Cauldron "In Ruin"

    2016 really started off with a bang for the metal community and there were many strong releases that came out. Cauldron released, “In Ruin,” on January 8th, but I did not buy the album until about a month ago. Better late than never though, because this album is really impressive and I am already considering it one of the best metal albums of the year. 

    For their fourth full-length studio album, the traditional metal trio from Canada really hit a home run. I honestly felt after their debut full-length album, “Chained to the Nite,” the other previous albums were just continuing what the band had done on that album. “Chained to the Night,” is an epic release that pays homage to eighties metal bands. However, “In Ruin” demonstrates Cauldron’s ability to write catchy songs that captures the spirit of the eighties metal, but also take listeners into this well produced world that is Cauldron’s own sounding creation. From the lyrics, to how the album was recorded and to the guitar riffs, everything is just raised to a higher level of metal music quality. 

    To start, I cannot begin to stress how important songwriting is and the instrumental presentation needs to fit the songs. Cauldron shows a solid mastery of their instruments and they apply that to their songwriting by coming up with really good tracks on this release. The opening song, “No Return/ In Ruin,” starts out with a very old school thrash sounding guitar riff that develops into a chord punching verse part. Cauldron is able to transition from verse to chorus with great synergy. Ian Chains plays a fierce solo that gets the job done and does not contain unnecessary notes. Also, drummer Myles Deck and bassist/singer Jason Decay provide a strong rhythmic backbone throughout the song. 

    Track number two, “Empress,” is an enjoyable piece and begins with an acoustic guitar riff. The phrasing of the guitar riff helps amplify Jason’s lyrical presentation during the song. Following it up, “Burning at Both Ends,” hammers out a fast paced tempo that appropriately matches the song’s lyrical theme. “Hold Your Fire,” the fourth track on the album happens to be my favorite song. The main riff can stuck in your head for hours. It is not an extremely technical riff, but the simplistic hard rock chord progression is the perfect match for this song. Also, Jason’s vocals sound amazing to where I can hear how he has progressed as a vocalist. Overall, “Hold Your Fire,” is just a great simple classic metal style sounding song. 

    Even after a great song like, “Hold Your Fire,” Cauldron is not finished offering more killer tracks. “Come Not Hear,” begins with an isolated riff from Mr. Chains and then kicks off with a thunderous drum and bass build up. There is a very melodic chorus, which is interesting given the song’s dark subject matter. The next song, “Santa Mira,” has a more thrash bite to it and the guitar playing at times conveys such raw attitude. “Corridors of Dust,” reminded me of the Cauldron sound from the early albums, which I think is not bad at all. 

    For track number eight, “Delusive Serenade,” the band comes up with a very creative instrumental piece. They use acoustic guitars and cleverly construct diverse sounding sections. Ian sort of steals the show with his lead guitar playing and acoustic fills, but the band sounds super tight on this instrumental. Finishing up the album, “Outrance,” rips into a heavy jam of old school metal worship, yet contains that distinct Cauldron sound. For nine songs I swear you can’t find one out of place tune or filler track. 

    Yeah, the review for this album is a little bit late, but I really want more people to check out this album. Cauldron’s “In Ruin” took me by complete surprise, especially since the band has played it very safe and sort of released the same album in my opinion since “Chained to the Nite.” Honestly, talk about a band stepping up their game and putting together a phenomenal album. If you are a fan of traditional classic eighties metal and good melodic hard rock/metal music, you need to check this out. 

Cauldron Facebook:

https://www.facebook.com/CAULDRONmetal

Concert Review: A Burning in the Darkness 2

Xenotaph

    Although we are getting close to summer, the cold and grim music that was played at the Phoenix Theater in downtown Petaluma on Saturday night made it feel as if we were in the heart of winter. Appropriately named, “A Burning in the Darkness 2,” this small festival offered up five brutal black metal acts. The night’s lineup consisted of Modraniht, Ehecatl, Xenotaph, Nan Elmoth and Gloriam Draconis. From what I heard about the festival last year, I was really eager to hear some solid extreme black metal music.  

    Sure enough when arriving to the Phoenix Theater, I saw some underground band wearing black metal dudes outside the venue, who were probably arguing over which of their band shirts was more obscure. After reviewing black metal bands from all across the world for about four years now, I was really looking forward to hearing the extreme and unholy talent that my state had to offer. I think what needs to be brought up right away is that whoever put this show together, really wanted to get all the black metal fans from the Northern California region to come together and enjoy a night of sinister music. The turnout was decent, especially for a show of this style of metal music, and I think those who did not show up missed an opportunity to hear a consistent black metal lineup. 

    Taking the stage first was the two piece black metal band, Gloriam Draconis. Hailing from the Sacramento area, these guys opened up the show with a very traditional sounding black metal song with plenty of minor chords, constant tremolo picking and blast beats. Both members of the band had hoods over their heads to hide their identities, because for all we know they are members of an underground cult... or their parents told them to do that so the neighbors would not find out (Attention: this is not a diss to the band, but a satirical comment on how mainstream society views black metal fans). Anyway, I felt like the two guys had a decent sound and the minor chord progressions were definitely something to bang the head to. However, I felt that the absence of a bass player might have prevented them from having a louder and more impactful sound. Still, for a two piece they did a solid job opening this night of bone chilling musical terror. 

Gloriam Draconis

    Next up on the stage was Nan Elmoth, a band taking their name from the world of Tolkien. This trio of black metal dudes unleashed a vicious sound once they began and I liked the very basic harsh instrumental jams they could conjure up. Their sound definitely reminded me of early European black metal in the way that they were not trying to create technical sounding compositions, but it was more about coming up with a dark and unforgiving overall sound. They put on a wicked sounding set and I think if they find ways to deviate from your usual black metal worship bands, there is the possibility of coming up with some really strong material. 

    Third up on the bill was the Bay Area group, Xenotaph. As they walked on stage their faces were covered with corpse paint and they brought an upside down cross with them. Before they started the first song, all the members of the band drank from a goblet as if they were getting ready to perform a satanic ritual. Xenotaph really captured the sound and spirit of Norwegian black metal in their music. At times though I felt like the songs were recycled black metal riffs that could have used some more variation. The drummer was truly amazing when it came to creating those blast beat rhythms which laid down the foundation for the tremolo picked minor chord riffs. Also, I felt like they could have turned the smoke machine down a bit, since eventually I could barely see the band on stage and the Phoenix was just as smoky as a Cheech and Chong movie. Xenotaph did fit the image and sound of black metal fairly well, so I will give them that without question.

    After all the blast beats, tremolo picking and harsh growl vocals from the previous, I was looking for something to go against the grain a bit. The fourth band, Ehecatl happened to be the act who offered a not so straight forward black metal sound. This group created more ambience in their music and the compositions were very haunting in their presentation. There was also good use of dynamics in their tempos and I really liked the slower and very ritualistic rhythms. I think the band’s drummer and bass player made a tight rhythm section and the singer had a unforgiving vocal presentation. Also, their keyboard player helped add to that overall ambient and dark atmosphere that the band seemed to be going for. The crowd was hooked the entire time during Ehecatl’s set. They are definitely a band with great potential that will hopefully continue to explore their creativity. 

Ehecatl 

    The last band on the bill was the black metal trio from Sacramento known as, Modraniht. The band began their set by standing together on stage and performing this ancient pagan chanting that paid homage to the Hag of Winter. It had a very calming spiritual effect which grabbed by attention along with the other concert attendees. Then once they were finished, each them went to their instruments and tore into a crushing piece of black metal music. I also detected elements of doom in their sound, which at times amplified their music’s bold emotional tone. The band sounded very tight as if they were all connected by some unforeseen guiding force. Throughout their set I could tell that each member played a vital role in creating Modraniht’s extreme and powerful sound. I think they were a perfect choice to end the show and I would really like to see them back at the Phoenix Theater. 

Modraniht

    At the end of the night, I do believe the black metal fans who attended were given their extreme sounding fix at this year’s, “A Burning in the Darkness 2.” Putting on a black metal show is not easy and there are very few venues that can support a show of this type, so major thanks to Tom and the Phoenix along with the people who worked to put this show together. I am looking forward to, “A Burning in the Darkness 3,” and hope to see more bands and people come out for the unholy celebration of a style of music that has been known to inspire some of the internet's best memes. 

Concert Review: Anvil, Night Demon, Unleash the Archers, Graveshadow

    A Tuesday night in San Francisco may seem like a tough night for people to get out and attend a concert, however, when you have Anvil playing along with Night Demon, Unleash the Archers and Graveshadow, it does not matter what day of the week it is. Last night’s concert at the DNA Lounge proved that heavy metal fans have passion and will show up ready to bang their heads and drink some beer. 

    After waging a great battle through the streets of San Francisco just to find parking, I made my way to the DNA Lounge. It would be my first time attending a show at the venue, and I must say I liked how the place was set up. The stage is raised a bit higher than most venues, but no matter where you go in the venue, I feel like you get a decent view of the stage. I was surprised to see a fair amount of metal fans already inside, which means there was a solid crowd for the first opener. Besides Night Demon who I have seen three times before, this would be my first time seeing the other three bands. Also, Anvil being such an iconic group that influenced bands like Metallica, I knew there would be those die hard metal heads who have the jackets with endless patches and remember when Lars still had hair. Actually, you had a mix of old school metal heads and the younger metal fans which was due in part to the DNA Lounge’s awesome all ages policy. 

    Starting off the night of epic fist raising metal was the symphonic metal band, Graveshadow. I became quite interested in how they would sound once I saw that they had a keyboard player. Most of your symphonic metal bands come from Europe, but Graveshadow was from Sacramento, CA. It sounded like they had a decent following come out to support them since Sacramento is not far from SF. Right away the band hammered out a bombastic sounding riff followed up by some cinematic keyboard arrangements. Graveshadow’s singer was able to switch from clean vocals to growl vocals, while matching the instrumental tones. She seemed very comfortable on stage along with the other band members. However, I found their set to be filled with repetitive song structures and the lead guitar playing needed a boost. Again, they seemed to be having a great time on stage and their keyboard player was really banging her head while she played the keys. Not my cup of tea musically, but I respect the passion and their onstage presence. 

Graveshadow

    Taking the stage next was Vancouver’s Unleash the Archers. This band of epic metal musicians from the North has been on my radar for some time now, and I have always wanted to hear how they sound live. Their recordings and music videos are rather impressive, especially the Mad Max themed one. When they firs took the stage I was slightly confused as to why they only had two guitar players and no bass player. Even without a bass player, Unleash the Archers found ways to put on an enjoyable set. Singer Brittney Slayes has a phenomenal voice and her vocal range is amazing. She can really hit those high notes like on the band’s albums which is not easy to do live. The twin guitar attack of Grant Truesdell and Andrew Kingsley was working overtime by trading off leads and ripping through epic melodic riffs. Drummer Scott Buchanan held down the rhythm section and contributed to the group’s tight sound. Finishing with the song, “General of the Dark Army,” the band kept the energy flowing until the very last note. The crowd was really engaged during their entire set and I was not surprised when the fans chanted for them to play one more song. 

Unleash the Archers

   Well, Unleash the Archers did not play another song, probably due to the fact that the openers needed to adhere to a strict time limit. Getting ready to go on next was Ventura, CA’s Night Demon. Waving the flag for traditional style heavy metal and relentlessly touring since they released their debut album, Night Demon once again delivered a smashing set. Opening with the song “Ritual” from their first EP, Night Demon destroyed in top notch heavy metal form. Bassist and singer Jarvis Leatherby rocked the mic and feverishly struck the strings on his flying v bass. Guitarist Armand John Anthony who joined the band in late March has solidified his role as the band’s guitarist. Watching him play the riffs in, “Mastermind” and “The Chalice,” was simply amazing. Drummer Dusty Squires of course did a solid job behind the kit by pounding out thunderous rhythms with precision. The band played three covers with my favorite being their version of Golden Earning’s, “Radar Love.” I felt like I would have preferred more songs from their debut album, “Curse of the Damned,” but I understand that the band might have wanted to change up the set list. Still, their entire performance was on another level and I feel each time I see them they find ways to get more metal fans rocking out to their crushing style of classic metal. 

Night Demon

    After Night Demon ended their set with their always enjoyable self-titled song, Anvil was getting ready to begin their highly anticipated set. This band has really been touring the United States more since that documentary came out and I was looking forward to finally being able to see them. When the band came out it was just drummer Robb Reiner and their new bassist Chris Robertson. I was looking around thinking, where is guitarist Steven "Lips" Kudlow?! Then I looked in the middle of the crowd and saw a crazy brown haired dude holding a red flying v guitar, and realized he was in the crowd! Talk about being up close to personal with the audience. You don’t see Axl Rose and Gene "Money Bag" Simmons doing that. 

Anvil 

    The guys in Anvil may look old, but when on stage they reminded me of young hyper kids having great fun playing their instruments. Some songs that I thought sounded good were, “Badass Rock 'n' Roll” and “Die For a Lie.” Also, the classic song, “Mothra,” gave each member a chance to show off their talents. Honestly, Rob Reiner’s drummer solo kind of took all the spot light and was the high moment of Anvil’s set. He is a master behind that kit and I respect the traditional grip he uses. Lips of course made me laugh a lot by having great stage comments along with using a dildo during his guitar solo. Towards the end of their set the band played the one song that most fans were waiting for which was, “Metal on Metal.” Then for their encore they played a cover of, “Born to Be Wild.” The cover was okay and I think they should have just ended with, “Metal on Metal.” Compared to what I thought going in, Anvil still knows how to rock and roll. 

    After all that metal music from each of the four bands, my ears are still ringing and I am still laughing about the dildo guitar solo. I think the all ages venue definitely allowed for a diverse and passionate audience. Even though I thought Night Demon should have been able to play a couple more songs (I’m biased), it was an enjoyable concert all around and I am glad I went. Whether it be old heavy metal music or new heavy metal music, the fans and bands keep the spirit alive by showing up and banging their heads. 

Sewercide "Immortalized in Suffering"

    Venomous snakes and man-eating saltwater crocodiles, are just a couple things that make Australia one brutal place to live. Adding to the brutality is the Melbourne based death metal band, Sewercide. You want a shot of kick ass adrenaline pumping old school death metal? Well, their debut full-length release, “Immortalized in Suffering,” is definitely the answer. 

    Teaming up with Unspeakable Axe Records, Sewercide perfectly compliments the label’s desire to be one of metal’s most extreme and solid independent labels around. The band has been active since 2011 and it seems after putting out a fair amount of demos and splits, the group is ready to introduce listeners to a full-length album that destroys from top to bottom. Their style of death metal falls into the old school worship category and I hear strong Morbid Angel influence along with Hate Eternal, Deicide and Pestilence. If anything, they play it safe and stick to face smashing death metal and leave all that progressive stuff to the bands who want to peruse that path of extreme music making. Honestly, I do enjoy their consistency, but I would say that Sewercide is not trying to rearrange the death metal formula. Is that good, is that bad...who cares, their riffs are aggressive and the vocals sound as if they were recorded in the tombs of cursed warlords. 

    Kicking the album off is the track, “For Those About to Rot.” The band lays down a vicious riff that features wicked palm muted chord progressions, while the double bass smashing rhythm from their drummer crushes across the musical landscape. I also really dig the gruesome old school death metal vocals that in my opinion captures the classic Florida death metal sound. “A Dying Dream,” is the album’s second track and maintains the brutal sound that you heard on the first track. They even throw in this short bluesy sounding riff that sounds like the footsteps of Cthulhu walking towards a town that will shortly be leveled to the ground. Track three, “Snares of Carnality,” features more slamming guitar parts and the instrumental arrangements sound well thought out. 

    There are some bands I have reviewed that seriously need to stop trying to play fast and focus on coming up with solid sections that can transition without sounding like a gigantic ball chaotic distortion. Sewercide’s level of musicianship and their solid songwriting abilities will really attract listeners who are tired of hearing piss pour death metal recordings. Some other good tracks I want to mention are “Interlude in Agony,” “Megalithic Tomb,” and “Eternal (In Spirit). “Interlude in Agony,” is just a creepy short piano piece that serves as an intermission before listeners are given more brutal cuts of old school. Probably my favorite song on the album, “Megalithic Tomb,” just annihilates with sheer unapologetic force. 

   When all is said and done and Sewercide is all out extreme riffs, you can’t deny their passion for making old school style death metal music. I think there is still more for them to offer and I believe they are on the right path. Also, I would not want to hear them become too experimental and think their old school worship style is rather enjoyable. All they need to do is just keep consistently pumping out monumental sounding tracks of brutality and the headbanging maniacs shall be drawn to their music like crocodiles to raw meat. 

Check out this song by Sewercide "Snares of Carnality":

Sewercide Facebook Page:

https://www.facebook.com/Sewercide

Interview: Necrot

Even though they are busy touring and promoting the release of their new album, "The Labyrinth," Necrot was kind enough to answer some questions I had for them. Being one of the Bay Area's most talented extreme acts with a sound heavy enough to demolish a building, it was a true honor to interview these dudes. Here is the complete interview below...

Hi there guys, thanks for taking the time to answer these questions. I notice that you are quite busy with playing shows in the Bay Area, small tours here and there, and now you have out this full-length release called, “The Labyrinth.” Necrot seems to be firing on all cylinders right now! Is there any time for rest?! 

Necrot: Hey! Thanks for the interview! As a matter of fact we are getting very little rest at the moment. We are driving to Michigan to play the fourth show of our East Coast/Midwest tour. We are having a blast with our friends, Skullshitter, from Brooklyn, New York. We have another week and a half to go but we're ready to raise hell and party hard!

I guess I’ll begin by asking, what finally made you guys want to release a full-length with all your past demo tracks? Also, these are remastered from what I have read, so how was that whole process and are you pleased with the remastered tracks? 

Necrot: Releasing this compilation album was always a goal for us but we never had anyone seriously commit to putting it out. We had been talking with Scotty from Tankcrimes for a while at different times and eventually he offered to release the record for us. To say the least, we were into it and started putting everything in motion. Dan Randall at Mammoth Sound remastered all eight demo tracks for the new record and we were happy with how they came out. 

For, “The Labyrinth,” you worked with Tankcrimes and Sentient Ruin, who both put out the release on their labels and have given fans a chance to own a physical copy of the album in a variety of forms. What was it like working with both labels on putting out this release? Also, what is your favorite form of the album: vinyl, CD, or tape? I guess eight-track will be out next year...

Necrot: Working with Tankcrimes, Sentient Ruin, and Extremely Rotten has been very easy since we are all friends with each other. We've known all of them for years so it worked its way out naturally. My favorite form of the release so far is the LP. The vinyl was pressed on three different colors and includes a poster insert and a download card.

Being apart of the Bay Area metal community for a decent amount of time now, how has the scene evolved in your opinion? Also, before Necrot were any of you involved in other bands and did that help contribute to Necrot’s sound when you three came together? 

Necrot: When we were starting out there were a lot of great bands from the Bay Area that were playing death metal. Over the last few years, many have disbanded or are working behind the scenes writing new songs and recording albums. Most of the newer bands in the Bay Area are punk, black metal, or funeral doom. It seems like everything is getting darker which isn't necessarily a bad thing. Before Necrot was started, Luca was playing in Acephalix, Vastum, and Lawless. Chad was playing in Bruxers. Sonny was playing with Saviours and occasionally Word Salad. I think playing in these bands before Necrot helped us form our sound and ideology that we wanted to put forth for this band. 

I apologize in advance for asking the standard question, but could you list some of your musical influences growing up? As much as I’m sure old death metal bands played an important role, are there any other bands you listened to that might have shaped your musical identity? 

Necrot: We all grew up listening to punk and metal in its many forms. Some influence for Necrot would be Autopsy, Immolation, Death, Morbid Angel, Motörhead, Grave, Nihilist, Discharge, Repulsion, and Bolt Thrower

Over the years Necrot has shared the stage with a large amount of acts, however, who have been some of the most memorable bands that you guys have played with? 

Necrot: Extinction of Mankind, Hellshock, Undergang, Master, Exhumed, Brainoil, Skullshitter, Toxic Holocaust, Bone Sickness, Eyehategod, Steel Bearing Hand, Lightning Swords of Death, Trenchgrinder, Necrophagia, Venom Inc, Ghoul, Rude, Cannabis Corpse, Scolex, Mortuous, Cyanic

I was wondering, since Necrot seems to be a band that has a strong veteran like presence in the Bay Area extreme music community, what advice would you give to some of the young bands starting out? I think your strong songwriting skills and tour wisdom would be very helpful and informative. 

Necrot: Practice all the time, don't be an asshole to people who support you, believe in and think for yourself, don't sell yourself short, don't let drugs and alcohol overtake your passions, and most of all support other bands in your community. 

Looking ahead here, is there any chance us fans can expect a full-length album with new material? Plus, will it be as brutal and unforgiving as those past demo tracks, or will you throw listeners an extreme progressive curve ball? 

Necrot: We have a new album written and we will be recording it after the tour at Earhammer. To say the least, we won't disappoint!

Well, thanks again guys and keep destroying on the road and in the studio! Cheers! \m/ - Rob

Necrot: Thanks, Rob! 

Necrot Facebook Page:

https://www.facebook.com/cyclesofpain/?fref=ts

Necrot "The Labyrinth"

    The unforgiving and brutal musicianship that comes from SF Bay Area Old School Death metal maniacs, Necrot, is unmistakable. Their mammoth sized riffs of distorted terror conjure dark noises capable of tearing apart listener’s ears and devouring their souls. Finally, after only releasing demos the band has put together an eight tack release titled, “The Labyrinth.” Thanks to Tankcrimes Records and Sentient Ruin, fans can finally get themselves a physical copy of the release.  

    The tracks featured on this album are actually the old demos remastered, which  gives the pieces a new breath of extreme and unholy life. Necrot is one of the most respected bands in the SF Bay Area extreme music underground, and even though they formed in 2011, they have influenced a fair amount of current acts. This trio captures the energy and passion of old school death metal, while grinding away at some of the most brutal sounding cuts of music. Singer and bassist Luca Indrio commands the attention of listeners with a vicious sounding vocal delivery. Adding to the band’s behemoth world demolishing sound, guitarist Sonny Reinhardt shows off his versatile guitar abilities, while maintaining a wicked sounding riff attack. Drummer Chad Galey is the guy in the back who feverishly pounds away at his kit. When he strikes that bass drum, the sound echoes like the sounds of a malicious thunderstorm. 

    Honestly, these guys have such a massive sound that you find yourself asking, is this really a trio, or is their some hidden member from a world beyond adding to the band’s sound? The opening track, “Consume Control,” begins with such a thick sounding guitar riff that is complimented by Chad’s rapid attack drumming from behind the kit. Necrot even adds a bit of sludge and hard punk into their sound which some listener’s might catch. It definitely shows how the band is able to offer more than just repetitive old school death metal worship. “Contagious Pain,” “Into the Labyrinth” and “The End,” are ferocious sounding tracks with perpetual sounding brutality inflicted upon listeners. 

    The final four tracks on this release remain very true to Necrot’s extreme music making identity. “Cycles of Pain,” happens to be one of my favorites and I really like the old school sounding guitar riffs Sonny hammers out. Songs like “Scattered” and “Rebirth in Chaos,” capture the spirit of old school Swedish death metal, which might appeal to fans of Entombed, Grave and other groups in that vein. The final piece to the album, “The Abyss,” is Necrot’s last intense sounding offensive. All three musicians contribute such an equal amount of talent and energy that you can really tell these guys are a solid band. 

    I think Necrot’s, “The Labyrinth,” has been well worth the wait for those fans wanting to get a full-length release from the band. Also, the recording of each song truly reflected their extreme songwriting skills, so whoever recorded this release deserves some major credit and respect. Necrot may not be the most progressive and technical old school style death metal band around, but their straightforward approach is undeniably top notch. If you are looking for a blazing no nonsense sounding release of old school death metal, you need to get this album! 

Necrot Facebook Page:

https://www.facebook.com/cyclesofpain/?fref=ts

Game Over "Crimes Against Reality"

    The fierce ambitious drive of Italian thrashers, Game Over, is back for another full-length release full of killer riffs and stage diving songs. “Crimes Against Reality,” marks the band’s third full-length release and is the follow up to their crushing sophomore release, “Burst Into the Quiet.” 

    Upon receiving this album for review, I was quite aware of Game Over and I knew what these dudes were capable of delivering. I reviewed, “Burst Into the Quiet,” which I thought captured the true spirit old school thrash, while offering listeners an exciting and enjoyable sounding release. Of course, they are not reinventing the wheel, but the quality of music and talent level is still very impressive. For their new album, “Crimes Against Reality,” I can honestly hear where the band has become even stronger, for example their songwriting. On their previous releases, they seemed to offer a very straightforward headbanging rapid riff assault in the vein of bands such as Municipal Waste and Nuclear Assault. The new material in my opinion is written in a very thoughtful manner that compliments the band’s creative social issue and horror movie inspired lyrics. 

    Opening the album is the epic guitar driven and massive sounding drum build up instrumental piece called, “What Lies Within...”. Shortly after a slight fade out, the next song, “33 Park Street,” kicks off with a unforgiving explosion of palm muted guitar riffs. The lead guitar playing bleeds with technical passion and instantly draws my attention. I am thinking to myself, damn these dudes are raising the bar right off the bat! The following song, “Neon Maniacs,” has a very thrash based sound, but also gives off this punk vibe that I think really constructs a solid song. There is no need to constantly push unnecessary technicality on listeners, because if the rhythm is catchy the lyrics sound badass that is all that matters in the end. Again, the leads are incorporated when necessary and the recording of all the instruments allows listeners to follow along and not get lost in a blizzard of random notes. 

    Track number four, “With All That is Left,” is another impressive piece and the use of different tempos stands out the most. There is this mellow acoustic part that grows until it reaches a powerful climax of raw emotion that comes from the singers strong vocal tone. It reminded me of the band Xentrix, because there is diversity in the compositions to where the thrash riffs do not dominate the song and it allows for more thoughtful songwriting. The next thrash’n song, “Astral Matter,” begins with an astral sounding bass riff and the song’s overall atmosphere is rather science fiction like, which I of course find to be completely awesome. Game Over even offers a fun classical thrash fusion piece called, “Fugue in D Minor.” They lay down some very impressive guitar playing as the drums attack with insane double base force. Until the very end, this album offers solid song after solid song. 

    Overall, I think Game Over put together a great sounding third release that shows their hard work and determination. Three full-length albums since 2012 is pretty darn good. Also, they are improving with each release, so I am already expecting the fourth album to be another headbanging smashing release. From the songwriting, to the musicianship, to the old school thrash looking album cover... (Yes, I sometimes factor album covers in reviews, so sue me)...Game Over is an up and coming band waving the flag for global thrash fanatics. Seriously, give them a listen and get this album! \m/ 

Check out this video for "Neon Maniacs": 

Game Over Facebook Page: 

https://www.facebook.com/GameOverThrashMetal/