And as usual, I got a taste of a few of these albums (such as The HAARP Machine, Gov't Mule, K'naan, etc) and a few I am eager to hear now (In Fear And Faith, and Anberlin). So in light of that, make sure for you all to visit your local record shop or online retailer and grab yourself a couple of these notable albums hitting stores today. Cheers!
In Fear and Faith: Full Album Stream
"In Fear And Faith also explore a softer side, which can be heard in 'Last Man Stranded'. It can be compared to The Devil Wears Prada’s song 'Louder Than Thunder', in terms of how it is the only song that has a completely different sound than the rest of the record.
All in all, In Fear And Faith have brought a lot of great new material to the table, and it’s going to be a memorable record to the fans. There are plenty of new elements on this record with a different person doing the unclean vocals, plus the different sounds ranging from soft piano and violin, to electronic." -Live Music TO
AFGM: Disclosure of The HAARP Machine
"However, what truly makes Disclosure special are the vocals. The new vocalist, Michael Semesky has some serious vocal talent, from dream-like crooning that could warm even the blackest of hearts, to screams/growls that are of the caliber one would expect from a band such as this. The vocals allow the music to breath, creating periods of calm; allowing the listener to sit back and take in the sheer blitz of musicality. Vocally, Semesky’s abilities range from soothing high octaves that at times sound similar to Brandon Bolmer (formerly of Chiodos) to a more powerful yet typical singing voice that you’d perhaps come across in a progressive band. Talking of progressive, Semesky’s vocal moments create some prog-like breaks; dreamy sections in the music where everything is gently intertwining, eventually building to a bombastic crescendo. Although the vocals are not for everyone, some may find the cleanly sung passages irritating, perhaps too melodic at points or slightly abrasive to listen to.
Last but not least is the drums, the drumming on this album is what you’d expect from an album of this genre; blast beats, generally rapid drumming, crazy fills and some tight cymbal work. The drums sit in the back of the mix, they feel restricted due to the other instruments taking centre stage; whether it is due to the guitar or the few piano interjections. Moreover, the bass is generally inaudible. It rears it's head here and there but seems lost within the music. Disclosure’s production is very clear and crisp but it can sound a bit much at times, there is a lot going on throughout the eight songs and it can be a bit overwhelming.
The HAARP Machine has managed to create a debut album that surpasses many others due to the ability to write clear, concise songs with interesting takes on the standard tech-death formula without making it convoluted. The album is also short but sweet, there is no filler; it is thirty-three minutes of fun. To conclude, The HAARP Machine have created a force to be reckoned with, I was apprehensive about the vocals and that perhaps it would be your standard tech-death merry-go-round yet 'Disclosure' sounds fresh due to its composition albeit similar to its peers in roots. 'Disclosure' is by no means ground-breaking, but it accepts that from the word ‘go’ and manages to deliver, firing on all cylinders." -Sputnik Music
"Stephen Christian, the band’s lead singer, really is the driving force of this record. His vocals are magnificent as they can soar to the highest of heights yet never straying into the lands of 80s hair metal. He has a passion in his voice that really jumps off the album and grabs you.
However what really got me about this record was just how much these guys can really rock. I mean we’re talking sweaty, throw a punch at a dude type of rock. Not that these guys would do that, I hear they’re actually really nice. But you get my meaning. They really have this hard, heavy, driving sound that wouldn’t be lost on those who have their ears glued to hard rock radio formats around the country.
Vital by Anberlin is probably one of the more solid records you’re going to hear in 2012. It’s got sublime melodies, great hooks and it will leave you with a feeling that only some rock ‘n’ roll power chords can leave you with. And that my friends, is something sorely missed in today’s scene." -Pop Break
"The band’s latest volume, Dethalbum III, features some of Small’s best melodies and instrumentation to date. 'Crush The Industry' features an intricate hell-and-back intro and a squealing solo from Small (or lead guitarist Skwisgaar Skwigelf, if you prefer), while 'Andromeda' features a sliding riff that most 'real' metal bands would kill for. Originally appearing in Metalocalypse’s season-three finale, 'The Galaxy' is Dethalbum III’s highlight, ranking among the band’s best and most epic tracks. As superbly talented as Brendon Small and bassist Bryan Beller are, it’s Gene Hoglan’s hammering double-bass work at the song’s climax that really does the animated band proud.
Since the release of the first Dethalbum in 2007, Dethklok’s album output has focused more on the serious side of the band’s musical talent and less on making fans laugh. That isn’t to say that Metalocalypse itself isn’t as funny as it once was, but rather a sign that the band—both cartoon and real-life—has evolved. Small and the rest of the crew could have given fans a disc full of the funniest moments from the third and fourth seasons, but they continue to make albums that are way better than any cartoon has to be." -AV Club
"The Georgia Bootleg Box is the first entry in Gov't Mule's official bootleg series on Evil Teen. This documents the original trio lineup of Warren Haynes, Matt Abts, and the late Allen Woody during a three-night springtime run in Georgia in 1996 -- Athens on April 11, Atlanta's Roxy on the 12th, and the Elizabeth Reed Music Hall in Macon on the 13th. This set's six discs contain over seven hours of music. Gov't Mule had been playing live for over three years at the time these shows took place. They had established not just their trademark loud and proud brand of gritty blues-rock and improvisation, but had gelled as a unit who could communicate with one another without a lot of interference. 1996 was a pivotal year, and what's documented here reveals this in spades. Despite the similarity in the set lists each night, the performances are often quite distinct from one another -- in terms of spontaneity and musicality, not quality. All are exceptional. These were not workmanlike gigs. Check the three different reads of the then-new 'Game Face,' which all commence exactly the same way yet spiral off in different directions. The metallic blues of 'Mother Earth' may be a basic 12-bar, but it reveals the depth of communication between Woody's fat-bottom, fluid bass playing and Abts' drumming. It's so intuitive it allows Haynes an elastic freedom -- he can play at his bandmembers but also move far afield without worrying about the groove being fluid and in the pocket -- and sometimes, as on 'Blind Man in the Dark,' which opens each night, he travels great distances. There are a number of extra treats here as well. Derek Trucks joins the band's encores in Atlanta and Athens, while blues hero Tinsley Ellis appears on the Macon date. Some of the covers are true highlights as well, including Blind Faith's 'Presence of the Lord,' Steppenwolf's 'Don’t Step On the Grass, Sam' (Atlanta), and an amazing cover of Little Feat's 'Spanish Moon' with Trucks on slide. Given its sheer volume, The Georgia Bootleg Box is for the hardcore Mule fan to be sure. That said, this behemoth also reveals in intricate detail what a hungry power trio playing at its very best is capable of." -All Music
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"Unsurprisingly, K’naan’s latest album, 'Country, God or the Girl,' is a turn toward broad-strokes global pop. Bono even makes an appearance. K’naan’s always had an inclination for cheesy pop touches and bad guitar parts, and stepping into the role of international pop star unfortunately enables these tendencies. 'Y'all know my war story/I won't repeat it,' he explains on the most straightforward rap track, the highlight 'Nothing to Lose' featuring Nas. Instead K’naan spends his time discussing heartbreak (since his last album, K’naan got divorced) and growing older, shoehorning these topics into a series of attempts to remake 'Waving Flag.' The result, oddly enough for pop music, manages to be less fun than an album about war-torn Somalia.
The great thing about past K’naan releases was his ability to playfully tap into political topics and offer an internationally minded perspective without seeming preachy. With a few exceptions ('Shout out anybody named Mohammed/cause no lie I know about a hundred'), his broad focus here offers little to latch onto." -Red Eye Chicago
"No Bragging Rights ends up a nice hidden gem among the Hardcore community. Despite the accessable, upbeat, or even mainstream sounding elements, this still has plenty of material well worth hearing. It’s a shame that this is only the groupo’s third outing given how early they formed, but it’s about time a bigger label took notice to help them earn the respect and attention they rightly deserve. While the clean singing can sometimes border a bit too whiny, the album seems like a personal declaration from the members involved, and many tracks here will definitely connect with similar personal struggles their new or loyal fans are probably going through as well. If you have yet to check out No Bragging Rights, then Cycles is an album well worth seeking out, especially if this brand of Hardcore is your cup of tea." -Apochs Metal Review
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