Gnaw Their Tongues - Reeking, Pained, and Shuddering (2007)

Just reading the band and album names you'll get a decent idea of what's coming. This is convulsing, wretched torture just waiting to skitter its contorted dance out of your speakers and into the soft recesses of your mind. Pounding, scratching, and moaning, Gnaw Their Tongues envelop the listener in the stained horror of an eternity of murder. There are no shambling puppets of death, no erotic specters of the dark to be found here - only the sickest thoughts of homicide crashing about inside a mind most consumed with the passions of hate. This is for lovers of dark ambient, industrial noise, black metal, and the sick that is tucked far away from the sun. Serial killers seem to be a majour inspiration for the band, and I'm sure Ed Gein would be proud of this tribute to him.

Points lost for mindless blasting that went on too long in "Nihilism, Tied Up and Burning," and the semi-filler feel of "The Evening Wolves." If you like Senthil, Blutgericht, Zoat-Aon, Axis of Perdition, or any fucked-up noise, you need this.

8/10

Pale Divine - Cemetery Earth (2007)

Pale Divine are one of those bands that the phrase "unsung classic" was made for. Having released two albums of glorious psychedelic proto-doom, (with Thunder Perfect Mind remaining a personal favourite) number three Cemetery Earth will no doubt once again be missed by the majority.

All the aspects that make a perfect proto-doom album are present here, heartfelt and well executed. The most important factor here is that it's doomy. It trudges along at a melancholic pace with a booming bottom end and almost tangible fuzz. Sorrowful riffs and mournful leads carry you through on a funeral march of Sabbathian quality. The trademark guitar work of Klein and Diener is out in full force with '(I Alone) The Traveller' serving as the perfect example. Floating in via harmonious distortion it twists and turns through seamless solos, all supported by the gruff tones of Diener. 'Soul Searching' showcases the duo's groovier sensibilities and the typical lengthy title track is Doom 101.

Another Pale Divine album, another slab of doomy perfection. Next time you're about to spin Pentagram's self titled or stick on Holy Mountain for the 1000th time, given Cemetery Earth a try (and track down Thunder Perfect Mind while you're at it).

8/10

Witchcraft - The Alchemist (2007)

Dust off those flairs, polish your lava lamp and shove your Wolfmother up your arse because Witchcraft hath returned with another slice of Pentagram worshipping 70s nostalgia. Skirting the borders between stoner and doom The Alchemist channels the aural essence of decades past through a sonic time warp.

It's an analogue masterpiece that's oozing with old school flair, Witchcraft once again managing to bring the crisp grain of vinyl to the digital masses. Subtle distortion meets jangly clean strumming, supported by groove soaked workhorse drumming and lively bass that dances between root notes like a court jester. The re-recorded 'If Crimson Was Your Colour' (previously seeing release on a limited vinyl) even adds authentic Moog to the mix.

The tracks themselves are some of the bands strongest to date. Never afraid to flaunt their influences, 'Hey Doctor' invokes the very spirit of Sabbath, driven by crunching riffs, vintage solo and Ward style drum breakdowns. Magnus Pelander's voice has never sounded stronger either, accented by some subtle vocal harmonies. Album highlight 'Samaritan Burden' is a grooving cacophony of funked up drumming and proggy leads. It simmers and flows to an expectedly climactic end, only to ebb away into Jethro Tull style folksy noodlings. 'Remembered' is really the only "duff" track, that whilst not bad in its own right just doesn't fit the flow of the rest of the album. It opens with a 60s styles bouncy intro and closes with a King Crimson-esque style saxophone solo. It has more of an air of "bonus track" to it, and serves as a slight interruption before the lengthy epic title track. The only other problem is the length as at just over 40 minutes you'll find yourself repeating the album to sate your appetite.

As it stands, anybody spurting the old "they don't make music like they used to" really has no excuse. This is 70s heaven.

8/10

V:28 - VioLution (2007)

Energy signals pulse discordantly via my virus-infected synapses; meager thought-bytes of stored memories downloading to safety. The biotechnic body at my command, this relic of the living past, is failing, as all organics must. Electronic rapture calls, subtle currents swelling beneath my consciousness, and I can no longer deny it. Experiences, my existence, siphon into the data stream amongst the dead stars. I no longer see them, can no longer separate the life I thought I lived from the immensity of the universe. My mind screams as it washes away into the collective, and the digital sound wave is processed by the void and logged away for our analysis. All who have come to us have despaired at us, the manifestation of God. And all shall despair, all shall weep and grovel in their fleshly weakness as their data is assimilated. There is no room for life on these barren planets - the time of the organic is past. Now begins a new millennia of sterility, of static perfection and holy industry.

8/10

Baroness - Red Album (2007)

Despite a relatively meager output of two EPs and a split release Baroness have already built themselves a formidable reputation in sludge circles and across the metal spectrum in general. It's no surprise therefore that their debut full length has become one of the most anticipated releases of the year. With First and Second setting such high expectations for the band the Red Album has some pretty big shoes to fill.

To get it out of the way, the Mastodon comparisons are unavoidable; the Southern-tinged progressive sludge genre isn't exactly flooded. First and Second managed to seamlessly blend the rawking sludge aggression of Remission with the proggier sensibilities of Leviathan whilst still retaining a unique flair. Interestingly enough Red Album appears to have followed Blood Mountain in so much as Baroness have cleaned themselves up and gone a bit more Rush and a little less EyeHateGod.

The trademark interwoven melodies and pissed off lumberjack vocals are still all there, but it's with less crunch and more widdle. Opener 'Rays On Pinion' is a much more subdued affair than either 'Tower Falls' or 'Red Sky' with slow building tribal-like tom work and clean leads that flutter about like moths to a flame. Even when it kicks in the expected aggression is eschewed for a more focused drive. The album as a whole feels more streamlined, the band have matured and honed their sound with each passage flowing smoothly to the next with military precision. Each note feels meticulously crafted but not forced. They've taken the Mastodon style southern licks from songs like 'Megalodon' and 'Crusher Destroyer' and extrapolated them , carrying them through to a conclusion in 'The Birthing'. The instrumental piece 'Cockroach En Fleur' is evocative of Tony Furtado's trademark slide piece 'Cypress Grove' and closing track (excluding the hidden one) 'Grad' comes across like an up tempo Earth circa Hex.... Even Welch's gruff vocals now soar over the top with subtle melody, rather than barking from beneath.

Baroness have clearly hit their stride and Red Album is the triumphant culmination of their efforts to date and an impressive excerise in diversity. It takes a few listens to readjust and let it all sink in and the maturation of the sound may loose a few fans among those who were longing for a sludgier full length. However, this release sees them stepping out of Mastodon's shadow with their own unique take on the genre.

8/10

Conelrad - Function Creep (2007)

I stumbled across this album on SomethingAwful's GBS forum, and wow, was I in for a treat. This is essentially a bit of Boards of Canada worship, although the artist named quite a few inspirations along with BoC (Aphex Twin's ambient works, Squarepusher, My Bloody Valentine, Muse and others) the one that comes through the most to me is BoC, along with a hint of the Squarepusher and Aphex Twin. Conelrad's vocals are varied, but generally are in the vein of distorted, almost angelic crooning with unintelligible lyrics.

Let me say this now, if you don't like Boards of Canada's style of melancholic idm with the occasional shoegazey wall of sound (this comes through heavily on the track Target City) then don't even bother. The influences aren't subtle here, but he's taken the sound of the bands he loves and made a wonderful little album that can totally stand up on its own. The best part about this album? It's free.

8/10

Click here to download a copy of the album in .rar form
FLAC version

Bilskirnir - Wotansvolk (2007)

Hot on the heels of the Allied By Heathen Blood split with Hunok and following the Wolfswut EP, NSBM darling(s) Bilskirnir have dropped album number three, Wotansvolk.

Sporting a cleaner but quieter production, this release sees a slightly more melodious and sombre side emerging. Graveland-esque keyboard intro and title track marches us into the uplifting bravado of 'Weltenbrand'. For epic centrepieces 'Reconquering Atlantean Supremacy' and 'Nacht und Nebel', Widar shrieks and wails through the downcast descant, like a sepulchral stream of soothing ambience that flows through the wooded realms of Wotan.

A good solid realease and a bleak album that will serve well as the soundtrack of Autumnal depression.

8/10

Austere - Withering Illusions and Desolation (2007)

There is no serenity, only suffering. There is no hope, only death. And there is nothing quite like depressive black metal from Wollongong. 55 minutes of desolate misery, an aural equivalent to anti-Prozac and the unofficial soundtrack to your suicide.

Given that Austere come from a country where the summer temperature can average in excess of 40 degrees (or 100 for you none metricated barbarians) this is an unexpected excerise in arctic dirge. Slow burning and melancholic it's awash with ethereal distortion and mid-paced drums. The production is wispy and distant, and perhaps a little ruff around the edges but is the perfect complement to the smothering atmosphere. Vocally, this album transcends from the depressive to the truly disturbing. It evokes the death whistle of Nazgul(Ita) via the Noktu/Niege/Varg shrieking anguish. Completely unintelligible yet brutally appropriate.

It would serve little purpose to delineate each tracks merits given that the album appears to function as a whole. The template remains nearly identical for each song. However, the album sucks you in and swallows you whole, carrying you from each track to the next on a bed of icy stalagmites.

If you want blast beats, whirlwind riffs and infinite variety seek ye elsewhere. If you feel like slicing off your ears and crying yourself to sleep in a bath of ice shards, delve into Withering Illusions and Desolation.

8/10

Sodomizer - The Dead Shall Rise To Kill (2007)

Screw this NWOAHM and "neo-thrash" bullshit, South America has been churning out endless amounts of kick ass 80s homage for years. Leather and bullet belt sporting Brazilians Sodomizer are no exception. If the cheesy arse chainsaw logo and comfortably generic cover didn't tip you off, this is an old school thrash fest with more riffs than Hetfields scrap book.

If the words Accept or Metal Church don't force an involuntary spasm of head-banging and a horns salute, this album might not be for you; this is by the book 80s thrash worship. Every aspect of this album oozes denim and bad hair with songs like 'Heavy Metal Horror' and 'Undead Revenge', resplendent with horror movie samples and cheesy intros . Its all about the tripartite riff pattern followed by a variation, Araya style screaming vocalizations and banshee wailing solos. 'Blessed By The Virus Of Death' is one of those "lull you into a false sense of security" openers, with a monk chant leading you into a slow strummed melody. Of course, just as you're getting comfortable in drops some trademark thrash riffage and an 'Angel Of Death' scream. Tastefully clean solos, rumbling bass and understated distortion carry this album through a time warp.

So, it's hardly original. And it's a little repetitive. But who gives a fuck? This is thrash. In an age where people are more interested in what colour Matt Heafy has painted his nails than the fact Lamb Of God are making a living butchering Testament riffs, we need bands like Sodomizer.

8/10

Le Grand Guignol - The Great Maddening (2007)

With the unfortunate demise of Arcturus there is gaping hole left in the whimsical realms of pomposity inhabited by the black metal avant garde. Though technically a re-release, Luxembourg's Le Grand Guignol (formerly Vindsval) are clearly looking to fill said hole with their batshit insane beauty The Great Maddening.

This epic journey through eccentric fantasy is, as you would expect, all over the place. Leading us through the gates like a deranged Ringmaster is 'Circus Lausenheyser'. This riff n'synth menagerie of an introduction is presumably what Solefald's next album would sound like if Danny Elfman produced it. And then we're off. Fuzzy guitar, a variety of alternating clean/black vocals (both male and female), pianos and strings (including a shamisen) are all encased in bouncing bombast as we tour the Circe du Insanity. With some neoclassical moments reminiscent of Ensiferum and whispy synth work evocative of Hollenthon The Great Maddening is masterful slab of symphonic metal.

An avant garde symphonic metal album with hints of black metal rather than the other way around, its not as guitar led or aggressive as it's comtemporaries. However, for those dissappointed by Solefald's more recent efforts and still annoyed by Vintersorg's vocals this is the perfect album

9/10

The Pax Cecilia - Blessed are the Bonds (2007)

I'm not a huge fan of anything post-hardcore. I can enjoy small amounts of Envy and a couple other skram bands, but the genre has never really struck me as interesting. The Pax Cecilia, however, provide a fresh take on the style with the inclusion of neoclassical and ambient aspects. The first song, "The Tragedy," is one of the best on the album, creating a beautiful atmosphere using piano and strings. As opposed to most in this scene, the singer handles the soft vocals superbly. These low-key, thoughtful parts are the highlight of the band, and are spread well throughout the album. Eventually the song builds up to the typical chaotic, heavy skram climax, yet even these parts are relatively pleasant. "The Tomb Song" follows in much the same vein. The next two songs are more standard post-hardcore fare, providing nothing really interesting but still not of bad quality. From then on the album sticks to instrumental pieces, with vox only popping back in for the tranquil closing song.

Blessed are the Bonds really has a great atmosphere. It's also much more unique and intriguing than most post-hardcore, at least to me. The band is unsigned, and also sends out their album for free if you email them, so check em out and give some support.

8/10

Todtgelichter - Schemen (2007)

Todtgelichter are equally familiar and unique sounding. Their take on black metal is slightly depressive, a touch more melodic, and almost eternally blasting. The guitars and bass have a warm sound, at least for black metal, and their lamenting tone can be highly reminiscent of Primordial. The drumming is busy, even during the slower passages, and does its job well. The singer provides quality Germanic rasping, often breaking into hoarser, more emotional styles. At times he reminds me a little bit of Envy, and there is a slight skram feel to the album. Extra touches, such as a folksy acoustic skram breakdown, samples (the song "Blutstern" uses a whale's song at one point, which makes me think of the movie Legend and is totally awesome because there is no trver black metal than that which invokes Satan and Unicorns), keys, and a girl singer, show up infrequently but are nice touches that instill some variation into the pacing. The production is of relatively high quality, clean and slightly warm, while still keeping that classic black metal sound.

8/10

Xentrifuge - Light Extinguished (2007)

Xentrifuge are a US-based ebm band that sound essentially like a slightly-noisier and rawer version of Wumpscut. They rely heavily on distortion and four-on-the-floor 909 bass kicks, which generally lends the music a deliciously dirty feeling, but at times makes it drag on forever. When the supporting samples and synths are going there is a great sense of dynamic atmosphere, and the music flows through your body without a thought (side-note: due to the base beat, Xentrifuge has quite the dance feel to it). However, I did get weary of the drumming on some songs, most notably on "Cerebral Ruins." Vocals are presented in a filtered whisper form, much like the recent Grendel album, but distorted to the tenth sub-level of cybercide. Much like the drums, the vox are very gratifying when everything is meshing, but somewhat repetitive on their own.

Light Extinguished is a dense, gritty foray into the dark corners of ebm. There is an evil intensity that permeates the music, moreso than most electronic artists on the hard end of the scale. Fans of Wumpscut, Aesthetic Perfection, Grendel, and Diary of Dreams will get some movement out of this one, as would hardstyle and hard trance lovers.

8/10

Blood Red Throne - Come Death (2007)

Norway's stalwarts Blood Red Throne have returned with their fourth album of no nonsense death metal riffage. The first album featuring Vald (vocalist to BRT side project Trioxin) once again showcases Tchort and Død's Norwegian take on Swedish death via Florida. The only notable difference vocally is Vald's slight detours into the higher ranges, the staple death rasp is near identical to that of predecessor Mr. Hustler. As for the rest? Well, if it ain't broke don't fix it.

The chunky Swedish tone with those all familiar muted triplet crunches are staple throughout the album. Apart from Caspersen's dextrous bass widdling BRT have always eschewed technical focus for grooving riffs, which are in no short supply on Come Death. Mixing elements from previous effort Altered Genesis with the more casual groove of debut Monument of Death, BRT have delivered perhaps their most rounded effort to date. Opener 'Slaying the Lamb' gives you no time to prepare, charging straight in before dropping a trademark Throne riff whilst switching between frenzied blast and grooving chug with ease. 'Rebirth in Blood' has time for some melodious prog-riffing a la Anata before marching to a close, whilst 'Taste Of God' brings a little thrash to the deathfest. There's even time for a well executed Gorguts cover before the end.

Once again BRT have delivered the goods. Tchort and Død present a veritable riff buffet of accomplished death metal with more than enough variance to hold your attention from start to finish. Another fine slab of 2007 death metal that might even make some '... of the year' lists.

8/10

Patrick Wolf - The Magic Position (2007)

I actually deleted and redownloaded this album multiple times before I finally was able to get into it. My love for Patrick Wolf is like a streaming mental wave of succulent babies, and suffice to say The Magic Position was an abortion-blender that came between us on first listen. It wasn't until about last week that a friend of mine got me to go back through it, and it finally stuck.

Patrick's trademark Brit voice no longer carries the wild energy of Lycanthropy or the introspection of Wind in the Wires, yet it's still him. Similarly, his other classic sounds, such as violin and programmed drums, come across as familiar yet slightly lacking. It doesn't help that the strings in the first song sounds just like Apocalyptica, or that his singing is vaguely standard. But this is an album that you have to give time to grow on. The spunk is still alive in songs like "Accident & Emergency," "Bluebells," "Get Lost," and the title track, while Patrick's thoughtful side is shown on "Augustine" and "Magpie" (the latter containing some excellent counter-vocals courtesy of Marianne Faithfull).

While I do enjoy this much more after trying it a few times, The Magic Position is by no means up to the standards made by Patrick Wolf's first two albums. But, like Githzerai said of Ministry's newest offering, at his laziest this man is still amazing. Recommended for die-hard fans or for those that want something a little more tame than previous releases.

8/10 (5/10 on first listen :P)

Valkyrja - The Invocation Of Demise (2007)

Debut album from Swedes Valkyrja (Old Norse for valkyrie) is another entry into the burgeoning "clean" black metal market exemplified by 1349 et al. Kicking off with the military marching snare and thundering double pedal of 'Origin Reversed' we're steadily pummeled into submission before the familiar buzzsaw onslaught of 'As Everything Rupture'. Familiarity here is the key for the most part; relentless double pedal action, blast beats in all the right places, crunching, soaring guitar with occasional acoustic intro, aggressive snarling and rumbling bass.

Just when it begins to verge on the formulaic in drops the melo-doom-esque closing solo of 'The Vigil', whilst the subtle acoustic undercurrent of 'On Stillborn Wings' draws comparison to Opeth's more aggressive tendancies. Indeed, the guitar tone and subtly progressive elements throughout are further reminiscent of their cardigan sporting Swedish compatriots.

The Invocation Of Demise doesn't exactly break any boundaries and won't be winning any originality awards. However, it's certainly another well executed and uncompromising debut designed to be played at neighbour aggravating volumes.

8/10

The Absence - Riders of the Plague (2007)

This is the first album I've heard from Florida's The Absence and it's certainly an impressive one. They deliver, song after song, thrashy Gothenburg style melodic death metal, without any of the obnoxious hardcore tendencies that so many American bands show. Actually, I didn't realize this band was American until I looked them up. Their Swede-worship is so convincing that I thought it was the real deal. Musically, it's very guitar-oriented, with all the catchy riffs and harmonized twiddly bits you'd expect from a melodeath album. The bass is practically inaudible and the drums kinda sit at the back just keeping time. The vocalist does his classic Dark Tranquillity/In Flames thing excellently, and is actually one of the better melodeath singers I've heard. The guitars are definitely in the spotlight of this album, and the shredding is pretty tastefully executed and very clean, with some whammy bar antics thrown in because it wouldn't be a modern metal album without them.

For being generic thrash/melodeath par excellence, I have to recommend this to any fans of classic Gothenburg metal, as well as newer bands like Arsis. Add another entry to 2007's growing melodeath must-haves.

8/10 (One whole point deducted because of that one time I heard a gang shout that I thought was really terrible. Yes, a whole point)

Caina - Mourner (2007)

Ah, Caina. Another band on the forefront of the post-rock/black metal scene, fueled by one British man's desire to meld the beauty of both genres. The first Caina album was an interesting affair - portions of soft, dream-effected guitars giving way to raging, buzzing black metal - yet it suffered from messiness and incoherent ideas. However, the promise was there - Curtis-Brignell's tremulous, vulnerable clean singing being a majour highlight for me. The only release since then has been I, Mountain, the limited pressing in God is Myth record's tribute to H.P. Lovecraft. While some enjoyed the peaceful instrumental journey presented, and others thrashed it to pieces for its lacking musical content, no hint as to Caina's progression was to be found. Thus, Mourner serves as the band's first real test - will it step up to the heights of other rock/bm peers, such as Amesouers and Lifelover, or will it wallow in confusion?

The first song, sadly, doesn't fit or work very well. "Constantine the Blind" consists mostly of talking, acoustic guitar, and some ethnic instruments. While you can tell where he was trying to go with it, and it does pull together in the latter half, the song is awkward. It actually sounds exactly like Legolas (LotR) trying to do a Mournful Congregation cover. Thankfully, no more talking of this sort is to be found on the album. The next track is "Hideous Gnosis," a song that has been online for some while, and the reason why I've been so excited for this album. The clean vocals are in the majority of this song, and I love it. The rest of the album follows suit, with spacious post-rock instrumental pieces and lilting, sighing vocals taking the forefront. The transitions to black metal are a little rough, but once they get going they deliver a sawmill of guitars and oft-times disturbed dsbm vocal arrangements. However, there are two more tracks that I have issues with. "Wave Engulf a Pier" is a mostly throw-away proto-industrial drone piece that serves as pointless filler. The other problem, which is smaller and mostly personal, is that "Wormwood Over Albion" has about five minutes of silence in the middle of it. That just irritates the fuck out of me, but it's better than having crappy songs, I guess.

All in all, Mourner delivers a refined, intriguing update to the Caina style. It's still messy in parts, especially the change-over from rock to bm, and I can't tell if this is due to lack of skill or is a deliberate attempt to keep things necrobasementesque. Either way, while I do enjoy his music, and there are certainly some nigh-perfect songs (Hideous Gnosis, Permaneo Carmen, The Sleep of Reason) I think Curtis-Brignell still needs a bit of time to let his bastard kriegrock child grow into what it's meant to be.

8/10

Pelican - City of Echoes (2007)

Chicago's Pelican return this year with their best output yet. They've stepped up their game a bit and produced a much denser, more compact album, clocking in at one track more yet 15 minutes shorter than their 2005 record The Fire in Our Throats will Beckon the Thaw. City of Echoes needs no human voice or lyrical guidance to take us on their sonic voyage, the intertwining guitars lead us where they will while flanked by the refreshingly-prominent bass and (to a lesser extent) the drums. The drumming isn't terrible, but is pretty basic and often doesn't quite seem to fit with the flowing melodies around it. At times the drummer can almost ruin moments set up by the strings with some not-quite-appropriate beats, though to be fair he does a solid job in the album's faster and more intense sections.

Our boys in Pelican begin us on our journey to the City of Echoes with the slow-fast-slow flow of Bliss in Concrete which sounds as if it's almost an emotional recollection of a trip into the City itself, beginning with a slow and heavy yet relaxing section worthy of a night-time drive over an empty highway. The song builds as we come into town and finally explodes at the headbanging 3:25 mark into what I can only imagine as the sudden shock of urban chaos after a long drive before bringing us to park in the City of Echoes, a song with a particular bouncy catchiness I don't hear often in this kind of music.

Most of the eight songs on this record are memorable, such as the aforementioned two tracks and the great Spaceship Broken - Parts Needed as well as the exquisitely tranquil late-game Far From Fields and the beautiful, soothing closer A Delicate Sense of Balance. Pelican's knack for evocative song titles certainly doesn't hurt.

Some Pelican fans may not like the more compact nature of the album, but I consider it an improvement. City of Echoes is a leaner record that yet manages to give you more to chew than their prior efforts. There are a couple of boring bits and the drummer can be kind of irritating at times, but the album's strong points easily outnumber the weak. All fans of atmospheric, melodic rock and metal should at least hear this, if not own it.

8/10

Weedeater - God Luck and Goodspeed (2007)

Just like Leaf Hound, Weedeater brings the smoke-filled riffs in plenty, to go along with killer vocals that sound as if they're coming straight from a bong-ravaged throat. Driving the album are super distorted sludgy guitars a la Dopesmoker era Sleep, Bongzilla, or Electric Wizard. It isn't all heavy, though, with the folk/country-esque piece "Alone," and the chill piano outro "Willow." Lyrics are mostly lighthearted here, as you'd expect, Weedeater are probably one of the least pretentious bands around. God Luck and Goodspeed is sickly stoner sludge done just right.

Weedeater sounds exactly how I thought they would, and this of course isn't a bad thing. If you enjoy this type of music, this is a must-have, and to its credit it does bring some new things to the table in a bit of an oversaturated genre. Trust me, you don't need to be on the sticky icky to enjoy Weedeater, as I've never smoked a bowl in my whole life and I still adore this genre of music as a whole. Simple, smooth and destructive at the same time, beautiful!

8/10