This week’s roundup sees us taking a look at new offerings from Trap Them, Origin, Monuments, Tankard, and Graves At Sea.
Tankard – Fooled By Your Guts
When it comes to a new Tankard song, those who know the band already know what to expect; It’s going to be thrashy, it’s going to be slightly tongue-in-cheek, and it’s definitely going to sound like Tankard. For “Fooled by Your Guts,” the lead single from the upcoming record R.I.B., it’s basically the same old, same old.
There’s a solid riff or two in the mix and Gerre’s unique vocals always carry some charm to them, but it certainly lacks the hooks that made “A Girl Called Cerveza” such a great lead-off for the last record. Fans of Tankard will enjoy it for what it is (which so happens to be a song about a man who can brew beer in his stomach with food) but it might not sell everyone.
R.I.B. is out June 20th on Nuclear Blast.
Trap Them – “Organic Infernal”
The name of Trap Them’s upcoming album, from which Name is taken, is Blissfucker, and that’s all you really need to know.
If however you are intrigued by this all-time greatest ever album title of all album titles ever of all time1want to know more then I can tell you that “Organic Infernal” is a lot less extreme and more upbeat than one would come to expect from Trap Them at this point – expecially following the grimey “Salted Crypts” – and bears a striking sonic resemblance to Milwaukee, Fall-Out-Boy-drummer-including, crusters Enabler.
Trap them have long-been the standard to which I hold all, modern, extreme hardcore and there’s a good reason for that, even if “Organic Infernal” isn’t necessarily it.
Blissfucker will be out June 10th on Prosthetic Records.
Graves At Sea – “Betting On Black”
Portland’s Graves at Sea haven’t released a lot of material – a total of 11 songs according to The Metal Archives – but given their output in 2014, it appears the winds of change have come. The quartet have already released an EP, This Place Is Poison, and a split with Sourvein this year, with both being excellent examples of charred doom/sludge.
Of the four songs they’ve released this year, the bitch of the batch has to be “Betting on Black,” the opener to the Sourvein split. With its devilish riffs, jagged grunge structure, and the burning vocals of Nathan Misterek, the track looms as a near perfect example of the subgenre.
A limited quantity of the The Graves at Sea/Sourvein split is on release now from Seventh Rule Recordings.
Monuments – “I, The Creator”
The genre might still be in its infancy but my tip for the best djent album thus far lies firmly with, UK-based act Monuments’ debut album, Gnosis (2012). It might have lacked the progressive presence of Periphery or the crushing heaviness of Sweden’s Vildhjarta, but Gnosis displayed a deft songwriting like none the genre had seen before …nor has since.
“I, The Creator” is the first track to be released from Gnosis’s follow-up, The Amanuensis, due to be released later this year via Century Media. The Amanuensis will be based around a concept drawn from Cloud Atlas of all things, and “the Samsara cycle… The cyclical existence of life that we are all bound to,” guitarist John Brown has explained.
The track also marks the first time we’ve heard the band with new vocalist Chris Barretto (ex-Periphery) and it’s his presence that really defines “I, The Creator.” Barretto’s vocals are a lot higher and cleaner sounding than those of Monuments’ ex-vocalist, Matt Rose and he leaves the distinct impression that The Amanuensis might follow the more sultry direction, fellow-djentmasters, Tesseract took with their second album Altered State (2013), following their own vocalist-switching shenanigans – though Barretto does do a pretty fierce Randy Blythe impression there at the end, and musically “I, The Creator” seems the logical extension of Gnosis, even if it’s not quite as immediate an experience.
Origin – “Manifest Desolate”
I for one was quite taken by the stripped-back, groove-driven approach of Origin’s last record, Entity (2011), but I’m in no way dissapointed that “Manifest Desolate,” the lead single from the tech-death masters’ upcoming sixth album Omnipresent.
“Manifest Desolate” isn’t quite the all-out arpegio fest of Antithesis or Echoes Of Decimation but it’s a bit more involved than the tracks on Entity were and, in a year that’s already shown plenty in the way of quality death metal, sets expectations rather high for Omnipresent, should the rest of the album follow suite.
Onipresent is slated for a July 8th release on Nuclear Blast.
1 The only other real contender being Fuckhammer’s Hammered To Fuck.