Napalm Death - Apex Predator - Easy Meat Review

Napalm Death - Apex Predator - Easy Meat [Grindcore / Death Metal]

That's an idiotic album title.

Napalm Death's last three albums have been remarkably relevant to metal, no easy feat when you consider the fact that Napalm Death is pretty much still one of the best bands of the genre it helped to create. This album continues in that route; well-crafted deathgrind from veterans who have mastered the art of songwriting.

The one unexpected thing about this album is just how much of a riff-fest it is. Napalm Death has never been that band with the best riffs, but guitarist Mitch Harris is on fire on this album. More than half the songs have memorable riffs that really stick in your head.

A track by track analysis, you may one to take a shot every time I mention how good the riff is:

1. Apex Predator - Easy Meat - It's an interesting way to start your album, with tribal drums and some really strange, layered vocals,... Could have been a little shorter.
2. Smash A Single Digit - The first minute's standard Napalm Death, but the riff in the last 26 seconds is so fucking good
3. Metaphorically Screw You - You see this is what I like about these guys, they really don't waste any part of the song for some filler verse. The song stays at a steady tempo and then goes on to this really groovy syncopated part; "Triple, triple, triple triple speak, triple triple triple triple triple triple speak!". I've been singing that in my head so many times these last few months.
4. How The Years Condemn - Again, the main riff here is really catchy, and the chorus tend to the more melodic side.
5. Stubborn Stains - Another riff fest. Every subsequent builds on the previous riff and the song progresses so nicely. Another thing to note; the riff on the breakdown.
6. Timeless Flogging - Lol, try getting the introductory riff out of your head for this one.
7. Dear Slum Landlord - Things get a little weird when Napalm Death slows down because Barney isn't the most gifted singer, but thankfully the song is pretty short.
8. Cesspits - This is another one with a fantastic riff. The song is relatively sludgy, but not as weird as the previous song. Mitch Harris' backing vocals are sparse but really complement Barney's low-pitched growls well, though this has been part of Napalm Death's sound for quite a while already. Newer bands, this is how often you should compliment your death growls with high pitched screams, not all the fucking time. Also: goddamit that riff at the breakdown!
9. Bloodless Coup - Ok, this one is an average song.
10. Beyond The Pale - Riffs in the middle and at the end. Yes.
11. Stunt Your Growth - Main riff is an absolute scorcher and the song itself is really enjoyable.
12. Hierarchies - Slower and strangely melodic at the chorus.
13. Caste The Waste - Another strange. slow. sludgy song.
14. One-Eyed - Wellllll, that riff in the breakdown.
15. What Is Past Is Prologue - Fantastic riffage again.
16. Oh So Pseudo - Song's pretty average but really good breakdown.
17. Adversarial / Copulating Snakes - This one is a really good song. The verse are in the question and answer format which make them kinda groovy, while the chorus is just Mitch Harris screaming "ADVERSARIAL!". The second half isn't as exciting, but seems to be focusing and ominous atmosphere.
18. Paracide - It's a cover and it's fun. Haven't heard of the original band, Gepøpel.

So it wouldn't be a surprise that I like this album a lot, though it could do with a few more tweaks.

The audio production is standard overcompressed shit at DR5, but the clarity of the instruments is still decipherable, though this might be because there's only one guitarist.

Rating: 4/5

Misery Index - The Killing Gods Review

Misery Index - The Killing Gods [Death Metal / Deathgrind]

The album comes out four years after their last record, Heirs To Thievery before drummer Adam Jarvis went on to fill for Pig Destroyer.



If you like your death metal, this is the album to go to. It doesn't really deviate from the path Misery Index has been on, has a nice balance between grindcore and death metal (enough to help stand out from the wave of death metal albums anyway). If anything, there is a heavier emphasis on melody then before, but the band also seems to have lost it's hardcore/punk vibe. Does that pay off? Well not so much, but the results aren't disappointing either. The first five songs are intended to be a suite (entitled 'Faust'). The songs flow pretty seamlessly into one another but doesn't accomplish much else. In fact the opposite seems to happen here, the album seems pretty one-dimensional and repetitive. There are few standout tracks (Conjuring The Cull and Colony Collapse), but everything else doesn't seem memorable. The two instrumental tracks 'Urfaust' and 'The Oath' sees the band meandering in atmospherics, but it doesn't seem convincing (especially when you compare with an album like Immolation, who seemed to have mastered the art of cold atmosphere in death metal). As opposed to their openers in the past ('We Never Come In Peace'), the instrumental tracks seem pretty useless.

In terms of performance, the band is pretty much what you would expect from the genre. Adam Jarvis is a phenomenally fast drummer, but seems to be pretty under-utilized here. Not sure if it's a conscious effort to separate themselves from his mathematical drumming on Book Burner, but Jarvis is usually jut blast beating or double peddling here. Guitars are pretty much the same despite a line-up change, though I guess the punk influence left with John Voyles' departure. If anything, you wouldn't know there was a change in the line-up. John Gallagher from Dying Fetus lends a wild guitar solo on 'Colony Collapse' which is surprisingly memorable. Band leader Jason Netherton is on absolute top form here. His vocals sound more ferocious and he even brings in some sharp barks on this album. His bassline can be heard quite well too, and his tone definitely brings a lot of character to the songs, adding a dimension of fury. I have no idea what he's saying so far and there hasn't been an official release of the lyrics, and his lyrics have been one of the best in the genre. I may revisit this review and add some lines once I got a hold of the lyrics.

In terms of production, the mix is about right. The drums are audibly loud and carry a lot of depth, though that's the same mix they have been tinkering with for years anyway. The mastering, however, is pretty subpar and doesn't lend to the music in anyway. The dynamic range is a dismal value of DR5. This isn't going to deter casual fans anyway.

All in all, I would say the album is a bit of a letdown. Yes it's still heaps above the average death metal album, and despite the lack of memorable hooks, the album still has a lot of flow and works very well as background music or when working out (this is definitely going to be on my gym playlist). I sorely miss the punk vibes that made Traitors such a great album, and I still think that that is their crowning achievement.

★★★☆☆ Average

Featured Artiste: Opposition Party

This is a request from JungleKid (look right to the hidden cbox that only smart people have noticed). Rather than go through the band's history as I have with earlier featured artistes, I will share my thoughts on two of the albums I have from this band, namely a compilation entitled 'The Chaotic Years' and their latest LP from 2005, Zombified. Opposition Party can be described as 80s influenced punk, because duhh they formed in the 80s, but have slowly integrated thrash metal as part of their sound over the years. This isn't groundbreaking though, interviews with Slayer and Metallica have shown that punk was the trigger that helped in the development of thrash metal.


Chaotic Years 1989 - 1995

These tracks are supposedly mulled from the band's earlier cassettes, and this shows in the atrocious quality of the recordings, distorted and scarred beyond recognition (incidentally the band's earliest songs 'Brain Fucked'. 'Zombified', 'Ignorance' and 'Taking Us For Fools' would be rerecorded thrash metal style on their subsequent CD, Zombified). Getting past production value, the band reveals itself to be no slouch technically, but never compromise technicality for song-writing. However, how much of an impact does their song-writing have? Taking the point of view from 2012, these two-decade old songs do no seem to have stood the test of time. The sound production was definitely vintage, and there is decent variation in song-writing, the clean intro of 'Suicide Bound' definitely shocked me. However, the vocals leave a lot to be desired, personally, lacking the detachment represented in punk songs from that era, and the energy demanded in thrash metal. Instead, band leader Francis' vocals tread the line between this two, but never managed to create an impact on me. The lack of clarity in enunciation of lyrics also creates a sort of detachment between me and the music, which is a fatal flaw for anarchic punk. However, as said, the guitar work and bass makes up a lot for the music.

An interesting thing about this compilation is that the chronological placement of the tracks have a nice progression, as you see the sound of the band slowly change over time, with the change of atmosphere beginning from 'Dance Of Fire' with its palm-muted riffs reminiscent of early 90s death metal, and a marked change in Francis' vocals, though they never quite make the cut for me.

As said, the music is good, but it does not quite stand the test of time. Marred by the same flaws most local bands have; poor production and poor vocals, this is a hideous irritation because the songs here are very enjoyable, and songs like 'Impending Death' and 'Lonely Realm', by which time the band's songwriting has vastly improved, could have huge potential that could have been a pleasure to experience live, but have no power in studio. Also, the band doesn't have anything unique to offer, it is basically treading the same paths of punk bands all over the world, with the same vocal work and some decent guitar/bass flare. I draw in comparison the local band Rudra. Basically they play black metal but they have stood out from the world and given their own ethnic twist on their genre, even though the band was also marred by the same problems that this band had in their earlier years. Also case in point; a band with the same themes but who have managed to bring their songs to local context; Truth Be Known with their tongue-in-cheek remarks at local ministers. You want something Singaporean from a local band, not a half-baked imitation of the international scene. This would be a nice twist for the band that isn't making full potential of its musical skill.

★★★☆☆ Average - Half of album is listenable


Zombified

The rerecording shows one secret weapon this band has that I don't think anyone else in Singapore would have: Kazz's bass. From start to end, the basslines dominate the songs, which is quite a pleasure to listen to, and the thought that such musicians can come up in the local scene will definitely bring some pride to listeners. Francis' vocals seem to have a more metal edge to them and it definitely works better with the music.

However, the production is still... lethargic. As said earlier, the band continues to struggle with creating a unique identity. There is also a clash of ideas with the band's new thrash metal stylings, you can see that there is an added emphasis on guitar, but unlike the older songs, the guitars seem uninspired and tired, which must be a flaw in the mix (whoever processes the band's songs ought to be shot). The sterile sound production surely helps Kazz's bass, but this destroys the band's overall sound. The drums by session drummer Alfe sound weak and needle-like, not sharp but whiny. Francis' and Lee's guitar, while technical, seem confused as to whether to go for the tasteful, youthful energy of punk or the technical shred glory of thrash metal, and in attempting to do so sound conflicting and half-baked. There are many times you wish the band was heavier, but the production does not allow for it.

Elsewhere there are several wonderful moments in the songs, the use of police sirens wailing at the back of  'It's Chaos' is definitely unexpected and tasteful, but by no means original. The choruses, while predictable (usually just the title of the song over the riff) are catchy and can definitely translate well in live performances - case in point- 'Good People'.

With a push in proper guitar leads and a heavier sound, this band could be huge, not that it already isn't, but that is my two cents la.

★★★☆☆ Average - Half of album is listenable

Pig Destroyer - Book Burner

Pig Destroyer - Book Burner [Grindcore]

You do not need to be a fan of grindcore to appreciate this. 

Five years after Pig Destroyer shocked the world with its seamless mix of both violent sonicscapes and intellectual song writing in Phantom Limb, and after a whole series of bad luck (their got burnt down, departure of then drummer Brian Harvey), Book Burner was definitely one of the most anticipated albums of 2012, but unlike bands that fail to deliver consecutively, Pig Destroyer not only satisfies fans and critics alike, it pushes the boundaries of grindcore in a way even Napalm Death could not have imagined. 

Boasting sterile clean production, with piercing drum beats by none other than Misery Index leader Adam Jarvis, a satisfactory performance by vocalist J. R. Hayes, and a completely unexpected performance of pure aggression by guitarist and founding member Scott Hull. Guitar riffage may not be the most appealing factor in grindcore but Scot Hull has completely burned the book of rules on genre definitions. 

Yes, the template of the album is grindcore, but there are numerous moments when the band blurs the lines between all forms of metal; thrash riffs flirt with your ears for as little as five seconds, and lightning fast riffs seem to all crash into one another to form a compressed groove riff, stopping with such unpredictability that it seems Jarvis and Hull are symbiotic in their playing, and their cohesiveness in the music has been one of the best I've heard this year, possibly even topping Cannibal Corpse's Torture earlier this year (which by the way, is still one of my personal favourite albums this year). Jarvis himself is no slouch, opting for a refined and mathematical precision rather than his typical blastbeats in Misery Index, and without indulging in its own complexity but rather creating a sharp and focused performance. The absence of a bassist is almost negligible because Hull's eight string guitar takes up the space of its lower pitched compartment, and the amount of memorable riffs and hooks in this album, its more than some bands' entire catalogs. The intro of 'Permanent Funeral' sounds like a modern version of Slayer's classic Raining Blood. 

This is not just the best grindcore album to come out in probably the history of the genre, this might damn well even propel the band to the peaks of the elite with its apocalyptic vision, power and rage, core ingredients of metal which has since been long forgotten with the rise of homosexuality and femininity in the music industry. Tie with Krallice for album of the year now. 

★★★★★ Excellent - Undisputed classic for critical listening

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JE's Take:

This is the first time I'm listening to anything by Pig Destroyer and I'm digging this stuff already. Though 'Burning Palm' may be the album's de facto single, I feel that 'Baltimore Strangler' is the album's best piece and defining track.

As has already been said, the band, in this album, manages to stretch preexisting definitions of grindcore and turns in a surprisingly enjoyable and musical effort replete with tangible elements of thrash and - dare I say it - metalcore/screamo.

Unlike Satthia, however, I'm not yet ready to elevate this album to historical status - the vocal performance hinders me from doing so. A historically good album has to have little to no discernible holes; the vocals in this album are passable at best, and a stark drop-off from the rhythm section.

Still, Book Burner is a great album that fully merits the following:Rating: ★★★★☆ Good - Strong flow, immediately grabs you

Featured Artist: Truth Be Known

As stated in an earlier post, we will be taking a closer look at the band that is Truth Be Known.

'Who?', you ask.



Basically, Truth Be Known is a five-piece Singaporean metal band comprising Joshua Nair on bass, Gene Yeo on drums, Damien and Mac on guitars and the flamboyant Subash 'Ramone' on vocals.

Truth Be Known play a rapid, aggressive brand of death metal/hardcore punk music which bandleader Ramone likes to label 'funcore' - a nod to how the band members, while dedicated, do not take their music, lyrics or performances overly seriously.

Also, the band likes to have a good Singaporean laugh - testament to this are the satirical undertones in songs like 'Men In White' (about a certain political party) and 'Life Kills You' (obvious).

Satthia and I had the pleasure of attending a gig of theirs at the Hood Bar recently (they opened for the wonderful Kvelertak) and they certainly brought their A-game to the show, though with a session drummer instead of their usual one. The speed and intensity in their music were on full display there, and on top of that they were a blast live, interacting with the fans, cracking jokes, and performing the sweat out of themselves. The band then tipped us off about their Facebook page (http://www.facebook.com/truthbeknownsg/app_178091127385), complete with free, downloadable tracks.

What tracks?

Well, 'Oblivion Youth' starts off with a pulsating double-bass sequence which leads into Ramone's screamed verse and then a short guitar break (a common theme in Truth Be Known's music) followed by a grinding blast-beat sequence (which starts at 0:49 in the track). The chorus reverts back to double bass and pedal tone riffing (another common feature of the band's songs) and then the song heads into a hard rock-style build up into the song's climax, the guitar solo.

'Just Another Lamb', in comparison, makes use of dual vocalists and is a high-tempo, hardcore punk-style effort with the recognisable vocal hook 'Just another f***ing lamb!'. Ramone favours the more punk-oriented 'shouted' vocal in this tune instead of his typical death growls, though both vocal stylings are on show here.

'Go Asphyxiate Yourself' is perhaps the piece that straddles the middling line that divides 'Oblivion Youth' (heavy death metal) and 'Just Another Lamb' (post-hardcore). This song is all-out aggressiveness from start to finish, as the title would suggest. The riffing in this song brings to mind Slayer; the vocals Bullet For My Valentine, minus the Welsh accent. The song gets off to a furious start, complete with aggressively-pinched guitar riffs and vocal lines, and does not let up at any point - the band, when playing this live, takes it up a notch by going even faster and more aggressive (especially Ramone).

These three pieces perhaps sum up the band musically: the band may play across a variety of genres - spanning post-hardcore to brutal death - but the songs are alike in that they promise full-on aggressiveness, worthy vocal efforts from the versatile Ramone, and a tight, crisp and blazing fast rhythm section. To top things off, the band is unquestionably even better live than in studio, because of their casual humour and ability to connect to audiences (a trait that, sadly, not many Singaporean artists have).

- JE