Monday, October 20, 2008

MOWER - Not For You


MOWER
Not For You
Suburban Noize Records
7/10





Buzzing, industrial-strength anthems and medium-tempo rockers with major headbanging appeal form the backbone of “Not For You”. Mower lays down fifteen tracks of wildly diverse metal sounds on this record, resulting in a listen that offers plenty of surprises along the way.

At certain points, the songs Mower spits out are so different from each other that you might believe that you’re listening to a compilation of artists, this being the major downfall of the album.

Surprisingly, this record was released via Surburban Noize, the imprint administered by Kottonmouth Kings. One way in which rock is quite different from rap is that a certain consistency is required in rock music, whereas the vocals are in the spotlight on rap albums, with a rock band, the overall sound of the songs is more apt to be the focus of listeners.

If you put three different tracks from this record over the airwaves, fans would likely believe that they were listening to three different bands.

What’s the upside? The music rocks, delivered with a brash, bullish presence and a flair for abrasive intensity. “American Psycho”, “Look Away” and “Zone” each shine as the record’s highlights.

Although Mower often appears as trying to be everything to everyone, there’s a lot of great music here to sink your teeth into and those who enjoy a diverse musical appearance that is tempered with a metal edge should find this one to be worth a listen.

Written By: Lewis Spiker

Sunday, October 19, 2008

HED PE - Only In Amerika


HED PE
Only In Amerika
Koch Records
9/10





Hed pe has a knack for mixing styles together in order to form a hella unique sound. Their latest, ‘Only In America’ is a massive bomb dropped on the heads of all of the wack-ass bitches out there that have been fronting by following every trend that rolls around. I

nstead, Hed p.e. forges its own path, combining metal, punk rock, hip-hop and more to fashion a sick ass sound that is undeniably slamming. At this juncture in their career, the band has come into their own.

The group's music has always been great, but on this album there is a flow that stretches across the record, linking the tracks together and making for a record that completely rips from start to finish. Lyrically, Jahred hits on topics ranging from to straight up sexual shit to political themes to raging on the eyeliner and black nail polish scene.

Only In America kicks off with a bite on Dr. Dre’s ‘The Chronic’ intro and from there, you’ll find speedy ST style punk rhythms, smooth hip-hop grooves and heavy as hell metal that hits like heavy ordinance.

Jahred seems to gain more and more badass attitude with every album, and with good reason. This guy can do it all, from screaming to rapping to his many different styles of singing, the dude is articulate, sometimes funny and always damn entertaining.

‘Represent’ is a hype blast of aggro rap that hits you right between the eyes with full force. Hed gets into some serious thrashing on ‘Truth’, which features a chaotic, ripping lead that just smokes. ‘Wake Up’ imparts the feeling of a demented circus as Jahred pulls off his best Wu-Tang style rapping. The song busts into a heavy ass chorus that drops like a boulder on your head.

‘War’ is a frenzied affair that smacks Nu metal around like a bitch while ‘CBC’ is an energetic, punked up affair that sings the praises of blowing out the walls with a macho attitude that gets the club sluts hot and bothered.

On ‘Voices’, Jahred spits a smooth rap that gives way to a mad ass, screaming chorus. Jahred’s lyrical flow is straight up sick on ‘Raise Hell’, one of the best tracks on the record. Don’t expect any of these tracks on the radio, though, the lyrics on this album are hardcore in their explicitness throughout the course of the record, so unless Koch Records has some clean versions up their sleeve, this is a record that will stay strictly underground.

Most people who know where it’s at ignore what’s happening on the radio anyway, so it’s irrelevant. The success of Hed p.e. won’t be determined by the decisions of commercial executives but by the acceptance of underground fans.

If you had to censor ‘American Beauty’, it would be an instrumental. Mad props to Jahred and the Hed boys for cranking out yet another uncompromising record that jams from start to finish. ‘Only In Amerika’ proves this band that is at the top of their game.

Written By: Whiskey Puss

Tuesday, October 14, 2008

DECONSTRUCT - The Human Condition


DECONSTRUCT
The Human Condition
Independent Release
8/10





If any band could be placed into the Nu Metal category, it would be Deconstruct, who come off as a slightly more melodic KoRn at times throughout “The Human Condition”. But, for a Nu Metal band, they do end up packing a more powerful punch than many of those who attempt this style.

Vocalist Skitz often seems to emulate many of the more prominent metal singers out there in his method of delivery, which makes the band’s songs sound instantly familiar in the case of pieces such as “No Way Out”. With a slinking Alice In Chains mood, “Automatic” is both memorable and impacting, while “Parasite” is perhaps the most compelling track on this record, with a dynamic, emotion shifting arrangement that includes a great hook.

Guitarist Joe Fraulob often carries the group with a variety of great riffs that deliver the power necessary to project Skitz’ brooding vox directly into the stratosphere. He delivers a swirling solo during “Time Kills” that is filled with biting melody. In “Thrown Away”, the group has a sure fire radio hit, its smooth harmonies and textured melodies are immediately ear catching, making it one of the band’s best.

While many artists performing NuMetal often play it safe, Deconstruct has managed to come up with something altogether dangerous. Do yourself a favor and check out this solid album.


ERIN FOX © 2004 - ALL RIGHTS RESERVED

Friday, October 10, 2008

AMERICAN HEAD CHARGE - The Feeding


AMERICAN HEAD CHARGE
The Feeding
Nitrus Records
9/10




American Head Charge have developed their sound into a gripping onslaught of melody and aggression that kicks aside the Nu-Metal pretenders and plunges directly into the depths of an aural feel that is sometimes pissed off, sometimes spinning in a drugged out haze and always jamming like the devil. There’s no way to tell which direction these songs might take, from smooth commercial sounding passages to gargantuan violent rants, the songs on “The Feeding” ultimately succeed because the band doesn’t attempt to adhere to a set pattern of follow the trends in music as of late.

Instead, they strive to make the listener fell comfortable, then blast you with a from out of nowhere sucker punch of juiced up, nuclear reactive sound. The addictive, dynamic “Loyalty” draws the listener in with a soothing verse then performs a musical bitch slap with its psychotic chorus. The band deftly meshes modern rock and stomping, aggro metal on “Pledge Your Allegiance”.

Cameron Heacock screams with an agony in his soul as the band stomps through a mosh meltdown of a hook. “Dirty” is an easy radio pick. Even with its vicious chorus, this cut would stand tall on modern radio that has been unafraid to spin acts like Killswitch Engage and Slipknot. An introspective, far away sounding introduction ushers in “Ridicule” and then Heacock displays a talented rap that lurches into a demonish spit.

“Leave Me Alone” is straight up, grooving and mean and if “Erratic” doesn’t get your blood boiling, you’re obviously lacking a pulse. If you’re looking for the musical equivalent of a good buzz, “Fiend” will give you your fix and with “Cowards” the band lets go with both barrels with an uncontrollable spasm of sheer ass kicking fury.

American Head Charge have beaten the odds with “The Feeding”, delivering one hell of a sonic rollercoaster of emotions that defies every expectation and ensures that metal fans are going to have one hell of a show when the band takes this ripping metal circus on the road.

Be sure you miss neither the band’s riveting performance nor this stunning record.


ERIN FOX © 2005 - ALL RIGHTS RESERVED

A CHANGE OF PACE - An Offer You Can’t Refuse


A CHANGE OF PACE
An Offer You Can’t Refuse
Immortal Records - 2005
7/10




So many that consider themselves serious metalheads shy away from screamo due to the over-glossy vocalization that is the signature of the sound of this sort of music, but A Change Of Pace are aptly named, they really do offer a bit of a different angle on this style.

As well, there are many listeners out there that can really appreciate the melody inherent in such an ensemble and the key to the success of this band’s sound is the fact that they tend to build to crescendo instead of alternating back and forth between sounds in a schizophrenic yet patterned manner.

Possessing a strong set of pipes, Torry Jasper brings a bit of a punk sound into the mix, while the guitars alternate between taut modern rock and super-heavy picking that gives this band its metal edge.

While a great deal of the group’s lyrics are delivered with melody, the screaming, whether it comes from Jasper or bassist Johnny Abdullah gives this music a measure of potency that balances well with the band’s post-punk song parts.

A Change Of Pace proves that they are not only worthy of your attention with this album, they also run the risk of being the next Hawthorne Heights-type of cross-over success. “Death Do Us Part”, “December” and “Every Second” back that statement up all the way. Vote them most likely to be the next most watched faces on TRL and similar programs.


ERIN FOX © 2005 - ALL RIGHTS RESERVED

2 Cents - Lost At Sea


2 Cents
Lost At Sea
Atlantic Records
7/10




Reckless and relentless, the sound of 2 Cents brings to mind the inspiration of everything from Pantera to System Of A Down to Rage Against The Machine, but the band packages this explosive combination in a manner that’s truly original. Set to make your head bang and your ass move, 2 Cents rip through “Fucked In The Afterlife,” sneer with a thumbed nose at the establishment in the entertainment industry in “Victims Of Pop Culture” and take a dynamic, convincing ride on the edgy “The Wedding Dress.”

It’s hard to say anymore whether Dimebag tributes are appropriate testaments to a metal legend or moves to associate a big name with something new in order to garner buzz and attention. Having said that, “A Song For Darrell Abbott” is heartfelt and well-played. The verses impart the type of feeling that you would actually expect from Down and the aggressive undertones of this track’s chorus are substantial enough to grab attention, with a very Dimebag-esque lick that may not approach the out-of-control fretboard shredding that the man was known for, but is still intensely melodic.

The manic nature of “Steak Dinner” is like a super-aggressive Sublime or at times, even a bit like Bobaflex, while during “Wired,” the band focuses on melody and a slow build-up to hyperactive thrashing. Direct and fueled with the fire of a classic thrash metal riff, “My Two Wives” is an enjoyable foray that not only makes you want to get into the pit, it will want to make you stay there for the entire set.

Bottom line: These guys can kick some ass all different kinds of ways. If this description meets your aspirations for what a great album should be, you owe it to yourself to seek this one out.


ERIN FOX © 2005 - ALL RIGHTS RESERVED

Thursday, October 9, 2008

DJ STARSCREAM – The New Leader


DJ STARSCREAM
The New Leader
Charged N20 Entertainment
6/10




Known to most headbangers as #0 of Slipknot, Sid Wilson drums up plenty of backpacker credibility with his latest DJ Starscream release, The New Leader.

Following a string of Japanese releases under the moniker, Wilson brings an abstract blend of jungle beats and distorted manipulations before the masses of maggots. Wilson kicks it with flair, getting his freak on with snappy snare generations and bouncy beats, but he’s no DJ Lethal in any case. Wilson’s influences are broad, as evidenced on the dancehall jungle cut “Come On” or during the mellow vibes exhibited by “L.A. Head Space.”

Diversity should be considered to be the most appealing trait produced by this record. It’s obvious that Wilson is intent upon sonic exploration, but many times, his destination is frustratingly unknown. Rapping, while infrequent, runs the gamut from De La Soul smoothness to Body Count cheese. Including raps may help sell records in suburbia, but these tracks find Wilson at his least creative.

Even so, those who like doing the jungle boogie, who are partial to drum and bass sounds or like standing in arcades just to hear the music will find this useful. While there are certainly guitar elements that lend a slight metal influence to cuts like “Kyukyoku ‘Fight’ Remix,” the metal sounds are quite downplayed compared to what one might expect.

All in all, there are a lot of good ideas musically on this record, but as interesting as it is to hear Wilson step away from the cartoonish metal insanity of Slipknot, this is really only an average album when taken in the context of its own genre.

Having said that, most metalheads are not likely to enjoy this. Even so, it will likely be an important cult release amongst well plugged-in listeners and it will be interesting to see where Wilson heads with this project from here.

© 2007 ERIN FOX – ALL RIGHTS RESERVED