Band: Underoath
Album: Ø (Disambiguation)
Label: Tooth and Nail
Release: November 9, 2010
The band Underoath has earned its share of detractors. There are a multitude of reasons. They came onto the musical landscape early in the 00's and were lumped by many into the emo genre, in part to their dual vocalist style and their appearances on the Warped Tour. They have also been lumped into the Christian Rock scene due to the band member's faith. Neither of these labels truly apply to Underoath. They aren't singing about Jesus and their music is far harder than the Jimmy Eat World's and Taking Back Sunday's that inhabit the mainstream emo scene. Underoath at its core is a metal band and their seventh album Ø (Disambiguation) makes that fact undeniable. I think it's time for the detractors to take another look at Underoath.
Ø (Disambiguation)
marks the first album without singer/drummer Aaron Gillespie, who has gone off to front acoustic Christian band The Almost. With a new lineup in place, including former Norma Jean drummer Daniel Davison, Underoath's sound has changed and grown considerably darker. There were times in my listening to this album where I found myself comparing Underoath's aggression to bands like Slipknot. On other songs, they found a way to channel a dark atmosphere on their songs comparable to the Deftones or Tool. It's all a far stretch from songs like their breakout hit "It's Dangerous Business Walking Out Your Front Door". It's a band reborn and I like this band's new direction.
The album's opening track "In Division" sets the table by starting with eerie keyboards before lead singer Spencer Chamberlain unleashes a vocal fury. With Davison's blistering drumwork, the energy of the band has changed. There was a certain precision to previous Underoath songs. "In Division" is less about creating a balance, it's moreso unleashing the band's raw energy. That energy carries over into "Catch Myself Catching Myself", a song which includes a NIN/Filter-esque breakdown with Chamberlain in hushed tones singing "I'm not the same anymore", a statement that could be the mantra of this entire album.
The highlights of the album include the moody "Paper Lung", which may be one of the album's most tame songs but it's a song filled with strong guitar work and one of Chamberlain's best vocal performances of his career proving he could handle the clean vocals aspects he didn't do while under Gillespie. Chamberlain's grittier vocals also get a chance to shine on the album. On "A Divine Eradication", the band finds it's most powerful groove. As Chamberlain growls "where is my fix", Davison and bassist Grant Brandell build a heavy foundation for the two guitarists to layer sheets and sheets of sonic chaos. It all comes together to make one of the best songs on the album.
Ø (Disambiguation)
is not a perfect record. It does loose some steam towards the end with more generic songs at the end. "My Deteriorating Incline" and "Vacant Mouth" both lack the power of the previous songs while album closer "In Completion" spends too much meandering in their old sound. It may have its flaws but it remains an album that I would highly recommend. This is the start of a new sound for Underoath and I look forward to the opportunity to hear more.
4/5
~ Niveous
Tuesday, November 9, 2010
Gates of Slumber, Hour of 13, Disma 10/16/10 @ Union Pool, Brooklyn, NY
Gate of Slumber, Hour of 13, Disma
Union Pool
October 16, 2010
Brooklyn, New York
The night began with Disma, local New Jersey death metalers recently signed to Profound Lord (keep your ears peeled for their upcoming release!), who pummeled through about a forty minute set of brutal early 90’s style death metal, fitting their image, to a surprisingly pretty packed room. The band’s performance was pretty lackluster, about as entertaining as watching a practice, except for one guitar player, who if I didn’t know any better, I would guess wrote all the songs and was the only one hella stoked to play them. That being said, the focus was not on performance, but on simply DEATH METAL! The lead growler barely moved or opened his eyes and it was hard to tell if he was in pain from the death grunts literally ripping apart his vocal chords or was truly possessed providing brutal as I would ever want to hear my death vocals. Live movement aside, these guys had a punishing and tight rhythm section and very catchy head bang worthy riffs, definitely not-in-modern-slam-death metal/core way. Very brutal, serious, New York DM.
Next up was occult doom masters Hour of 13. Wow! I was not prepared for what was such a great set or crowd response! They had an early Judas Priest feel to some of the songs with the slower harmonies added to the classic power riffing and a Witchfinder General-esque vocals. Guess what kids? No screaming! And you know why? It’s because they don’t need to. The off pitch howls of vocalist Phil Swanson felt grueling, painful and haunting. It was nice to hear a band that digs to the core of hard rock and metal’s roots. The crowd stayed from the first to the last note only lowering their raised horns to reach for another cold one, head banging and swaying to the every bit classic sounding doom this Carolina five piece had to offer. If you like your metal old school, sinister and in the vein of the first generation of Sabbath-worship bands, look no further. These dudes are legit as they come and oh yeah, they just signed to the legendary Earache Records. Fuck yeah!
After seeing the band members pacing and jamming out passionately to Hour of 13’s set right up front, I could see that The Gates of Slumber guys were just itching to get onstage and get to ripping. Karl Simon, vocalist/guitarist, looks like the David Crosby of heavy metal. This guy spoke to and joked to the crowd like friends, even demanding a round of applause several times during their set for the opening bands, giving mad props; however, don’t let the hippie love vibes cloud your vision you, Simon was there for one reason only: to kill it! These guys had the one-ton sludge rock riffs down. Only letting up when they would pound beers or squeeze little jokes in between the Big Muff fuzz overload and sizzling solos where Simon looked like the wah pedal was sending electric currents up his Gibson SG and through spine causing him to convulse. Jason McCash shreds, an incredible bass player, who would stare into and beyond the crowd with such conviction that made it look like he was actually looking into his own future. I didn’t catch the name, but they appear to have a new drummer and I can’t imagine a better fit for the bill. These guys were doom to the core, but they didn’t always stay in the territory too long, which I must admit can be refreshing. Coupled with a Motorhead meets Leslie West style thunder riffing, the even rock mixture kept the heads banging and (ultimately for me) the cold beers flowing. I will be back for more GoS in the future for sure they mentioned much more touring (one with Cathedral I believe) and a new record soon.
www.myspace.com/dismadeathmetal
www.myspace.com/hourof13doom
www.myspace.com/thegatesofslumber
-Nick Emde, ARN/CCG
Union Pool
October 16, 2010
Brooklyn, New York
The night began with Disma, local New Jersey death metalers recently signed to Profound Lord (keep your ears peeled for their upcoming release!), who pummeled through about a forty minute set of brutal early 90’s style death metal, fitting their image, to a surprisingly pretty packed room. The band’s performance was pretty lackluster, about as entertaining as watching a practice, except for one guitar player, who if I didn’t know any better, I would guess wrote all the songs and was the only one hella stoked to play them. That being said, the focus was not on performance, but on simply DEATH METAL! The lead growler barely moved or opened his eyes and it was hard to tell if he was in pain from the death grunts literally ripping apart his vocal chords or was truly possessed providing brutal as I would ever want to hear my death vocals. Live movement aside, these guys had a punishing and tight rhythm section and very catchy head bang worthy riffs, definitely not-in-modern-slam-death metal/core way. Very brutal, serious, New York DM.
Next up was occult doom masters Hour of 13. Wow! I was not prepared for what was such a great set or crowd response! They had an early Judas Priest feel to some of the songs with the slower harmonies added to the classic power riffing and a Witchfinder General-esque vocals. Guess what kids? No screaming! And you know why? It’s because they don’t need to. The off pitch howls of vocalist Phil Swanson felt grueling, painful and haunting. It was nice to hear a band that digs to the core of hard rock and metal’s roots. The crowd stayed from the first to the last note only lowering their raised horns to reach for another cold one, head banging and swaying to the every bit classic sounding doom this Carolina five piece had to offer. If you like your metal old school, sinister and in the vein of the first generation of Sabbath-worship bands, look no further. These dudes are legit as they come and oh yeah, they just signed to the legendary Earache Records. Fuck yeah!
After seeing the band members pacing and jamming out passionately to Hour of 13’s set right up front, I could see that The Gates of Slumber guys were just itching to get onstage and get to ripping. Karl Simon, vocalist/guitarist, looks like the David Crosby of heavy metal. This guy spoke to and joked to the crowd like friends, even demanding a round of applause several times during their set for the opening bands, giving mad props; however, don’t let the hippie love vibes cloud your vision you, Simon was there for one reason only: to kill it! These guys had the one-ton sludge rock riffs down. Only letting up when they would pound beers or squeeze little jokes in between the Big Muff fuzz overload and sizzling solos where Simon looked like the wah pedal was sending electric currents up his Gibson SG and through spine causing him to convulse. Jason McCash shreds, an incredible bass player, who would stare into and beyond the crowd with such conviction that made it look like he was actually looking into his own future. I didn’t catch the name, but they appear to have a new drummer and I can’t imagine a better fit for the bill. These guys were doom to the core, but they didn’t always stay in the territory too long, which I must admit can be refreshing. Coupled with a Motorhead meets Leslie West style thunder riffing, the even rock mixture kept the heads banging and (ultimately for me) the cold beers flowing. I will be back for more GoS in the future for sure they mentioned much more touring (one with Cathedral I believe) and a new record soon.
www.myspace.com/dismadeathmetal
www.myspace.com/hourof13doom
www.myspace.com/thegatesofslumber
-Nick Emde, ARN/CCG
High on Fire, Torche, Kylesa -10-24-10 Webster Hall, NYC
High on Fire, Torche, Kylesa
October 24, 2010
Webster Hall
New York City
The amazing roster to this evening’s show began with Kylesa. Having seen these guys many times before, the one difference this time was that they were on a big stage and not crammed into a tiny sweaty club. They walked out and blasted into their set sounding bigger than ever. The mix was great, balanced and clear making it easy to distinguish every member’s parts, especially important since they employ two drummers. One thing more obvious, was singer/guitarist Laura Pleasants’ role in the band. She was front-and-center focus the entire night, juggled most guitar leads, and the majority of the vocals. Her status as front woman is becoming more dominant as the band moves forward with their new label Season of Mist and marketed as “The Heaviest Indie Rock Band.” Other vocalist/guitarist, Phillip Cope, lent his hardcore chant vocals and guitar textures balancing the dynamic approach of the band, adding even more psychedelic flavor to their sound. Most of the songs came from the last release Static Tensions, which was a favorite to many in the crowd judging by the audience’s enthusiastic response.
Next on the bill was Torche, watching them come on stage I wasn’t sure what to expect because of a couple of variables like the lack of a second guitarist and due to drummer Rick Smith’s absence due to a same-day family emergency. All things considered everything sounded massive and tight. They played what was the majority of their new release Songs for Singles flawlessly, as well as, many songs that cover their entire catalogue. Highlights for me were the older songs, such as “Safe,” “Rockit,” and “Charge of the Brown Recluse”. Surprisingly, they left out arguably their most popular tunes “Across the Shields” and “Healer” off of Meanderthal, which I expected to be pulled out in an encore at least. Either way it was good to see these guys having a great time onstage smiling away and playing with Van Halen-like flair throughout the entire set.
The show concluded with the all mighty headliner High on Fire. Matt Pike walked out ready to rock this crowd who seemed very tame (my guess it was the $8 cocktails and everyone was still sober), but were awaken by the riffmaster Pike’s presence - first chord, fists were pumping and the crowd was howling along. Like Lemmy’s little brother, Matt Pike is definitely one of a kind. The tattooed, chronically shirtless frontman is a living legend and a true lifer to the metal lifestyle. He marches onstage, commanding everyone in the crowd individually, making sure they are giving him the feedback he deserves and in between songs his roadies/part time bartenders, keep the man fueled with whiskey. As a whole, the band sounded great with the exception of some bass drum hick-ups due to a mic issue or something that sounded off at times, I’m not sure what the deal was and nevertheless was a small issue. The mighty three piece hammered through songs from “Blessed Black Wings,” “Death is this Communion,” and “Snakes for the Divine,” whose title track provided an anthem-like quality similar to AC/DC’s “Thunderstruck.” Playing for almost an hour performing most of the fan favorites, these guys they left the crowd satisfied with no use for an encore. Great stage presence was provided by all of the bands performing this night. Playing with the same passion and in certain cases, adding more intensity than some popular groups seem to lose instead of gain once they become vets in the scene.
-Nick Emde
October 24, 2010
Webster Hall
New York City
The amazing roster to this evening’s show began with Kylesa. Having seen these guys many times before, the one difference this time was that they were on a big stage and not crammed into a tiny sweaty club. They walked out and blasted into their set sounding bigger than ever. The mix was great, balanced and clear making it easy to distinguish every member’s parts, especially important since they employ two drummers. One thing more obvious, was singer/guitarist Laura Pleasants’ role in the band. She was front-and-center focus the entire night, juggled most guitar leads, and the majority of the vocals. Her status as front woman is becoming more dominant as the band moves forward with their new label Season of Mist and marketed as “The Heaviest Indie Rock Band.” Other vocalist/guitarist, Phillip Cope, lent his hardcore chant vocals and guitar textures balancing the dynamic approach of the band, adding even more psychedelic flavor to their sound. Most of the songs came from the last release Static Tensions, which was a favorite to many in the crowd judging by the audience’s enthusiastic response.
Next on the bill was Torche, watching them come on stage I wasn’t sure what to expect because of a couple of variables like the lack of a second guitarist and due to drummer Rick Smith’s absence due to a same-day family emergency. All things considered everything sounded massive and tight. They played what was the majority of their new release Songs for Singles flawlessly, as well as, many songs that cover their entire catalogue. Highlights for me were the older songs, such as “Safe,” “Rockit,” and “Charge of the Brown Recluse”. Surprisingly, they left out arguably their most popular tunes “Across the Shields” and “Healer” off of Meanderthal, which I expected to be pulled out in an encore at least. Either way it was good to see these guys having a great time onstage smiling away and playing with Van Halen-like flair throughout the entire set.
The show concluded with the all mighty headliner High on Fire. Matt Pike walked out ready to rock this crowd who seemed very tame (my guess it was the $8 cocktails and everyone was still sober), but were awaken by the riffmaster Pike’s presence - first chord, fists were pumping and the crowd was howling along. Like Lemmy’s little brother, Matt Pike is definitely one of a kind. The tattooed, chronically shirtless frontman is a living legend and a true lifer to the metal lifestyle. He marches onstage, commanding everyone in the crowd individually, making sure they are giving him the feedback he deserves and in between songs his roadies/part time bartenders, keep the man fueled with whiskey. As a whole, the band sounded great with the exception of some bass drum hick-ups due to a mic issue or something that sounded off at times, I’m not sure what the deal was and nevertheless was a small issue. The mighty three piece hammered through songs from “Blessed Black Wings,” “Death is this Communion,” and “Snakes for the Divine,” whose title track provided an anthem-like quality similar to AC/DC’s “Thunderstruck.” Playing for almost an hour performing most of the fan favorites, these guys they left the crowd satisfied with no use for an encore. Great stage presence was provided by all of the bands performing this night. Playing with the same passion and in certain cases, adding more intensity than some popular groups seem to lose instead of gain once they become vets in the scene.
-Nick Emde
Thursday, October 21, 2010
Torche - Songs for Singles Review
Band: Torche
Album: Songs For Singles
Label: Hydra Head Records
Release date: 09/21/10
Torche are having a good time and they want you to have fun too. I don’t always know what singer/guitarist Steve Brooks is saying, but he sounds damn happy on 90% of the songs I hear him sing these days. It probably doesn’t hurt that many critics put Meanderthal in their top records of 2008 and that the band has also been picking up better and better tours for the last few years, bringing them to the forefront of heavy rock. Though the 8 tracks on the new release Songs for Singles run about as long as a grind record and were written around a 3-piece, they still sound massive and they deliver confidently.
Evolving from late incarnations of grungy/doom behemoth FLOOR, Mr. Brooks and Co. have been strategically adding more pop candy sprinkles to their hot sludge sundaes. Like Justin Broadrick on happy pills, Brooks’s hooks and emotional vocal delivery seem to lead this record, where as earlier material found on the first full length Torche and the In Return EP rely more on the “heavy as the earth itself” riffing and more prevalent use of the z-tuned bomb string. Those sounds can still be found here, but there is a noticeable void that second guitarist Juan Montoya use to occupy. Brooks has to cover much more sonically, but that’s not a bad thing per se. Performance wise the band is in great form and with repeat listens, it’s easy to feel the record and hear what is really there…which reveals quite a variety. From the get go, skin smasher Rick Smith commands your arms into playing air drums on the rockin’ opener “UFO” and he doesn’t let up with fist pumping crunch of “Hideaway.” You can hear My Bloody Valentine-like ambient chord strumming of “Face the Wall,” then similar to Chicago’s finest…The Smashing Pumpkins(!), the song “Out Again” crushes beautifully with it’s layered harmonic denseness that takes me back to the first time I heard Siamese Dream as a kid. I may be wrong but it even sounds like I heard a banjo buried in there towards the end….sweet!
The sounds are still very organic and unprocessed on here, which is one reason I appreciate Torche. They always sound very alive and real even on record, providing the paying customer with zero false advertising. But when it really comes down to it, it’s very simple. It’s so much fun that Songs for Singles’ 8 mini-anthems will have you dance while you headbang and will ultimately add some sunshine to the sometimes all too dark and gloomy heavy music scene. While some bring the evil and darkness to rock, Torche bring the party to metal.
4 / 5
- N.Emde
Album: Songs For Singles
Label: Hydra Head Records
Release date: 09/21/10
Torche are having a good time and they want you to have fun too. I don’t always know what singer/guitarist Steve Brooks is saying, but he sounds damn happy on 90% of the songs I hear him sing these days. It probably doesn’t hurt that many critics put Meanderthal in their top records of 2008 and that the band has also been picking up better and better tours for the last few years, bringing them to the forefront of heavy rock. Though the 8 tracks on the new release Songs for Singles run about as long as a grind record and were written around a 3-piece, they still sound massive and they deliver confidently.
Evolving from late incarnations of grungy/doom behemoth FLOOR, Mr. Brooks and Co. have been strategically adding more pop candy sprinkles to their hot sludge sundaes. Like Justin Broadrick on happy pills, Brooks’s hooks and emotional vocal delivery seem to lead this record, where as earlier material found on the first full length Torche and the In Return EP rely more on the “heavy as the earth itself” riffing and more prevalent use of the z-tuned bomb string. Those sounds can still be found here, but there is a noticeable void that second guitarist Juan Montoya use to occupy. Brooks has to cover much more sonically, but that’s not a bad thing per se. Performance wise the band is in great form and with repeat listens, it’s easy to feel the record and hear what is really there…which reveals quite a variety. From the get go, skin smasher Rick Smith commands your arms into playing air drums on the rockin’ opener “UFO” and he doesn’t let up with fist pumping crunch of “Hideaway.” You can hear My Bloody Valentine-like ambient chord strumming of “Face the Wall,” then similar to Chicago’s finest…The Smashing Pumpkins(!), the song “Out Again” crushes beautifully with it’s layered harmonic denseness that takes me back to the first time I heard Siamese Dream as a kid. I may be wrong but it even sounds like I heard a banjo buried in there towards the end….sweet!
The sounds are still very organic and unprocessed on here, which is one reason I appreciate Torche. They always sound very alive and real even on record, providing the paying customer with zero false advertising. But when it really comes down to it, it’s very simple. It’s so much fun that Songs for Singles’ 8 mini-anthems will have you dance while you headbang and will ultimately add some sunshine to the sometimes all too dark and gloomy heavy music scene. While some bring the evil and darkness to rock, Torche bring the party to metal.
4 / 5
- N.Emde
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