Longhena (Handshake Inc)
Gridlink have fired off fourteen high definition laser beams to finish us off in the form of their final album, Longhena. The band founded by ex-Discordance Axis banshee Jon Chang and Japanese guitar maestro Takafumi Matsubara have managed to match the impossible for their swansong: they have created a grind album as intensively futuristic and inconceivably technical as that of DxAx’s masterwork, The Inalienable Dreamless.
But not only that: Longhena is as hook-filled a grind record as you’re ever likely to hear. Still, don’t equate its unforgettable traits with a dissolution of unorthodox artistry or music that will sound remotely appealing to non-believers’ ears. This remains a ferocious grind album with Bryan Fajardo (drums) and Ted Patterson (bass) warping time and space with their seismic rhythmic interchanges, leaving Chang and Matsubara to engage and terrorize through alien-levels of guitar virtuosity and screeched vocal histrionics.
For a genre normally known for its limitations, Gridlink’s magnum opus is a boundary-blitzing grindcore classic made in real time to be fully understood a hundred years into the future.
Doom metal is not the most daring of metal genres, but the way in which bands re-interpret its tenets means the genre still sounds as relevant now as it did the day Tony Iommi summoned the Devil’s tritone and played his first Sabbath riff through an amplifier turned up to eleven.
The Wounded Kings know all about Black Sabbath—and Electric Wizard, for that matter—as they have been hounded/honoured with comparisons since their 2008 debut. However, when you experience the weight and breadth of their second album with vocalist Sharie Neyland presiding a coven queen, Consolamentum, you get the feeling that The Wounded Kings have now released the album that will individualize the Dartmoor band and elevate their status.
Sharie has fully taken to her role as the band’s focal point and her performance is sinister yet sultry, and the way her witchy vibrato reverberates through towering passages of doom is nothing short of magickal. The end effect is the sound of a band putting a hex on their potential and crushing it to dust with the one powerful blow of the doom-hammer.
Sleepwalking Sailors (Sargent House)
Helms Alee’s music is brimming with corrosive basslines, guitars that can throttle then console, and drums buck madly but are also capable of calm contrast. Factor in the three-prong vocals of guitarist Ben Verrellen, drummer Hozoji Matheson-Margullis, and bassist Dana James and you have a distinctive band who court numerous genres without fully committing to one.
Sleepwalking Sailors, Helms Alee’s third studio album, is the most forceful, coherent and dynamic work of the three-piece’s tenure. Always a band capable of twisting different styles of music (post-hardcore, sludge, indie-pop, noise-rock, amongst others) to suit their cause, now the twists have become inconspicuous as Helm’s Alee distance themselves further from other bands.
The core reason Sleepwalking Sailors is a complete success is because it contains plenty of surprises with atypical songwriting keeping the listener on their toes. Helms Alee spray each track with idiosyncratic bursts of violent inspiration while keeping each song focused on being accessible and clearly translatable. It’s a difficult juggling act that would tie a lesser band in knots. Helms Alee, however, keep everything expertly in the air as they stare you dead in the eyes.
Slave to the Sword (Prosthetic)
Californian quartet Exmortus tore through the thrash metal revival back in 2008 with their first full-length of heavy metal furore, In Hatred’s Flame. Now on album number three, the extraordinary abilities of each band member truly flash like lightning striking iron.
Titled Slave to the Sword, adorned with Manowar-worthy album art, and with song titles like “Warrior of the Night” and “Battle-Born”, it’s no surprise to discover this album treads the line of power metal’s fantasy and pomposity. Saying that, outside their version of Beethoven’s “Moonlight Sonata” (its neo-classical shred would make Yngwie Malmsteen blush behind his frilly shirt sleeves), Slave to the Sword happens to be an all out assault with technical thrash metal at its centre and the phenomenal chops of each player used in service of the songs and not vice versa. Each track is biting yet genuinely fun and entirely addictive, and you will get whipped up by the band’s modern understanding of the heroic days of ‘80s metal: a time when melody and might were fundamental to creating riotous, whiplash-inducing songs.
Digital Resistance (Metal Blade)
Slough Feg are the epitome of a cult metal band. They exist in a realm of their own, worshipped by their loyal fans and cruelly ignored by the rest of metaldom. The band led by the acerbic wit and high intellect of the iconoclast Mike Scalzi (Hammers of Misfortune) seem content with their lot, though.
Snapped up by Metal Blade for their new album, Digital Resistance, Slough Feg have, regardless of the notoriety of their new label, continued with the same traditions and inspirations that have fed their muse since the ‘90s. After the somewhat uneven The Animal Spirits (2010), Digital Resistance—a treatise of sorts on the decline of man at the mechanical hand of information technology—is a return to form. Amplifying the classic rock side of their sound with the thunder and lightning of Thin Lizzy’s Celtic charm shining brighter than any ‘80s NWOBHM band, Digital Resistance’s brilliance lies in its folk-focused rhythms, nifty guitar-work, and Scalzi’s characteristically strong vocal range and considered lyrical commentary.
Digital Resistance is a restrained but rewarding listen that confirms the cult is still alive and well—even though time will tell as to whether this album will recruit new followers to Slough Feg’s heavy metal cause.