LACERATION MANTRA: Prolonging the Pain

Produced by Laceration Mantra & Joe Panetta
Released: 2011

Brisbane has a proud history when it comes to death metal and no band from that city stands out more than Misery and their bludgeoningly effective mixture of death, grind and doom. Featuring two of the people from that group in the shapes of guitarist Scott Edgar and drummer Anthony Dwyer, Laceration Mantra set to work in precisely the same relentless fashion.

Prolonging the Pain is non-stop bulldozing grind-flecked death metal from beginning to end. "Thrown to the Wolves" erupts with a brutal ferocity, with a stinging and savage guitar tone that is maintained throughout. Rob Rieff deploys some Benton-style double-tracked vocals and Edgar and second guitarist Michael Perry step up with some effective lead breaks in the likes of "Realisation", where a slower grind comes to the fore. "The Global Straitjacket" works in some tempo changes while Rieff's lyrics, unlike Edgar's previous outfit The Dead with their silly and occasionally non-sensical songs relating to gore topics, tackle themes like fear and manipulation. "Barney" shows the band's pure grind side as something of an ode to Napalm Death and there are also snatches of classic Morbid Angel apparent. Like the best bands though, Laceration Mantra don't merely ape their influences or regurgitate their history. They adopt them into a style of their own that is fast, brutal and menacing.

Prolonging the Pain is a fine addition to the local death metal landscape. The intensity of the delivery echoes the great Australian death metal tradition of bands like Misery and Psychrist and this can sit beside albums by those bands in comfort.

1. Thrown to the Wolves
2. Purveyors of Torment
3. The Innermost
4. Victims of Hate
5. Realisation
6. The Global Straitjacket
7. Surreal Reality
8. Prolonging the Pain
9. Barney
10. Blinders

Rating: 78%

CUNTSCRAPE/GORESLUTS/REZUME/MORBID VISION: Split My Bitch Up

Produced by: VariousReleased: 2011

Those filthy Perth bastards are back with more of their puerile and perverted porn grind, and this time they've brought some mates along for the ride. Split My Bitch Up features four bands spewing out death and grind that is depraved, ugly and stupidly fun all at once.

Serial offenders Cuntscrape kick off proceedings with some brutally heavy and groove-infested death grind fused to their usual array of pussy-obsessed lyrics and samples from porn films (although there is also a well-placed Pulp Fiction one). The 'Scrape do exactly what you'd expect, but they also do it very well because they don't allow the music to suffer for the sake of a sick joke.

Goresluts from Kuala Lumpur follow along almost identical lines, although they do have more of a pure grind style. Again, porn samples are everywhere, infiltrated by blast drumming, raw, fast guitars and the roaring voice of (seriously!) Sperm in Gore. Their tracks start off with a hokey bossa nova beat like the one those cheap keyboards come with, making for a nicely humourous touch.

Bali's Rezume are also fond of the porn sample, and use them as much as possible. Their style is primitive and undeveloped, as you might well expect for a band from that part of the world. Rezume really don't differentiate much between songs, all of which are built around rather similar sounding thrash riffs and a terrible, terrible plastic drum sound as well as Rizky's incredibly gutteral and raw vocals.

Tokyo based reprobates Morbid Vision sound like the only band that used a human drummer, who they then mixed way too loud, all but drowing out the catchy death riffs in their songs. Vocalist Shogun has a very low growling style that really fits their style of pure underground filth well, and Morbid Vision has steered away from the porn-obsessed themes of the other bands, finishing up with a grimy cover of Sepultura's "Biotech is Godzilla".

All told, it's generally tasteless, butt-ugly death n' grind fun. Split My Bitch Up may be purely for fans of the style, but those fans will not be disappointed.

1. Cuntscrape - March of the V.A.G.
2. Cuntscrape - Vaginomicon
3. Cuntscrape - Giving Head to Mr. Ed
4. Cuntscrape - Armed Hold Up at the Wank Bank
5. Cuntscrape - Teddy Got Fingered
6. Goresluts - Triple Cums in Bossa Bukake
7. Goresluts - E.G.S.
8. Goresluts - Karma Pussy
9. Goresluts - Demoniac Sado-maso Fucking Sluts
10. Rezume - Distimulasi Payudara
11. Rezume - Fucking Every Hole
12. Rezume - Shoot My Fucking Ass
13. Morbid Vision - Koenji Love Story
14. Morbid Vision - Harayama
15. Morbid Vision - Jedi Butcher
16. Morbid Vision - Biotech is Godzilla

Rating: 65%

DEAD CITY RUINS: Midnight Killer

Released: May 2011

According to their bio, Melbourne's Dead City Ruins sound like a "hard rock mixture of Black Sabbath and Alice in Chains", which would be true if either of those groups sounded like AC/DC.
As it is, this album shows these rock n roll bastards to rock out with the same sort of gusto as Sydney's similarly-named and equally rock-as-fuck motherfuckers Hell City Glamours. Midnight Killer is basically eight tracks of blazing, hard n' fast rock 'n roll of the good old fashioned no-bullshit kind. "Where You Gonna Run" kicks things off with an impossibly catchy riff that actually recalls early 80s The Angels and from that moment the Ruins offer up a continuous feast of hooky choruses and kick ass songs.

The riff in "Damn My Eyes" is a killer; indeed it's hard to find one that isn't. The appropriately-named "Blues" is a nice slow burner toward total rock mayhem and drummer Drewsy gives "Highway Girl" a unbeatable pop swing. Vocalist Jake has an archetypal untrained wail that puts every song on the limit of control. Mix in a duck's arse tight rhythm section and Tommy's sharp lead guitar breaks and you can't go wrong. Dead City Ruins are the real deal. They rock, they rock hard, and Midnight Killer is a ripper.

1. Where You Gonna Run
2. Damn My Eyes
3. My Lai Massacre
4. Midnight Killer
5. Blues
6. Go to War
7. Highway Girl
8. Fallen

Rating: 80%

HEAVEN THE AXE: Sex, Chugs & Rock n Roll

Released: May 2011

Readers who recognise the names Manticore, Damaged and Abramelin will know them as three of the most extreme Australian metal bands of all. So the idea of members of each of those bands teaming up together would certainly be an intriguing one for those of us who remember or have ever been exposed to their brutality. And that's why Heaven the Axe is probably not the band you would expect them to play in.

Formed in Wagga Wagga as a straight-up rock band by Steve Watts and Phoebe Pinnock, after the pair moved to Melbourne Watts linked up with old buddies from the metal scene there and gradually moulded Heaven the Axe into a much heavier band. Sex, Chugs & Rock n'Roll is the result of that tinkering, nine tracks of explosive, sexy heavy rock.

Pinnock is a brazenly honest songwriter and her lyrics range from the angry ("Enemy") to the heartfelt ("Unconditional Love") to cheeky fun like "So Nirvana" in which she likens the local hoon hottie to the classic Nirvana line-up like a naive, coquettish schoolgirl. This song is HtA at their poppiest and shows their clear commercial potential. The ballad "Unconditional Love" has an almost Kasey Chambers vibe until it starts to really rock out about the two minute mark and the question has to be asked: Why isn't this song all over the radio? Elsewhere, Sex, Chugs & Rock n Roll is sheer rock heaven, but with a ferociously metal guitar sound and incredible heaviness that could only come from guys who used to play in death metal bands. Indeed, at times it seems like Pinnock's chirpy albeit powerful voice is almost too pop for the savagery of the rest of the band, and yet it just clicks.

Despite its poppy hooks, Sex, Chugs & Rock n Roll is probably too heavy to become a chart hit but it should become a solid favourite for those who like rock, because that's what it does.

1. Enemy
2. Masochist
3. Electric Wire
4. So Nirvana
5. (GI-intro)
6. Glue
7. Get Your Devil to Do It
8. Unconditional Love
9. Tails to You
 
Rating: 70%

GAY PARIS: The Skeleton's Problematic Granddaughter

Produced by Dave Hammer
Released: April 2011

Imagine, if you can, what it would be like if Clutch got together with Chrome Division and then invited Tom Waits and Hank Williams III over for a jam. Not only would whatever town they were in run out of alcohol, but the result might sound something like this.


The Skeleton's Problematic Granddaughter is the debut release for Gay Paris, a four piece who could be quite adequately described as not wholly conventional. The nine tracks here are the result of breeding a truly gnarled and ugly, swamp-dwelling rock beast with sludgy blues, roots, psychobilly and outlaw country. If that wasn't enough, the songs are linked by a barely coherent theme entangled in gloriously insane poetry. "Pregnant pervert ghost quiver sweetheart, quaint rooms on a negligee street/Dereliction, you're a homeless rose on a brimstone teat" HW Monks barks in a ragged, broken growl, invoking frankly bizarre metaphors and innuendo throughout the band's exploration of the titular character's life. It would all mean nothing if the songs weren't actually good though, and they are, riddled with infectious hooks and grooves so catchy the album is over before you know it. Just check out "House Fire in the Origami District" for not only some genuine rock-out goodness but songtitle of the year, or "Soliloquy from Ether Station" for some bluegrass Gospel music if it was made in Hell.

It may take a few listens to really appreciate what Gay Paris has done here, but this is a stellar recording from a very different band. Those looking for some really unexpected hard rock music should put this on the top of their list.

1. Turns Out You're Not a Cowgirl After All
2. Deadrie Fell's Dog Park Blues
3. Future Wolf and the Gay Parisian Milk Incident
4. House Fire in the Origami District
5. And Lo! She Beheld the Pale Surgeon
6. The Black Tooth Supper Club
7. My First Wife? She Was a Fox Queen
8. Soliloquy from Ether Station
9. Skyship of the Contrabandistor

Rating: 75%

SEGRESSION: Never Dead

Produced by Chris Rand
Released: April 2011

When Segression slipped off the radar almost a decade ago they were still at the top of their game. While their self-titled album had come in for some pretty heavy criticism, they were still touring strongly and remained highly popular. Like the sorely-missed Alchemist (what is the story there?), they just sort of stopped. Perhaps because they never came to an inglorious and ignominious end like so many others, when they returned last year to tour with Fozzy there were as many people there to see them as there was for the headliner. Since then anticipation has been high for the release of this new album. At least one review has already called it the best Australian metal album ever, and while I'm not about to go that far, it is certainly not a disappointment for those Segression fans who've been waiting nine years for a new release.


Never Dead is by far the most diverse and consistent album this band has yet made. Unlike previous albums, which occasionally steered a course rather too close to their influences, on Never Dead Segression answers to no one. Really, this doesn't sound much like any other band that's around at the moment. More than anything they've done before, Segression defines what they are with this release. It still bears the band's hallmarks and the distinctive riffing style, the squeal of pinch harmonics and Chris Rand's idiosyncratic vocal delivery will definitely please the fans.

One of the major criticisms levelled at Segression in the past was their stylistic shift from the aggressive Machine Head-style thrash bristling with guitar solos to the chugging, breakdown-laden style of later on. On Never Dead the band has embraced both aspects of their past and turned them into a cohesive whole. The riff-heavy "Blood Lace Black Day" takes the lead strongly and is it apparent that soloing is very much a part of Segression’s oeuvre once more. Timely injections of lead guitar serve to add an element of venom to Segression's already spiteful sound in tracks like "The Wishing Well", "Gaspipe" (that hearkens back to the L.I.A. days) and the epic and heavy "L.T.P.C.". Later, in "Let Me Be Me" Rand drops some hard rhyming over the extended breakdown on a track that recalls the Smile album. Then out of nowhere they thrown in a complete surprise, slipping in the two-part, Zakk Wylde-like "Reality Playroom" that sounds like nothing they've ever done before and on the infectious "Candleneck" they hit on something that stands apart from most of the metal currently circulating.

Never Dead isn’t just a comeback. It’s more like a mission statement, and that mission is to play what they play on their own terms, just like before. Old fans, take note: Segression is back. New fans, take the same note.

1. Blood Lace Black Day
2. Never Dead
3. Hero Anthem
4. The Wishing Well
5. Gaspipe
6. Reality Playground Pt. 1
7. Reality Playground Pt. 2
8. L.T.P.C.
9. Let Me Be Me
10. Candleneck
11. Shattering of a Dream
12. Misery

Rating: 85%

CLAGG: Lord of the Deep

Produced by Clagg and Jason PC
Released: 2011

There's few things I like better than a good doom record, and Melbourne veterans Clagg know how to make really good doom records. With the first pressing sold out, Obsidian Records has re-released this in a slightly variant configuration, and fans of epic-scale riff thunder should rejoice. Lord of the Deep is like a vast submarine behemoth slowing uncoiling itself from the bottom of the sea and rising inexorably toward the surface, intent on crushing everything it finds, rather like the monstrocity detailed in Boyd Potts' typically disturbed artwork.


To give you some idea of the scope of this recording, its six songs sprawl across 67 minutes. The enormous opener "Carrion" takes almost five minutes to build up into its signature riff; at the six minute mark it shifts a gear into a nice mid-paced groove, then changes pace again further on as it spreads it murky tendrils across more than quarter of an hour of ultimate doom. "Lord of the Deep" emerges next, with a minute of feedbacking guitars then making way for a thunderous rumble that slows down so much into the third minute that it makes diSEMBOWELMENT sound like a speed metal band, and at the halfway mark it gets more glacial still. The word "epic" could have been invented to describe this track. "Buried" with its dirty guitars ups the tempo slighty, but it's still long enough for light from the Sun to reach the earth's surface before its over. And as huge as the riffs are in these songs, it's possible that "Devour the Sun" is even more immense as it too slowly grinds out over a ten-minute period. This new version concludes with a faithful cover of Iron Monkey's "Big Loader" that fits right in to Clagg's monstrously sludgy vision.

Lord of the Deep is an evil-sounding, gradually-unfurling picture of musical enormity, the perfect accompaniment to a gloomy afternoon rolling into a stormy evening.

1. Carrion
2. Lord of the Deep - i. They Dream Fire ii. At the Rising of the Storm
3. Buried
4. The Harvest
5. Devour the Sun
6. Big Loader

Rating: 90%

THE AMENTA: V01D

Produced by The Amenta
Released: March 2011

“Empty”, “Null”, “Nihil”, “Nil”, “None”, “V01D”. It’s easy to see the recurring theme that runs throughout this latest recording by Australia’s premier extreme noise technicians. The ambient bleeps, electronic beats, metallic scraping sounds and haunting soundscapes that sprawl across this album engender a harrowing, oppressive atmosphere of emptiness and cold sterility. Woven amongst them are the harsh, crushing and dense industrial death metal tracks with which The Amenta has set new standards for extreme metal in this country.


Essentially, "V01D" is a reimagining of several tracks collected from the past two albums, completely re-recorded with their latest line-up that now includes Australia’s most overlooked death metal vocalist, Cain Cressal. The general direction remains similar to the course they plotted with n0n, with the most significant differences in the delivery of the vocals and the enhanced clarity in the production, with some further enhancement of the atmospheric aspects. There’s also a nod to their influences with a cover of Armored Angel’s “Enigmatize” that is more or less faithful but with a modern polish and further experimentation with another four remixes that call to mind the work of Skinny Puppy and Front Line Assembly.

The second part of the package is video footage of one of the band’s live performances, captured in Sydney, and an awesomely gruesome Aphex Twin-style clip for “Vermin”.

It would have been easy for The Amenta to do something half-arsed when they’re giving it away free as a download, but with "V01D" they instead continue to uphold their reputation as one of the best Australian underground acts in circulation. And it costs you nothing, so seek it out.


1. Empty
2. V01D
3. Erebus
4. Ache
5. Junky
6. Spine
7. Null
8. Vermin
9. Nihil
10. Nil
11. Enigmatize
12. None
13. Junky (remix)
14. Nihil (remix)
15. Vermin (remix)
16. Erebus (remix)

DVD component:
1. Junky
2. Vermin
3. Mictlan
4. Erebus
5. Vermin (clip)

Rating: 91%

TRUTH CORRODED: Worship the Bled

Produced by Truth Corroded
Released: April 2011

Truth Corroded has been around for a long time now and with each album they've just got better and heavier. Worship the Bled is the culmination of their journey so far, a crushing, savage and brutal album that brooks no compromise from beginning to end.

A portentous intro of Mongolian throat-singing and noise erupts into a ominous opening riff played over the monstrous drumming of Kevin Talley, who pounds the skins on this recording, before subsequently exploding into ferocious high speed thrash reminiscent of Hatesphere. Then just when you think "Knives of the Betrayed" can't get any more epic, it does, as Jonas Kjellgren steps in and unleashes a face-melting forty-five second guitar solo . It's such an enormous track to open the album that it almost threatens to overshadow the rest of it, and in truth the next song, while solid enough, does get left in its wake, but "Pride of Demise" and "Leave Nothing Alive" have their own memorable riffs and catchy groove that allow them to stand up. "The Great Waste of Flesh" then is another huge track that builds from silence to a crescendo of staccato riffing and a neat solo from Darren McLennan. "Scavengers" is a showcase for Talley's drumming as the band cranks up the speed again before shifting into a mid-paced chug for "Remnants". On "Dragged Beneath" Truth Corroded has an At the Gates moment as a violin saws out a melancholy theme while the band chops out death metal underneath. The album ends on the same scale with which it began, with the eight-minute thrash epic "Summon Abyss" pulling out all stops before fading out into the weird, manipulated strains of throat-singing once again.

Kjellgren and Talley certainly add a dose of magic to this album, but it's the experience and pure song-writing clout of Truth Corroded that makes Worship the Bled what it is, and that's one of the best local metal releases of this year. This is simply a great metal album that any band would be proud to call their own.
 
1. Knives of the Betrayed
2. Hunt All Heroes
3. Pride of Demise
4. Leave Nothing Alive
5. The Great Waste of Flesh
6. Scavengers
7. Remnants
8. Dragged Beneath
9. Tear Out the Eyes of Your God
10. Summon Abyss
 
Rating: 85%

THE ETERNAL: Under a New Sun

Produced by Jeff Martin
Released: January 2011

Under a New Sun is the fourth album from Melbourne's The Eternal, and marks a distinct transition from their previous work. Having evolved from its early days as an Anathema-like doom band, the three-piece is now possessed of a more organic, robust and mystical sound that is clearly demonstrated here.


The album opens with a "Control" displaying a strong, dark, modern rock style. With Mark Kelson's heavily syncopated vocals and the processed scream of "And now you want control!", it actually recalls the heavier moments of groups like Disturbed and Stone Sour. It is certainly quite different from what The Eternal has presented so far, a very long way from the gloomy doom-laden debut of 2004.

With the vastly talented Jeff Martin in the producer's chair, The Eternal has cranked up the hooks to a degree more usually seen in the pop world, but over the course of the next few songs Martin's creative influence appears in danger of overwhelming the band. The title track is remarkably like Kav Temperley from Eskimo Joe singing with The Tea Party and the hook is very much like the one in that band's song "Temptation". "Delirium and Desire" begins with a ghostly choir that invokes some Pink Floyd-style chords and organ, then the big chorus sounds rather like, well, like Temperley and The Tea Party teaming up again. "Nothing Remains Without Us" is the The Eternal displaying something more of themselves, with an explosive guitar solo and a darkly heavy riff. Yet the spectre of the producer's former band continues to haunt Under a New Sun's first half. This culminates in "The Sleeper" that, with Martin on lead vocals, sounds like it could have been lifted directly off Splendor Solis. But it is after this point where the band seems to really find its true voice, taking the somewhat overt influences of the first half and crafting them into something more their own.

On "A Thousand Shades of You", The Eternal really steps up, laying down a heavy, creeping guitar riff for Kelson's vocals, this time pitched a step or so higher. Underneath the multi-layered voices of the massively hooky chorus, the band adds ethereal wailing and melodies and a glorious solo caps it all off. Brilliant. Booming drums and a classic rock riff power "Collapse" towards a truly epic 70s-style guitar solo. Again, the chorus is hookier than a pelagic long line. "Cast in Stone" is another for which the only short description is "epic", where Kelson throws huge riffs at each other that then clash heroically against Marty O'Shea's pounding drums. It's like the band waits until now to really let themselves go and bring the album to a rousing crescendo.

Under a New Sun is The Eternal's best and most expansive album yet and to deny its catchiness is practically a sin against nature. It's a very good release, but one hampered somewhat by a frustrating feeling of being overshadowed by its influences, resulting in something that probably doesn't quite show the originality that it really should. Nonetheless, anyone who enjoys dark, contemporary rock with a progressive twist should really enjoy this.

1. Control
2. Under a New Sun
3. Delirium & Desire
4. Nothing Remains Without Us
5. Eclipse
6. The Sleeper
7. A Thousand Shades of You
8. Collapse
9. Despondency
10. Cast in Stone
11. Departure

Rating: 85%

BANE OF ISILDUR: Black Wings

Self produced
Released: December 2010

With two well received releases already and several big show appearances in recent times, Black Wings is the culmination of several years of solid work from Sydney's Bane of Isildur. Fans of the band are unlikely to be disappointed as this holds up to the reputation for epic melodic death metal they've built through their previous EPs.


The most obvious touchstone for Bane of Isildur is Amon Amarth, from their basic style right down to their choice of subject matter and band name. So on Black Wings, Bane of Isildur adopt a somewhat jubilant death metal with folk-derived melodies and with none of the chugg-chugging of the Gothenburg set nor the slab-like riffs of the Florida bands. To this they add a particularly grim element like Immortal, especially with the vocals which tend toward an icy shriek. It's all well put together and the melodies add that epic touch that evokes wide vistas of battlefields where men fight hand-to-hand, possibly in the snow, or on an isthmus in the marshlands. This is certainly at its most effective on the album's longer tracks, "The War of Gods and Men" and "Of Crimson and Cold Steel".

What the album lacks is its own real identity. Amon Amarth and particularly Unleashed have been doing this for a long time and while Bane of Isildur is an admirable local alternative, they don't really bring anything of themselves to the table. Here and there too, some of the songs are padded out by sections of repetitive riffing that just seem bolted on to make them longer the same way (but less drastically so) that Dark Order does on Cold War of the Condor. It's true that the epic nature of the songs makes it hard not to feel a kind of rousing triumph, though. I also felt that the six-and-a-half-minute "Outro" was overdoing things a bit, and the less said about the atrocious AC/DC cover, the better.

That might sound like a big pile of negatives, but the fact is Bane of Isildur is a good band with a good sound and Black Wings really isn't a bad album. But they do need to tighten the songwriting a bit and develop a real character of their own if they want to progress, which I hope they do.

1. Chosen Path
2. Last Alliance
3. The War of Gods and Men
4. 1066
5. Furious Hunt
6. Born to Scorch the Earth
7. Cold
8. Of Crimson and Cold Steel
9. A Red Dawn
10. Outro
11. Hell's Bells

NEKROFEIST: Nekrofeist

Produced by Ashley Manning
Released: 2010

Nekröfeist is a four-piece band from Wollongong and right from the outset of this self-titled debut they make no apologies for what they are. Within a few seconds, opening track "Dominiputris" has staked their claim in aggressive groove metal territory and it's one they cling to grimly for the next half an hour, but without really making a statement in originality. Despite this, the four songs here (six tracks total including the interchangeable "radio edits" of earlier songs) establish a decent foothold for Nekröfeist to build on.


The cover art makes them look like they fell out of a timewarp from the mid-90s and musically they are like an updated version of that period. It's good solid thrash/groove with modern and excellent production but overall there isn't really enough in the material that makes it jump out and be recognised. The playing is hard to fault but the songs lack sufficient hooks. Dave Tinelt's vocals are something of a weak point: the gruff howl he does seems a bit undeveloped and the more traditional voice he uses could be stronger. Still, they've done plenty right getting people like Ash from Tourettes to produce and Lachlan Mitchell to mix and while there is definitely room for improvement, overall it isn't a bad way for Nekröfeist to introduce themselves to fans of groove-laden metal.

1. Dominiputris
2. Choke
3. Destroyed
4. Government Ruins
5. Dominiputris (radio edit)
6. Government Ruins (radio edit)
 
Rating: 68%

SHELLFIN: Second Hand Family

Produced by Shellfin
Released: 2010

A casual listen to Shellfin's debut could give you the impression that Second Hand Family is just one long track. Because essentially that's just what it is: a loose, semi-structured jam that even sounds like it was recorded in one take, with lyrics and vocals an afterthought to the enormously grooving riffs.

Like Kyuss, the band they originally formed to salute, Shellfin is a jam band that allows the music to dictate the path they take and how long it takes to get there. As the album progresses it becomes a series of jams-within-jams as the various members break into extended improvs that turn around on a timely fill from drummer Geeks back to the main riff or go in another direction altogether. The lyrics have a similar train-of-thought quality about them and the vocals have that deliciously slightly off-key aspect that only works for stoner bands. Like they say in their promo material, this is not about smoking weed but being immersed and entranced by heavy grooves, and the deeper you go, the more immersed and entranced you become. Some albums this long begin to feel like an ordeal just over halfway through, but Second Hand Family never loses its grip for the entire trip. Then fifteen minutes after the end of "Intervening Time" the hidden track "Of Bowels and Breath" rises from the silence on an immense, sinister riff so sludge-ridden it could have come from the bottom of the sea.

This infectiously likeable groove is available only through shellfin.bandcamp.com, for the very special price of whatever you feel like paying! And this deserves far more than small change. Shellfin don't really do anything that Kyuss hasn't done already, but these guys are our own, doing it with integrity, so they deserve support.

1. The Extent of It
2. Cruzzin
3. In the Head
4. Short Spew
5. Hedgehog
6. Fleishgeist
7. What's That Smell?
8. The Intervening Time

Rating: 90%

LORD: Return of the Tyrant

Produced by Lord Tim
Released: October 2010

If there's one band from this country that does epic well, it's LORD. So when they decide to record a sequel to the 2005 Dungeon track "Tarranno del Mar", a long-standing live favourite, they don't just do an EP, they do an enormous EP that's even longer than their last two albums! To be fair, the original intention was to split this into two, but time and budget constraints forbade it, so "Return of the Tyrant" clocks in at a whopping 65 minutes, which ain't bad for a CD with only three new songs on it.


The first of these is the title track, an immense 10-minute saga into which LORD cram almost every trick they've ever pulled and then some: crunchy guitars, catchy riffs, soaring vocals, big melodies, huge solos, cheesy voice acting and finally an epic dose of orchestration that makes this perhaps the biggest sounding song this band has ever recorded. And that's saying a lot. If ever there was one song that could encapsulate a band, "Return of the Tyrant" is the one that represents LORD, and there's another two versions -- a radio edit and an orchestral one -- included just in case one isn't enough. The other pair of newies are covers. Both are relatively faithful to the originals and both show the band taking something of a departure from their usual style. "Of Sins and Shadows" is a Symphony X song and features extended keyboard soloing for the first time on a LORD recording. For such a guitar-oriented band, this is a refreshing change and works so well here, the question has to asked: will there be more in future? Next, they slip into melodic AOR mode for a run through the 80s classic "(I Just) Died in Your Arms Tonight" with vocals handled by bassist Andy Dowling. As always, the covers are done with aplomb and deep respect for the originals and show LORD's versatility.

If those songs are a departure, the rest of the tracks are a complete digression - unplugged versions of tracks from the past two LORD albums as well as of the Dungeon songs "Against the Wind" and "Paradise". For a band that has pretty much stayed completely away from acoustics in the past, you have to question whether they are capable of pulling this off. Metal songs don't always translate well to the unplugged format, and to a degree that's the case here too. "100 Reasons" and "Paradise" misfire, but the others come across well: "Rain" has some great guitar play-off that actually reminded me a little bit of Tommy Emmanuel's Up From Down Under, and "New Horizons" is probably better done this way than in its original form. Considering how heavy it is normally, "Eternal Storm" somehow works too.

Overall this is a pretty valid experiment that really shows the depth of talent LORD has and the risks they are willing to take in the name of their music.

1. Return of the Tyrant
2. Of Sins and Shadows
3. (I Just) Died in Your Arms Tonight
4. Against the Wind
5. Rain
6. 100 Reasons
7. Paradise
8. Eternal Storm
9. New Horizons
10. Return of the Tyrant (orchestral mix)
11. Return of the Tyrant (edit)

Rating: 75%

THE POOR: Round 2

Produced by The Poor & Greg Clarke

Released: October 15, 2010

The Poor's comeback album out of last year was a rather disappointing collection of somewhat bland older songs they'd never got around to releasing the first time they were around. While there were traces of the old rock n'roll brawlers on it, it didn't live up to expectations.

On Round 2, they come out swinging much more convincingly, punching out a short, sharp album of no-nonsense hard rock that doesn't over stay its welcome or try to be anything more than it is. The Poor has got their mojo back and they quickly prove it with "Black n Blue", "Blood" and "Trouble" lashing out a 1,2,3 of solid rock heavy hitting with tasty riffs, catchy hooks and Skenie's mean n' clean vocal stylings. When they do take the foot off, it's for a bluesy acoustic ramble through "Rock N' Roll Survivor" that's every bit as road-weary as it sounds. "Jesus" brings back the rock immediately and shows that even a song that seems to have absolutely nothing to say can be fun if it's catchy enough. Refreshingly, the back half of Round 2 rocks out just as well as the first, closing with the totally rollicking "Which Part of No Don't You Understand".

A much better statement of intent than the patchy comeback, Round 2 shows that this time The Poor means business.

1. Black N Blue
2. Blood
3. Trouble
4. Bad Taste
5. Anna's Old Man
6. Rock n Roll Survivor
7. Jesus
8. Kiss My Arse
9. Nothin to Say
10. Grave
11. Which Part of No Don't You Understand

Rating: 75%

THE RED SHORE: The Avarice of Man

Produced by Roman Koester

Released: September 2010

It's hard to imagine a band that's been through more in the last few years than The Red Shore. Yet if ever there has been an example of getting stronger through tragedy and turmoil, then this band is it, and here is proof. If extreme metal is any kind of catharsis, The Avarice of Man is the ultimate therapy for the pain some of these guys have suffered.

This band is virtually unrecognisable as the group that unleashed "Salvaging What's Left" and even Unconsecrated. With Chase Butler taking over the vocal reins from the tormented Jamie Hope, all remnants of their deathcore past have been finally stripped away and in its place is a fearsome, brutal and ugly technical death metal monster which now edges close to some kind of unrelenting cross between Morbid Angel and Decapitated. The mix (courtesy of Jacob from Textures) evokes a horrible sense of unease as, quite apart from many of their contemporaries, The Red Shore has gone for a distinctly murky sound on The Avarice of Man. It might take a couple of listens for some ears to penetrate the sludgy guitars and Butler's concrete larynx, but when they do they will discover a crushing album with some inventive tech-death riffs and occasional Morbid Angel-like moments where the guitars are like slabs rising from some rank and primordial ooze. Butler's cerebral lyrics might be lost through his dense, somewhat monotonous growl but the claustrophobic atmosphere is perfect for the apocalyptic concept of humanity's violent destruction that is weaved throughout.

True hooks are few and far between, as this is not an album that sweeps you along with catchy groove after groove. Instead, it is a raging torrent of blast beats and ever-changing technical riffs, broken up now and again by old-school Suffocation-style breakdowns that have taken the place of the hardcore slam sections from earlier work. "The Approaching Tempest" is appropriately named, exploding with a hailstorm of ferocity that leads to the twisted complexity and savagery of the title track. Indeed, the five tracks preceding the grinding interlude "The Union" are tableaux of epic death metal violence that are second to none. The others are nothing to be sneezed at either because with The Avarice of Man, The Red Shore has delivered a masterful slab of extreme technical brutality that stands alongside the best on the world stage.
 
1. Creation
2. The Seed of Annihilation
3. Human, All too Human
4.The Approaching Tempest
5. The Avarice of Man
6. Of First and Last Things
7. Armies of Damnation
8. Inflict De-creation
9. The Union
10. And It’s Own
11. Awakening
12. Reduced to Ruin
13. The Relapse of Humanity

Rating: 95%

IMMOLATE: Ruminate

Released: August 2010

Recently recruiting ex-Tumbleweed member Dave Achille into their line-up to help bolster their sound, Wollongong quartet Immolate unleash hell in the shape of their latest full-length release, Ruminate.

Even if you knew nothing about this band, you'd expect that with a name like Immolate they were hardly going to be about gentle melodies and delicate symphonics. And you'd be correct. Like some bastardised hybrid of Pentagram and The Jesus Lizard, Ruminate is coarse, repetitive, atonal dissonance where sludge, noise and doom combine in a 42-minute orgy of sonic mayhem. Nick Irwin's unadorned monotone is virtually buried in the mix at times, a mix that is dominated by Achille and Irwin's brother Justin torturing their guitars with a procession of raw, angular, grinding riffs and wildly off-key solos. It's an ugly, primitive sound, oddly compelling but neither for the faint-of-heart nor those with an ear for the more melodic. Indeed, it's almost too much. By two-thirds of the way in, the uncompromising sameness and unrelenting barrage of discordance really starts to feel like you're being repeatedly battered by a heavy, blunt object. Nothing stands out except for how jarring it is.

Ruminate is absolutely not for just anyone, and those who merely dabble in the realms of dissonant doom may find this gloriously ugly album too much to bear. This is definitely one for those who have a real taste for it, and Immolate should certainly satisfy.

1. Heathen

2. Hot Heat
3. Live By (Knife and Gun)
4. Kill Your Idols
5. Trap Me
6. Tune Out
7. Ruminate
8. Broken
9. Integrator
10. Seven Heads
11. Code

Rating: 65%

ASTRIAAL: Anatomy of the Infinite

Produced by Astriaal

Released: August 2010

Seven years ago, Astriaal attained the pinnacle of their art with Renascent Misanthropy. Anatomy of the Infinite sees them reaching the same height, if not surpassing it in its exploration of cold, malefic spite.

With much of the previous album's symphonic elements stripped away, Anatomy of the Infinite brandishes a harsher, even more malevolent sound. The rawness only helps to further enhance Astriaal's sharp, deft melodies that stand in antithesis to the sheer brutality of the riffs and Gryphon's relentless blast beats. Baaruhl and Helthor's unison tremolo picking and Arzarkhel's typical shrieking howls don't see the band experimenting very much beyond the usual melodic black metal framework, but that only means they are working closer to the perfect ideal of the genre. Snippets of narrative and choruses of dark chanting add to the cheerless vision of ultimate oblivion that is this album, draped in the morbid works of Notke and Valdés Leal. Like Renascent Misanthropy, the intro piece "Blessed are the Dead" builds towards the crushing fury of "Visceral Incarnate" and little remorse is offered from that moment. The clean tones and gentle, haunting dynamics of "Relinquishment of the Stars" is in stark contrast to "For the Day Will Come", an epic, majestic track that closes the album on a note of unaccountable bleakness.

Anatomy of the Infinite is the perfect companion to its predecessor and a further definition of Astriaal's mastery of their chosen art, their own unflinching statement on the fraility of humanity in the face of eternity. Another masterpiece.

1. Blessed are the Dead
2. Visceral Incarnate
3. 'Neath the Bones of Salvation
4. Ad Interim
5. The Scars of Aberration
6. Foundations in Flesh
7. Relinquishment of the Stars
8. For the Day Will Come

Rating: 95%

RECOIL: The Will to Sin

Produced by Recoil

Released: 2010

Sydney's Recoil has been around since 2002, maintaining the same line-up the whole time. That in itself is a pretty remarkable achievement not too many others can lay claim to. You would expect that a group this stable would be able to really churn out a pretty decent bunch of tracks, and The Will to Sin certainly doesn't disappoint.

"The Rope" builds ominously towards the first proper track, the aggression-fuelled, groove-driven metallic roar of "Crowned on the Way Down" that sets the tone for the violence to come. With a classic, no frills approach, Recoil aren't reinventing any wheels here but they're definitely keeping it real. Every track is solid fist-pumping, headbanging material that doesn't waste time with extended instrumental noodling, drastic time-signature changes or dramatic displays of technicality. Somewhere, these guys were described as death metal/deathcore, but that couldn't be further from the truth. Essentially, this is textbook heavy metal: chunky riffs, catchy grooves, raw, angry vocals and driving beats. If there's a real criticism, it's only that they do this so convincingly that you find yourself actually wanting them to do something else. And then they do: the instrumental break "El Dia mas Triste" appears like a rose between thorns late in the playlist, a track of striking beauty and emotion that both belies the otherwise savage nature of Recoil's music and elevates it beyond the rudimentary but effective metal bludgeoning of the rest of the album.

Recoil has obviously invested every moment of their eight years together into making The Will to Sin the best debut they could possibly deliver, and they have succeeded. Anyone seeking pure, unadorned metal that's good need look no further.

1. The Rope
2. Crowned on the Way Down
3. Immortal
4. Scarification
5. Road to Redemption
6. This Winter
7. The Hole
8. …and a Hard Place
9. What Solution?
10. El dia mas Triste
11. Within a Curse
12. Suicide Trip

Rating: 80%

DARK ORDER: Cold War of the Condor

Produced by Dark Order

Released: 2010

Sydney’s Dark Order have been around now for 18 years, making them one of the longest-running metal bands in the country. To show for it they’ve got two previous albums, a breathtaking string of line-up histories and not much else as the band has rarely been stable long enough to establish a foothold. It’s a testament to leader Raul Alvarez Garcia’s seemingly unshakable self-belief that he’s been able to keep Dark Order around this long and just as remarkable that he’s finally been able to complete a third album after the yawning seven-year gap since The Violence Continuum.

With Cold War of the Condor, Dark Order almost completely max-out the CD playing time with an epic treatment of Chile's totalitarian Pinochet regime, illegally installed by a CIA-sponsored coup during the infernally corrupt Nixon administration and eventually costing the lives of thousands. The band details 17 years of bloodshed over 14 exhausting tracks, most of which are played out in their deliciously uncompromising old-school thrash style as if everything after Seasons in the Abyss simply never happened, rapacious full-tilt riffs, blazing solos and Garcia’s arsenal of Araya-styled rasping barks and shrieking warcries. Occasionally though, there’s a poignant acoustic moment like “A Lament for Victor Jara” – the political activist who was one of the first victims of the junta – and “Villa Grimaldi” is dark and creeping like one of early Skinlab’s moody pieces. Raul uses his real singing voice in both “Victor Jara” and the evocative coda “Requiem Eternal” too, in stunning contrast to his regular frenzied wail. Most of the time, however, this is nothing short of a thrash metal feast that is without doubt the best thing this band has ever done.

The album’s downfall however is that it's just too damn long. Cold War of the Condor is even longer than the latest Exodus album, and it probably doesn’t need to be. Some of the tracks could have been cut in half or at the very least lost a couple of minutes without anyone noticing: there's no real justifiable reason for "Operation Condor" to be eight and a half minutes long. This isn't Dream Theater or Opeth, with sweeping instrumental breaks or dizzying technical histrionics, and as good as it is, there aren’t quite enough stylistic flourishes to keep the interest up for the full 76 minutes. Despite this, Cold War of the Condor is something all thrash fans should check out immediately.

1. September 11th 1973
2. Dissension of the Raptor
3. State of Siege
4. A Lament for Victor Jara
5. Tears of the Exiled
6. Caravan of Death
7. Villa Grimaldi
8. Operation Condor
9. The Disappeared
10. Operacion Signo Veinte
11. Criminal of State
12. Blood Fire
13. Continuum of Cold War
14. Requiem Eternal


Rating: 78%