Review: The sixth full-length from Richmond, Virginia groove metal beasts Lamb Of God (seventh if you count the self-titled Burn The Priest debut) arrived in 2012, three long years removed from 2009's raw cementing of their legacy on Wrath. Reuniting with producer Josh Wilbur, the resulting Resolution would simultaneously boast some of the heaviest yet most progressive output from the band to date, with cuts such as album highlight 'Ghost Walking' exuding melancholic acoustic passages marking a subdued embracing of more leftfield influences. Leave no doubt, however, these solitary ebbs give way to avalanche flows of bombastic grooves and heaving riffage on severely pummelling bangers such as 'Desolation' and 'Barbarosa', resulting in yet another reliably venomous yet sonically braver effort from the metallic stalwarts.
Review: The debut LP from Oakland, California based collective Leaving conjures the spirit of retro, esoteric doom metal yet repurposed for ethereal, melancholic shoegazing. Formed in 2021, and made up of a plethora of seasoned musicians who've previously cut their teeth in the likes of Noothgrush, Amber Asylum, Graves At Sea, Lycus, and Funerary, the group marry the aggressive post-rock shoegaze of modern peers in Nothing and Whirr, with the oppressive meandering doom of Saint Vitus or Reverend Bizarre. Gloomy, lengthy, dirges of nocturnal depravation, unpacking feelings of isolation, desolation and the looming presence of shadows within our own psyche; a towering debut of cavernous composition, refracted riffage and sonic malaise.
Review: The highly anticipated debut full-length from Oakland, California esoteric doomgazers Leaving melds classic psychedelic proto-doom metal with the swelling bombast and mercurial pace of post-rock and shoegaze. Since forming in 2021, the collective made up of seasoned veterans in their own realms from acts such as Graves At Sea, Lycus, Noothgrush, Amber Asylum and Funerary, have been hard at work crafting the type of menacing melancholy popularised by modern grungegaze peers in Whirr, Cloakroom or Nothing, yet fused to the blues-laden macabre retro doom of Reverend Bizarre and Saint Vitus. Delving into harrowing moments of desolation and the war with the darkness within ourselves, emboldened by meandering, lengthy dirges that offer shimmering sonics and triumphant crescendos both warming and oppressive, Liminal is the type of insidious opus that requires repeat attentive listens before utterly revealing itself.
Review: Often considered to be one of, if not, the most iconic performances from nu-metal legends Limp Bizkit (not including the riots of Woodstock 1999), their set at the Rock im Park festival in Nuremberg, Germany on 1st June 2001 featured the band touring their multi-platinum selling career highpoint Chocolate Starfish & The Hotdog Flavoured Water. Boasting, what in retrospect, seems like a greatest hits collection featuring cuts such as 'Hot Dog', 'My Generation', 'My Way', 'Take A Look Around', and 'Rollin'', while also offering up older essential bangers like 'Nookie' and 'Break Stuff', ample room is still provided not only for their iconic rendition of George Michael's 'Faith' but a surprise cover of Metallica's 'Master Of Puppets'. A time capsule live performance from one of the most maligned yet smugly successful acts to ever throw out the metal, rock and hip-hop rule books, this enigmatic set is the stuff of legend, with frontman Fred Durst's ensuing ego-trip backed by the band's venomously grooving execution at every turn.
Review: Following the tragic passing of frontman Chester Bennington in 2017, many presumed the natural end of nu-metal turned alt rock giants Linkin Park. Rattling their fanbase with news of a resurgence with Dead Sara vocalist Emily Armstrong, as well as new drummer Colin Brittain (replacing Rob Bourdain who opted not to join the reunion), From Zero nods to the band's original moniker of Xero while also ushering in this new era for the group, whereas sonically, the band do their best to simultaneously pay credence to their heavier origins whilst naturally progressing towards their newfound vision. Their first full-length since 2017's pop-oriented One More Light may come as a shock to many devout to the Bennington era, but the earnestness in composition sees a retrospective embracing of nu-metal motifs yet modified and extrapolated to embolden this entirely new compositional framework. Attempting to compare to prior releases is naturally par for the course yet won't do much to alter this new musical trajectory, as From Zero swells with the breath of an entirely fresh project that owes humble countenance to the Linkin Park of yesteryear. At 11 tracks clocking on at just over a half-hour, the mission statement is one of succinct brevity and urgency, but whether it truly fills the Bennington shaped void is down to each unique set of ears.
Review: It's difficult to describe to those too young to have been there and to those too old to give a toss, just how rife the anticipation was for the sophomore full-length from nu-metal giants Linkin Park following on from the global success of their multi-platinum selling debut album Hybrid Theory in 2000. Following what felt like an eternal three years, both shortened and lengthened by the bloated remix album Reanimation, 2003's Meteora was nothing short of lightning striking in the same place twice. Debuting at number 1 on the Billboard 200, certified 8xPlatinium and currently ranked as the 8th highest selling album of the 21st century, to call the band's second album a success seems like a very muted understatement when anthems such as 'Somewhere I Belong', 'Faint', and, 'Numb' are still some of the highest charting and most world-renowned metal singles to ever blare out across the airwaves. While musically drifting further away from their nu-metal beginnings with each subsequent project, both Meteora and its predecessor belong to a subset of genre-defining classics that appear to become more embraced and less maligned with age, as the nu-metal subgenre becomes less of a dirty word. It also goes without saying that the incomparable vocal presence of late frontman Chester Bennington as well as his vulnerable and cathartic lyricism take on a far more bleak and oppressive shade with the folly of hindsight.
Review: Originally released in 2014 and now celebrating its ten year anniversary, The Hunting Party served as the sixth full-length from nu-metal turned alt rock heavyweights Linkin Park. Marking their first full-length since 2003's Meteora to not be produced by the iconic Rick Rubin (with members Mike Shinoda and Brad Delson opting to handle production duties inhouse), the material bore a notable turn from their more accessible electronic-tinged U2-esque stadium rock and saw a rediscovery and embracing of their more aggressive nu-metal roots. Certified platinum and praised for their ability to still replicate their feral early days, the album is also noted for being the band's first LP to feature guest musicians such as Page Hamilton of Helmet, Daron Malakian of System of a Down, Tom Morello of Rage Against the Machine, and hip-hop artist Rakim. This new anniversary edition comes as side-4 etched 2xLP pressed on aquatic translucent blue vinyl.
Review: Living Colour's Time's Up (1990) stands as a powerful sophomore effort that remains deeply relevant. Following the success of Vivid (1988), the band sought to expand their funk rock sound while addressing pressing social issues. The result is an album both musically impressive and lyrically poignant. The title track, 'Time's Up,' showcases Corey Glover's soaring vocals, delivering urgent messages about environmental and social decay. Tracks like 'History Lesson' and 'Pride' tackle the African-American experience, using samples and lyrics to confront historical injustices and cultural appropriation. 'Type' and 'New Jack Theme' examine stereotypes and the glamourisation of drug dealing, respectively, while 'Someone Like You' reflects on lost innocence in urban landscapes. Musically, the album defies genre constraints, blending hardcore, jazz, soul, and hip-hop elements. 'Love Rears Its Ugly Head' stands out with its jazz blues vibe, while 'Elvis is Dead' features a guest appearance by Little Richard, critiquing the idolisation of Elvis Presley. The album's hopeful moments, such as 'Solace of You' and 'This Is The Life,' urge listeners to embrace life and strive for positive change. Time's Up is a testament to Living Colour's musicianship and social consciousness. Its timeless relevance is bittersweet, highlighting enduring societal issues, yet, it remains a musical marvel and a call to action, urging listeners to reflect, reassess and inspire progress.
Review: Living Colour's third album, Stain, marked a bold shift in musical direction for the NYC quartet. Following the success of their previous albums, the band delved into a heavier, angrier, and less accessible sound. True to form, Living Colour didn't shy away from socially conscious lyrics and thematic track groupings - see titles like 'Go Away,' 'Ignorance Is Bliss' and 'Leave It Alone'. The latter half of Stain is more diverse and experimental, with the industrial-tinged 'Auslander' standing out as one of the stronger cuts. Stain also marks the debut of bassist Doug Wimbish, replacing Muzz Skillings. The seasoned Tackhead veteran's bass is less prominent overall, but shines on the moody highlight 'Nothingness'. Vernon Reid's guitar work, while still spectacular, is more subdued compared to previous releases, demanding closer listening to appreciate its intricacies. Tracks like 'Postman' and 'This Little Pig' feature Reid's intense riffs, complementing the album's darker themes. For many fans of the band, Stain reaches the heights of their previous albums Vivid or Times Up in the way it makes a statement with the evolving times'.
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