Physical CD and vinyl copies can be purchased via Chaoseum's online store here - https://chaoseumstore.com


Chaoseum - https://www.facebook.com/chaoseum

Sunday, 26 June 2022

Coilguns - Shunners/Burrows 12"


Labels: Hummus Records

Formats: Vinyl/Digital

Release Date: 26 Nov 2021


Tracklist:


1. Shunners

2. Burrows


It's been a crazy long time since I last featured Swiss noise-rock/mathcore band Coilguns here (I think the last time was around the release of their 2013 album Commuters). I've got a lot of catching up to do with their material, so I'm fast-forwarding to their latest two-song LP, which was specially released by Hummus Records last November. A single-sided picture disc limited to 80 copies, which forms part of the new 'Hummus 12" Maxi Collection". Coilguns are also working on a new album this year.


I haven’t written a great deal over the last week so feel a bit out of my rhythm. Coilguns have pretty much nailed the current mood (including my own, as I face going back to the day job) lyrically with ‘Shunners’, whether intentionally or not. The instrumentation is as crushing as I remember it to be too. That mix of heavy, noisy hardcore and sludge-like riffs, intricate percussion and vocals that cross the line between audible spoke-word, and passionate growls. It feels very emotional and cleansing.


‘Burrows’ is much more instant, with both rhythmic grooves and off-kilter signatures clashing together in a way that works perfectly. The vocals are harsher for a greater amount of the song and the feedback that screeches during the mid-section adds to the noisy aesthetic of this release. It all stops on a dime, leaving nothing to linger.


If this release is a sign of what’s come from their new album, Coilguns are onto a winner. We all need some noise once in a while to drown out the “noise” and this is it. Great stuff!


For Fans Of: The Ocean, Cult Of Luna, Whores, Neurosis and Knut


You can stream and purchase this release digitally below:-



Physical copies are still available from Hummus Records here - https://hummus-records.com/product/coilguns-shunners-burrows-diy-picture-disc/


Coilguns - https://www.facebook.com/coilguns

Hummus Records - https://www.facebook.com/hummusrecordsofficial

Sunday, 26 September 2021

Rorcal & Earthflesh - Witch Coven


Labels: Hummus Records

Formats: Vinyl/CD/Tape/Digital

Release Date: 02 Apr 2021


Tracklist:-


1. Altars Of Nothingness

2. Happiness Sucks - So Do You


Following on from my slightly nostalgic post about Razoreater the other day, here's another band that I featured a long time ago (albeit only eight years ago this time). I wrote about Swiss doom/post-hardcore act Rorcal back in 2013 when I reviewed their 2012 split release with Profond Barathre and Malvoisie. Obviously it's been a while and since that release, Rorcal have gone onto produce three full-lengths, a live album, a split and an EP prior to this collaboration with Earthflesh (the newest band from Rorcal's original bassist Bruno). Earthflesh is ostensibly a noise band and here they collaborate with Rorcal to create what is billed as Rorcal's heaviest music to date. Witch Coven came out in April on various formats via Swiss label Hummus Records.


I’ve found myself reaching for more expansive and drawn-out music over the last couple of days, so this might not be the only lengthy two-song release that makes it on the blog this week. Rorcal is a name I know from old, whereas Earthflesh is new to me. They both collaborate here to create something that lasts for over half-an-hour. I’m expecting heavy and weird (maybe?), and as’ Altars Of Nothingness’ opens with choral chanting, my initial thoughts are backed up slightly. That said, the choral vocals are very pleasant and tuneful. Subtle noise begins to creep in, in the form of distant screams and ambience around the two-minute mark. Not long afterwards, Rorcal and Earthflesh kick things off properly with slow doom riffs and cold harsh noise/percussion. In terms of structure, the song is very much led by that noise, though Rorcal more than match it with their slightly lumbering approach.


I guess you could call this avant-garde doom if you were being pretentious. I’m not trying to be though, I’m just trying to appreciate this for what it is, which is downright scary in it’s menacing intensity. At times it’s more droning than it is foreword, which is probably the aim after all. When collectives ignore rules and boundaries, this is what’s produced and it is truly heavy! Dread dripping from every note and individual texture. Talking of textures, there are small moments of metallic riffage going on towards the end but they’re quickly stamped out by the choral outro and it’s noisy atmospherics. 


‘Happiness Sucks - So Do You’ is a bold statement of a title and it’s music more than backs up the sentiment by going hard straight from the off. Both Rorcal and Earthflesh carry on what they started with ‘Altars Of Nothingness’ yet manage to make their music even more expansive and mayhemic. It’s not black metal but it does have some elements of that genre flowing through it. Rorcal’s doom/post-hardcore of old nestles deeper in the mix on both of these tracks, yet seems to sound heavier because of it. That maybe has something to do with the addition of Earthflesh. Much like the collab between Full Of Hell and Merzbow some years ago, this one is just as hellish. 


The above paragraph poured out of me after only five-minutes of ‘Happiness Suck- So Do You’, but there’s still so much to say. Art is very much in the eye of the beholder and that’s still the case here, but to these ears this is aural art at it’s best. The mid-section (if you can call it that) that comes after those first five-minutes, is a lot more introspective, as if they’re holding back slightly. The percussion leads with ample feedback and chants showing through, as the vocals get ever harsher and things begin to build again. What follows is another lengthy, harrowing barrage of heaviness, culminating in truly deafening feedback at the end.


This collaborative release could well go down as the heaviest record of 2021. I don’t know whether Rorcal and Earthflesh are planning any further releases like this, but if they are, they can only get better.


You can stream and purchase Witch Coven as a name-your-price download below:-



Rorcal - https://www.facebook.com/Rorcal

Earthflesh - https://www.facebook.com/earthfleshnoise


Physical copies can be purchased from Hummus Records below:-


https://hummus-records.com/Rorcal


Hummus Records - https://www.facebook.com/hummusrecordsofficial

Tuesday, 28 April 2020

Adolina/The Rabbit Theory - Split LP


Labels: Miyagi Records/Quiet Records/Whosbrain Records/Zegema Beach Records
Formats: Vinyl/Digital
Release Date: 20 Mar 2014

Tracklist:

1. Adolina - Code 440
2. Adolina - Morbiflette
3. Adolina - Mirador
4. Adolina - Stupid Man Suit
5. The Rabbit Theory - CSI GSCI
6. The Rabbit Theory - It's Only People, They Don't Scare Me
7. The Rabbit Theory - Sheeps, Fishes, Informations
8. The Rabbit Theory - Snowflakes, Trickles
9. The Rabbit Theory - The Denial Of Life And Joy Vs. Everybody's Right To Beautiful Radiant Things

It's come to that point in time where I have to graciously accept that Mr. Norman has overtaken me with his 'Out Past The Rings' video series. I'm still going to press on with my reviews though because A) I'm stubborn and B) because I still want to talk about great bands and music. This split LP was another record released in 2014 (that must have been a great year! Cheap dig at myself there). Adolina is from Belgium and The Rabbit Theory is from Switzerland (at least they were, as they're no longer a band). I got a bit confused while trying to find the correct track order, as some bandcamp pages/sites listed Adolina's songs first and other listen The Rabbit Theory's songs first. I'm going with Adolina's because they come first in the alphabet.

Adolina’s music is made up of lovely post-rock, that’s slightly mathy and twinkly. ‘Code 440’ is instrumental for the most part but semi-spoken/shouted vocals and samples do make an appearance too. ‘Morbiflette’ is a lot more dissonant and heavy, sounding like noisy garage-punk. It sort of reminds me of Primus (I think I’ve used that comparison for a couple of bands recently). Needless to say, it’s really cool!

Their songs here are artsy without being artsy and ‘Mirador’ has flashes of early Irk (the UK band) sound-wise, which is a good thing in my book. There’s a nice chilled technicality going on. I think Belgium has such an underrated scene when it comes to underground music. Adolina’s final song on this split ‘Stupid Man Suit’ has a greater punk feel, though more so in the vocals than the instrumentation. It’s the first time I’ve listened to Adolina from memory. Better late than never, as I like them a lot.

The Rabbit Theory has five songs that are shorter on the whole, but much like Adolina’s, they’re similarly twinkly and melodic. TRT’s opener ‘CSI GSCI’ is post-hardcore that also contains semi-clean/shouted vocals that bring to mind a lot of earlier emo type stuff. Their song titles are clever too, like ’It’s Only People, They Don’t Scare Me’. There’s a real feel-good element to this song and we all need that right now. 

‘Sheeps, Fishes, Informations’ contains guitar chords that clash to begin with but go onto help form a song that’s intelligent and enjoyable. It’s also fully instrumental. TRT are back in full post-hardcore mode on ’Snowflakes, Trickles’, though once again the vocals are used sparingly again. Their closer ‘The Denial Of Life And Joy Vs. Everybody’s Right To Beautiful Radiant Things’ takes a lot from TRT’s close proximity (geographically) to Italy and it’s screamo scene and bands like Ojne, without being too chaotic or noisy. They retain the musicality that makes them unique. 

I love listening to older releases for the first time and this one is a pleasure to spin. Both Adolina and The Rabbit Theory are quire similar in many respects, but while the former is still releasing music and the latter is long gone, it’s still a beautiful thing being able to enjoy their music on both physical and digital formats. Take the opportunity while you can because life is fleeting. 

You can stream and download (name-your-price) Adolina's tracks below:-



The Rabbit Theory's 'The Denial Of Life And Joy Vs. Everybody's Right To Beautiful Radiant Things' can be streamed and downloaded (also name-your-price) below:-



The full split is also streaming (and is downloadable) here:-




Physical copies are available from the labels below:-

Whosbrain Records - http://whosbrain-records.com/

Quiet Records (RIP)

Thursday, 28 March 2019

Invoker Interview (UK Tour w/To Kill Achilles Starts Today!)


Swiss hardcore band Invoker are due to play four dates in UK with To Kill Achilles and Reclaimer, beginning today. I recently caught up with the band to ask them a few questions about what hardcore means to them, about the writing process for their recent EP "Cursed To Feel" and about coming across to tour the UK for the first time. Read on...

TNIO - First up, what is the history behind Invoker? How did you guys meet and what made you decide to form the band? 

Andy Meier (Guitar) - When Peter’s and my old Band split up in 2012, our desire for a new music project grew, that’s when David, our singer who played in different Bands before, got involved. We all knew the new project would circle somewhere around Hardcore. Shortly after, we asked Raphael if he wanted to join us on the drums. We all grew up in the same Village in the countryside of Lucerne, Switzerland. Our rehearsal room was in a barn, and we’re quite glad that these times are over and we moved to a nicer place about two years ago, haha! 

Shortly after we started rehearsing our first songs, we began looking for a bass player. That’s when Patrick, a good friend who we knew from the Swiss hardcore scene, joined the band and completed the line-up. 

What does hardcore mean to you, especially being part of a growing European scene? 

AM - It means a whole lot. Even though we listen to a whole bunch of genres ranging from like hip hop to grindcore, we still see ourselves as hardcore kids. We just feel home in hardcore.

First: Hardcore shows are still the best thing ever! The energy onstage and in front of it is unmatched! 

Second: There is a common sense in this genre, that appeals to us. Like believing in equality and a big “fuck off” statement to stupid shit like racism, fascism, sexism or homophobia to name a few. It’s just normal in hardcore like it should be everywhere. And speaking of the growing European scene: You can feel this everywhere in Europe! Hardcore is one big family and we are happy to be a part of it. 

I reviewed your 2018 EP “Cursed To Feel” not so long ago and really enjoyed it. Can you explain about the writing process that Invoker goes through? 

AM - Thank you, glad you enjoyed it! The writing process goes mostly this way: Peter or I are writing the song ideas or sometimes whole demo songs at home. We are lucky to live in this digital age and both have recording software at home, what makes it so much easier. After we have the ideas or demos together, we send them to Raphael and he adds or reworks the drums. David has most of his lyrics written before the song material. After the adding of the drums we come together build in the lyrics and work on the material until we feel happy with the result. 

What subjects do you cover on “Cursed To Feel” (if you want to reveal them)? 

AM - The songs on “Cursed To Feel” circle around the matter of mental health issues such as depression or anxiety. Some in our bands struggle from said subjects and our singer David processes this in his lyrics. He went through some dark times and writing the lyrics to those songs helped him a lot to handle it. 

We think that mental illness, even though it somehow became something of a trend, is still a taboo for many people and in lot of cases don’t get to be taken serious. We want to help those people who feel mistreated or misunderstood and want to show them that they are not alone. 

You teamed up with Grim Reality Records to release the EP. Is it important to you to have your music available on physical formats as well as digital ones and why? 

AM – Yes, it is! We all love to hold an LP in our hands and put it on for a spin. I think the CD as a format will go extinct in the next couple years, but the revival of the vinyl showed that people still love having physical copies and we do to! Of course, all our music can be accessed digitally but having it in physical form is way more satisfying. 

You’re going to be playing some shows in the UK with To Kill Achilles in March. Have you played in the UK before? If so, can you tell us what it was like playing here compared to mainland Europe? 

We have never played in the UK before and we are hell of excited! We’ve all been to some shows in the UK on vacation and those were sick! So, we are stoked and I’ll gladly give you a feedback and compare the UK shows with the mainland shows after the tour! 

What bands do you guys count as influences? 

Oof! There are so many. We take our influences from everywhere. I think if you love music and listen to a lot of stuff you unintentionally take influence from everything you listen to. But if I had to cut it down to five bands that just pop in to my head I’d say: Counterparts, Modern Life Is War, God Is An Astronaut, Landscapes and Totem Skin. 

What is your local hardcore scene like now and are there any other bands from the Lucerne area that we should check out? 

Well you could count Switzerland as one local scene. The country is small enough that the scene spans over multiple cities and it is a scene that is still growing! When we speak of our hometown Lucerne, there are two bands that you should check out. Insanity and Cancel. Both are just the coolest dudes and their live shows are killer!

When we speak of whole Switzerland as a scene, there are too many bands we love to decide. But We made a playlist some weeks ago with bands from friends: https://open.spotify.com/playlist/0kCeY6MumQmkxyE6rtl6AI 

Check it out! 

With regards to the UK dates mentioned above, Invoker's van broke down yesterday after their Prague show and as such, they won't be able to make it in time for the first show in Birmingham. Check out the poster below for the other dates (Note: it looks like tomorrow's gig in Oxford may have been replaced by Manchester, see the Facebook event page here - https://www.facebook.com/).


You can read my review of "Cursed To Feel" here. You can stream the EP and purchase it on vinyl, CD or digitally below:-

Friday, 26 October 2018

Invoker - Cursed To Feel


Labels: Grim Reality Records
Formats: Vinyl/CD/Digital
Release Date: 12 Oct 2018

Tracklist:

1. Black And Blue
2. Cursed
3. The Novel
4. Cease To Exist
5. End Me

When I first started this blog one of the music genres that really excited me was hardcore. It still does and that's why I've chosen to feature Swiss modern hardcore band Invoker as way to belatedly celebrate the blog's 8th anniversary. After releasing their debut EP "Loose Lips Sink Ships" in late 2013, this Lucerne trio has gone onto release their first full-length :Four Wall Nightmare" and are carrying on that momentum with new EP "Cursed To Feel". The European hardcore scene stretches far and wide, encompassing many bands of differing styles yet Switzerland seems underrepresented, until now that is!

I was expecting “Cursed To Feel” to sound very much like a melodic hardcore record but Black And Blue is a furiously-blasting slab of hardcore with crazy kick-drumming, cinematic guitars and vocals that belong in a power-violence band. This is angry stuff but it also transcends those negative emotions and makes you feel elated. There’s a throwback to European metalcore bands like Caliban towards the end of the song too, with clean/semi-clean singing and memorable hooks.

The momentum rages on through Cursed, which is a mix of solid, abrasive hardcore and atmospheric post-hardcore. Invoker aren’t content with following the crowd on this EP and using their raw emotion to deliver a sound that’s this infectious, shows that they should be very much bigger than they are. As you may expect from it’s title, The Novel is slightly more laid-back initially though that feeling of relaxation is soon shattered as the band launches into a song that’s got a rhythm section to die for and a running time that has no reason to stick around. It’s songs like this that leave their mark.

At this point you might think that my review is somewhat contrived but I genuinely mean what I say, or else I wouldn’t be reviewing this EP. Penultimate song Cease To Exist sees Invoker going back to their PV-esque best while filling the it with off-kilter riffs and stomping breakdowns. Despite the negative connotations of EP closer End Me, you’re once again dragged up from the brink and left feeling empowered by the violence that you’ve just experienced. The moments of introspection really accentuate the heaviness that’s presented and while i’d stop just short of saying that the golden age of metalcore might be returning here, “Cursed To Feel” and indeed Invoker is not far off at all. This is massive and easily one of the best modern hardcore releases of 2018. 

You can stream and purchased "Cursed To Feel" digitally below:-




Pre-orders for the 12" vinyl pressing of "Cursed To Feel" have just gone live via Grim Reality Records here - https://grimrealityrecords.bigcartel.com/product/preorder-invoker-cursed-to-feel-12

Tuesday, 16 October 2018

The Ocean - Phanerozoic I: Palaeozoic


Labels: Pelagic Records/Metal Blade Records
Formats: Vinyl/CD/Digital
Release Date: 02 Nov 2018

Tracklist:

1. The Cambrian Explosion
2. Cambrian II: Eternal Recurrence
3. Ordovicium: The Glaciation Of Gondwana
4. Silurian: Age Of Sea Scorpions
5. Devonian: Nascent
6. The Carboniferous Rainforest Collapse
7. Permian: The Great Dying

Early November will see the release of the new album from German/Swiss post-metal band The Ocean Collective (probably better known as solely The Ocean. This will be the first of two records focusing on the Phanerozoic period of the earth's geological evolution, with the second coming in 2020. "Phanerozoic 1: Palaeozoic" will be released on cd and vinyl (both in separate full-band and instrumental forms) as well as special collectible box sets. For a band that's always followed a similar trajectory music and presentation-wise, this new record promises to be something special.

Beginning with the dramatic instrumental intro The Cambrian Explosion, The Ocean creates intrigue and anticipation through the use of keys and ambience that leads straight into Cambrian II: Eternal Recurrence. The guitars loom large as the melody from the keys and synths form continuation. When the full band kicks in it’s an aural cacophony of harsh vocals, clean singing and stellar musical progression, which is what The Ocean is known for. The Ocean’s heaviness is plain to see on Ordovicium: The Glaciation Of Gondwana. It’s a magical song and while it’s shorter in length, there’s no passing up on the layers of warmth that come from the whole band. When The Ocean fires on all cylinders, they are a cut above.

You could make obvious comparisons at times to a certain US progressive metal band but that would be pointless and disrespectful to say the least. Silurian: Age Of Sea Scorpions sees The Ocean’s dynamic flipped with ocean vocals taking the lead to great effect. The piano definitely adds to their progressive nature as well. No one texture rules over the other despite what I said earlier on in this paragraph. Dense, engaging metal and classical elements work in harmony to make it one of the more conventional (in a listening sense) song’s on the album. Devonian: Nascent follows in the same vein and it makes me realise that I was a bit rude when calling Silurian… conventional. Both songs are soaring metal songs that seem happy to tread further from the genre’s confines and Devonian.. contains a grunge-like clean vocal tone that makes the hairs on your neck stand up, especially when backed up by the harsher growls. Being the longest song on the album, you might be fearing something pretentious but this couldn’t be further removed. 

The Ocean return to heavier realms on penultimate song The Carboniferous Rainforest Collapse, which is mostly instrumental, save for the subtle screams that can be heard deep within the music (at least that’s what i’m hearing so correct me if I’m wrong). Album closer Permian: The Great Dying is the progressive beast that every album of this ilk should end with. This whole record is astounding and it’s made me fall in love with proper progressive music again. The Ocean may be leaning further away from the post-metal that helped them to make their name, but it’s no bad thing when they can produce music of this quality. They are set to become the biggest progressive metal band on the planet.

You can pre-order the album's closer via The Ocean's bandcamp page, where you can also pre-order it digitally and stream two songs:-




Physical pre-orders are available below:-

Tuesday, 19 June 2018

Carnal Decay - When Push Comes To Shove 7"


Labels: Rising Nemesis Records/UKEM Records/Nice To Eat You Records/Sevared Records/Fat Tub Of Lard Records/Brutal Mind/Pathologically Explicit Recordings 
Formats: Vinyl/Digital
Release Date: 21 Jul 2018

Tracklist:

1. When Push Comes To Shove
2. Food For Thought (feat. Igor Fil of Katalepsy)
3. We All Bleed Red

2018 is throwing up some awesomely digusting extreme metal and there's none more extreme than this new 7" from Swiss brutal/slam death metallers Carnal Decay. Carnal Decay has been going since 2002 and since their self-titled demo, they've released a split, four full-lengths, another demo and an EP prior to this one. They've recently toured over in Japan. If it's good enough for them it's got to be good enough for the rest of us!

After the day I’ve just has, slam/death seems like the only proper medicine. Carnal Decay’s soon-to-be-released 7” will definitely help with any frustrations that might still be festering. It’s title-track is exactly the kind of brutal and stomping death metal that will appeal to both hardcore and metal fans alike. The pummelling drums, rumbling bass, technical riffs and deeply growled vocals make are perfect. 

While the opener seems slightly slower in tempo, Food For Thought is set to warp speed thanks to the superhuman kick-drumming. It’s also lengthier with solid breakdowns throughout. Igor Fil’s additional vocals are ace as well, which they should be given Katalepsy’s pedigree.There’s no let up as closing song We All Bleed Red attacks you from all angles and hammers home just how brutal Carnal Decay really is. This is catchy and infectious slamming death and the 7” format seems ideal, as the song-writing seems to have way more impact because of it.

This is another release that shows how strong the collaboration is between DIY record labels globally and it’s exciting to see UK label UKEM Records involved in it’s first overseas release, given the demise of it’s short-lived imprint Hells Hammer Music. Get this when it hits online stores.

Here's a little teaser of what you can expect from this release sonically:-



Pre-order info will be available from both the band above and the labels below:-

Rising Nemesis Records - https://www.facebook.com/RNRecords/
Nice To Eat You Records - http://www.ntey.wz.cz/ntey.html
Fat Tub Of Lard Records - https://www.facebook.com/FTOLRECORDS/