365 Days of Metal: Our Hearts Beat Not Within Thy Heart

I do usually have somewhat random titles, but today's is an excerpt from Russell's The Veils of Maya for people who may be confused to hell.

Day 109

Veil of Maya - Eclipse

Band Origin:  Chicago, Illinois, USA
Genre: Death Metal / Metalcore
Label: Sumerian Records
Running Time: 28 minutes 
Release Date: February 28, 2012

Best Part: All they have is just Bra-now bra-da-der-dow we-na-ner-na-ner-deedle!

Favorite Tracks: Punisher, The Glass Slide, Numerical Scheme, Vicious Circles, and With Passion and Power

Grade: 4.5

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Eclipse in way more than 20 words or less: 

Veil of Maya's fourth full-length album continues the tradition of trippy time-signatures, technicality and breakdowns but adds a secondary level of experimentation and musical expansion which is clearly a byproduct of their time spent with producer Misha Mansoor of Periphery.

The Band: 

Veil of Maya is a four piece death metal band from Chicago that blends together elements of death metal and metalcore into a tight, groovy and technical crushing sound. One of the bands signature elements is their focus on technicality and dynamic use of complex time signatures and polyrhythms in order to create intricate compositions. Head-manned primarily by guitarist Marc Okubo and drummer Sam Applebaum, as well as bassist Dan Hauser, Veil of Maya is responsible for some of the coolest breakdowns I've ever had the pleasure to mosh to - and are easily one of my favorite live bands. The bands name is taken from the George William Russell poem entitled The Veils of Maya and is also a track title from one of their musical influences, the band Cynic.

Jay's Take on Eclipse: 

When I first heard that Veil of Maya was going to have their newest record produced by Misha Mansoor, I got a bit excited and intrigued as to what kind of effects it would ultimately have on the sound they've cultivated over years - but ultimately I wanted to know how it would compared to [id]. Veil of Maya's albums have always been something easy to get into, considering their consistently short overall length - the music itself is not as easy to get into, depending on how you enjoy your metal. If technical riffing and the dynamic shifting of sometimes ridiculous time signatures is something you enjoy, you'll be at home here. My first listen through of Eclipse confirmed what I expected as far as production quality is concerned - which is that it is very high, as is standard with most records produced by Misha. My one 'fear' was that the higher production quality would strip away some of the power present on the bands earlier records. I've spoken before about how I feel about leaps forward in production quality by some bands, and how mainly in sludge metal it's a non-factor because that grimy, raw sound is something that is a staple of the genre. Eclipse does see some of the darker, more raw sound that was omni-present on [id] disappear, which is probably my one only gripe with Eclipse as the raw heaviness of their earlier works was something that really drew me into their music. There are definitely areas on the record where that sound is present and you can really feel the low crush from Okubo's riffing and Sam's drumming. You can definitely feel some of Misha's influence rubbed off on the band as they sat around bouncing ideas for riffs off each other. And Okubo's performance on Eclipse is once again phenomenal - he continues to improve his technical abilities with each record and is quickly becoming one of my favorite guitarists. Eclipse sees a wider sense of experimentation with the interjection of various small interludes, and also draws slightly away from the breakdown heavy format of their earlier records - even though the off-the wall technical beatdowns are still very much a presence throughout the album.  

Sample of the Day: 

Punisher contains one of the best rebuttals you can get in musical form. What happens when someone rips on your music? Take a soundbite from his rant where he talks about what you sound like and turn it into an actual riff. Instant Victory after the 2:00 mark.






- J

365 Days of Metal: Ejected From the Womb

Day 108

Aborted - Global Flatline

Band Origin: Beveren, East Flanders, Belgium
Genre: Death Metal / Deathgrind
Label: Century Media Records
Running Time: 43 minutes 
Release Date: January 23, 2012

Best Part: A perfect balance of technicality, brutality and musicianship.

Favorite Tracks: The Origin of Disease, Fecal Forgery, Nailed Through Her Cunt, Endstille, and Eructations of Carnal Artistry

Grade: 4.5

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Global Flatline in way more than 20 words or less: 

Global Flatline is Aborted's seventh full-length release and continues to push the levels of their status as one of the best deathgrind bands out there, with a record that is sure to compete for top nods this year from any death metal fan worthy of the title.

The Band: 

Aborted are a five piece deathgrind band from Belgium which was founded by Sven "Svencho" de Caluwé in 1995, and has remained its sole original member since their debut release. Over the course of their 15+ year career and seven full-length releases, Aborted have grown to become one of the biggest names and key influences in the deathgrind genre. Fusing the frenetic pace and intensity of grindcore with the technicality, and crushing force of brutal death metal. Svencho also has one of the more distinctive voices in death metal, pushing excellent harsh, raspy screams and bile drenched gutturals that drop just low enough without going too far into the deep-end, so to speak.

Jay's Take on Global Flatline: 

It was only 10 days ago when I covered Prostitute Disfigurement that I talked briefly about some of the drawbacks of the death metal genre, but more so the standard order formula found in most brutal death metal. Despite how much a band is able to hone and pull off their craft, when compared to other entrants in the genre it's a bit more rare to find that shiny diamond. Which is why death metal most benefits in fusion genres, with Global Flatline being a great example. Aborted have always pushed an intense pace with their fusion of grindcore and brutal death metal, creating some of the fastest, technical and crushing music from album to album, and this most recent release is no exception. Svencho has once again put together a strong lineup of musicians, including friend and guitarist Eran Segal and drummer Ken Bedene who have been working with him since 2009. Global Flatine features some superb technical guitar work, with a smattering of sweep-frenzy guitar solos throughout the record in between the high speed riffing and more foreboding, crushing moments. Svencho himself continues to lead Aborted with his signature vocal work with his array of screams, death growls, guttural churns and generally disturbing spoken word injections. Global Flatline is one of the most intense albums I've listened to recently and will probably hold intently onto its status as one of the best early death metal albums of 2012.

Sample of the Day:

The Origin of Disease probably has one of the sickest drops in death metal that I've heard in a long - long time.



- J

365 Days of Metal: The Helvetian

Today's group is actually in town tomorrow and will be playing at Maverick's, with yours truly joyously attending. 

Day 107

Eluveitie - Helvetios

Band Origin: Zurich, Switzerland
Genre: Folk / Melodic Death Metal
Label: Nuclear Blast
Running Time: 59 minutes 
Release Date: February 10, 2012

Best Part: I explain in more detail below, but Luxtos brought me back to my childhood - and that's just too good not to mention.

Favorite Tracks: Luxtos, Helvetios, The Siege, A Rose for Epona, Havoc, and Alesia

Grade: 5.0

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Helvetios in way more than 20 words or less: 

The fifth full-length release from eight piece Swiss folk metal band Eluveitie has them returning to their past success, as their Celtic folk metal and Gothenburg style melo-death influences merge together to create perhaps their finest recording to date.

The Band: 

Eluveitie is an eight piece folk metal band from Switzerland that merge together Gothenburg style melodice death metal and traditional Celtic folk metal to create short yet sweeping epics. The band was originally formed in 2002 by Christian "Chrigel" Glanzmann who sought to create a studio project but eventually changed his mind recruiting nine other members to create Eluveitie's initial ten member lineup including vocalist and violinist Meri Tadic who remains the only other original member of the initial group of ten. Eluveitie would sign with Nuclear Blast in 2007 and go on to record their second full length album Slania, where there were once again a few lineup changes resulting in the bands current and final eight member lineup. Eluveitie have release five full-length records to date and are working on a sixth, the follow-up to their third release Evocation I: The Arcane Dominion which was entirely acoustic. Chrigel has announced that Evocation II will also be entirely acoustic. 

Jay's Take on Helvetios: 

From the moment you put on Helvetios and are met with the eerie spoken word prologue over the sound of what sounds like wind howling through the trees, or waves in the distance, you know that you are in for something special - and the opening track for which the album is named serves as a perfect introduction to Eluveitie's work, whether you are just now discovering them, or are intimately familiar with them. Eluveitie, while still being classified as a Swiss folk metal band owe much of their influence to traditional Celtic folk music, which is evident in the composition style of the group but also in the use of traditional instruments, including: bagpipes, tin whistles and flutes, the hurdy gurdy, the bohdrán and the fiddle. The other side of the coin is a more Gothenburg style influence with melodic lead and rhythm guitar passages, solos and the blend of vocals between clean harmonies from Meri Tadic and the harsh screams and death growls by Chrigel. Helvetios is rich album, which featured a total of 17 tracks, all of which average between two and a half to five minutes in length. Despite the shorter compositions, Eluveitie know how to string together something epic in breadth in just a few short moments, as you get a true sens that you're experiencing a series of epic folk tales. There are no significant points of slowing down throughout the entire 60 minutes of music that the band has put together as you are introduced to varying rhythms and levels of energy from beginning to end.

It's also always fun when a track on a record catches your attention for one reason or another, and that would be the track Luxtos. After researching it a bit I found out I was right, as the song is a reprisal of the traditional Breton song La Jument de Michao which has been interpreted by a number of folk centric artists in France over the years. One version in particular instantly jumped into mind, which was by the Celtic inspired French rap group Manau - bizarre I know, but it's a song from my childhood so the first time I heard this track and made the link it opened a real torrent of memories for me.

Sample of the Day:

The title track and as mentioned above the track Luxtos and a little love for Manau.







- J

365 Days of Metal: Phoenix Down

Day 106

The Unguided - Hell Frost

Band Origin:  Falkenberg, Sweden
Genre: Melodic Death Metal
Label: Despotz Records
Running Time: 45 minutes 
Release Date: November 30, 2011

Best Part: Phoenix Down. It's a great track and also packs an ironic value for fans of Final Fantasy, as this is definitely the resurrection of Sonic Syndicate.

Favorite Tracks: Phoenix Down, Inherit the Earth, Serenade of Guilt, Where the Frost Rose Withers, and

Grade: 4.5

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Hell Frost in way more than 20 words or less: 

Richard left Sonic Syndicate because he wanted to continue making the music he planned for the group, the end result of that goal is an album that both meets that goal and sounds amazing from beginning to end.

The Band: 

The Unguided are a five piece melodic death metal band from Sweden formed around the departure of vocalist Richard Sjunnesson's departure from the band Sonic Syndicate in 2010. Richard originally left Sonic Syndicate because of a shift in musical direction imposed in part by the bands record label Nuclear Blast. Wishing to continue to create the music he intended with his former band, he recruited fellow Sonic Syndicate vocalist Roland Johansson and guitarist Roger Sjunnesson to create The Unguided based on that very ideal. The band would eventually add in fellow Sonic Syndicate drummer John Bengtsson, and bassist Henric Carlsson in order to create the bands first full line-up, releasing their debut album in late 2011.

Jay's Take on Hell Frost: 

If I didn't know any better when listening to this album, I would think I was listening to the new Sonic Syndicate album - which I suppose is exactly the entire purpose of Hell Frost and Richard's decision to leave the band to make up The Unguided. From a musical standpoint you have a group of musicians who are all very familiar with each other, having all worked together in Sonic Syndicate for years, minus a couple of members of course, so its natural to feel a sense of unison and familiarity out of the music. The Unguided is once again built around the same merits that built their former group. Richard and Roland play off of each others vocals in equal balance, with Richard's harsh screams and Roland's clean vocals pushing the musical and emotional intensity of each passage in their own significant way. While dual lead guitars often dominate melodic death metal, Hell Frost is heavily driven by the synth and keyboard work of Roger, in unison with the heavy riffs and swift melodies that he and Roland put out on guitar. Hell Frost is an upbeat and energetic record, but with its own sense of gloom behind the lyrics and emotional direction of the tracks on the record, giving it a vibrantly melancholic vibe.

Sample of the Day:



- J 

365 Days of Metal: A Trojan Horse

Day 105

The Fall of Troy - Doppelgänger

Band Origin:  Mukilteo, Washington, USA
Genre: Mathcore / Post-Hardcore / Progressive
Label: Equal Vision
Running Time: 44 minutes 
Release Date: August 16, 2005

Best Part: The closing track Macaulay McCulkin is a good rounding of this record and has a great instrumental exit.

Favorite Tracks: Mouths Like Sidewinder Missiles, I Just Got This Symphony Goin', F.C.P.R.E.M.I.X., We Better Learn How to Hotwire a Uterus, Macaulay McCulkin, and the Hol[]y Tape

Grade: 4.0

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Doppelgänger in way more than 20 words or less: 

The second full-length album by the three man Washington crew got a popularity boost in thanks to tracks being featured in popular mediums, but their blend of trippy, discordant mathcore instrumentation and highly inflected vocals are worthy enough of a listen.

The Band: 

The Fall of Troy is a three piece band from Washington that over the course of their evolution have dabbled in a sound structure that mixes together elements of punk rock, mathcore, post-hardcore and progressive rock. Their music is often akin to shifting from a cleaner, almost pop oriented vibe due in part to the clean vocals of guitarist and vocalist Thomas Erak, to one of discordant guitar flourishes, hardcore screams and down-turned beats. The band has continued to evolve their musical style over the years, never settling for one specific style or structure and have release four full-length albums each of a varying nature.

The Fall of Troy's other releases include: The Fall of Troy (2003), Manipulator (2007), and In the Unlikely Event (2009)

Jay's Take on Doppelgänger: 

I'm not afraid to admit that the main reason I even thought of putting up The Fall of Troy today is because someone asked me a question akin to a certain song that appeared on an old version of the sometimes loved, sometimes hated Guitar Hero and a scuffle may have occured. The track in question someone was asking me about was F.C.P.R.E.M.I.X. which appeared as a bonus track on GH2. That fact aside after the seed had been planted in my brain I went digging through my iTunes playlist to find the two albums by the band that I actually did have, as I was curious to see what else the band had to offer a long time ago. One of the main reasons that drew me into The Fall of Troy was their odd blend of discordant, technical instrumentation and the vocal work of Erak who gives me the urge to listen to The Mars Volta because he makes me think of Cedric Bixler-Zavala. His high, clean passages are frequent and the cornerstone of the group and album, but in moments of heavy discord morph into high-pitched piercing screams that fit the more insane moments of the album, together with the deeper backing vocals of former bassist Tim Ward. The instrumentation on Doppelgänger is always dynamic and flows well according to the particular 'mood' of the current moment, whether it's a more melodic and clean passage, a noisy flourish of high-pitched guitar wailing or a heavy rush to finish off a track. 

Sample of the Day: 

 



- J

365 Days of Metal: Getting Down and Dirty in the Sludge

I know what you're thinking: It's Friday, where's Rebecca?! 

Well folks, she's still recovering from last Friday. After all, kickin' it in both the front and back seats can really take it out of you. So how's about we get down and dirty this Friday instead?

Day 104

Black Tusk - Set the Dial

Band Origin:  Savannah, Georgia, USA
Genre: Sludge Metal
Label: Relapse Records
Running Time: 34 minutes 
Release Date: October 25, 2011

Best Part: It's simple, grungy, unpretentious southern metal.

Favorite Tracks: Resistor, Ender of All, Set the Dial to Your Doom, Growing Horns, Crossroad and Thunder, and Carved In Stone

Grade: 4.5

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Set the Dial in way more than 20 words or less: 

The 'swamp metal' trio from Savannah return with their third full-length album and continue to produce that sweet murky sludge metal sound that I sure as shit know and love.

The Band: 

Black Tusk is a sludge metal power trio from Savannah, Georgia that was formed in 2005 by guitarist Andrew Fidler, bassist Jonathan Athon and drummer James May. The trio have always referred to themselves as 'swamp metal' emphasizing their murky, and downright dirty sludge metal sound that incorporates elements of thrash, hardcore punk and stoner metal. They're most often associated with fellow 'Savannah Sludge' icons Baroness and Kylesa for whom their 'swamp metal' monicker is in rather direct reference to, with their raw, dirty sludge metal sound. Baroness guitarist John Dyer Baizley, who is also one badass artist also provides the album artwork for the bands releases.
Jay's Take on Set the Dial: 

It was back on Day 93 where I mentioned my slight love affair with sludge metal, and more importantly about how it is one of my go to genres in a large number of situations, with a stable of talented groups that I can always rely on. One of the groups I named was Black Tusk, and for good reason. I've always loved bands that fall within the 'power-trio' archetype, that is to say guitar, bass and drums. Without the support of a second rhythm guitarist, the onus of the sound falls on the shoulders of the two stringsmen equally, and the bassist gets pushed into the forefront of the sound. For a genre such as sludge metal, and specifically for Black Tusk, you can't really ask for better. It's that extra push from the bass in line with the lead guitar that makes for the down right dirty riffs, that permeate this album through and through. It's a simple formula that the band knows how to execute well as they mix in elements from thrash and stoner metal into their obvious roots in punk rock to create tracks that are at the same time, energetic, catchy and powerful. Some people love the sound of a crisp, tight production, something you often see in bands later releases, where they lose some of that more raw, seemingly lower production quality of a debut album or earlier set of records. Myself, I love a little grime. I like my riffs dirty. I like that raw sound. Which is just another reason why I love sludge metal because its a base component of the sound and one that makes bands like Black Tusk, Kylesa, Baroness, Mastodon and others so much fun to listen to. It's straight to the point unpretentious metal.

Sample of the Day:





- J

365 Days of Metal: Say Hello to My Little Friend

Day 103

Upon a Burning Body - The World is Ours

Band Origin:  San Antonio, Texas, USA
Genre: Deathcore
Label: Sumerian Records
Running Time: 33 minutes 
Release Date: April 6, 2010

Best Part: CHUG! CHUG! CHUG! CHUG! CHUG! CHUG!

Favorite Tracks: Intermission, Scarface, Carlito's Way, City Hall and Heat

Grade: 4.0

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The World is Ours in way more than 20 words or less: 

Upon a Burning Body's debut album is the first gangster inspired, dedication to the film career of Al Pacino put into ground crushing audio format, and it's damned fine dedication.

The Band: 

Upon a Burning Body is a five member deathcore band from San Antonio who have a flair for the gangster life, which permeates both their music and their image. Often sporting high class attire during their live performances as 'The Family', whether it be dress pants, dress shirts and black suspenders, or tuxedo vests the band carry themselves with a necessary amount of swagger. And their debut album which is almost a dedication to Al Pacino as each track carries the names of and are lyrically inspired by films straight from his credit reel. The band was signed to Sumerian Records after spending a number of years shaking the foundation of the San Antonio underground and are in the process of working on their second album.

Jay's Take on The World is Ours: 

Deathcore often gets relegated to being identified as the red headed step child among metal subgenres, as its primarily seen as following a format involving near incomprehensible guttural vocals, death metal style pace, massive down tuning and chugg-a-lug-chug-chug-chugga-lugness. And while that description may be a bit exaggerated or fair, depending on your stance, Upon a Burning Body have managed to change certain narrow focused perspectives on the genre. A first look at the band themselves and then the theme of their album and music may open the mindset that these guys are just another group of tryhards with a gimmick but that thought falls flat once you get down to the brass tacks: the music. The World is Ours is a deathcore album that moves outside of the established mold, which is to say the lack of a mold, as deathcore albums often follow no relevant type of structure. This album on the other hand is comprised of all the necessities that a deathcore album should bring to the table and carries along the kitchen sink. Beyond the trademark earth shaking breakdowns you get treated some really great technical guitar work and solos, superb percussion work tethering the instrumental pieces of the set together, and some well placed gang shouts such as all throughout Intermission which makes me want to call it Partycore - but I won't. The album is only 33 minutes long, with tracks ranging in the neighborhood of 3 minutes, except for the closing track City Hall which is kind of the odd man out on this record, but not in a negative way. It's definitely the cleanest and more interesting track on the record.

Sample of the Day:





- J 

365 Days of Metal: Midnight in the Forest of Doom

Day 102

Swallow the Sun - Emerald Forest and the Blackbird

Band Origin:  Jyväskylä, Finland
Genre: Death Doom
Label: Spinefarm
Running Time: 67 minutes 
Release Date: February 1, 2012

Best Part: The Horror series of tracks which began on The Morning Never Came continues.

Favorite Tracks: Labyrinth of London (Horror pt. IV), Of Death and Corruption, Hate, Lead the Way!, April 14th, Emerald Forest and the Blackbird

Grade: 5.0

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Emerald Forest and the Blackbird in way more than 20 words or less: 

Swallow the Sun's fifth full-length record continues a tradition of creating some of the best doom metal you can wrap your head around, and with this iteration cover a great many fields of depth, style and artistry that have it as an early forerunner for record of the year. 

The Band: 

Swallow the Sun is a six member death doom band from Finland which was founded by guitarist Juha Raivio in 2000. Raivio was soon joined by former bandmate and drummer Pasi Pasanen and began recording early demo work before being joined by vocalist Mikko Kotamäki, guitarist Markus Jämsen, keyboardist Aleksi Munter and bassist Matti Honkonen in 2001. Together the six original members would go on to record four full-length record together between 2003 and and 2009, before Pasanen would leave the group to be replaced by Kai Hahto. Since the release of their 2003 debut, Swallow the Sun has become one of Finland's premier metal acts with their blend of melodic death metal and doom, and have classified themselves as one of the best doom metal acts on the globe, with a catalog of critically acclaimed records.

Swallow the Sun's previous releases include: The Morning Never Came (2003), Ghosts of Loss (2005). Hope (2007), and New Moon (2009) 

Jay's Take on Emerald Forest and the Blackbird: 

Swallow the Sun have always had a firm grasp on artistry and composition when creating their previous four records, and Emerald Forest and the Blackbird is no different. Each track is carefully laid out from its opening moments to its closing breaths, and the progressions and stylistic shifts are intricate but also slightly unpredictable. Swallow the Sun knows how to keep you on your toes as it lulls you with its slow paced, gloomy, dark atmosphere and throws you for a twist as they throw in a great melodic hook, or all out shift into death metal territory. Kotamäki's ability to move in between soothing, yet dread filled vocals, cryptic monotony and the harsh death growls is always one of the fascinating parts of listening to Swallow the Sun, as he knows how to carry across each in convincing fashion. Emerald Forest and the Blackbird also has moments where the musical shifts go beyond the melodeath but also tread into black metal territory with shrieking vocals and fast distorted guitar work. It's the collection of all the little intricacies that make this record so interesting to listen to as it pulls you through a number of musical styles and instrumental tirades. Emerald Forest and the Blackbird is an album that grows on you even more with each passing spin, and is easily one of the most convincing arrangements with the ability to create a rich amount of atmosphere and to still make doom metal seem 'energized'. It already occupies many top spots on metal ranking websites and user polls, with scores on some sites even having it paced .5 to 1 point ahead of its nearest competitor. The year is obviously still young, and there is a slew of great work yet to come, but Emerald Forest and the Blackbird is sure to find its way on a number of top album lists in 2012 and is easily their best release since their ridiculously good debut The Morning Never Came. 

Sample of the Day: 





- J

365 Days of Metal: Straight to the Core

Day 101

Liferuiner - Sons of Straight Edge (EP)

Band Origin: Toronto, Ontario, Canada
Genre: Straight-Edge Hardcore / Metalcore
Label: Unsigned
Running Time: 15 minutes 
Release Date: December 15, 2011

Best Part: Jonny OC is back in truly convincing fashion, leading Liferuiner with his charged vocal screams and emotional conviction.

Favorite Tracks: 1990, Kids Wanna Rock, and S.O.S.E

Grade: 4.5

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Sons of Straight Edge in way more than 20 words or less:

Jonny OC is back and so is the Liferuiner that everyone once knew and loved, and this taste of what's to come gives well enough reason to love them even more than you did years ago.

The Band: 

Liferuiner is four piece Canadian hardcore band from Toronto that was formed in 2004. The bands history is a complicated one with two incarnations of the group floating around in between its creation and today. The original group, led by Jonathan 'Jonny OC' O'Callaghan would record two albums under different record labels and begin rigorous touring. During touring, Jonny was forced to leave and was not able to return, being replaced by a number of fill-in vocalists, the record label and tour manager would eventually take over the direction of the band. The remaining original Canadian members would eventually be removed and replaced with a new American lineup playing under their original name xLIFERUINERx, despite the fact this new lineup had nothing to do with the original group. In 2011, Jonny along with three new band mates announced their return and recorded the first true Liferuiner recording in three years, a five track EP, and announced that the recording of their next full-length album would begin in March 2012.

Liferuiner's other releases include: No Saints (2007), and Taking Back The Night Life (2008) 

Jay's Take on Sons of Straight Edge: 

To be honest if you would have told me that Liferuiner, fronted by Jonathan O'Callaghan would be making a comeback a few months ago, I probably would have looked you in the eye and laughed. And then I saw the video for 1990, what would be the closing track on Liferuiner's newest EP, and would have been prepared to be in turn mocked for believing otherwise. The Sons of Straight Edge EP is meant to be a preview of things to come from Liferuiner as Jonny and crew have returned and begin the recording process of the true follow up to 2008's Taking Back the Night Life. The excitement behind this prospect is the fact that while the Liferuiner of old weren't necessary a groundbreaking group in the hardcore scene, they had their own 'panache' and built an image as a group that tried to take a shine on more mainstream straight-edge groups of the time. The Liferuiner present on Sons of Straight Edge is both a more matured group, but a more matured sound that features some great song structure and rhythm, along with that same up front attitude, and chuggariffic display of power that they were known for originally. It also has a hardcore rendition of the Beatles' track Revolution which is always awesome. Sons of Straight Edge may only be 15 minutes in length, but it more than makes up for it in the anticipation of forthcoming material, and the musical and emotional charge of the tracks that the group performs, and Jonny pushes forward through his strong and deliberate screams. And the message at the beginning of the video below is a testament to the maturation of both Jonny and the group as a whole.

Sample of the Day:



- J

365 Days of Metal: The Sun Sets Forever Over Blackwater Park

It's slightly hard to believe, but today marks the 100th post since I started 365 Days of Metal back on August 22nd of last year. 

Despite a minor hiatus that lasted a couple months, due to the dreaded combo of business and laziness, everything so far has gone more or less according to plan, and in a way that exceeded some of my own expectations.

365 Days of Metal is first and foremost something I do for fun. It allows me to explore the depths of my favorite music, discover new bands and artists and share that with friends, and of course anyone else who stumbles upon it. While I don't do this for recognition or praise, it's always nice to get feedback from people, but most of all from artists who might happen to come across one of their recordings up on here. It's rare, but it's always a fun surprise.

So to inaugurate this 100th day I've decided to pull out one of my favorite records, one that should be familiar to many a metalhead, and if it isn't, it damned well should be. 

Day 100

Opeth - Blackwater Park

Band Origin: Stockholm, Sweden
Genre: Progressive Death Metal
Label: Music for Nations
Running Time: 67 minutes 
Release Date: February 27, 2001

Best Part: The title track for this remains one of my favorite songs in the history of everything, and aims to stay that way for a long time.

Favorite Tracks: Blackwater Park, Dirge for November, Patterns in the Ivy, Bleak, and The Drapery Falls

Grade: 5.0

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Blackwater Park in way more than 20 words or less:

While My Arms, Your Hearse was the album that would mark the beginning of the earliest shift in Opeth's sound and pushed them onto the world stage, Blackwater Park is without a doubt their magnum opus, and the record that would define them as one of the best metal groups of this generation.

The Band: 

Opeth is a five member progressive metal band from Sweden which was founded in 1990. The most interesting point in the history of the band is in its formation, as original vocalist David Isberg had asked then bassist Mikael Åkerfeldt to join the group, despite having not informed the other band members that he would be joining, including the bands current bassist; something which did not go over well with the rest of the group. The end result had everyone but Isberg and Åkerfeldt leaving to start a new project. The irony behind the humble beginnings of the band would be that Åkerfeldt would eventually become not only the only remaining original member of Opeth, but would become the driving force behind the bands success, as its lead songwriter, lyricist and visionary. Since 1990, Opeth has crossed over a number of musical styles, with their earliest works following a blend of progressive death metal and progressive black metal. Their gateway opening album My Arms, Your Hearse would be the record that introduced the first significant shift in sound for the band as they moved prominently into the progressive death metal genre, and it was also their first international release, garnering them increased worldly attention. Opeth is known for their ability to blend every aspect of their chosen musical styles, in creating vast soundscapes which run between clean, serene acoustic or piano driven passages, leading into high tempo, furious death metal ensembles. In more recent years, Opeth has begun to shed its death metal persona, leaning towards a more straight forward progressive metal or progressive rock and jazz fusion approach, with Åkerfeldt even eliminating death growls from their last two releases, and some of the more heavy, extreme elements from their most recent release, 2011's Heritage.

Åkerfeldt has stated that "[he] doesn't see the point of playing in a band and going just one way when you can do everything". Something which speaks to the willingness to experiment and evolve within, and even outside of their musical roots.

Opeth's other releases include: Orchid (1995), Morningrise (1996), My Arms, Your Hearse (1998), Still Life (1999), Deliverance (2002), Damnation (2003), Ghost Reveries (2005), Watershed (2008), and Heritage (2011) 

Jay's Take on Blackwater Park: 

Blackwater Park has been described by many different individuals, in many different and almost polarizing ways. Some have called it breathtaking. Some have gone as far to compare it to critically acclaimed records from eras past. Then there are others who would say that despite its epic soundscapes, Opeth remains a group that is inaccessible to many metal aficionado's due to the level of stylistic shifts, and sheer length of most tracks. Some have even said that some of the tracks are just plain boring. Regardless of what position you may find yourself in, Blackwater Park is the album that would catapult Opeth onto the world stage following the stylistic changes that had begun in the three years prior with My Arms, Your Hearse and Still Life.

Opeth has always been a group to weave tracks together that feel both epic and traverse multiple layers of sound and musical style elements. In doing so, their tracks have always been long, and Blackwater Park is no stranger to this with every track on the record, save for the instrumental interlude Patterns in the Ivy, being over six minutes in length, half of which border or richly surpass the 10 minute mark. I can see where this would beckon the 'inaccessibility' complaint, as not everyone has the time to sit through a 10 minute long track, let alone an album full of them, in every given situation. But in order to create such grandiose levels of progression, groove and musical style, length is a necessity. Blackwater Park features a near perfect balance of the two driving elements of early Opeth, which are the tight progressive grooves, and savage death metal inspired passages intermingling with the calm, mellow passages dominated by clean vocals, acoustic guitar and ambiance. Åkerfeldt's musical direction is clear, as at any moment you are subject to being knocked out of your seat by a swelling rush of sound, and the singers harsh death growls, as much as you are to being taken into a serene dreamlike trance. It's this fine balance and use of dynamic shifts that makes Opeth one of the best progressive metal bands in the history of the genre, and what makes Blackwater Park such a mesmerizing and satisfying experience. I've never quite understood the arguments stating that portions of this album are boring to the point of tears. There is always a sense of progression between each passage on Blackwater Park, whether its during the more subdued moments or in the more energetic sections, you always have the feeling that the track you're listening to is going somewhere, but you're not imminently sure where the next turn will lead you to. To me, that's not boring - that's interesting, it builds a sense of anticipation and excitement that leaves you wanting.

For individuals who are unfamiliar with Opeth, Blackwater Park is a great introduction to the core elements behind their music and style, and along with their two previous releases, serve as a great starting point for anyone wanting to discover the band further. Opeth's more recent work is much more subdued and clean, especially Heritage as I mentioned previously because it has become devoid of the death metal influences of their earlier works. Nonetheless, it's a part of their musical progression, experimentation and evolution, and Opeth remains one of the more inspiring acts of the past 20 years.

Sample of the Day:





- J

365 Days of Metal: The Dangers of the World's Oldest Profession

Day 99

Prostitute Disfigurement - Descendants of Depravity

Band Origin: Veldhoven, Netherlands
Genre: Brutal Death Metal
Label: Neurotic Records
Running Time: 39 minutes 
Release Date: May 27, 2008

Best Part: The drum work by van der Plicht and Adams vocals are definitely the high point of this record.

Favorite Tracks: Carnal Rapture, Sworn to Degeneracy, The Sadist King and the Generalissimo of Pain, and Torn in Bloated Form

Grade: 4.0

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Descendants of Depravity in way more than 20 words or less:

The fourth full-length release by the band was the final recording before their initial split-up in 2008, but remains one of their 'cleanest' and most technically proficient recordings.

The Band: 

Prostitute Disfigurement is a five piece brutal death metal band from the Netherlands who began as a three member group utilizing a drum computer to record their early demo work and their first full-length record in 2001. With the increasing frequency of live performances the band would eventually recruit a drummer and go on two record two more full-length records before splitting up just after their most recent release in 2008. The band has since reformed, with bassist Patrick Oosterveen, vocalist Niels Adams and drummer Michiel van der Plicht being joined by guitarists Martijn Moes and Frank Schiphorst in 2010. 

Jay's Take on Descendants of Depravity: 

While Prostitute Disfigurement does not fall within the realm of technical death metal, Descendants of Depravity is not without its technical subtleties. Everything about this record is a testament to the the nature of death metal, from the raspy yet guttural vocals of Adams, to the frenetic pace of the guitars which jump between tremolo picked riffs and wailing, sweeping solos, and finally the insanely high-tempo and complex drumming of van der Plicht. Descendants of Depravity does well in all these merits and also possesses a rather crisp and 'clean' sound, as the record does have rather high production values, allowing you to appreciate the abilities of the individual members of the group. It does however suffer from the fact that the album does follow the standard formula found in brutal death metal, and while band does manage to pull off their craft very well, there are not that many significant moments that make this album a diamond among the many others entrants within the genre. It's a disadvantage which is generally more specific to the genre than to the bands that have honed their craft within it, which is the case here, as this is album is definitely no slouch. It has certain moments that are significantly good, such as the closing track below, but not enough to classify it as one that will occupy a regular spot in a listening cycle.

Sample of the Day:



- J

365 Days of Metal: Who's the Boss?

Day 98

The Tony Danza Tapdance Extravaganza - Danza III: The Series of Unfortunate Events

Band Origin: Murfreesboro, Tennesesse
Genre: Grindcore / Mathcore
Label: Black Market Activites
Running Time: 59 minutes 
Release Date: July 6, 2010

Best Part: The hidden track at the end of 12.21.12 which comes after about 10 minutes of silence - something increasingly rarer on records this day n' age.

Favorite Tracks: W.A.L.L.S, A Trail of Tears, The Union, I Am Sammy Jankis, Vicki Mayhem, and Hour of the Time

Grade: 4.5

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Danza III: The Series of Unfortunate Events in way more than 20 words or less:

Danza III leaves behind the humor streak and the Electric Boogaloo and focuses more on musical experimentation, and dissonant grooves in order to create their best record yet. 

The Band: 

The Tony Danza Tapdance Extravaganza, which is unfortunately in no way affiliated with The Boss himself, is a four piece mathgrind band from Tennessee who's penchant for parody goes far beyond their namesake. Their early records, especially Danza II: Electric Boogaloo, were anchored by short, fast, discordant skits fueled by the grindcore element of their musical style and their humorous nature as a band. With their most recent record the band has moved slightly away from the parody of their second record and incorporated a higher level of technicality as well as the use of lead and rhythm guitar having been recorded by Josh Travis on 8-string guitar. TTDTE is in the process of working on Danza IV.

The Tony Danza Tapdance Extravaganza's previous releases include: The Tony Danza Tapdance Extravaganza (2005), and Danza II: Electric Boogaloo (2007) 

Jay's Take on Danza III: The Series of Unfortunate Events: 

TTDTE is a band that I've had the opportunity of seeing twice live. The first time was quite early in their endeavours during the Danza I era when Jessie "Danza" Freeland, Mike Butler, and Layne Meylain had started out, and before Butler and Meylain had left the group in late 2009. The second was in the weeks leading up to the release of Danza III, with guitarist Josh Travis, drummer Mike Bradley and the post-recording addition of Phil Lockett on bass. The differences between early Danza and the 'new' Danza aren't enormous, but they are very important. Danza III is a great technical leap forward for the band. It shows a broader sense of experimentation with their respective styles, the complex rhythms of mathcore and the high paced distortion of grindcore, but throws in some ambiance to boot. Not to say that the inclusion of 8-string guitars is a necessity for technicality or for creating powerful grooves, but Travis manages to make it work extremely well across this entire record, as he was at the helm of not only both lead and rhythm guitar, but also the bass work before Lockett joined the band. There's definitely a larger emphasis on groove on Danza III, but the complexity, dissonant guitar work and wailing distortion are just as eminent as in the past. The bass in particular stands out a lot more, which gives the entire cacophony of rhythms a rich, grungy texture and paired with the high tempo playing of Bradley behind the kit, really makes each section stand out, whether it's a wall of rhythmic dissonance or a snail pace sonic crush. Danza III was definitely a grindcore 'sleeper hit' in 2010.

Sample of the Day: 

   

  

- J

365 Days of Metal: Rebecca Black Metal Friday vol. 10

Rebecca has a slight twist in store with today's choice - or is it more of a roll? Either way this albums kicks some major ass.

Day 97

Kvelertak - Kvelertak

Band Origin: Stavanger Norway
Genre: Hardcore / Rock / Black Metal
Label: Indie Recordings
Running Time: 48 minutes 
Release Date: June 21, 2010

Best Part: Black metal inspired insanity with cowbell.

Favorite Tracks: Liktorn, Sultans of Satan, Offernatt, Ulvetid, Mjød, Blodtørst, and Utrydd Dei Svake

Grade: 5.0

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Kvelertak in way more than 20 words or less:

The self-titled debut release from Kvelertak, the Norwegian band that can best be described as 'Kvlt n' Roll' is probably one of the most bizarre and uniquely awesome fusions of style that you can come across.

The Band: 

Kvelertak is a six member black metal and punk rock band from Norway that released their self-titled debut record in 2010 to high praise and relative acclaim - a feat which is rare for both the localization and genre bending involved in their music. Kvelertak is hard to describe in a single string of buzzwords, but the easiest explanation is a sound that takes the fast and aggressive beats of hardcore, meets up with some classic rock n' roll and then takes a moonlit drive through the Norwegian countryside. Not clear enough? It's like if Fugazi decided to meet Queens of the Stone Age in a dark alley and then Darkthrone came along and made them have an insanely loud and kickass baby. And if that's not any clearer, I'll just go with what I prefer to call them: Kvlt n' Roll. 

Jay's Take on Kvelertak: 

When I first went to listen to this album well over a year back, all I remember was seeing high review scores, praise and some of the weirdest yet awesome sounding commentary for such an album. And as soon as I got through the end of the first track Ulvetid I instantly understood why. Kvelertak was definitely not what I expected - I mean when you go to listen to a recording listed as black metal, you have certain expectations that go in line with the genre. The band definitely doesn't fall within the mold of a black metal band, simply because of the predominant styles that are put forward by the band, those being hardcore punk and rock and roll. But the black metal influence is not easy to ignore. You can feel it whenever there's speedy tremolo picked riffs, that slight bit of intermittent distortion and the mesmerizing type aura felt at the beginning of tracks like Sultans of Satan and Ulvetid, and all throughout Liktorn. The screams which while not your raspy black metal shrieks, rather more straight forward hardcore screams, still possess some of that black metal 'gusto', plus the lyrics are completely Norwegian - not that having Norwegian lyrics makes you instantly black metal, of course. Kvelertak is just a record that knocked me on my ass because it was so unexpected - and so god damned fucking good. The entire record sends you heaving in one direction and then sends you on a twist, with what would appear to be your standard progression turning into the next backyard rock anthem of the future generation. If the fact that it even has fucking cowbell wasn't enough to sell this record, how about the album art by John Dyer Baizley, who's cover art consistently graces some of the best albums out there.

Judge for yourselves, this album is insane - in a satisfyingly good way. And if you've ever seen Troll Hunter you may recognize a track from the credits.

Sample of the Day: 

The first track off of Kvelertak and then of course, cowbell.





- J

365 Days of Metal: Apocalypse Now

Day 96

Apocalyptica - Reflections

Band Origin: Helsinki, Finland
Genre: Symphonic Heavy Metal
Label: Universal
Running Time: 47 minutes 
Release Date: February 10, 2003

Best Part: When people ask me if I dig classical music, I ask them if they dig Apocalyptica.

Favorite Tracks: Cortege, Prologue (Apprehension), Somewhere Around Nothing, No Education, and Resurrection

Grade: 4.5

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Reflections in way more than 20 words or less:

The fourth release from the Finnish cellists was their first to feature more instrumental experimentation, all original tracks, and drums which were in part provided by none other than Dave Lombardo.

The Band:

Apocalyptica is a four piece symphonic metal band from Finland founded in 1993 by current members Eicca Toppinen and Paavo Lötjönen, and former members Antero Mannine and Max Lilja. The four cellists gathered originally to play covers of Metallica at the Sibelius Academy, the only music University in Finland. They would go on to release their debut in 1996 entitled Plays Metallica by Four Cellos featuring eight covers played entirely on cello. Their second release Inquisition Symphony continued the trend but also featured covers of Pantera, Sepultura and Faith No More, as well as some original tracks written by Toppinen. Apocalyptica have continuously evolved their musical style over the years to first incorporate drums, and follow it up with other instruments and a wide array of guest musicians and vocalists on their most recent releases which includes among others: Adam Gontier, Till Lindemann, Corey Taylor, Max Cavalera and Dave Lombardo, who was the first person to track drums for the band. Apocalyptica are also known for the very energetic live performances put on by Toppinen, Lötjönen, Perttu Kivilaakso and drummer Mikko Sirén - of which I have seen them on at least three separate occasions. 

Apocalyptica's other releases include: Plays Metallica by Four Cellos (1996), Inquisition Symphony (1998), Cult (2000), Apocalyptica (2005), Worlds Collide (2007), 7th Symphony (2010) 

Jay's Take on Reflections: 

Apocalyptica is a band I discovered in high school when myself and a bunch of miscreants were in charge of the high school radio, and we needed cool yet not morally or otherwise offensive material to play over the airwaves. My first introduction to them was through their debut Plays Metallica by Four Cellos and their covers from Inquisition Symphony which are simply put fantabulous. However it was always in bits and pieces, an odd song here and there that we would end up listening to the band. Reflections was the first album by the group that I listened to in its entirety, in one sitting, not individual bits. And it's an interesting entry to listen to in their history because it's definitely the staging ground for the musical evolutions of their later records, and the point where the band really took off on their own. Reflections continues down the path that they began to carve with Cult where they began to use a lot more distortion effects to create that heavier, thicker sound that really permeates the album. It is also the first album that was recorded with entirely original material as each of their three previous releases contained at least three or more covers. The most significant difference and take off from their earlier releases was the inclusion of drums, which when you think about it doesn't seem like such a giant leap, however going from three instrumental albums composed entirely from cellos to incorporating drum work by none other than Dave Lombardo from Slayer - let's just say it makes a difference. Reflections would also be the last instrumental album created by the band, as with each of their following releases they would include vocals starting for the first time on their self-titled release in 2005. This album is a good starting point for anyone who may have be unfamiliar with the band at first because it truly captures them at the core of what they're all about - kickass metal with cellos.

Sample of the Day: 



- J

365 Days of Metal: A Tribute to David Gold

Woods of Ypres has long been one of my favorite Canadian metal bands, with its early roots in black and doom metal, the brainchild of David Gold displayed a truly unique musical evolution from album to album. 

Woods 5: Grey Skies & Electric Light was one of the records I was most looking forward to this year, as I had been following it for quite some time in between Woods IV: The Green Album and numerous studio updates in 2010 and 2011 - and that day has finally arrived, although with a bittersweet arrival.

David Gold died on December 21, 2011, in a car accident near Barrie, just two short months before the release of Woods 5. Gold was a gifted and inspired musician, and a true Canadian talent who worked alongside a great number of talented artists both in Woods of Ypres, and in the community throughout his career.

David Gold was 31 years old.

Day 95

Woods of Ypres - Woods 5: Grey Skies and Electric Light

Band Origin: Sault Ste. Marie, Ontario, Canada
Genre: Doom Metal / Black Metal
Label: Earache Records
Running Time: 56 minutes 
Release Date: February 15, 2012

Best Part: Gold and Violette manage to balance out the various elements that have made Woods of Ypres so great throughout the entire album.

Favorite Tracks: Adora Vivos, Traveling Alone, Lightning & Snow,  Kiss My Ashes (Goodbye), and Career Suicide (Is Not Real Suicide)

Notes: A promo version of the album was released in late 2011, featuring a different track order from the final release.

Grade: 5.0

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Woods 5: Grey Skies & Electric Light in way more than 20 words or less:

The fifth release by Woods of Ypres completes the full circle transition from primarily black metal, to the doom driven focus seen on the first half of Woods IV. A byproduct of three years of work, the collaboration of David Gold and Joel Violette is easily Woods of Ypres' most poignant release, and Gold's legacy.

The Band:

Woods of Ypres is a doom and black metal band from Ontario that was founded in 2002 by David Gold, Aaron Palmer and Brian McManus. The bands earliest releases were primarily black metal in focus with small elements of doom metal present. Over the years and with each passing release the bands focus would shift more towards a blackened doom style of approach. Following a number of lineup changes Gold would release Woods IV with the help of Bryan Bellau, and Shane and Evan Madden in 2008 which would be a significant change in pace from the three previous releases, a much darker and gloomier record. In 2010, Gold would move to Kuwait for work and the other members of the group had parted ways, which sparked many rumors of the band had called it quits. However he would go on later in the year to announce that the band had been signed to Earache Records after eight years under Gold's independent labels Krakenhaus Records and Practical Art Records. Together with longtime Woods of Ypres collaborator and personal friend Joel Violette of fellow Canadian melodic black metal band Thrawsunblat, Gold would go on to record the bands fifth full-length release, hire additional members and prepare for future touring. Following the sudden passing of Gold late in 2011 Violette commented that there was no definite fate for Woods of Ypres, but without any shadow of doubt that David was the voice, heart and soul of the band.

Woods of Ypres' previous releases include: Against the Seasons: Cold Winter Songs from the Dead Summer Heat (2002), Pursuit of the Sun & Allure of the Earth (2004), Woods III: The Deepest Roots and Darkest Blues (2008), Woods 4: The Green Album (2009)  

Jay's Take on Woods 5: Grey Skies & Electric Light: 

Joel Violette was not wrong when he said David Gold was the voice, heart and soul of Woods of Ypres. Gold's hard work and determination over the course of eight years was what helped push Woods to become a success. It's unfortunate that his passing would come at such a pivotal time, where his project was about to embark on the next big step of his musical journey. Gold and Violette spent the summer of 2011 together recording Woods 5: Grey Skies & Electric Light in its entirety, not at all strangers to collaborating with each other on their individual projects Violette would take care of the lead guitar work, bass and piano, while Gold would provide rhythm guitar, drums and of course the vocals. Unlike Woods IV, which took a much slower building approach in the opening tracks, building up to more ferocious tracks over the course of the 80 minute long record, Woods V offers a blend of all the elements that have comprised Woods' previous releases. There are tracks which are gloomy, dark and carried forward ever so slowly by the deep commanding voice of Gold. Others are more melodic and energetic, while still tapping into the doom and gloom of the record, a good example being the track Lightning & Snow. The more high paced sections which lean towards the more black metal influenced portions of Woods of Ypres are less frequent but not at all absent from the record. In particular the track Adora Vivos does well to balance both the dark atmospheric gloom and high paced energy into what can best be described as the very core of what Woods of Ypres is about.

I could spend another 20 minutes going into details about why this album is a real triumph, but the music can speak clearly enough for itself. While David Gold's death truly is untimely given the circumstances with Woods of Ypres finally shifting from independent to professional status after eight years of hard work, Woods V will forever remain David Gold's legacy, and a true showcase of his talent.

A great tribute to David Gold was written by Rae Amitay who signed on to play drums with Woods after the recording of Woods V and quickly became a good friend to David. The tribute also features words from Joel Violette, former band mates and close friends of Gold, and is definitely worth a read. You can see the whole article here.

Samples of the Day: 

My three favorite tracks from Woods V: Lightning & Snow, Kiss My Ashes (Goodbye), and the track Adora Vivos. 

There is no destination, there is only the journey.
R.I.P. David Gold, 1980-2011. 







- J