The Lion's Daughter & Indian Blanket - A Black Sea (2013)

Let's face the facts; rarely is a collaborative effort really a collaboration. It ends up being dominated by one part or another, and thus lessons the appeal of the other. There is a fabled middle ground that exists, only in legend, where both sides contribute equally, and do something special, something outside of both of their respective spheres of influence. Both The Lion's Daughter and Indian Blanket are superpowers in their own right, doing what they do up to the standard of sheer excellence. But how could the two of them working together possibly work out for the betterment of both? The former, a St. Louis titan of sludge and doom, once shared space on the same 12" with the mighty Fister. The other, who boast in their lineup both a violinist, a banjo, and a mandolin, play the kind of folk rock that makes people who lack musical talent very jealous. But what would their crazy lovechild sound like? A few months, a press release, and a limited vinyl pressing later, "A Black Sea" came into existence, and quite possibly changed the way we'll view both bands.

The immediately influence of Indian Blanket is both a bold decision and a brilliant one, as "Wolves" begins with a solemn melody of string and voice, over the tapping of drums. But as waves of distortion begin wash over you, the track morphs into something else entirely. This mixture of emotion and rage comes to a head with the first gritty scream that crashes down on your head from above. The merger complete, the bands trade blows, light and heavy, without one ever dominating the other. In fact, their balance is frightening, in that it feels as if the two were tailor made for one another. Strings meet heavy chugging riffs early and often on "Gods Much More Terrible," though the bending of guitar strings and intense screams may have tilted the scales in one way or another. But with interjections, like that around the three minute mark, they create these anxious moments, waiting for the hammer to drop over the sound of a banjo. To hear the screams of The Lion's Daughter vocalist Rich Giordano collide with the sullen crooning of Indian Blanket's Joe Andert is a treat you are unlikely to top. The best call and response track on the album is "Swann," which sees both bands doing what they do best. You are soothed by streams of cleanly played strings, only to be blasted in the skull by a now well refined ball of sludge. When the two come together, you get well preserved and orchestrated chaos.

By the midway point, you have been thoroughly disheveled, and "A Song For The Devil" seeks to bring you down from that adrenaline high. With each strum of a clean guitar and Andert's soothing vocal tone, you feel yourself coming back down to Earth, ever wary of the oncoming darkness. And when the distortion returns about a minute into "Timeless Waters," it does so with a noticeable blues tinge, as if fresh from a side jam session. The song rises and falls, building to a peak of low rumbles, then coming back down. The hum and drum of the final minute, though, stands out in a big way. And in a grand oversimplification, "Sea Of Trees" quickly becomes the most straightforward track on the album, something that is sure to sound misleading at first glance. By no means is this abandoning the premise here, as both bands are present throughout. But this has the most raw appeal, hearing Giordano and company overload your speakers with crushing drums and a towering wall of guitar and bass. As if their unification was ever in doubt, "That Place" is the final shot to be fired. It begans, in earnest, as a soft acoustic ballad. Andert sings softly over clean guitars, with little sign of what is to come. But as the sound builds, you are eventually set off with a wave of atmospheric guitar, cut through with darts of violin.

It would be hard to imagine the end result of a heavy sludge band collaborating with a folk rock band. We, as humans, just don't have the mental capacity to piece that information together. You can wrestle with it, struggle with it, or even meditate on it; no help whatsoever. Instead, it would be worth your time to simply find the album, pick up a copy, and hit "play." It's exactly what you expected it to be, only completely different. It makes no sense whatsoever, and yet, somehow, makes all the sense in the world. This album, this "A Black Sea," is a musical contradiction of itself, in a way that no other album has ever been for us. It is a joint effort between two St. Louis powers that flows right down the middle of their respectively sound paths. I don't know how these two artists from opposite sides of the musical spectrum came together, but we may never hear something like this again. Is this album a softening of the beast that is The Lion's Daughter, or a handful of dirt rubbed into the face of Indian Blanket? Yes. Yes, it is.

9.5/10

The Lion's Daughter
Facebook - https://www.facebook.com/thelionsdaughter
Bandcamp - http://thelionsdaughter.bandcamp.com/

Indian Blanket
Facebook - https://www.facebook.com/indianblanketfolk
Bandcamp - http://indianblanket.bandcamp.com/

Read more ...

Sometimes We Make Music - Forgotten Tales (EP) (2013)

What's in a name? Sometimes, nothing at all. A jumbled group of words representing nothing more than what gets listed on venue bills and album spines. Sometimes, though, a name says so much more than the words on paper. It might result in a double take, or serious inquisition, but seeing the name Sometimes We Make Music sprawled across your computer screen might seem like the former, when, in fact, it is quite literally the latter. Formed earlier this year after the disbanding of their main project, Ivar T. Oftedal and Danny V. Johannessen made the easy decision that they weren't done writing and recording together. That decision, though, paled in comparison to the next one they'd have to make; the name. Bucking the trend of ominous, sometimes bizarrely pretentious names, they went with one that made as much sense as any. Sometimes We Make Music was born that day in Norway, and after the release of their first EP, "Forgotten Tales," we can hope that "sometimes" quickly turns into "often."

With the opening instrumental, "Winter Is Coming," there is a noticeable influence at play here. But rather than let that influence dictate the track itself, "Game Of Thrones" is merely a setting. The composition here is outstanding, with the thumping drums complementing the cry of the guitar. But it is the symphonic element that ties everything together, through the use of horns and strings. Conversely, "The Warrior" is an exercise in dominance, with every series of drums pounding you further into the wall. But it is the vocals that fail to hit home here, lacking a real sense of identity or punch. Their delivery, which hovers between growls, screams, raspy cackles, and the occasional chant, is more miss than hit, particularly with the instrumental churning beneath. The chanting aspect, though, fits blissfully in the latter stages of the track, over a sea of crashing cymbals and keyboard fueled strings. The longest track on the EP which, not coincidentally, is also the most folk inspired might also be the best. "(For The) King Of The North" expands on the band's sound, instrumentally, while also solidifying it, vocally. The use of strings and keys here provides a sense of balance that might have seemed lacking. It quickly becomes an anthem; but not the kind of anthem that warrants a fist up. You'll nod, you'll sway, you'll find yourself completely immersed.

When the tempo rises, there is added energy thrust into the mix. The opening seconds of "Showdown" fall into the category blistering, stepping the guitar and drum work up into another realm. They remain the constant throughout the album, in the best possible way, always commanding attention and awe. The repeated segment that ties chorus back into verse is as dynamic as any on the album, and easily the most likely to lodge itself in your brain stem. But aside from the string and percussion prowess, the track also showcases the best vocal performance. While still lacking a solid identity, the changing styles and deliveries simply fit more snugly here, with little exception. And because of that new found cohesion between voice and instrumental, the closing track, "Troll," feels even more like a grand misstep. It strips away a lot of that uniqueness, and reverts back into a basic folk metal format. This is not to say it's an entirely bad effort, but it fails to capitalize on the momentum they worked so hard to build to this point. The vocals now descend almost entirely into black metal screeches, while the lead guitar crafts a hook that seems wasted here.

I think it would be fair to say that EPs like this one create a level of confusion in their wake. There is no doubting the abilities the members of the band possess; the victories are far more convincing than the stumbles. But those scattered trip and fall moments do make the band name feel more like a warning than a moniker. By no means can anything on the disc be classified as sloppy; it is more ill-conceived than anything else. Tracks that cross over the five minute mark can be dangerous and rewarding at the same time, but their length can also be their biggest fault. When a song feels every bit as long as the run time indicates, you would be best advised to trim it down. And more often than not, you find yourself looking to see if a track is almost over, only to see you've just crossed the halfway mark. In the five songs contained here, Sometimes We Make Music run the entire gauntlet of possible outcomes, with some great successes and disappointments along the way. I think it might be a logical starting point for the next step. Sometimes We Make Music should start making music more often.

6.5/10

Soundcloud - https://soundcloud.com/sometimes-we-make-music
Facebook - https://www.facebook.com/sometimes.we.make.music

Read more ...

Operadyse - Pandemonium (2013)

When I thought the year had reached its pinnacle for symphonic metal, another band emerges and completely changes the game. Has anyone ever wanted a symphonic album that never falters, never missteps and one that is epic beyond all imagination? Well your savior has arrived. French metal heroes Operadyse have created something completely mind-blowing with “Pandemonium.” As far as debut albums go (sorry Elessar and Tyranny of Hours), this one takes the fucking cake. Never before have I heard such beautiful melodies and emotional passages on a band’s first album. The only thing you can do when you listen to “Pandemonium” is sit there with your jaw on the floor. Ok so I built this album up to the heavens, I guess it’s time for me to dive into it, right? Here we go.

If any of you have listened to their EP “Hope Era Dies,” erase that from your memory. The new vocalist Frank Garcia gives the performance of a lifetime on the album, and he makes the band a thousand times better than they were. There isn’t one ounce of comparison between new Operadyse and old Operadyse. The new version of “Celestial Sword” is downright gorgeous. You want symphonic metal perfection? This is it. Everything from the incredible vocals to the movie score keyboards to the blazing solo, this song has it all. “Unfold Legend” and “Keeper of the Flame” pick up the speed but they don’t lack the beautiful melody. The album really hits its pinnacle with “The Path of Divine.” The guitar work is uplifting, thought inducing and played with heart and soul. The bridge on this track has to be one of the most beautiful pieces of music ever written; it will make you close your eyes and just soak in the beauty. “Fairies’ Secret Garden” is another re-done track that sounds much better than it did. This track has some bad-ass guitar riffs that will have you banging your head in no time. “Arkanya” is yet another amazing track with a beautiful bridge that continues the flow of the album oing perfectly. The title track “Pandemonium,” is yet another impressive song on this beast of an album. On “Nevermore,” Damien Marco plays his ass off on the guitar. The guitar solo is outstanding as are the keyboards. The album closes with “Frozen” which is a perfect send-off. It’s hauntingly beautiful and the album couldn’t have ended any better than this.

I don’t think I’ve said the word ‘beautiful’ this many times at once before. “Pandemonium” deserves all the praise I’ve given it and the sad part is my words don’t do this album justice. The entire time this album was on I was completely speechless and almost in tears. How can something in the metal category be so emotional, gorgeous, gripping and good without ever falling short of anything? The vocals, drums, guitar, bass and keyboard are all incredible. Operadyse has made an album that will stay in your heart and soul long after you listen to it. This is more than just music on an album; it’s a dream world that needs to be revisited again and again. Ok, I’m going to stop beating a dead horse with how good this album really is. Before I’m done just let me say one more thing “, Pandemonium” is a groundbreaking and epic album that is nothing short of a masterpiece.

10/10

Facebook - https://www.facebook.com/operadyseofficial

Read more ...

Burning Shadows - The Last One To Fall (EP) (2013)

There comes a time for every band where they must contemplate, think about, or execute, an upgrade. Instruments, recording equipment, studio alliances all must be reforged and improved if they are to advance and vanquish those who stand in their way. Burning Shadows are not different; despite the quality of their last album, "Gather, Darkness!" released a mere 16 months ago, it was time to push themselves and their recordings to new levels of clarity and depth. With some new equipment in tow, and a new process to nail down, eighteen tracks were recorded to test their mettle and deliver the first tones of the next wave of music. But with fans waiting patiently for the third album to be recorded,a  bone must be thrown to the masses in the meantime. Included on this pallet wetter are two new tracks, a classic, and a medley, all recorded live, in studio. It's a small bite, yes; but with the appetite now subdued, it is on to the next battle. A full length album to expand on what "The Last One To Fall" has already shown.

Let it be said that there is something endearing and righteous about the way this band delivers their music, and the title track here is all the evidence you would need. It is, quite literally, a battle cry. Vocalist Tom Davy belts out his lyrics in a classic style, harkening back to the golden days of metal. As his voice wails over the top of the driving instrumental, you have no choice but to join in, fist up, feet stomping beneath you to the huge riffs. What follows is a medley comprised of pieces of the "Thousand Lies" saga that made up a third of the last album. But with new found clarity and crispness, every drum hits harder, and every fill rolls smoother. It adds a new layer to the mix, a three dimensional sound that was missing from the original recording. The same could be said for "New Dawn Arise," which first appeared on the debut full length "Into The Primordial." The improvements here are thousandfold, though, with the vocal harmonies alone taking on a tremendous improvement in sound and delivery. If nothing else, it shows how far this band has come over the years, with lineup changes and shuffling doing a great deal of good. But perhaps the most impressive effort on the disc, the second new song "Southwind" is good enough to be the keystone in the next set of songs. It brings the grit back into Davy's voice, combining progressive power metal and classic metal themes into one massive undertaking. The guitar work is tight, and the rhythm section is tighter still.

Taking that first step towards higher fidelity recordings is both a sign of courage and vision. You have to be secure and confident enough in what you are doing to not only invest the money, but the emotional stake in what you are creating. Burning Shadows turn that comfort level into well crafted, accessible songs that are sure to please fans young and old. Refining their recording and production makes a noticeable difference, undoubtedly; but their songwriting is what makes every ounce of blood, sweat and tears they spent getting here worth it. No amount of money can buy equipment that would make a bad band sound good. The truth hurts, doesn't it Nickelback? But what it can do is help a good band get better. Not on the talent scale, of course, but in the sheer strength of sound. That proof is in the rerecorded pudding on this EP, when comparing old versions to new. But the true test will be the completion of the third full length album. When they press record for what will become their next effort, will all of this pay off? If "The Last One To Fall" is any indication, we are in for a wild ride.

8/10

Official Site - http://burningshadows.com/
Bandcamp - http://burningshadows.bandcamp.com/
Facebook - https://www.facebook.com/bsmetal

Read more ...

Hell - Curse & Chapter (2013)

After a nearly 25 year hiatus, "Human Remains" reminded the world of the greatness that never came to be so many years ago. Hell had finally arrived, nearly three decades later, thanks to a few new members and a dedication to their craft. But with any band past, present, or future, there is always the fear that that first major release is a flash in the pan; a stroke of good luck that will never be replicated. Having that many years of inspiration behind one album's worth of songs might have provided an above average result. But with the release of their second album, this five piece has even more at stake, and certainly more to prove to today's discerning (read as: picky) metal fan. Guitarist Andy Sneap, who helped to resurrect the band for their 2011 return, has seen many bands live and die in his times producing. But with "Curse & Chapter," Hell make a bold statement about a laundry list of topics. Not the least of which is, without a doubt, the relevance of a band a quarter century later. There is no sophomore slump to be found.

Having picked up right where "Human Remains" left off, the symphony of fire and brimstone that is "Gehennae Incendiis" provides a suitable backdrop for the album, housing a similar dynamic to that fabled first release. Because when "The Age of Nefarious" breaks through the walls, there is no doubt who you are swinging your hair to. To say, once again, that vocalist David Bower has a voice all his own would be an understatement, as his unique cackling cry his places in the vocal spectrum seldom touched. But as much of the sonic spotlight as he commands, he is matched drop for drop by brother Kev Bower and Sneap, who work a set of near miracles on guitar and keyboard. The solo work is even tighter than before, allowing for a sound that radiates outward. It isn't all thrashing guitars and wild vocal melodies, though, as "The Disposer Supreme" showcases that extra taste of the theatrical in every movement. There is something almost classical about what they do here, but not in the sense that power metal has poisoned us with. Instead, it is the shifting of tempos and vocal acrobatics that resonates most clearly. But never in all seven blaring minutes will you find so much as a single disjointed second; from rolling bass line to whining guitar riffs, every note fits the proverbial glove.

If there is one downfall to this point on the album, it's that the first trio of songs are, perhaps, too good for their own good, setting the bar unattainably high for the latter two thirds. Yet, as easily as those words fall out of our mouths, "Darkhangel" raises that bar even higher. Contained within one track is a lead riff that is as catchy as any you've ever heard, a vocal performance that won't soon be forgotten, and a rhythm section that is as surgically precise as any you've witnessed. And yet that somehow does not do the track justice. It's genre bending, without a hint of irony. And while our distaste for covers contained on an album proper is well documented, the cover of Race Against Time's "Harbinger of Death" fits all too well into the arc of the disc. If there is something about Hell that can't be touched, it is their ability to build an album of tracks that support each other. A cover made their own, followed by "End ov Days," is a match made in Hell. The winding riffs on display here only bolster the lyrical content. Every slamming snare and tom drives one nail further into the coffin, with accuracy and detail that inspires awe.

The rhythm section team of Tim Bowler and Tony Speakman, on drums and bass, respectively, may not be on the covers of magazines, but their work is of the superstar caliber. Tracks like "Deathsquad" could not exist without their attention to detail. While it always seems poised for a vocal breakthrough, it is left as a stunningly atmospsheric and haunting instrumental that induces a wave of chill with each press of the keys. With a wealth of memorable riffs and tracks at their fingertips, it only makes sense that "Something Wicked This Way Comes" is added to that list. It is the perfect blend of everything the band does well, wrapped in a neat five minute package. On the mic, Bower is a wonder, alternating by his high pitched, beyond opera, and menacing spoken verse. Not only does the instrumental mirror his intensity, but also his range. With barely a beat in between, "Faith Will Fall" kicks the door down with another driving riff, as Bower wails "hail to the hypocrite," over the top of it all. Agree or disagree with the premise, it is a glaring social commentary being laid out before you. But unlike Bill Maher or the degenerates from Fox News, there is a massive beat backing it all.

Make no mistake; this album is as long as it is powerful. By the time the last trio of songs comes into sight, beginning with "Land of the Living Dead," you have been thoroughly pelted with distorted guitars and punchy percussion for about 45 minutes. But having come this far, the reward is the music itself, with another easily accessible, if not blisteringly fast, track. Focusing on the solo that comes just before the two and a half minute mark, you get a taste of how deft and imaginative Kev Bower, Sneap and Speakman truly are, darting in and out of each other with no threat of a crash. But taking the avant cake, at least within the four walls of this album, is the sermonizing "Deliver Us From Evil." The choir of voices in the chorus is merely the wick on the dynamite, exploding in a fierce piece of guitar work. Speakman's bass may not be the lead here, but it carries the same weight. The second half, driven by a great bass, guitar and drum groove, could be the result of a great jam session, or a carefully calculated experiment. As a closer, "A Vespertine Legacy" is everything you would want; as a track on the album, it is something more. Some songs, for better or worse, only work because of their placement. This one, however, could fit into any slot on the album and still be as massive. The crawling breakdown after the five minute mark would tear any venue to the ground.

We were fairly blown away by what Hell had done on their first release after reforming a mere two years ago. "Human Remains" was, and still is, one of the albums that we recommend in conversation with metal fans from around the world. And it seemed to be too good to be true, maybe even too good to ever be replicated. And truth be told, there was an eerie, reserved excitement when "Curse & Chapter" made it's way to our doorstep. One could say we were prepared to be disappointed. Instead, what you have here is a statement album. What it says, though, depends on which angle you come from. It speaks to you in different ways, through sound and shape, tone and color. It's complex structuring is quintessential Hell, with every song immediately recognizable, without ever being one dimensional or feeling repeated. That alone would be an enormous victory... but there is so much more. Now a full 26 years after disbanding in 1987, Hell is more than just a triumphant return to form; they are forging new ground, with an album that may be the year's best.

9.5/10

Official Site - http://www.hell-metal.com/
Facebook - https://www.facebook.com/HELLofficial

Read more ...

An Autumn For Crippled Children - Try Not To Destroy Everything You Love (2013)

How can anyone outside of the band itself ever say which piece of work best represents their sound? Influences and inspiration change, and each album a band releases should represent that. An Autumn For Crippled Children are not the same band they were in 2010, at the time of their debut album. That band no longer exists; they've grown, changed, evolved into the modern melodic black metal band they are today. Sure, you will still hear fleeting moments of the band that once was, but even those are different. You can never go back in time to rediscover that sound. And thankfully, in this case, you wouldn't want to. Having fine tuned every aspect of their music in the last three years, this is a band looking forward, not backwards. They've introduced new wrinkles to familiar formulas, pushing themselves toward the next evolutionary step. And with this, their forth album in three years, they have found a plateau that they could stand comfortably on for a decade. The introspective and daring "Try Not To Destroy Everything You Love" is the missing link.

Having taken such giant leaps on their previous effort, it stands to reason that they would come right out of the gate at a similar rate. Not to be disappointed, "Autumn Again" is a blustery piece of modern black metal, but that would be an oversimplification. The use of keyboards and synthesizers is astoundingly effective here, often offsetting the raw power of both the drums and vocals. The percussion elements seem reckless but their foundation is strong, akin to some of the more daring post-rock bands from the far east. The beats are nothing if not deliberate, with tracks like "The Woods Are On Fire" making the most of every solitary drum stick movement and kick. They have found their niche between aggression and transcendence, a foot hold that grows with every sweep keyboard melody. So much so, in fact, that it would not be a stretch to declare this to be the best track of their catalog so far. It is a statement of direction; not a new one or change in one, but a firm step down a path. The atmospheric backing is haunting, while the chilling screams, such as on "Never Complete," are just as raw and jagged as they were when the band began.

There are obvious departures from the past on the album, as well. The title track, for instance, has an opening that is as much jazz club groove as it is anything else. The light tapping of cymbals provides ample support to a bass led melody, a fitting calm before the storm moment. The aforementioned storm, while not up to the magnitude the analogy invites, is enough to displace a few hairs on your head with gusts of distortion. Everything blows and swirls around that central framework, the one so carefully crafted with the growing keyboard presence. It would be difficult not to acknowledge the art-rock qualities that seem present throughout the flow of the album, whether it be the outro to the title track, or the intro to "Hearts Of Light." This may not be a softer band than we have known, but it is a band expanding their influence and, more importantly, their musical output. You'll find a great deal of sincerity buried in the screams, just as much as each singular piano key. That is an attraction that is hard to manufacture; heavy music isn't always heralded for it's ability to bring out emotion. And while "Sepia Mountains For Her Lament" is the shortest track on the album, it is also the most breathtaking. It speaks volumes with every snare, every synthesized note.

The depth of the album isn't even evident by this point, needing the final trio of songs to make it complete. "Closer" is as explosive a track as you'll find on this disc, reverting back into the wild drum patterns of the early stages of the album, without ever losing that firm grip and bass driven leads. The segment that comes just after the three minute mark could just as easily be attributed to a band like Te or dredg, harnessing every ounce of power in each instrument to pull you into the swirling winds. Through a series of mood and tempo changes, they convey strength and emotion, without any lyric sheet necessary. With the dynamics of light and dark now fully at work, "Avoiding Winter" capitalizes at every turn. Whether it be the serene opening, which is beautiful in it's own right, or the first blast of distorted guitars that follow, each segment plays well off the one before and after it. Perhaps the most easily overlooked victory here is on a song like "Starlit Spirits," where the instrumental becomes so expansive, that it is almost too much to contain in one mix. Due to the nature of the music itself, we dismiss production; but here it should be celebrated.

Much in the way that we are not in charge of how a band progresses and changes throughout their career, we are also not in a place to demand anything. Yes, you miss the days when Metallica made music you wanted to hear. And yes, the last few Megadeth albums have been a great departure from anything close to listenable. But you can't reach back 15 years and recreate that sound. An Autumn For Crippled Children are proof that change can be a good thing, honing their own style into one that is strong, but delicate, vibrant, but subdued. It isn't that they've abandoned who they once were, all those years ago; they have just allowed their music to grow and change with them, as people. The raw has come face to face with the well rounded and smooth, and the results speak for themselves. There is, of course, a downside to any album that stakes a claim as the best in any one band's catalog; you'll never look at their other discs the same way again. But after "Try Not To Destroy Everything You Love," I think we can all be perfectly content with that.

9.5/10

Bandcamp - http://anautumnforcrippledchildren.bandcamp.com/
Facebook - https://www.facebook.com/pages/An-Autumn-For-Crippled-Children/108017119243983

Read more ...

Sannhet - Lions Eye / You Thy __ (EP) (2013)

Many of the best bands you've never heard of are hiding somewhere in the sprawling utopia of Brooklyn, NY. Audiophiles and music obsessed fans from all walks of life could find solace on any given night somewhere in Brooklyn's seemingly endless venues and music harbors. Hip hop has found a home in the building next to a venue that often houses noise and hardcore bands. They coexist, sometimes not happily, and form the proverbial rainbow. Open the door to any music hall or bar, and it would seem the sounds emanating from within those four walls will tickle your senses in ways you forgot existed. But for some reason, the streets of Brooklyn also act as egg crates, scattering and confining the sound to those city blocks, away from the outside world that might corrupt or poison it. Sannhet are not restricted to their home; after the release of their critically acclaimed debut, "Known Flood" their name began to spread like a whisper around the US, and the world. That sound all their own, that energetic approach to heavy music rears it's beautiful head once again, this time on "Lions Eye / You Thy __."

It is without hesitation that you are thrust into the thrill of the battle, with all three members jumping on the beat with surgical and clean precision. The battery of blackened metal drumming that leads off is hard to wrap one's head around initially; it has all of the ferocity of the darkest form of metal, without the tin can sound hidden within each snare. It's in that way that "Lions Eye" fools you; it boasts the energy of one style, while still maintaining the integrity of another. Drummer Christopher Todd smashes and pounds his way through verse and chorus, as bassist AJ Annunziata inputs his own spin on the main theme. Their truly unique take on instrumental metal, be it experimental or otherwise, leads to mind altering results. The harsh reality of "Lions Eye" flows progressively into the melody based "You Thy __," which has a punch in it's own right. But amidst that very post-metal shift of tides, it is the same trio doing very similar things within their own space. Guitarist John Refano reaches for the higher registers, almost crying over the top of the chaos down below. But that chaos, the unrestrained attack of the rhythm section, is anything but reckless. Methodical and chemically entwined, it rises and falls together.

Whether they are the next big thing, or merely the next great band to come out of Brooklyn, Sannhet are always going to be more than any label could describe. Their music is one of a kind. No, they aren't the first band to play guitar, bass and drums, minus the vocal, in a vibrant and eclectic formation. But they way they arrange their sounds, the way they put them together, and the way it pulses through your speakers is, without fail, a new experience. There is a reason they have garnered so much praise for their work over the last ten months, and it isn't for what they said on Twitter, how many grams of weed they were caught with in a routine traffic stop, or how many hookers were found in their hotel rooms on their tour of South America. For once, and hopefully forever, you have a band that can be appreciated on the merits of the music they create, and the astonishing combination of sounds and images that spring to mind. It's only two songs, which makes it easy to overreact. But "Lions Eye / You Thy __" may have captured the sound and fury of 2013 in less than eight minutes.

10/10

Bandcamp - http://sannhet.bandcamp.com/
Facebook - https://www.facebook.com/sannhet

Read more ...