Hailing from Denver, CO, Ploy For Extinction are an enigma to me. I can often pin point a band’s sound, but I am sort of at a loss on this one. The band’s EP, From Within brings to the table a sound that is very modern in nature which I can best describe as post-thrash, groove metal, death metal with a dash of synthetic industrial overtones. Rest assured though AMR readers, despite my describing Ploy For Extinction as post-thrash, this is no Machine Head (any avid readers will know what we think of MH). In fact, usually I’d say post-thrash is one of the most benign and boring sub-genres in metal, but From Within is definitely something that has my attention.

First off, I have to mention the vocals of Matt Mainey, while not especially original, Matt’s gutteral delivery is very professional and well done. It’s relatively rare when I hear gutterals from a new band that don’t consist entirely of pig squeals and otherwise deathcore crapola. I won’t go as far as to say that Matt’s vocals will propel them into superstardom like metal’s version of Journey or something, but it definitely gives the band notice from random assholes like myself.

As far as the music goes, I can’t say there was a “wow” factor anywhere on this four song EP, but “Faceless Suffering” and “The Escape” are stand out tracks with a basic, but catchy thrash formula. I prefer “Faceless Suffering” because it’s laced with melody and has some moments of groove that sort of remind me of stoner metal/rock; this is definitely their most accomplished piece on the album, with a consistent level of technicality and a production value that is better than the other tracks. Every song has some stand out moments, but the other three songs are under-produced and lack an organic feel to them as if the tunes have been played around with too much on a computer.

While I was not overly impressed with this release, I see loads of potential. I think once the production kinks are worked out, and a full album is completed, I can definitely foresee a very listenable and enjoyable Ploy For Extinction with much room to grow into a force to be reckoned with in the Mid West and perhaps even nationally.

NOT BAD

Top Tracks: Faceless Suffering

Similar Artists: Lamb of God, Devildriver, 5 Finger Death Punch, Godflesh

1. From Within
2. The People’s Plague
3. Faceless Suffering
4. The Escape

Matt Mainey - Vocals
Matt Fagan - Guitar
Mike Tuley - Drums
Andrew Pettitt - Bass

Self Released

http://www.myspace.com/ployforextinction

Review by CODY

So far, 2009 has had its ups and downs. For every Crack The Skye, there’s a letdown like Revelations Of The Black Flame (1349)or something somewhat boring like Evisceration Plague (Cannibal Corpse). However, on this day, the Gods have given us one epic album: In The Constellation Of The Black Widow by the English extreme, blackened deathgrinders, Anaal Nathrakh. Sporting top notch tecnhical skill and amazing array of vocal work, In The Constellation h\as easily put itself in the top 5 for best of 2009, in my book.

For those of you who are not familiar with this band, Anaal Nathrakh is a two man operation from the UK. The singer, VITRIOL, uses an variety of vocals from harsh to clean, including a glass shattering wail, deep gravelly growls and an almost medieval chorus style of clean singing. The man behind the instrumental recordings is Mick Kenney. As far as I am concerned, this guy is as good as ANYONE in the metal scene at every single instrument. His riffs are straight up BAD ASS and his drum work is impeccable. When playing live shows, AN has recruited esteemed musicians such as Shane Emury (Napalm Death) and Nick Barker (Cradle Of Filth) to play the parts Kenney writes and records. Long story short, these boys definitely have the chops. Now then, about this album… What In The Constellation… gives you is a heaping dose of lightning fast, ultra heavy, abrasive metal. Some of the most strength and punch is found in the first and title track of the album. VITRIOL’s screams (which are the best on the album) on that track give you an ample taste of whats to come.  There are no deadspots in the entire album. It’s the epitome of “No Bullshit.” This album and AN in general is the metal equivalent of a rabid pitbull bearing down on you. If I had to describe this album in one word… Ferocious. No doubt about it.

One of the other parts of this album that I find to be remarkable is the variation of sound. Frequently when a band that falls under that “Extreme” genre a lot of their songs and albums will sound exactly the same. This is not true of Anaal Nathrakh. While they don’t throw in acoustic tracks like Opeth, they have enough variation in their song writing for each song to be its own unique entity without venturing off into Progressive genre. For example, I have four favorite tracks on the album, the title track, More Of Fire Than Blood, The Lucifer Effect and Oil Upon The Sores Of Lepers. While the parts of the equation are similar if not the same in each song, the final product comes out different. For me, thats a huge accomplishment. Being able to keep your style but keep songs varied is something that not many bands have achieved and Anaal Nathrakh does it perfectly.

If you’re a fan of anything from Behemoth to Napalm Death, Belphegor to Pig Destoyer, this album is for you. As are all of AN’s albums. While they may be one of the more obscure and unknown bands around these days, its for reasons I cannot fathom because when all is said and done, Anaal Nathrakh’s career has boasted some truly amazing titles and In The Constellation Of The Black Widow is right up there at the top.  It’s also right around the top of the list for best albums of 2009.

AMAZING

Top Tracks: In The Constellation Of The Black Widow, The Lucifer Effect, More Of Fire Than Blood, Oil Upon The Sores Of Lepers

Similar Artists: Mistress, Behemoth, Napalm Death

1. “In the Constellation of the Black Widow” -4:45
2. “I Am the Wrath of Gods and the Desolation of the Earth” -2:24
3. “More of Fire Than Blood” -3:26
4. “The Unbearable Filth of the Soul” -3:32
5. “Terror In the Mind of God” -3:27
6. “So Be It” -2:23
7. “The Lucifer Effect” -3:57
8. “Oil Upon the Sores of Lepers” -2:48
9. “Satanarchrist” -4:41
10. “Blood Eagles Carved On the Backs of Innocents” -3:17

VITRIOL - Vocals

Mick Kenney - Instruments

Candlelight Records

Official

MySpace

Reviewed by Cole

Who knew that working in a field as dry as medical billing would solicit review opportunities? Yes, it’s true. Yours truly is a magnet for music, even at my humble little job. People come far and away, sending promos from Italy, England and Brazil, yet I always make time for the little guys in my own backyard. Alright, I am full of shit, but the fact that this blog is all about the music, no matter how big or small, sets us apart from other metal blogs. Jodi Explodi, a local punk band from the Portland, Maine area, has released their latest (first?) full length album, and while it’s not really all that metal, I am reviewing it anyway because I work with the bassist, and his wife is my boss. But besides all that, it’s pretty good too!

While I have been delving more and more into punk over the last few years, my interest has definitely been more focused towards the aggressive, hardcore and crossover acts of the 80’s. Jodi Explodi falls more under the traditional punk umbrella (if there is such a thing) with a strong emphasis on melody, uptempo riffs and quick, spastic back beats which creates a definitive poppy sound. It must be clarified though, that despite the band’s reliance on superfluous melodies, that this is NOT pop punk. Jodi Exlodi are a punk band that embraces the lighter side of the music. This is not Sum 41, nor is it Black Flag, it’s some where in between where free spirited pop meets the legitimacy of underground punk. For the lamen, I’d say that Jodi Explodi consists of some parts Green Day (which is evident in slower portions such as in “Zeke the Plumber”), with faster, melodic portions being more likened to NOFX, Pennywise and the grity old school revivalism of Bombshell Rocks, and Rancid. While Jodi Explodi are clearly not at the influential level of any of those bands, they have manufactured some very catchy tunes, such as “The Dreadful Doc Benton” which features vocalist Thomas Bozeman’s best performance of the album, as well as “Shipyard” (an ode to the Portland old port and even perhaps the Maine brewery of the same name?).

Another great feature on Shipyard is the gang vocals. This aspect of thrash metal, hardcore and punk is something that can make or break a song, and I am happy to say that for the most part, gang backing vocals are used with fantastic results here. Each member of the band is clearly identifiable and every moment this style is brought in, adds to the atmosphere of the song.

Despite this being an overall good record, there are downsides to it. First and foremost, is the pitchiness of the vocals. At times, Thomas’ voice fits the music quite well, but often, his inexperience with pitch control is readily apparent. Yes, this is a punk record and smooth singing is definitely not a necessity, but if you are going to include vocal lines that aren’t just growly and attitude ridden, you need to make a conscious effort to stay on pitch and maintain your correct key. The last track, “Good Luck” shows the album’s most glaring vocal weakness. Another problem is the drums. Overall, Adam Aldridge is a competent drummer, but some of the drum fills and choices of beats are awkward and amateurish. More times than I care for, Adam breaks into a random grunge-esque “Smells Like Teen Spirit” beat that just breaks down the momentum of the song. Listen to “The Dreadful Doc Benton” at around the 2:15 mark during the breakdown for a perfect example. This is a minor issue I have and and really doesn’t necessarily detract from the overall sound, but a bit more sophistication with the drums I think will bring Jodi Explodi to a whole new level.

Despite the faults this album may have, the positives definitely outweigh the negatives. This is an experienced band that has been around the regional scene for awhile. They have a local fanbase and anything they produce will likely suffice for their scene. However, if the band ever wants to expand, it’s going to be necessary, in my humble opinion, for them to improve on a few things, regardless if they decide to sign with a label or not. Mike, your bass is Godly, Melissa, please don’t fire me!

GOOD

1. The Dreadful Doc Benton
2. Shipyard
3. The Ultimate Trampion (Bouncy Bouncy)
4. Zeke the Plumber
5. Ghosts of New England
6. The Buzzards Will be Fightin’ the Lizards for Your Gizzards
7. Mary Nasson (The White Witch of York)
8. Good Luck

Thomas Bozeman - Lead Vocals, Guitar
Adam Aldridge - Drums, Vocals
Matt Thompson - Lead Guitars, Vocals
Mike Provencher - Bass Guitar, Vocals

Beer and Potato Records

http://www.myspace.com/jodiexplodimusic

Review by CODY

Dream Theater, the beloved and respected progenitors of modern prog metal are back with their latest offering. Black Clouds & Silver Linings, the second album released under Roadrunner Records, has been highly anticipated after 2007’s Systematic Chaos opened Dream Theater up to a whole new fanbase of newer, younger fans. Surpsingly though, DT’s 2009 outing isn’t as assertive as one might think given their label and the appeal they have won from a crowd that demands a certain level of aggression. Black Cloud & Silver Linings is most definitely a DT release, but contains far fewer heavy moments than their last two albums, and really doesn’t push itself as the next great mainstream Roadrunner release. I find this fact to be fantastic, and a positive representation of the integrity of the band and it’s respect for the progressive ideal. However, does this lack of adherence to the modern metal doctrine end up hurting or benefitting the band’s sound regardless of integrity?

Unlike the last few DT albums, Black Clouds & Silver Linings has a much more retro vibe that reminds me a lot of 80’s prog rock (ala Yes and RUSH) with maybe some New Wave tossed in. This is very apparent during the first and last quarter of the tune, “The Count of Tuscany,” which is a much more poppy and New Wave piece than traditional Dream Theater. Another song with a retro feel is the tribute to Mike Portnoy’s father, “The Best of Times,” which was made with the best of intentions, but with a lack of dynamics and too much classic 80’s sap for my taste.

As for the positives, the opening track “A Nightmare to Remember” is an incredible song, and an instant Dream Theater classic for sure. Containing all the highs and lows, the aggression and the melody we have all come to expect of DT, “A Night to Remember” is perhaps the best song in the album save for maybe the single, “A Rite of Passage,” which is definitely the record’s bad ass moment and a draw for the more typical metal fan. These two tunes don’t make or break the album, but the merits of these two tracks really highlight the best moments of this LP. I also have to mention that “Wither” is a solid ballad, but isn’t the best the band has produced with a chorus that is a bit too melodic and poppy.

I may be in the minority here who actually thinks this album, despite some huge bright spots, is the weakest album the band as produced since Train of Thought. Popular opinion seems to be almost unanimous in its praise for Black Clouds & Silver Linings, but for me, there is just something about this album that “just doesn’t feel right” as sung in “The Count of Tuscany.” Perhaps its the retro feel, or maybe the spoken word passages sprinkled here and there throughout the album by James LaBrie, I don’t really know, but the dynamics for me just aren’t as prevalent. With that said, this album is still good, and definitely a worthy addition to the Dream Theater catalog.

GOOD

Top Tracks: A Nightmare to Remember, A Right of Passage

Similar Artists: Circus Maximus, Yes, Threshold, RUSH

1.    A Nightmare to Remember
2.    A Rite of Passage
3.    Wither
4.    The Shattered Fortress
5.    The Best of Times
6.    The Count of Tuscany  

Kevin James LaBrie - Vocals
John Petrucci - Guitars, Backing Vocals
John Myung - Bass
Mike Portnoy - Drums, Backing Vocals
Jordan Rudess - Keyboards

Roadrunner Records

http://www.dreamtheater.net/

http://www.myspace.com/dreamtheater

Review by CODY

Suffocation’s latest foray into the world of death metal, Blood Oath, is streaming all this week on their Myspace page. The album will be released on July 14th, while a special edition of the album including an additional mix of “Undeserving” and an instrumental version of “Marital Decimation” – is available for pre-order on iTunes right now. Expect a review of this puppy soon!

By Inheritance is one of the greatest thrash metal records ever produced, and a top 5 thrash album for me, so when I  listened to Artillery’s first album in 10 years, I had very high expectations. Upon listening to When Death Comes the first time around, I was as shocked as seeing USA beat Spain today in international soccer. There have been some quality comebacks over the last 5 years from legendary thrash acts like Exodus, Heathen, Sadus, Laaz Rockit and many more, but none of these bands and their latest outputs can come close to touching the quality of When Death Comes. Somehow, I had a gut instinct that this album would be awesome, but I don’t think I grasped just how much of an impact it would have on me, which is ultimately why I posed my statement comparing soccer to metal. So why the shock?

Well, knowing When Death Comes would be good is one thing, but realizing just how far ahead Artillery has almost always been and STILL are is really something to behold. You see, for those who may not be familiar with this band, Artillery are one of those amazing thrash bands from the 80’s who were never able to really gain momentum in the mainstream metal community much like Heathen in America (Artillery hail from Denmark). In 1999, the band released B.A.C.K. which was an incredible release, and showed that the band hadn’t lost a step despite having not released an album since 1990’s By Inheritance. Even still though, after making this comeback, the new breed of metal fan still didn’t seem to find appreciation. So now we are back in 2009, 10 years later with Artillery giving it another go with fresh vocalist Søren Nico Adamsen, along with the same tried and true Artillery riffs.

Søren Nico Adamsen has to be noted for his efforts for the single purpose of being able to live up to the immense reputation of Flemming Rönsdorf. Every album that has come out of the Artillery camp has featured Flemming on vocals, making his pipes the signature of the band, so when Artillery made the move to feature a new vocalist, and listening to how seamlessly Søren makes the transition to really turn the band into his own, you can’t help but smile as an Artillery fan. As for the riffs, Michael and Morten have made sure to keep the other signature sound of the band intact. While the Middle Eastern influences of By Inheritance aren’t as prevalent (”Uniform” being the exception), we are presented with a much more in your face, well produced album that is more akin to latter day Destruction with more melody. No worries though folks, this is still undeniably Artillery we are listening to.

Like American soccer, Artillery are the underdogs of thrash metal, and always have been. It amazed me upon first listening to this just how well preserved a band can be despite not being very active for well over a decade with a short ride in the middle, but at the same time, I was anticipating such. Will When Death Comes by the awakening the band probably hopes for given the warmer climate for metal these days? As much as I wish for that possibility, I just don’t see the extreme metal minded fans of today being interested in this. The only hope  for When Death Comes to really make an impact would be for the thrash revivalists (ala Municipal Waste) to jump on the bandwagon and push for a wider international release than this will inevitably receive. Nevertheless, hardcore fans will persevere on behalf of Artillery, myself included. Success in metal has never come in the number of units sold, its all about how many hearts and minds you can win over with your mind blowing riffs. If dollars were written in satisfied fans, I think Artillery would be rich men.

AMAZING

Top Tracks: 10,000 Devils, The End, When Death Comes

Similar Artists: Destruction, Laaz Rockit, Heathen

1.    When Death Comes
2.    Upon My Cross I Crawl
3.    10.000 Devils
4.    Rise Above It All
5.    Sandbox Philosophy
6.    Delusions Of Grandeur
7.    Not A Nightmare
8.    Damned Religion
9.    Uniform
10.    The End

Søren Nico Adamsen - Vocals
Michael Stützer - Guitars
Morten Stützer - Guitars
Peter Thorslund - Bass
Carsten Nielsen - Drums

http://www.myspace.com/artillerythrashmetal

http://www.metalmind.com.pl/

Review by CODY

Sorry folks, I know I said I was going to post a review on the new Artillery record yesterday, but unfortunately, my router blew up and I didn’t feel like writing a review in the living room with my roommate and friends sitting around (quite distracting). Don’t fret though, because today you will get a review of Artillery as well as the new Dream Theater record. Ain’t I a swell guy?

CODY

Jesus H Christ…a new Artillery album. Look out world, the Danish fucking masters of thrash metal are fucking back! Look for the review tomorrow!

Album: When Death Comes
Label: Metal Mind Productions
Year: 2009

Before there was Rammstein and Marilyn Manson there was KMFDM. While Ministry were and will probably always be the preeminent industrial metal band, I think that KMFDM are far superior in creativity and catchiness. While not as metal as Ministry perhaps, they are still metal enough in my book.

Album: Nihil
Label: Wax Trax!
Year: 1995

Let’s be honest, hardcore, as we know it, has largely disappeared from the psyche of many listeners. The last 15 years have been filled with a replacement sound that many in “hardcore” today consider the purveyors of the genre, when in reality, hardcore by bands like Sick of It All, Madball, Biohazard, Hatebreed, and latter day Agnostic Front possesses very little of what “hardcore” originally was.

In order to explain myself, we have to step back a bit and examine the origins of hardcore. Originating in the late 70’s, hardcore was punk. The origins of the actual name “hardcore” to describe punk music is debated to this day, but looking back, “hardcore punk” is a label used now to describe punk bands who resisted the rising popularity of punk based music in the mainstream by The Clash, The Pretenders, Blondie and The Jam who were taking the punk sound and bringing it into the world of pop, which many in the punk community thought was the biggest sell out imaginable. As a result, a new wave of edgier punk, hellbent on preserving the attitude and rebelliousness of the original punk, was beginning to take formation which would find huge successes in the underground throughout the 80’s in New York, parts of Canada, L.A. and later Boston. In my opinion, the 80’s were the glory years of punk music because of this hardcore punk elite who refused to compromise their sound in order to sell records. This generation of punk brought us moshing, stage diving, gang vocals and so many other telltale constructs which would quickly become an integral part of heavy metal culture as well.

However, once the 90’s rolled around, the hardcore punk movement began developing a third wave , and it’s this third wave of hardcore music that began to shape the term into what it is today. You see, this new generation of hardcore seemingly graduated from the simplicity of punk, to the more technical and heavier aspects of metal. Why an entire generation of punk fans began to adapt into full on metal is beyond me, but the fact of the matter is hardcore stopped being “hardcore punk” and became just hardcore, or more aptly, metalcore. Punk suddenly was no longer en vogue amongst those that had originally set out to keep punk alive. The irony is strong, but wholly apparent.

A good example of this transition from a singular band, would be Madball. Check out Madball’s debut Set It Off which is a quintessential hardcore punk release, however, 4 years later, when you examine the album Look My Way what is presented is a much different sound. The difference is quite clear in my opinion, Set It Off, while beginning to delve into metallic guitar riffs, is still largely cemented in the traditions of punk. However, on Look My Way, the punk has largely disappeared in favor of brutal, downtuned riffs that sound much more like Prong with a swagger to it. This is not punk, this is not hardcore in the traditional sense, this is bare bones metal. I know, I am going to catch flack from both metal and hardcore fans for this whole article, but the truth is self evident, Madball gave up punk a long time ago, as did many of the second and third generations of hardcore and those influenced by them in years to come.

Perhaps the biggest guilty party of substituting the punk traditions with metal, was the band that brought hardcore into the mainstream, Hatebreed. I consider myself a fan of most of their work, but very little of their material has anything to do with punk. The guitars are straight up metal, while the only semblance of punk in their music is the drum beat. Where is the hardcore? From what I can hear, Hatebreed from 1997 on, is a metal band with a dusting of hardcore beats. Hatebreed is and has never been a purebred hardcore band contrary to what fans who started listening to hardcore in the late 90’s may think.

To conclude, I want to make it clear that I am not naive. I realize that the musical landscape is a constantly changing entity. In the case of hardcore, I could care less if hardcore has taken on a new form in the last 15 years, because that is the nature of music. I myself liberally toss the term around in regards to the modern notion of what the genre is supposed to sound like. This is the world we live in, but one thing we cannot do is forget the legacy that hardcore and metal has created. What bands like Discharge, Agnostic Front, Bad Brains, The Exploited, Black Flag, The Unseen, The Stupids, Sick on the Bus and so many others did to make sure the true punk spirit lived on through the 80’s and on into the new millenium cannot be dismissed. Bands like the above need their place in modern hardcore lore, just as much as the mainstream metal enfused acts that cite themselves as being hardcore, if not more so, because they are the namesake, they are HARDCORE PUNK.

CODY