Written by: Blackie Skulless
Given the hype that’s been circulating around Tyran in the realm of traditional metal dweebs like myself, I was certainly eager to check them out. The appealing album artwork spurred that on even more, making me want to lend an ear immediately. Not to be confused with Iran’s capital city Tehran, the Bavarian dudes have only been around for a few years, and 2024 would see the year they drop a full-length. Following two singles, it realized itself in the form of Tyran’s Oath. At first glance, you’ll find exactly what one would expect. Speed metal riffing, high falsettos in the realm of King Diamond, and a generally clean overlay can easily sum up the entire album in the most basic sense. What’s less obvious is that most of the record avoids the mythical, magical, or historical angle you may anticipate, and prefers to focus on classic ‘80s strong-man themes around heavy metal and machinery. Stylistically, it’s also straight to the point without any hints of power metal or epic metal flavoring. Most changes in any dynamic are as simple as some songs slowing it down a little, like in “Thrill Of The Chase,” a melody-heavy tune.
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Written by: The Administrator
Full disclosure: I have very little frame of reference for the thematic content that informs the Stormland brand. Gundam remain a mystery; my knowledge in this particular department is regrettably nonexistent. That said, I am a sucker for art that serves as a lens and love letter to something that the artist is clearly passionate about. Indeed, sole member Justin Pierrot has successfully imbued Stormland with an immediately recognizable sense of excitement. I've always loved that the project has a lot of charisma and character, regardless of my personal connection (or lack thereof) to the subject matter at hand. And, of course, Stormland serves as a reliable delivery agent for my most favorite subject of all: sick fuckin' riffs. The Altar of War, Stormland's new-ish EP, pretty much picks up right where 2022's The Human Cost left off, with the first three tracks exemplifying the solid foundation of combat-ready riffage upon which the band is built. 
Written by: Blackie Skulless
Around the time I would have just begun discovering metal, Ohio thrashers Vindicator grew into their sound following the release of a full-length titled There Will Be Blood. Through the years of digging up underground thrash, I’d somehow overlooked them in the mix of the Municipal Waste and Violator types of the time. While having far more in common with the latter, this outfit’s first record pulls away the cleaner layers. The end result would be a stripped-down tongue-in-cheek thrash record with a teutonic inspired edge without feeling too extreme. From the get-go, you can tell that Vindicator knows how to run fast with an idea without taking themselves too seriously. The frontman going by “Marshall Law,” and song titles like “New Clear Assault” or “Thrash And Destroy” are a pretty good (v)indicator that they’re here for a good time. Simple, somewhat by-the-book song structures carry the majority of the disc, sticking with speed as the backbone for the thirty-minute runtime. A raspy snarl not unlike Mem V. Stein of earlier Exumer records coat the surface from end to end, blending nicely with the rusty but still sharp rhythms. 
Written by: Blackie Skulless
While Portland, Oregon’s Witch Vomit have been around for over a decade, picking up bigger attention in the latter half of that decade, it took a while for them to appeal to me. Their brand of death metal focuses on the old school style, sticking to the usual themes of death and gore under a raw and guttural veneer. Normally that jumps right out to me, but for some reason it took the more refined approach of 2021’s Abhorrent Rapture to hook me. From there, the latest Funeral Sanctum seems to have followed suit, striking quite a strong chord. As anticipated, much of this follows the same marshy riffing with a cleaner production that doesn’t feel inorganic. Heavy and chunky riffing backed by pummeling drums that tend to coat on an echo with the bass kicks add an extra layer of muck, making it so guitar solos never take too much precedence. In other words, they feel focused without being the star of the show. This allows the rhythms section a little more prominence, which just may be what captures my attention the most.  Written by: The Administrator
Given an interest in both cryptids and excellent music, I am a proud Mothman and the Thunderbirds fanboy. Ever since hearing and subsequently reviewing the crisply remastered version of "Simpson = Real Footage," one of my favorite tracks from 2021's debut Into the Hollow, I've been dying for news of a follow-up album. Into The Hollow presented a near-endlessly intriguing and eclectic weirdo blend of prog and sludge, but over time, Alex Parkinson has increasingly leaned into more infectiously poppy songwriting and production that feels lush and oh-so clean. The latter comes from Egor Lappo, who has polished away sludgy scuzz to exceptional results. The weirdness remains, however, and in the latest stage of evolution, the band labels their blend of "adventurous prog, thrilling hard rock, and dreamy psychedelia" as "dream metal." I'll be damned if that isn't a damn fine descriptor. Which brings us, conveniently enough, to today's premiere. Mothman and the Thunderbirds will be releasing the intensely enjoyable Portal Hopper on July 12th. We're honored to present here the lead single and album opener "Ruby Skies." Check it out below via the bombastic lyric video, and, as always, we'll await your arrival on the other side!  Written by: Blackie Skulless
Seeing that ol’ Bruce hasn’t put out a solo effort since 2005, and that the latest Iron Maiden record didn’t exactly blow me away, I was a little unsure of what to expect from The Mandrake Project. As time passes on and veteran musicians struggle to keep the capacity going, it often tends to fall into the “hit or miss” category. But, more often than not, more time between records will work to your advantage. Bruce Dickinson further solidified this idea, as his latest effort truly did blow me away. The Mandrake Project is a culmination of many things not too unordinary for the British frontman, meaning its magic doesn’t rest in anything new. Rather, this is an exceptional exercise of tactics that he had mastered between his own career and his several decades in Iron Maiden alike. Modern production values with deep distortion on the riffing works entirely to this album’s advantage, all the while sneaking in a hefty amount of raw emotion and beautiful story-telling. Writing a record that focuses on only one of these properly is impressive, let alone all of them. 
Written by: The Administrator
I love Fuzznaut. I love Fuzznaut in the same way I love a warm quilt or the alluring drone of a rainstorm over a tin roof. Fuzznaut tends to ooze comfort, writing the kind of music that effortlessly epitomizes calmness in aural form. This new single--"Spacerock," dropping this Friday, May 3rd--continues an increasingly trademark trend. Although undoubtedly spaced out and cosmic in scope, there's nothing here that recalls the chilling vastness and isolation of space. This track, like unto everything else Fuzznaut has released to date, is warm and lush and oh-so immersive. Before we get too far ahead of ourselves, let's usher in today's track in question. We're honored and pleased to present the stellar "Spacerock" below. Give it a well-deserved listen. We'll meet ye, as always, on the other side! |
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