Be on the look out for more record reviews here at SRG.com, every week we will attempt to give you a heads up on some new stuff, maybe even some old stuff as well. All records reviewed on the site are given the SRG stamp of approval by one or more of the writers, which should mean everything. Enjoy!
by Matt
A daunting, difficult question: How in the hell do you write a review for your favorite band without sounding like a total fanboy nerd? Beats the shit out of me. Let's just call it "unbridled enthusiasm for a truly great release in a truly great genre." Dig?
High on Fire have unleashed their catastrophic metal assault once again. 'Snakes for the Divine' is such a highly anticipated release that anything less than classic would disappoint the rabid metal masses. Fortunately, 'Snakes' is classic. Classic. It's a word that keeps popping up in my head while blaring the album at uncomfortable volumes. From the very first seconds of the album, where Matt Pike's guitar fades in sounding clearer and his unreal chops sharper than ever it is evident that HoF are paying homage to their classic metal roots. This might be dangerous ground for some bands, but HoF integrates the classics into a fucking classic.
Hats off to bassist Jeff Matz, this record is certainly a triumph for him. It's impressive enough that he can keep up with Matt Pike's guitar pyrotechnics, but 'Snakes' is a level beyond keeping up - it's sonic fury. The bass remains clear and booming throughout, and even takes a lead roll on the title track and elsewhere. Jeff Matz is now covering the sound spectrum for both bass and rhythm guitar - and "impressive" is an understatement. It's unheard of. His arpeggiated lines in "How Dark We Pray" build the song into an uglier, meaner monster and adds even more layers to HoF's signature bombast.
High on Fire are more cohesive than ever on this record. There has never been a shortage of talent in the band but let's face it - when someone says HoF you usually just think Matt Pike and two dudes. And for good reason, Pike's place in the Pantheon of Shredding Masters would make him a centerpiece of any band. But only the tandem of unstoppable drummer Des Kensel and Jeff Matz, along with Pike's own intuition, could blend in a way that makes complete sense on the edge of complete sonic overkill. It's an amazing thing to hear, and while I've been a HoF fan for fucking years, I would never have thought they would interact in such a way. Fucking classic.
Finally, the solos. I don't know how, but Matt Pike got better. Halfway into the solo for "Frost Hammer", you suddenly realize everyone that has ever thought about playing metal guitar is now Matt Pike's bitch. Where there was tremolo picking and insane bends before, there are now complicated sweeps and Dime-worthy tapping variations. "Bastard Samurai" (aside from automatically winning best song title of 2010) takes its time building mid-tempo before turning into an avalanche of shredding. "Ghost Neck” is likely the fastest, shreddiest song in the HoF catalog, and evidence that Pike has the confidence in his vocal ability to let his chops run completely wild.
'Snakes for the Divine' is High on Fire at their toughest. There are no compromises made at any point. The songs are indestructibly built and the musicianship is flawless. It may be more of a classic sound, but make no mistake - this shit may be the metal album of the decade.
(Sargent House Records)
by Nik
The Brooklyn based musical mathematicians known as Fang Island have crafted an uber-fascinating, sublimely unique sophomore record chalk full of enthusiastic prog-pop anthems. The perfect soundtrack for whatever has got you down and out; “Fang Island” is a cavalcade of joyous choruses, back dropped by heavy rhythms, and depth defying, almost unfathomably meticulous guitar work.
The record is head spinningly complex, but in opposite fashion, not in the typical can’t keep head above water way that bands with lesser talent usually try and fail. The three-pronged guitar attack alone should put a smile on the face of anyone who is a fan of unadulterated musicianship.
Standout tunes like “Daisy”, and “Sideswiper” both exhibit Fang Island’s mix of visceral prog-rock riffage and undeniable pop sensibility. I highly recommend taking the journey that is Fang Island’s “Fang Island”, and if it doesn’t leave you feeling all warm and fuzzy inside-- listen again, then again.
(The Grind-House Records)
by Matt
'Evil Power' is proof that thrash is just as relevant today as when Slayer released 'Reign in Blood'. The songs are short and sweet, and contain more than a nod to seriously old-school thrash minus the solos but with double the attitude. Putting Pig Destroyer’s Scott Hull behind the board ensuring none of LOTM’s twisted brutality would be lost in translation. The production on this album is rock solid. Each instrument is represented clearly in the mix for maximum bludgeoning and I really like LOTM’s dual guitar mix with each guitar displaying varying amounts of flair, making it all sound loose as fuck but still completely locked in.
I can dig the whole historic Roman warrior perspective, but roll my eyes a bit at lyrics like “let’s fuck them ‘till they’re dead” ("Let’s Kill These Motherfuckers") and “these fucking cunts fight like women!” ("Death March of the Conquerors"). Maybe that's not very metal of me. And no disrespect intended, but I find myself yelling “Evil monkey!” instead of “Evil power!” on the title track. Family Guy fans know what I’m talking about. Come on, it’s no different than making up the lyrics for Boris albums, which I do as well. If you are compelled to shout along, the band has done something right.
The tracks that resonate the most for me are the album opener “Attack the Gods” and the closer “The Violent Iron Age of Man”. Both lock into really solid grooves that I could headbang like a motherfucker to. Overall, if thrash is your thing than this is your shit. It's got the sound and it's got the attitude, but it's your job to give it the volume.
(Infinity Cat Recordings)
by Nik
The brother duo of Jake and Jamin Orrall made a very wise decision by moving away from one time indie buzz band “Be Your Own Pet” and releasing their first full length record of tasty stoner garage rock last October instead. Why? Because on “Heavy Days” the duo known as Jeff the Brotherhood actually make music worth listening too, something that BYOP certainly did not.
Tracks like “Heavy Krishna” and “Dreamscape” shower the willing listener with a mix of fuzz bomb guitars, poignant drum licks all the while interleaving a steady stream of killer psychedelia. This potent mixture should be enough to stir any stoner rock fiend from their weed nap. Just in time to make a snack, and grab their 3 footer for a second round. Jeff the Brotherhood have made a record than any fan of Kyuss, Fu Manchu, or Kinski for that matter should probably dig, and add to their vinyl collection immediately.
(Unsmashable Records)
by QuitterDan
As the Needle hits the groove on "Every Line In My Head", the 3rd long player from Seattle's The Small Change, I can't help but feel excited that some new old sounds are resurging and hoping to overthrow the current status quo of indie rock. As the opening track "From the East Coast" fades in, there's an electricity to this band, and with hooks reminiscent of Elvis Costello, Early Bruce Springsteen & The Stiff records catalog circa 1978, You can't stop feeling great while listening to this! Following with pummeling precision, "Every Line In My Head" reminds me how incredible power pop still is, while "Droppin' Petals on the Way down", "Can't Dance Wicha Honey", "Celebrate" and "Downtown in a Restaurant" all follow suit with solid songwriting, unbelievable hooks and sing along staying power.
Frontman Greg Collinsworth puts more passion in his vocals than an entire generation of Death Cabs & Modest Mice. The music behind Greg is tightly knit, with such strong hooks & able performances by Nick, Doug, Jason, and Ryan (last names be damned, these guys are your new best friends). In a sea of redundant "snore-core" bands, The Small Change erupt with fervor, passion, and pop hooks galore. All hail The Small Change!
(The Union Records)
by Matt
This record seems to be the odd man out from this bunch of reviews. First off, I have a soft spot for double albums so it’s a no brainer to at least mention a band who can pull off this daunting task and keep it remotely listenable. Secondly, plenty of bands outside of the metal genre are pretty damn good – we at SRG.com tend to put the more eclectic selections on the back burner sometimes to stay focused on more hardcore shit.
No Go Know would not be entirely out of place in the 1970s. What is missing - and missing in an awesome way - is rock pretentiousness. It's straightforward rock with a touch of prog, but more of a spaced-out kind of prog. The band hits their stride when they rock a little harder, some of the softer tunes are borderline whiny but bearable next to damn near danceable gems like "Good God".
It’s apparent the band has taken careful consideration to the scope of this album. Double albums are usually vulnerable to filler, yet none of the songs on ‘Time Has Nothing to Do With It’ feel as such. Careful atmospherics and thoughtful lyrics really shine on tracks like “There is no End to What We Need” and the overall flow of the tracks is good. It may not be something totally earth-shattering, but it is a listenable album perfect for a rainy afternoon of contemplating the world.
Solid reviews! I'm going to download HoF right now!
ReplyDeleteI need more sci fi punk! Recommendations?