So a little better of a selection this week for North American releases. Some bands such as SOiL, blessthefall and Born of Osiris have monster albums coming out that many fans have been eagerly waiting for. Not that last week's releases were bust or anything, but just a little more to choose from when it comes to rock n roll. From the mellowness of John Mayer all that way to to brutal beats of Fleshgod Apocalypse, here's a little bit here for everyone. Sorry for the country and hip-hop folks. Not too much making waves in their respective genres this week.
Anyways, the usual plead of sanity to purchase and album or two from your local record shop, online retailer, or other legal source. Bands don't make albums unless you buy them!
(SOiL - Whole)
When it comes to lyrics, McCombs leaves nothing to chance; all the emotion and power is there. The scars are most definitely on show and according to McCombs “those who are familiar with the work I’ve done are going to get the next chapter that they’d expect.” The lyrics give the songs the extra attitude they need.
Whole, however, does have its downsides. Variety would make the album stronger. Scars had darker tracks like ‘Unreal’ and ‘Black 7’, which saw the band slow things down and show more emotion. It’s a shame that you have to wait until album closer ‘One Love’ for this kind of track. Songs in the middle, such as ‘Amalgamation’ and ‘Ugly’, seem like filler tracks.
Overall, Whole is unquestionably a return to form for SOiL, with McCombs’ comeback definitely being a welcome return. Fans of the band will definitely be pleased with the return-to-roots style sound. It’s just a shame that the band couldn’t put in the same variety as Scars. But, nevertheless, there are some great tunes on Whole that metal fans should have on repeat. -MigMag
Mayer’s guitar work throughout mines an especially genteel vibe. His licks can recall Clapton, but they have their own gallantry. Some of the work takes influence from Afro-pop, like the ticklish lines in “Wildfire” or the Township Jive-like loops and pings of “Paper Doll.”
As usual, Mayer’s songs muse about the consequences of wandering. Many lyrics find him tussling with split desires — for both a family connection and the freedom to follow his muse. Mayer mirrors that two-pronged approach in the simple grounding of his songs and the haunting call of his leads. -New York Daily News
Overall I would rate this album a 4/5. While the album is a huge step up from Awakening, the album also features a more atmospheric sound on some songs, while others have the band making a move towards a heavier sound on songs like “Youngbloods” and “Carry On”. While there is a good trade off overall on the album between scream and clean vocals. The latter half of the album has a somewhat diverse appearance of vocalists, that helped the album from becoming too bland and makes for a worthwhile listen. The album itself is the perfect blend of melodic and heavy with some soft songs mixed in. Lyrically its not that diverse, and is similar to the past releases, but the production on the album itself makes the album really worth a listen. -Stars Entertainment
Of course, storytelling is only one part of the whole. First and foremost, Labyrinth is a death metal album. The five Italian gentlemen who comprise Fleshgod Apocalypse create absolutely brutal music that reflects the minotaur’s savagery. Double guitars, blast beats, shredded vocals, pounding breakdowns, and solid leads—you know what to expect from these guys, and they don’t fail to deliver the brutality. Nor do they seem to be repeating themselves, a common problem in the tech-death genre. Instead they’ve ratcheted up the classical compositions and operatic singing that underlay much of Agony, bringing it to the surface, and the result is a mixture of monstrosity and hair-raising beauty. Listening to tracks such as “Warpledge” and “The Fall of Asterion,” I can imagine costumed actors and singers performing the minotaur’s tale on a stage lit only by guttering lime lights, whilst down in the musicians’ pit the band in their shredded tuxedos play with an orchestral accompaniment. -Metal Injection
(Born of Osiris - Tomorrow We Die Alive)
With Tomorrow We Die Alive, Born Of Osiris will certainly catch a few more people's attention and please any previous fans. Despite the few flaws and quirks, this album is yet another great release under the band's belt. Sumerian saw the potential that this band had and made an excellent choice in signing the band. I'm expecting more good amazing releases from these guys in the future. Hopefully, something that can surpass both The Discovery and Tomorrow We Die Alive. I know that this band has it within them to do it. -Megusta Reviews
Due to the heavy dubstep influence on top of Crossfaith’s typically electronica-influenced metalcore style, APOCALYZE feels like the product of a collaboration between one-man dubstep project Skrillex and Japanese trance metal band Blood Stain Child. The music often steps into trippy territory, with foozy-doozy dubstep breakdowns (“We Are The Future”), surreal MIDI sound sequences (“Hounds of the Apocalypse”) and over-synthesized vocals making for a lethal sonic cocktail that will drug the mind senseless and compel the body to wobble ‘til it drops. -New Noise Magazine
Despite being hit by a lightning bolt of hope, Sway's first single "Bleed Out" can’t let go of the past, preferring to revel in the clichés of self-pity ("I gave it all but you can’t stop taking from me") and anger ("Don’t you take this moment away from me") that plagued the band's previous outing -- even the melody sounds cribbed from some other midtempo, radio-ready butane ballad. The band doesn't always fall back on bad habits though, as evidenced by cuts like the pleasant, electro-tinged "Light You Up," the grungy, propulsive, and genuinely fun "Hard Candy," and the elegiac instrumental closer "To Be," resulting in what (at this point) represents their most accessible, immediate, and growth-oriented collection of songs date. -All Music
(City in The Sea - Below The Noise)
Lyrically Below the Noise is what you would expect from an album within the metalcore genre. Themes of hopelessness and redemption dominate the album, which is interesting enough. Unclean vocalist Todd Christopher does an admirable job shifting between deep growls and high shrieks that sound full and powerful. He definitely feels committed to what he’s singing about, which is important in a genre that often relies on emotional conveyance. Guest appearances from Aaron Matts of Betraying the Martyrs and Ben Bruce of Asking Alexandria strengthen their respective songs, the latter being surprising.
Overall, City in the Sea have released an excellent album. Although they fall back on central conventions of the metalcore genre their compositional skills more than make up for it. Below the Noise is a great debut showcasing all of the band member’s talents, and should gain the band some new fans. -Sputnik Music
EPs:
Now flipping a 180, we approach the EP's conclusion; which comes with, not a bang, but with a sway. As Woe, Is Me take a bow with Restless Nights and Fine Without You, both which are completely acoustic. Something which is a nice break from the raw energy heard previously. Including great example of Alligood's immaculate vocals, which are better heard here than previously masked behind metalcore decoration.
As a whole American Dream may not be the strongest material Woe, Is Me have put out, however it is a step in the right direction.
Now, with the past drama behind them, the future is looking bright for the band who were once full of vengeance. -Watch Read Repeat
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