Month: May 2022

Killswitch Engage, Live At The Palladium (Metal Blade 2022)

Wayne Edwards, , , , ,

Killswitch Engage releases the recording of their 2021 Palladium livestream event this week.

Do you remember last year? The pandemic was still roughing us up, sort of like it still is today. Back then, though, there were more restrictions than there are right now on live music so we fans were treated to a number of livestream events to offset the sadness of not getting together in person. I remember the Clutch livestreams particularly, and there were many other bands following suit. A few were captured for posterity, including the August 6, 2021 performance by Killswitch Engage at The Palladium in Worcester, Massachusetts.

Coming together on the cusp of the new millennium, Killswitch Engage has had an enormous impact on heavy music. Over the years they have released eight full-length albums and a heaping helping of splits and EPs. Typically labeled metalcore, the aggressive musical presentations of heavy metal were formative for the category. I have been lucky enough to see them several times at festivals and, if a choice has to be made when two bands are playing at the same time, Killswitch Engage is probably going to get the nod. The band is Jesse Leach (vocals), Adam Dutkiewicz (guitar), Joel Stroetzel (guitar), Mike D’Antonio (bass), and Justin Foley (drums).

This show was very different, not only because of it being a livestream but also because of the content. The set included both the Atonement (2019) album and the Killswitch Engage (2000) album in full. Talk about bookending. It is an amazing performance and it is incredible fan service with a little surprise toward the end. Beyond the band’s fan base, this concert is a good vehicle for new listeners to jump in. Recommended.

Live At The Palladium is out on Friday, June 3rd through Metal Blade Records on digital, vinyl, and CD/Blu Ray combo. I would get the Blu Ray in order to actually see the show, if it was me. I understand the both attraction of vinyl and the convenience of digital as well. This might be a tough choice. What to do?

Links.

Bandcamp, https://killswitchengage.bandcamp.com/album/live-at-the-palladium

Website, http://www.killswitchengage.com/

Facebook, https://www.facebook.com/killswitchengage

Metal Blade Records, https://www.metalblade.com/killswitchengage/

© Wayne Edwards

Killswitch Engage, Live At The Palladium (Metal Blade 2022)

Peth, Merchant Of Death (Electric Valley 2022)

Wayne Edwards, , , , , , ,

The debut album from Texas heavy psych band Peth is an alternate history of the past today.

Apart from the fact that the band has formed recently, there is not a ton of information freely floating about in the ether. There are four of them in the photos, band members. Mmmhmm. You can hear vocals, guitar, bass, and drums in the music. That adds up. If you want to sift through the band’s Facebook page for clues, there is a link below. Let’s have a listen to the album and see what it reveals.

On “Dwarvanaught,” the straight-forward rhythm sets you up for musical imbibement no matter how altered your state. The vocals and general presence in the song put me in mind a little of the band Ancient Days that I saw recently at Black Circle Brewing in Indianapolis – echoey; Eldritch. The lead guitar work is a thing of beauty. “Amok” sneaks up on you like an Amboy Duke, heralding a somewhat older origin than the first song. The guitar is big on this track, too, and it is a bit more questing than before. “Abolish the Overseer” channels Iommi for the opening riff. The otherworldly voice has a different impact in this setting, and still again is an exceptional complement.

“Let Evil In” is a barn burner, and no mistake. The thrusting guitar cracks open the primordial egg and, when you step inside, what you find is a surprise. “Stoned Wizard” is swirling fuzzy darkness filled with muscular riffs. The title track is notable for its execution of Sabbathan classicism. It is a delight. The big closer is the ten-minute epic “Karmic Debt.” It is a patient piece with a couple of killer sequences and a worthy payoff for seekers.

I had a lot of fun listening to this album. It is haunted by the past, heavily. Peth takes this and transforms what might be a curse into a mythic blessing. I will be listening to this album again and looking forward to the next one. Recommended.

Merchant Of Death is out on Friday, May 27th through Electric Valley Records on digital and vinyl.

Links.

Bandcamp, https://peth.bandcamp.com/

Facebook, https://www.facebook.com/Peth.usa

Electric Valley Records, https://www.electricvalleyrecords.com/

The Cosmic Peddler, https://thecosmicpeddler.com/

© Wayne Edwards

Peth, Merchant Of Death (Electric Valley 2022)

Carcass at The Vogue, Indianapolis, May 19th

Wayne Edwards, , ,

Carcass, Immolation, and Creeping Death came to Indianapolis this week in the final days of their Spring tour. I have an article and photos coming up in Ghost Cult Magazine describing the whole affair. Meanwhile, here are a few Carcass photos that will not be in the article to tide you over. This is the third and final gallery for the show at FFMB – as a little advertisement for the longer article. I put a link to the Ghost Cult article below.

Photos by Wayne Edwards.

Links.

Ghost Cult Magazine article, https://www.ghostcultmag.com/concert-review-carcass-immolation-creeping-death-live-at-the-vogue/

Carcass, https://shop.nuclearblast.com/en/shop/item/groups/51000.1.html?article_group_sort_type_handle=rank&custom_keywords=Carcass

The Vogue, https://thevogue.com/calendar/

© Wayne Edwards

Carcass at The Vogue, Indianapolis, May 19th

Michael Schenker Group, Universal (Atomic Fire 2022)

Wayne Edwards, , , , , , ,

Michael Schenker Group follows up last year’s album Immortal with the new studio record, Universal.

If Michael Schenker doesn’t have legendary status in rock and roll then nobody does. He was one of the earliest members of the Scorpions and, past-group-wise, he is probably most frequently remembered for his work with U.F.O. But really, after all this time, he is best known for being Michael Schenker and for the group that bears his name. A tireless purveyor of riff and hook and melody, Schenker is on the short list of iconic rock guitarists. Along with Michael Schenker on guitar, of course, the band for the new album is Ronnie Romero (vocals), Bodo Schopf (drums), Steve Mann (keys, guitar), and Barend Courbois (bass).

The set starts out dramatically with “Emergency,” offering a tense riff and a warning structure. The vocals are melodic and urging, and the guitar lead is an excellent probing, exploring ranger that emerges from a classical underpinning. “Under Attack” keeps the tone but slows a touch. Sporting a memorable chorus, it is the guitar again that seals the deal.

“Calling Baal” is an intro piece for “A King Has Gone,” a song that pays tribute to Ronnie James Dio. In particular, you can hear Rainbow in these pieces, and to show even more respect, Tony Carey, Bobby Rondinelli, and Bob Daisley – like Dio, all Rainbow alum – play on the sequence. It is worth getting the album just to hear this.

Other stand-out tracks for me include “Wrecking Ball,” a growling road tune, and “Sad Is The Song” because it has such a great build and wondrous guitar work. This album is another exceptional effort by the Michael Schenker Group. They are on tour right now so make sure you go out and see them. I know I will. Recommended.

Universal is out today, Friday, May 27th through Atomic Fire Records on digital, CD, vinyl, and earbook. You can get it just about anywhere.

Links.

Bandcamp, https://michaelschenkergroup.bandcamp.com/

Website, https://michaelschenkerhimself.com/

Facebook, https://www.facebook.com/MichaelSchenkerRocks

Atomic Fire Records, https://label.atomicfire-records.com/project/michael-schenker/

© Wayne Edwards

Michael Schenker Group, Universal (Atomic Fire 2022)

Immolation at The Vogue, Indianapolis, May 19th

Wayne Edwards, , ,

Carcass, Immolation, and Creeping Death came to Indianapolis this week in the final days of their Spring tour. I have an article and photos coming up in Ghost Cult Magazine describing the whole affair. Meanwhile, here are a few Immolation photos that will not be in the article to tide you over. I’ll post a separate gallery tomorrow for Carcass, anticipating the future. I put a link to the Ghost Cult article below.

Photos by Wayne Edwards.

Links.

Ghost Cult Magazine article, https://www.ghostcultmag.com/concert-review-carcass-immolation-creeping-death-live-at-the-vogue/

Immolation, https://www.immolation.info/acts-of-god

The Vogue, https://thevogue.com/calendar/

© Wayne Edwards

Immolation at The Vogue, Indianapolis, May 19th

Mournful Congregation, The Exuviae Of Gods – Part I (20 Buck Spin 2022)

Wayne Edwards, , , , , , ,

On the cusp of thirty years in, Mournful Congregation begin their two-part EP series with The Exuviae Of Gods – Part I.

Australian doom band Mournful Congregation is a pillar of the funeral doom mausoleum. From the very beginning with the Weeping demo in 1994, they have set their own boundaries. A second demo appeared the very next year then, a few years on, Tears From A Grieving Heart, their first full-length album. Since then, there has been a steady, well-paced flow of much-needed doom. The band is peopled by Damon Good (vocals and guitar), Justin Hartwig (guitar), Ben Newsome (bass), Ben Petch (guitar), and Tim Call (drums).

Exuviae Of Gods will be released in two parts, the second appearing later this year. Part I contains three long tracks starting with “Mountainous Shadows, Cast Through Time.” An organ fades in playing sinister tones leading in short order to a confrontation with a massive wall of guitar riffs. The vocals that ensue have a sound of distance in them, gruff and croaking. Slow and deliberate. The guitar solo enters in its own time and, when it does, it is genuinely enthralling.

“The Exuviae Of Gods” is a deeply moving instrumental piece soaked in sorrow. At merely seven minutes long, it is sandwiched between two behemoths. The vocalizations in “An Epic Dream Of Desire” are spoken word, offering unmuddled direction in the narrative. Halfway through, a lead guitar embarks on a deeply emotive dirge of mystical wonder. Beyond is the eventuality of existence and nonexistence. The space that Mournful Congregation inhabits in the land of funeral doom music is most compelling. Recommended.

The Exuviae Of Gods – Part I is out on Friday, May 27th through 20 Buck Spin digitally and on CD, with vinyl to follow a bit later on. Osmose Productions is handling the album outside of North America.

Links.

Bandcamp, https://mournfulcongregation.bandcamp.com/album/the-exuviae-of-gods-part-i

Website, https://www.mournfulcongregation.com

Facebook, https://www.facebook.com/mournfulcongregation

20 Buck Spin, https://www.20buckspin.com/

© Wayne Edwards

Mournful Congregation, The Exuviae Of Gods – Part I (20 Buck Spin 2022)

Creeping Death at The Vogue, Indianapolis, May 19th

Wayne Edwards, , , ,

Carcass, Immolation, and Creeping Death came to Indianapolis this week in the final days of their Spring tour. I have an article and photos coming up in Ghost Cult Magazine describing the whole affair. Meanwhile, here are a few Creeping Death photos that will not be in the article to tide you over. I’ll post separate galleries tomorrow then the next day for Immolation and then Carcass, anticipating the future. I put a link to the Ghost Cult article below.

Photos by Wayne Edwards.

Links.

Ghost Cult Magazine article, https://www.ghostcultmag.com/concert-review-carcass-immolation-creeping-death-live-at-the-vogue/

Creeping Death, https://mnrkheavy.com/collections/creeping-death

The Vogue, https://thevogue.com/calendar/

© Wayne Edwards

Creeping Death at The Vogue, Indianapolis, May 19th

Cities Of Mars, Cities Of Mars (Ripple 2022)

Wayne Edwards, , , , , , ,

Heavy fuzz doom trio Cities Of Mars self-title their third long-player.

Sweden’s stoner doom band Cities Of Mars began in 2014, releasing an EP, Celestial Mistress, a couple year later. The music falls squarely in the land of doom, but the subjects and trajectories of the compositions align with the stars. Joining their first two full-length albums, Temporal Rifts (2017) and The Horologist (2019), the new record continues the sure-footed journey. The band is Danne Palm (bass, vocals), Johan Kuchler (drums, vocals), and Christoffer Norén (guitar, vocals).

“Before The Storm” is a beautiful spacey opening for the album. Patient, building slowly, the song introduces an ethereal voice signaling the beginning of the journey and, importantly, the need for it. Gentleness gives way to heavy doom guitar riffs on “Towering Graves.” The vocals are still mysterious but much more menacing now. The massive riffs continue on “The Prophet,” growing tall enough to block out the dim setting sun on the red planet.

“Song of a Distant Earth” is an acoustic piece; a mood shift before the devastating “A Dawn of No Light.” The tempo picks up and the rhythm is more assertive, and the lead guitar freer in its explorations. “The Dreaming Sky” has a forlorn quality to it. Harmonizing vocals and melancholy guitar lines waken suppressed feelings. “Reflected Skyline” is an airy piece, and sad, too, in my hearing.

“The Black Shard” is the twelve-minute final word on the album. In some ways you could see it as a reinterpretation of the ideas earlier expressed. You could also see it as a furthering of those notions. It is an exceptional piece and, if nothing else, you should listen to this one. It has many powerful moments, and regular returns to altered pace, attitude, and sentiment throughout. Much like the album in its totality. Recommended.

Cities Of Mars is out now through Ripple Music. Bandcamp is always a good place to pick up the goods.

Links.

Bandcamp, https://ripplemusic.bandcamp.com/album/cities-of-mars

Website, http://www.citiesofmars.se/

Facebook, https://www.facebook.com/citiesofmars

YouTube, https://www.youtube.com/channel/UCavaUFPTEDKYjAxJ8Qapbeg

Ripple Music, https://www.ripple-music.com/

© Wayne Edwards

Cities Of Mars, Cities Of Mars (Ripple 2022)

Septicflesh, Modern Primitive (Nuclear Blast 2022)

Wayne Edwards, , , , ,

The new album from Greek symphonic death metal band Septicflesh is Modern Primitive, their eleventh.

Beginning in 1990 with the slightly different name of Septic Flesh, the Greek death metal band released six albums in the next many years. Taking a break in 2003, they returned four years later as Septicflesh, and since then have been back to their founding premise, continuing and expanding the scope of the their dramatic music. Modern Primitive is Septicflesh’s first album in five years, following Codex Omega. The band is Seth Siro Anton (vocals and bass), Christos Antoniou (guitar), Sotiris Anunnaki V (clean vocals and guitar), Psychon (guitar), and Kerim “Krimh” Lechner (drums).

There are nine tracks on the new album. “The Collector” is an ominous beginning for Modern Primitive, with its frightening melody. Even the clean vocals are paired with a crackling dark side. Full, rich compositions, a hallmark of symphonic metal, are on display establishing a theatrical presence and framework, really, for the album. “Hierophant” is a storm rolling across the Adriatic with unstoppable menace. Growls and punishing percussion burn off any remaining illusion, plunging you into “Self-Eater,” a state where you cannot hide from yourself. These songs are tied together in the narrative and, by themselves, create a classical drama.

The album continues with elaborate constructions and emotive metal. Stand-out songs for me are “A Desert Throne” with its stabbing guitar and aggressive footing that the melody is laid over, and “Modern Primitives” because of its pervasive heaviness tag-teaming with royal flourishes. The final track is “A Dreadful Muse.” This song is among the most energetic of the entire bringing a strong finish to an excellent album. Once things got started there was no slowing this metal down. Recommended.

Modern Primitive is out now through Nuclear Blast Records in the usual variety of formats.

Links.

Bandcamp, https://septicflesh.bandcamp.com/album/modern-primitive

Website, https://www.septicflesh.com/

Facebook, https://www.facebook.com/septicfleshband

YouTube, https://www.youtube.com/user/Septicfleshoffcial

Nuclear Blast, https://shop.nuclearblast.com/en/shop/item/groups/51000.1.html?article_group_sort_type_handle=rank&custom_keywords=septicflesh

© Wayne Edwards

Septicflesh, Modern Primitive (Nuclear Blast 2022)

Black Void, Antithesis (Nuclear Blast 2022)

Wayne Edwards, , , , , , ,

The flipped coin lands on the Black Void side with Antithesis.

Norwegian band White Void plays a luxurious sort of heavy music; bright and melodic. Black Void is looking at the world from a different perspective. Not like Janus, not to me anyway. These two forces exist together. I read this description of Black Void: “a musical equivalent of a punk with a Mohawk fighting a dude in corpse paint.” I’ll take that one, too. White Void put out a successful album last year, and now we have this alternate look on the world from Black Void, Antithesis. The band is Jostein Thomassen (guitar), Tobias Øymo Solbakk (drums), and Lars Are Nedland (vocals, bass).

The music is described more formally as a combination of black metal and punk. Whenever I hear those two mentioned together my mind immediately skips to Venom, but that is not where Black Void goes. There is a punk sensibility throughout, and you can hear black metal twinges, but they are much more subdued. There are many hooks and catchy moments, and there are also frequent melodic passages. The perfect example is “Tenebrism Of Life,” which has gruff vocals and an aggressive guitar attack. I also offers singable moments and toys with pop-punk catchiness. It is an excellent hard-edged song that gets right in your head.

Top picks for me on the album are “It’s Not Surgery, It’s A Knife Fight” and “Void.” Both of these have the kind of punkitude that brightened me up and made me want to punch the air. The final two songs on the set are heavy hitters, too: “Nihil” and “Dadaist Disgust.” The band has talked about the nihilist aspects (Nietzsche) and the influence of Dadaism on this set. If you are looking for it, go to the end and work your way back toward the beginning. You will not be disappointed. I don’t know what White Void fans will think of Black Void, but I think this record is great. Recommended.

Antithesis is out on Friday, May 27th through Nuclear Blast Records. More info at the links below.

Links.

Bandcamp, https://blckvod.bandcamp.com/album/antithesis

Facebook, https://www.facebook.com/BlackWhiteVoid

Nuclear Blast, https://shop.nuclearblast.com/en/products/sound/cd/cd/black-void-antithesis.html

© Wayne Edwards

Black Void, Antithesis (Nuclear Blast 2022)