TRACK REVIEW- Closer to Hell by Bodysnatcher

BAND: BODYSNATCHER
TRACK: CLOSER TO HELL [FEAT. CHRIS WHITED OF KING CONQUER]



"YO, WHAT THE FUCK IS UP? BODYSNATCHER TWO THOUSAND AND SIXTEEN, BRING BACK THE FUCKING VIOLENCE"

  With an introduction like that, little mystery can be left as to exactly how vicious the next four minutes will be.  Within seconds, you can already feel the hatred, the disgust, the unbridled, unadulterated rage vocalist Kyle Medina has been feeling since the release of the band's debut, Abandonment, in early 2015.   Never ones to shy away from relentless, ruthless riffage, the band has managed to capture the pure emotion put forth on Abandonment and expand on it one-hundred fold.  

  This is made possible by the collective efforts of Bodysnatcher, who's lineup is rounded out by guitarists Ben Bamford and Frankie Cilella, bassist Colton Whelan, and drummer Dylan Honkonen. Where Bamford and Cilella weave in and out of the spotlight with jaw dropping chugging and outright nasty groove, Whelan lurks underneath, ever so subtly, providing a rumbling, roaring, thunderous oomph with each passing second of the just-over-four-minute run-time.  Adding fervor and ferocity to the track is Honkonen, who beats the skins with such barbaric, brute force that gives the middle finger to technicality in a way that makes any sort of complexity meaningless and unnecessary.  While their previous EP demonstrated these traits effectively, they didn't really shine until this release.

  But of course, what good is a band improving their chops if their vocalist isn't up to scratch?Thankfully, Medina takes the book, beats the listener's skull in with it, and tosses it out the window.

While the whole of Abandonment seemed like Medina was doing his best Tyler Shelton and Jonathon Vigil impressions, Closer to Hell sees the frontman evolve into one of heavy music's most utterly inhuman. His gutturals are deeper, yells more emotional and full of raw hatred, and lyrical content more intense.  From the very first barks to the oppressive gutturals midway to the guest spot (taken up by deathcore titan King Conquer's drummer, Chris Whited) and the last downtuned chug of the song, Medina shows the listener that he's no one trick pony, letting loose with a vocal assault the likes of which would make Adam Warren afraid to close his eyes at night. In short, Medina is the genre's boogeyman, in that the mere sound of his voice alone is enough to make even the most hardened of pit warriors afraid to set foot in the mosh when Medina takes the stage. 

  Basically, to summarize this track in a blunt, honest fashion- it fucking rules.  Mothers, hide your daughter.  Fathers, lock up your sons.  Bodysnatcher is coming to town, and they will leave nothing behind.  Prepare for doomsday.  Prepare to find yourself closer to Hell.

FFO: the Acacia Strain, Immoralist, King Conquer

RATING: Five out of Five Venue Trashcans Getting Thrown at You

ALBUM REVIEW-A Moon Shaped Pool by Radiohead

Article by Chris Barcia

A Moon Shaped Pool Review

 

            You could name dozens of popular artists from the 90s, and only few have had the commercial and critical success that Radiohead have enjoyed. Then when you think about it, even fewer, if any, have retained their relevancy for this long. One could say they have become the masters of disguise and the masters of surprise. For a band where their leader, Thom Yorke, is constantly cited for shitting all over internet platforms (Spotify, YouTube), their marketing is very internet savvy. In Rainbows and The King of Limbs, Radiohead’s last two efforts, were released as surprise albums that had awkward nihilist internet geeks running to their computers during times where that style of album release had not yet been popularized (you’re welcome Beyoncé). The same had been done with A Moon Shaped Pool - where Radiohead erased their internet presence, then released two new songs with coupling music videos, then the full album – all within a span of a week. Overnight, a treasure trove of think pieces trying to dissect the album track by track, showing not only the power Radiohead has over all of us but also their power to move trends forward.

            What may be comforting to some and not others is that A Moon Shaped Pool does not hit out of left field and present new abstract sounds for the listener. In a career where they done absolutely nothing but just that, Radiohead finally hits the breaks. The King of Limbs was undoubtedly met with mixed reviews as a highly experimental, instrument heavy, and headphone friendly compilation of songs that were rhythmic, upbeat yet fairly distant all at once.

A Moon Shaped Pool is a step back from that approach, and if anything is reminiscent of In Rainbows. The album’s intense opener “Burn the Witch” is a pleasing step in the right direction. It is a welcoming hello to listeners (you know, as welcoming as Radiohead can be), and it is driven by a staccato orchestral movement that by the end of the track divulges into total hate-fueled chaos, which couples with song’s theme of isolationism and fear of outsiders in society. The next song, “Daydreaming” is a powerful ballad that recalls “Videotape” off of In Rainbows. Violins occasionally build off of the  simple piano movement in spurts throughout the song, and Yorke’s vocals perfectly couple the somber beauty of the track’s instruments. It is a hauntingly enchanting song, which only becomes creepier when you realize the distorted vocals at the end are actually “half of my life” spoken in reverse, a potential reference to Yorke’s recent split from his wife of 23 years.

Due to the vague lyricism of many of these songs that promote double meanings, the themes of breakup are as likely as anything else within this album, coupling with its somber stripped down tone. With piano-driven tracks such as “Decks Dark”, “Glass Eyes”, “Daydreaming” and “True Love Waits”, and the acoustic guitar led “Desert Island Disk”, “The Numbers” and “Present Tense”, this record has Radiohead sounding at their most natural and straightforward in years.

One of the most noteworthy additions to this album is probably “True Love Waits”, which has had earlier live versions fleshed out by the band dating back to 1995. There, Yorke would stand on stage, alone and wielding an acoustic guitar, and belt out the chorus as fans flashed lights – “Don’t leave”. The song originally sounded like a call to mend a relationship, but like the rest of the songs on this album, it could be taken with a backwards meaning in the context of Yorke’s own past-relationship – showing how staying together is only for the purpose of not being alone.

Some have suggested that the album is not for new listeners to Radiohead, but besides the typical layering of odd sounds that Radiohead is famous for, this is some of their most accessible

Fans of their favorite artists are often disappointed when those artists fail to change their sound, implying a lack of growth. However, proven in this case by A Moon Shaped Pool, change may not always be the best thing. Considering that many of these tracks have been heard or released in some form in the past, you could make reference after reference to past songs that compare to those on this record. However, the perfectionists that are Radiohead will not let their listeners think that similar is not equitable to banal. There is still enough emotion and mystery punched into lyricism and instrumental to make this record a unique standout, even among the masterpieces that already cloud Radiohead’s long discography. For the weeks and months to come, Radiohead fans across will debacle over where this stands in their prolific canon of work. Without any argument, however, this typical Radiohead…as typical as Radiohead can be. 

REVIEW- Brutopia by The Hell

IT'S THE MOTHERFUCKING HELL YOU DICK GET FUCKED.


Ok, in all seriousness, and I can't believe that I'm talking about this band seriously, The Hell is arguably one of the best non serious bands out there. With some incredible, djenty grooves and riffs, solid drum patterns and laden with that harsh British accent that everyone has grown to love. Now, be aware, this band is, for lack of a better term, a giant meme. But in the best way possible, this meme was successful as hell. With some of the most ridiculous lyrics I've heard in a while, The Hell holds a place in my heart for sure.
 Instrumentally, The Hell is something else, because from what I understand, they only use two strings on their guitars. On this record particularly, they have alot more groove to their songs as opposed to their previous record, Groovehammer. This evolution in sound is a welcome change, as I found the tracks on Groovehammer to be redundant after a while of listening. The drums are tight, with the same stylistic choices that you would find in any metalcore/hardcore band. Overall, this record is sonically pleasing, and incredibly fucking groovy.
 Now, lyrically and vocally, this record is absolutely fucking golden. The vocals are tight, and I've always been a fan of the hardcore vocals that come out of English bands. Lyrically, well, to give you a taste of what their lyrics are like, heres a quote from their song "Everybody Dies" off their last record.

"WHILE YOU'RE ON YOUR LUNCH BREAK SIPPING A CHAI FUCKING LATTE
OR WORRYING ABOUT HOW MANY DATAS YOU'VE GOTTA ENTRY
REMEMBER THIS
ONE DAY YOUR HEART'S GONNA STOP AND YOU'LL SHIT YOURSELF
AND EVENTUALLY BE PICKED UP BY SOME JOBSWORTH NURSE
STUFFED IN A BODY BAG AND KEPT IN A FUCKING FILING CABINET
UNTIL THEY DECIDE TO SET YOU ON FIRE OR TURN YOU INTO FERTILIZER
HAVE A NICE DAY"

And if that didn't get you hyped as hell for this band, I don't know what will.

This record earns a solid 7/10 FUCK OFF'S

Listen here

REVIEW- Sirens by It Dies Today

                                       

ALBUM: SIRENS

BAND: IT DIES TODAY

RELEASE DATE: OCTOBER 17, 2006

Hey everyone! It's me again, because just as much as you hate seeing my name, I ENJOY YOUR SUFFERING.

Totally joking. ANYWHO, since it's 2016 and most of my favorite records came out ten years ago, I wanted to review the album that guided me in the way of the mosh.  I'm talking about the one, the only, the almighty Sirens, from Buffalo, NY's own emo version of Bury Your Dead, better known as It Dies Today.

For those of you who were around the ages of 12 to 16 in 2006, you know what I mean.  From the very first melodic riff of "A Constant Reminder", It Dies Today shows us that they haven't forgotten their roots, but are more than content with making the album leaps and bounds more melodic than its 2004 predecessor, the Caitiff Choir.  Furthermore, the album seems to depart from the single concept theme of Choir, while still feeling like a continuation.  For example, the title track actually begins with the closing riff of the last song on Choir (called "The Caitiff Choir: Defeatism"), seemingly continuing the narrative of mythical romance and desperation, while acknowledging the episodic feel of Sirens, including references such as lyrics talking about "these timeless fables". 

Made up of vocalist Nicholas Brooks, guitarists Chris Cappelli and Mike Hatalak, bassist Steve Lemke, and drummer Nick Mirusso, It Dies Today proved to us with this album that heaviness and emotion are not mutually exclusive.  Throughout the twelve tracks of Sirens, the band soars high over their peers with melodies straight out of In Flames' best work, breakdowns so southern you can taste the sweet tea, and choruses so damn catchy you'd swear a mosquito bit you and infected you with song. Perfect examples of this are songs like "Reignite the Fires", "Sacred Heart", and my personal favorite off of the album, opener "A Constant Reminder".  Songs like these are where the band's songwriting is at its strongest, and Cappelli and Hatalak weave in and out of each other, swapping shredding leads with beefy, downright dirty rhythm.  Unlike their previous efforts, the two indulge much more frequently in solos, some of which sound like Lynyrd Skynyrd themselves wrote them.  

Songs like "Sixth of June" and "Black Bile, White Lies" are guaranteed to make you break out your air guitars. 

Furthermore, Lemke and Mirusso have defined what melodic metalcore rhythm sections should be- they work perfectly in sync while having enough technical prowess to often have "duels" themselves. They weave in and out, pairing bombastic Arena Rock drums with riffy, low tuned beatdown bass lines, melding the two into their signature brand of metalcore. They especially shine in "Sacred Heart".

But what is a band without a singer? If the band is a book, then Nicholas Brooks is by and large the perfect author, pouring his blackened and torn heart on every page, every syllable more gut wrenching than the last. Throughout the entirety of the album's nearly forty minute run time, Brooks screams, bellows, and belts his way through the listener's ears, telling tale after heartbreaking tale of loves lost,chances never taken, and near suicidal depression, all while retaining a snarky, bitter first-person persona.  Whether it be the title track, where he pens "The Fates have spun the noose it seems, please Sirens, set me free" (which is a reference to Greek mythology, so IDT get major cool points for that), or his romantic, open-hearted love note to Ailenn Wuornos, titled "Sixth of June", Brooks lets loose with his full range, hitting notes that will pierce your heart and leave you broken, begging for more.  However, let it not be said that Brooks is a one-trick pony.  For every tearfully sung line of love lost, there is a deep, bellowing scream to drive home the pain of heartache.  Songs like "Through Trees, Over Bridges" and "the Bacchanal Affair" see him scream and shout his way through his anger, building the listener's rage at exactly whoever it is that left them all alone, to mend their broken hearts.

It Dies Today defined the genre with the Caitiff Choir, but with Sirens, they perfected it.  Melodic Metalcore was full of copy cats and clones, and It Dies Today were one of the chosen saviors.  If you haven't listened to this record and feel like having a nice cry, well, You know what to do,

RATING:Five out of Five Hot Topic belts

FFO: Killswitch Engage, Bury Your Dead, As I Lay Dying

ALBUM REVIEW: Holy Ghost-Modern Baseball

   
        Modern baseball was the opening act for the first show I ever saw, and while I was relatively unfamiliar with them by that point, the show had an incredible atmosphere, then and there I could tell they had something special in their formula.
Brendan Lukens, Jake Ewald, Sean Huber, and Ian Farmer have been releasing some of the catchiest, most heartfelt indie rock/pop-punk music in the scene since 2011. Their debut, "Sports" displayed a truly stellar batch of catchy, relatable songs, however, it was their follow up "You're Gonna Miss It All" that started to gain them some serious momentum, especially with the success of songs like "Your Graduation"
The record's success, as well as their frequent touring schedule, gained them a cult following, however, success doesn't always equate to happiness, a short documentary was posted in April in which it was revealed that co-vocalist/guitarist Brendan Lukens was dealing with severe anxiety/depression.
Their prior ep, "The Perfect Cast" was a bit darker and more complex lyrically than their first two records and the hardships the band members were going through in their personal lives would seem to be the cause. With their new record "Holy Ghost" there's been a lot of speculation as to what direction they would take, so with all the formalities and background information out of the way lets just dive right into my review of the newest release from Philadelphia natives Modern Baseball.
Let's just clarify that despite these personal changes for the band members, this album stays in familiar territory musically. Whereas "You're Gonna Miss It All" sounded like a band just starting to get their feet on the ground Holy Ghost sounds confident and self-aware.
The eponymously titled opening song is a sparse, emotional song, compared to the angstier nature of songs like chlo3k or fine, great, the track is a solid introduction to this new side of the band, it also has a nice segway into the next song. While "The Wedding Singer" is a punchy power-pop song, the album occasionally lacks the same energy as the band's prior output.
That's not to say they sound burned out or tame, they clearly have the same omnipresent passion for the music they're making. The album is much more of a traditional emo record than their previous records, clearly taking influence from bands like American Football while keeping the energetic sound that attracted so many people to them in the first place.
It sounds like a band progressing past the bad times, and recovering from their own personal struggles. If you enjoyed their previous efforts
or in general just want to an easily accessible, emotionally resonant pop punk record I would recommend "Holy Ghost".

Standout Tracks: Everyday, Apple Cider , I Don't Mind
Overall Rating: 4/5

SPECIAL FRIDAY THE 13TH REVIEW- - De Mysteriis Dom Sathanas (1994) by Mayhem

Before I was even a thought in my mother's mind, this quintessential black metal band released one of their most well known records. A must know for any black metal fan, Mayhem's 1994 release is probably one of the better recorded black metal records from the time, I'm thinking of Burzum and Darkthrone in this sense, as the record itself is very clear and instrumentally pleasing. Vocally however, this record sounds, as one youtube viewer put "Sounds like Dave Mustaine being strangled". Now, why am I reviewing this on Friday the 13th? Well, it's a spooky day filled with the idea of bad luck, and the band's members have had some serious lineup changes for nasty reasons, mainly their first vocalist, Dead, and his suicide, and another member, Euronomyous's dead at the hands of other member of the band, everyone's favorite Neo Nazi church burner, Varg.
 On to the record itself though, this 1994 release from Mayhem classifies as a classic black metal record, however I myself can't like it beyond the instrumentals. Maybe because it's not as atmospheric as I like? Well whatever it is, the instrumentals are all solid, my favorite parts of the sound being the drum fills and the seriously gnarly riffs. The basstone is nice, and both guitars and drums and bass all flow nicely through the songs on this record wholeheartedly.
 Where this record loses points for me though, are the vocals, which again, sound like Dave Mustaine being strangled. I suppose it could stem from me not being so used to it, as I listen to alot more contemporary black metal these days. But really, that's where my complaints stop, because beyond that this record is absolutely a great one to listen to.

Overall, this one earns a solid 6.5/10, and here's why, regardless of the sound, and that I said it was a great one to listen to, I still found the vocals to be unlistenable, and overall I was bored with the tracks, the riffs were great, but on the same hand, I found them to be far too repetitive. So sue me if you want, I just couldn't totally get behind this record. 

REVIEW-S/T by Magrudergrind

More heavy shit for your ear holes, coming in loud and aggressive Magrudergrind's self titled is a gem that I was late to the party finding. Because I was so late to this, I'm doing a review of it and kicking myself for not listening to this sooner. Magrudergrind is a grindcore/powerviolence band from our nation's capital, Washington DC. An international act, the band has toured Europe and North America and parts of Asia, with the likes of Misery Index and Despise You.
 But on to the record itself, it's a hammer right to the fucking face of pure, unadulterated powerviolence and grindcore. The entire record is a cacophony of noise, harsh and crunchy riffs, blast beats and some gnarly vocals. Instrumentally this record isn't anything inherently special, but that isn't a bad thing in the case of this genre, or set of genres. The guitar tone is phenomenal, with my favorite tone/riff combo being on the track Bridge Burner. Interestingly, this band has no bass whatsoever, which normally I'd find annoying but it makes this band unique. Vocally, Avi Kulawy brings some harsh, high pitched and even agonized vocals to Magrudergrind's self titled release. The vocals are very reminiscent of some Insect Warfare tracks as well as the band ACxDC.
 Overall, this release from Magrudergrind is a great one, even if I found it late, and it earns itself a solid 8/10

Listen here