Both sides of the Atlantic now seem well aware of the presence of the unforgivingly heavy group and for good reason. However, the question remains, have the Florida-based quartet managed to do justice to their growth as a band with their most recent creation Bleed-Abide? A thirteen track product is the result of a two year wait since their last full album. Plenty of singles have been dropped by the band since their 2020 effort This Heavy Void, but in a genre so susceptible to a lack of originality Bodysnatcher have managed to give each track the ability to stand on its own.
The expanding mass of sound from intro track ‘Bleed’ explodes into the first full song of the album ‘Abide’. There is absolutely no wait for the intensity to take over, nu-deathcore style riffage and breakdowns are thrown upon the recipient without hesitation. Further listening takes the audience to ‘Smashed Perception’ which ends in the absolutely spectacular fashion of a nearly 40-second long beatdown. Get your fists at the ready to deal some damage in the pits to this monster of a track.
With Fever 333 leading the charge with their brand of metal that happily disturbs the peace they have since brought the likes of Nova Twins and Oxymorrons along for the ride both of whom are making similar waves. Now, the crew’s first signing Guerrilla Warfare are set to drop their EP C O N T R O L on the 22nd April. The Louisville, Kentucky rap metal/hardcore outfit pull no punches in their relentless offering on their five track EP with heavy thought-provoking music.
C O N T R O L is riddled with raw angst and a brilliant blend of rap metal and hardcore. The delivery of this mix is done with efficiency and focus. The band bounce off each other musically and vocally. Even on record a sense of comradery and effortless unison can be felt. There’s a fantastic sense of flow vocally in opener ‘Flesh n’ Bone (SmaLL TaLk)’ which sets the tone and continues throughout the EP. There is a grit and snarl presented in the same way Stray From The Path manage to hone and direct their anger. Following this “SmaLL hiLLz” is a mosh worthy anthem with a stomping riff and variation on rapping style that combines elements of hardcore and rap metal perfectly.
The record’s title track has swagger and groove, showing some variance in its verse structure lightening up on distorted riffs and leaning on the hard-hitting drums to manage most of the rhythm section. The effortless exchange of rapping and screaming vocals as the song weaves through various sections that chop and change abruptly actually make for the continuation, rhythm and glue that makes the song more than a collection of hardcore riffs. It’s clever and bold and breathes an air of confidence.
In October, 2021, it was announced that founding riff-slinger Scott Middleton would be departing the band to focus on other aspects of his life and other avenues within his experienced life in the music industry. This devastating change to the member line up could have proven to be a giant nail in the coffin of any other band, but we’re not talking about any other band here, we’re talking about one of the gnarliest, free-spirited, well respected and beloved bands in the entire game. With nearly 20 years of graft and grit woven into their fibres, the Cancer Bats unleash one of their most triumphant, rowdiest records to date.
The opening notes of the record roar with a comfortably familiar velocity, from the moment you hit play you already know this is still the ‘Bats as you know and love them, from Liam Cormier‘s signature barks to Jaye R Schwarzer‘s now double duty as the bands studio guitarist and his already established position as bassist, the first track ‘Radiate’ featuring some filthy bass riffs, highlighted by sections where the guitars and vocals drop out and let Jaye shine alongside the deadly rhythm of drumkit wizard Mike Peters. ‘The Hoof’ and ‘Lonely Bong’ keep the frantic punk action rolling, if you’re a veteran listener of the ‘Bats you know exactly what you’re getting here, groove laden punk-metal, a headbangers paradise, and if this is your first Cancer Bats record (where on earth have you been? and welcome!) you’re in for a hell of a ride.
Whilst the likes of Code Orange could be thanked for opening the door to this revival it is still a genre that is as sprawling as it is diverse. At a time where bands such as Tallah, Loathe, Tetrarch, Spiritbox and so many more are breaking boundaries and reframing the nu-metal framework as we know it, it’d be easy to blink and miss an amazing release in the field. Introducing Sicksense, the talented metallers offering a wealth of musicianship and experience with vocalist Vicky Psarakis being well known for her deathly croon in The Agonist and vocalist (and husband to Vicky) Robby J. Fonts predominantly for his time as frontman in Stuck Mojo. The band are set to release their debut EP Kings Today on the 22nd April but how does it hold up?
Well, Kings Today is a relentless and diverse collection of music. Opener and title track of the EP hits with a brilliant groove and headbang quality to it. It’s initial hard-hitting Korn inspired riff leads to a brief dissonant focus on Psarakis’ head-splitting melodic screams. With rapped verses, a beautifully melodic chorus and subtle chops and changes the song soars in the final chorus where vocals are lifted to the next level. It makes for a hell of an impact to open proceedings.
As such, their latest album It’s Time…To Rise From The Grave is their next attempt to drive the dagger of death metal and destruction into the souls of metalheads across the world. Will the blade be sharp and the tracks be legendary? Or will the audience be left with a slight bruise and a thirst for more satisfying heaviness?
It isn’t hard to picture the windmills of long hair spinning along to this album when it is played live – the opener ‘Fiend for Corpses’ starts fast and catchy, thrashy elements with groove in the guitar parts. Undeath open up the throttle to begin this ten-track album in vintage death metal fashion and all the Cannibal Corpse fans out there will be licking their lips. It isn’t anything that changes the world, but the album opens in pretty strong fashion. Certified headbanger ‘Defiled Again’ follows up and more infectious riffage is employed to keep the momentum. The listener is then dragged further on by the speedy axework of the guitarists Kyle Beam and Jared Welch, punctuated by gritty vocals from Alexander Jones during ‘Rise from the Grave’ and ‘Necrobionics’.
Passing the halfway mark of the album ‘Funeral Within’ catches attention with its reversed-drum intro signalling the start of the track which is most likely to appeal to the deathcore and slam fans out there. Albums such as The Adversary by titans Thy Art is Murder aren’t at all dissimilar from many parts of this work, and the sixth track employs the similarities very well. Award for best song name goes to ‘Head Splattered in Seven Ways’, adding some of the staple gruesomeness that so many death metal classics throw around.
Slickly produced by Will Putney (Knocked Loose, Every Time I Die, Counterparts), This Bright and Beautiful World balances Greyhaven’s usual blistering heaviness with some lighter, soaring punk melodies while lyrically exploring some of the darker elements of every day life in an open, poetic fashion.
‘All Candy’, for example, is about depression. Driven by the bass and melody lines, Brent Mills’ vocals sound smooth and jazzy over the top. It’s got groove. It’s Greyhaven at their most ‘pop’ but the edge of darkness amongst the echoey guitars and the odd minor note still prevails.
‘And It’s Still Too Loud’ tackles self-destructive behaviour. Musically, it’s a song of peaks and troughs. Fast-paced and metal infused at times; slower and more melodic at others, the vocal-line and guitars a highlight.
Overall, the record invites the listener to embrace emotions such as frustration, sadness and rejection as part of the vast, beautiful landscape of life – to see the good in the bad, the light in the dark – and to accept those darker elements as just part of who we are. ‘This Bright and Beautiful World’ therefore emerges with a hopeful undertone towards the end of what vocalist and lyricist Brent Mills has described as a deeply personal record.
