These are unprecedented times. For years now most of us have had to live under the cosh of austerity or whatever else the people in charge decide to dress it up as this week. All the while having to conform into whatever pseudo-machine like form is necessary to put food on the table, or pay for heating. It is therefore no surprise that bands like Body Void produce records like Atrocity Machine, that are crushingly depressive, that make you feel like there is very little hope left so why not throw yourself into that nascent nihilism that’s been bubbling beneath the surface for the last ten to fifteen years.
This is Body Void’s fourth studio album, and whilst they maintain a doom metal core, they further enhance their sound with layers of caterwauling screams and industrial synth laden depression to make this release even more heavy than any that came before it. The artwork for the album was created by Ethan Lee McCarthy, a long-time collaborator with the band. It is inspired by Tetsuo: The Iron Man, a Japanese film from the late 80’s where a man gradually turns into a machine. This is a perfect choice to accompany the album, it’s red background paints a picture of the blood and suffering that is complicit in the industrialising of the human body and the idolising of productivity.
Led by frontman Zak Thomas and recorded mainly in his Cardiff tattoo studio, Muriel’s self-titled debut is an exceptionally honest and intimate experience. What may, at first, seem like a fairly straightforward acoustic indie album, hides layer after layer of sonic depth and understated ambience with plenty of lyrical intricacy to pick apart.
From the album’s opening tracks ‘Blue Village’ and ‘Seaside Painter’, Muriel make it clear that there’s something deeper going on here. Beneath the leading nylon string guitar strums and lilting vocals, subtle slide guitar, backing drones and tasteful piano flourishes create layers of exploratory ambience that elevate the band’s sound, bringing them closer to the labyrinthine ambience of artists like Godspeed You! Black Emperor or The World Is A Beautiful Place And I Am No Longer Afraid To Die than the stripped down acoustic sound that many artists fall back on. Lead single ‘Seaside Painter’ takes full advantage of everything the band has at their disposal, keeping Thomas’ vocals and classical guitar at a relatively even pace while filling every inch of empty space with other guitar lines, synths, Rachael Crabbe’s ethereal backing vocals and punchy drum lines.
California two-piece Twin Temple have been making quite the name for themselves since their apparition in 2017. Being self proclaimed practicing satanists, staunch feminists and wanting to dethrone the dominance of heavy metal within “satanic” music, the husband and wife duo channel the sparkle of early American rock and roll from the 1950’s and 60’s. Their 2019 debut Twin Temple (Bring You Their Signature Sound…. Satanic Doo-Wop) was widely praised for their unique sound and strong lyricism exploring progressive issues with a satanic spirit, the band have doubled down with their new album God Is Dead creating “our most blasphemous, horny and painstakingly period-correct work to date”.
There is no need for subtlety in a Twin Temple album, the opening track and lead single ‘Burn Your Bible’ a prime example. Opening with a mild nod to Black Sabbath with thunder and church bells before breaking into their soulful tribute to the golden age. There is a wide variety of instrumentation peppered around the performance; xylophones, horns and strings bolstering the guitars, bass and drums. Alexandra James’ vocal performance is immediately enrapturing, powerful charismatic energy emanating from her performances combined with backing vocals. ‘(Fallin’ For A) Fallen Angel’ is a shimmering love song about, who else?! Satan. Crooning vocals telling the tale of being charmed by and falling for Lucifer, the subject matter fitting a alongside the rock and roll aesthetic but juxtaposing the traditional subject matter of such a song.
The follow up to The Menzingers’ 2019 LP Hello Exile, Some Of It Was True is the sound of an act now settled with the humdrum of middle age. Not that this is a slight, nor is it an indication of a lack of energy within this record. It’s just that when an artist known for adolescent energy crosses that feared boundary between youth and true midlife, it’s not truly uncommon for them to either lose that youthful spark – or worse yet – fake it with desperate force. Thankfully, this body of work sees Philly’s finest embrace new pastures whilst still retaining the heart, relatable ennui and engaging hooks we all adore. It’s The Menzingers as we collectively love them, but the tattered denim jackets have been replaced with cosy autumnal flannel.
Following from the rowdy one-two punch of openers and leading singles ‘Hope Is A Dangerous Thing’ and ‘There’s No Place In This World For Me’ – tracks that would sit comfortably in the tracklisting of either the aforementioned Hello Exile or the career defining effort that was 2017’s After The Party – ‘Nobody Stays and the titular ‘Some Of It Was True’ bear witness to the band’s steady maturation. Rather than being the product of intoxicated basement shows like the band’s previous works undeniably were, these tracks are very much rooted in American heartland rock. That sense of tormented passivity and inherent folk storytelling are present and effortlessly resonate a sense of grounded maturity, but despite this, the same liberated energy and collective earnestness associated with this band is still evident. These tracks are host to the same collective sing-along moments expected from the band, albeit in a more mature fashion, and with the title track’s central lyrical refrain of “The older I get / the less I know”, ‘Some Of It Was True’ is destined to be a critical hit for all of us in ill-fitting The Gaslight Anthem shirts on SSRIs.
Despite only having one full length album released Dream Nails have already cemented themselves as mainstays of the UK’s flourishing queercore scene. Since forming back in 2015 the quartet have used their furious punk sound as a vehicle for their passionate political messaging. On Doom Loop their aim is squarely focused on gender in all its forms, whether toxic or euphoric, all delivered through ten catchy, varied punk tracks.
Dream Nails waste no time, grabbing the listener by the scruff of the neck and making sure they’re paying attention with album opener and lead single ‘Good Guy’. Frontperson Ishmael Kirby’s incredibly direct vocal style shines on this track, addressing the audience directly with a confident swagger, tearing down fake allies in a way that works perfectly alongside the song’s stomping beat. From the first note of the album Dream Nails make it clear that Doom Loop is something special, distilling their raw passion for queer and feminist social causes into a polished, listenable half hour of punk bangers.
What can you say about a band like Carnifex? Industry leaders, genre-blenders, nasty riff creators – the band are veterans of the scene, with their infamous brand of blackened deathcore delighting fans since 2005. It would be easy for a band of their calibre to phone it in a little – many a heavy band have let the flame cool as time has gone on – Carnifex are not one of these bands.
Necromanteum is the sound of a band further cementing their legend status, and it burns hotter than their drummer’s calf muscles after a live show. The album starts as it means to go on – no intro track, no ceremony, just riffs and blast beats. Through every song, the quality of songwriting never dips or stutters, it’s very realised and well put together – not surprising given Carnifex’s long history of producing music that could send a Victorian child into a coma.
It’s a pity that Necromanteum isn’t being released on Halloween, because it really feels very fitting. The band have layered up dramatic orchestral passages to ramp up the tension and add to the sheer scale of this block of heaviness. For the most part, it works very well, used tastefully and in a way that doesn’t crowd out the other instruments, with songs like Torn in Two and Bleed More feeling massive when paired with the haunting violins. However, there are a few times where it veers into Nightmare Before Christmas territory.
