The Men- "New Moon" (Sacred Bones, 2013)

I first acquainted myself with The Men in 2010 as a grad student at Cleveland State University when a friend of mine gave me a copy of "Immaculada." Known for their shoegazingly off rip punk inspired rock that combines a clever use of guitar effects akin to Sonic Youth and a range of classic rock influences, The Men have stepped their game up with their latest release "New Moon" on Sacred Bones Records. While "New Moon" certainly lacks the discordance and frenzy of the band's back catalog, the melodic tones and harmonies contained in songs like "I Saw Her Face" demonstrate a band shedding its skin and allowing vulnerability to create honest and familiar songs. A clearer approach to mixing and production works surprisingly well for The Men considering their stylistic love for noise and many of the arrangements are reminiscent of blues and country rock, something I find very impressive and eclectic. The toe-tappingly charged track "Electric" is the best representation of the band's sound this time around. With its carefully placed rockabilly lead guitar riff and its cool approach and smooth delivery, "Electric" slowly absorbs in your brain until it is permanently a fixture of the psyche. Perhaps the best quality The Men possess is their ability to allow an environment to shape a record. This has been the case with each record in the band's catalog, each representing a distinct style and mood reflective of the place it was recorded. "New Moon" was recorded in a cabin in rural Big Indian, New York and the distance of that place is represented in the melancholic Americana of the band's new sound. The beautiful piano of "Open the Door" perfectly demonstrates this with its light and and honest approach to country sounds viewed with alternative lenses that hasn't been done as impressively since Husker Du. Stripped down but not souled out, "New Moon" introduces a new element into the band's already stellar repertoire. To add to the mixture of shoegaze, noise rock, and punk we find country, psychedelia, and American folk rock that, I hope, will introduce the band's audience to the wide array of influences that helped shape this record. There is no doubt that "New Moon" will be a divisive record that many older fans of the band will have a hard time digesting. Hopefully open-mindedness will prevail long enough for older fans to give this record a chance to appreciate how well crafted it truly is and the band's newer "polished" sound invites the previously apprehensive to check out the band's back catalog. This is a turning point for The Men, I wish them the best.

9 / 10

- Joe

Circle Takes the Square- "Decompositions Volume One" (Gatepost Recordings, 2013)

Arguably one of the most anticipated releases of the year, Circle Takes the Square's "Decompositions Volume One" is the first release by the band in eight years and, although not the return to form that fans may expect, is certainly an album that many should check out. Best known for 2004's "As the Roots Undo," CTTS's brand of screamo / post- hardcore made them one of the seminal acts of the early 2000s and the band's cult following grew to almost legendary status. "Decompositions..." has enough of what made you fall in love with the band in the first place and adds just enough new flavors to make you a supporter of the band moving forward. "Spirit Narrative" and "Way of Ever-Branching Paths" reflect the band's blending of male / female vocal interplay over technically sound and hectic rhythms. Fast tempo changes and subtle harmonies are apparent, yet the band seems to have shed the discordance that helped define most of their early material. While this musical development may alienate some purists, I find this to be a welcomed adjustment for the band and one that helps me appreciate the songs more. Anthony Stubelek's clear production allows the listener to break through the wall of sound and become acquainted with the sharp and well placed melodies contained in songs like "A Closing Chapter" and makes the sharp changes in attitude and tempo of songs like "Preface by the Signal Fires" feel less overwhelming and more digestible without compromising the integrity of the approach. Comprised of three musical "narratives," "Decompositions..." is a smooth and comfortable listen from start to finish and representative of a band interested more in its future than its past. CTTS has spent eight years carefully crafting the best material they can write and it shows in this record's material, display, and attitude. Knowing how easily this band could have pleased the screamo faithful by re-hashing material from old records, the fact that they are focused on their own development without regard for how it will be perceived is something I respect and see all too rarely in bands nowadays.

8.5 /10

- Joe

Refused- "Everlasting" Re-Issue (Original Recordings Group, 2013)

Originally released on Equal Vision in the glory days of 1997, "Everlasting" introduced Refused to the American audience that would eventually buy their legendary "Shape of Punk to Come" in large quantities. The sound of "Everlasting" melded the ethos and experimentation of Born Against and Nation of Ulysses with the heaviness and boldness of (then) contemporary East Coast hardcore to establish a sound that no other band dared or even could begin to think to make. There is an innocence to this record and era of Refused that I find very appealing and encourage others to become acquainted with. "Everlasting" represents a band in the midst of creating something groundbreaking and the ignorance of the band's significance in the annals of music history via harmless experimentation is as enjoyable as it is astonishing. Songs like "I Am Not Me" and "The Real" are some of the best hardcore music recorded in the 1990s and ushered in a new era for hardcore sonically, visually, and philosophically. While Victory Records and other marketable hardcore labels in the 90s avoided the political, Refused proudly and bravely stood for their convictions and never shied away from expressing what they felt their audience needed to hear and understand. It is because of this that the re-issue of this record is so important and its influence will live up to its title, everlasting.

 8.5 /10

- Joe

Godflesh- "Hymns" Double Deluxe Edition Re-Issue (The End, 2013)

2001 was a year that altered the course of human history and will be chronicled as the true beginning of the Bush-era. Wars were waged, fear mongering became standardized, the dismantling of civil liberties was underway, and the polarization between left and right was widening more so than ever before. Music and art took on new and more profound meanings during this turbulent time and, as they had done for so long before, Justin Broadrick and Godflesh released an album. This would be Godflesh's last will and testament before the birth of Jesu, a melancholic and emotive wave good bye as the foundation they once stood so proudly on seemed to crumble around them. Although we selfishly tried to cling to Godflesh, we knew the extent of their inspiration and the inevitability of their transcendence into knew and uncharted territories.

Musically, Hymns embodies the period and emotional state mentioned above. From the powerful beauty of "Anthem" and "Regal" to the paranoia and rage expressed in "Paralyzed" and "Deaf, Dumb, and Blind," Hymns chronicles the journey of a lost soul through a strange and unforgiving place. Lost, old, tired, but proud, this journeyman clings for dear life as he tries to escape the clutches of animals and vampires only to be left defeated and hopelessly awaiting the arrival of some kind of savior, a savior that only comes after it's all too late and the damage has been done. Broderick, Green, and Parson's playing on Hymns was tight and bold with a keen attention to detail and cultivation of certain elements. Green's bass playing created a pulse, a life force that allowed songs to exist in and of themselves as statements against the pedestrian and stale metal genre that seemed to be a shell of its former self. Broadrick's guitar was a backbone for this upright creature, a support system of thick tones and riffs that accented the mood set by the rhythm section. Although viewed as an end, ironically Hymns marked several new beginnings for Godflesh including the debut of drummer Ted Parsons and the first Godflesh album to be recorded in a professional studio. Hymns in many ways is a stand alone album for the band, one that is best appreciated and understood out of context rather than comparatively in relation to the band's catalog.

 

The deluxe re-issue of this masterpiece contains as many surprises as the original and is definitely worth purchasing for the wonders contained in many great re-releases. Demo mixes completed in 2012 of various tracks breathe new life into the songs and allow listeners to truly appreciate and listen to the lifespan of Broadrick's creations. "If I Could Only Be What You Want," a track not included in the original album, is the perfect musical bridge between Godflesh and Jesu and an important piece of history for any fan of either to possess. Standing as proudly and majestically as it did in 2001, Hymns could easily again be voted Album of the Year by Terrorizer and Rock Sound and once again reminds bands how high the bar truly is raised.

- Joe

Cult Ritual- Self Titled LP (Youth Attack, 2009)

Tampa, Florida's Cult Ritual were perhaps the most innovative hardcore band of the last ten years, and it's a shame their material has gone unnoticed for so long. 2009's LP on Youth Attack captured the band's lethal brand of hardcore packed with drone-laden, noise rock infused madness that few of their contemporaries could match then and certainly can't now. Cult Ritual seemed to play with a sense of urgency that suggested the band knew its time would be short, that something had to be expressed as clearly and directly as possible or else it would be lost forever. Although discordant, Cult Ritual's songs flowed very smoothly and the aggression and angst in each song remained focused and contained throughout. Songs like "Ugly Years" sound like the best of My War-era Black Flag without sacrificing an ounce of originality or integrity while others are eerily reminiscent of bands like Unsane and Jesus Lizard's brand of crushing riffage.Cult Ritual may have ended before their time, but the material we are left with is worth more than just a passive listen, it deserves respect and recognition for setting a new standard in hardcore.

The privileged few that saw this band live between 2006 and 2009 attested to Cult Ritual's energetic, frantic, and often dangerous performances that only continue to add to the mystique surrounding this act. What separated Cult Ritual from the pack wasn't so much their influences but the way the band managed to marry a straight forward approach to hardcore with an eclectic array of influences that allowed for various tempo changes and rhythms during rather short sections. One three minute outburst takes the listener on a ride through the familiar territories of crust and hardcore to the unfamiliar beats of sludge and unconventionally structured post-rock rhythms that few dared and still dare to track to. Cult Ritual not only ventured to this uncharted land, they built a foundation there. It's a shame that they managed to build such a structure that sheltered them from so many for so long.

-Joe

Order 66- Demo (2013)

 I'm going to keep this pretty straight forward because, frankly, these cats play a very straight forward brand of thrash metal with just enough death metal tones and the right amount of hardcore moxie to knock every single one of your teeth out of your mouth. Order 66 is from Cleveland, OH and are creating quite a nice buzz in the local metal underground for their demo released in 2012. These songs are well crafted and cleverly structured with familiar thrash elements akin to Forbidden and Testament with tracks such as "The Fall Will Kill You" and "A Coward's Pride" reminiscent of the best of At the Gates and early Haunted. . Marco Quiroz and Dave Martin's dual guitar work is beyond impressive with bassist Rob Lesniak and drummer Eric Matthews holding down an incredibly tight rhythm section. Kris Heming's vocal performance is equally as impressive with the singer belting powerfully, yet tastefully while injecting enough harmonies to add an element of surprise and class to this otherwise vicious onslaught. Having cut their chops in various metal bands over the years, Order 66 aren't a part of a retro-revival and certainly don't seem to be paying attention to current musical or social trends. What you hear is what you get, five honest dudes playing some of the best metal I've heard from Cleveland in quite some time. Go see this band, buy their material, wear the shirt, and don't have your lawyer call them after you get arrested for assault with this on the ITunes.

- Joe


http://www.reverbnation.com/order66cleveland

Dead in the Dirt- "The Blind Hole" (Southern Lord, 2013)

Atlanta, GA's Dead in the Dirt have been turning heads since their debut E.P. "Void" in 2008 with their brand of heavy, crust-laden, vegan straight edge grindcore madness. Southern Lord has the pleasure and privilege of slapping their label on the band's debut "The Blind Hole" and it is certainly worth picking up this August. Crushingly heavy down tuned guitars reminiscent of His Hero is Gone accompany pounding drums and ferocious vocals as tracks rage with speed and intensity but maintain enough harmony and subtle melodies to give tracks the profoundly bold identity the band is known for. With lyrics full of passion and conviction, DITD are focused on presenting an intelligent and honest critical assessment of the state of the world today in relation to veganism, straight edge, political corruption, greed, and religious bigotry. The message is clear, the music is solid, and the sweat is genuine. Own this.

8.5 / 10

- Joe

Illustrious Snobs

Here's our first attempt at a video interview. It turned into more of a conversation between each other. We could easily have gone on for hours, and we probably will in our next post. 

Come sit on my couch and let's talk about cool shit! 

-Novak

Another Awkard Video Entry :/

This one wasn't as awkward. This sort of things is pretty fun but this will be my last one I make alone. I want to start interviewing bands so I can just shut the fuck up already.

-Novak

A Great Local Gem

I don't always write about local bands, but when I do, I prefer to write about the ones who truly blow me away. It isn't often that you hear a band that is doing something so unique that you can't quite articulate how to describe it because the point of reference is so disguised or, destroyed altogether. He-Chaw Frunk is a band from Lakewood, OH that I first became acquainted with last year at a shitty little bar on the East Side of Cleveland, OH that my friends in Lucy were playing at. I don't remember that venue's name, who else played (other than Lucy), or how much I had to drink that night, but I do remember not moving an inch as He-Chaw belted out thirty minutes of no nonsense rock. Rock, that word that so many don't use anymore that almost carries no weight, at least not the same weight it once did in the glory days of yesteryear. I know I heard blues, I think I heard some country, I'm pretty sure I heard some metal, and I'm certain I heard lyrics about killing an ex-girlfriend. Whatever I heard, I had never heard it before and it was more than a pleasant surprise. This music is played with talent, conviction, integrity, and more creativity than any band in Cleveland. That is a quote, and one you can take to the fucking bank. He-Chaw Frunk have just finished recording a new album at Obese Studios produced by my friend, co-conspirator for this shitty blog, and current drummer Matt Novak that is beyond impressive and hauntingly profound. I not only suggest everyone in the local area to pick this up and see this band live, I am outright demanding it. Classic Rock n' Roll something or other from the ugliest part of the country, figure it out for yourself.

- Joe

P.L.F.- "Devious Persecution and Wholesale Slaughter" (Six Weeks, 2013)

Pulverizing Lethal Force (P.L.F.) is a Texas based outfit made up of members of the infamous Insect Warfare. Although keeping their grindcore roots intact, P.L.F are certainly more inclusive than their predecessor and, quite frankly, more interesting in many ways as well. The band includes a noticeable thrash and speed metal influence with riffs reminiscent of Scott Hull's work in Pig Destroyer played with precision over a plethora of blasts and double-barrel drum beats. Imagine Harmony Corruption style Napalm Death mixed with Testament played on a higher rpm than intended and you have a generally solid idea of what's to be expected here. P.L.F. should be around for a while and if they keep releasing quality material like this it will be a real treat.

8 /10

- Joe

Kvelertak- "Meir" (Roadrunner, 2013)

It's really rare to find a band that can incorporate so many styles of music effectively and interestingly. The few bands that can should be appreciated and recognized as soon and often as possible by audiences the world over. Norway's Kvelertak is a perfect example and their 2013 album "Meir" is a roller coaster ride through primitive black metal forests, rock n' roll expressways, and punk alleys that is arguably one of the most eclectic pieces of music released in years. Produced by Kurt Ballou of legendary Massachusetts act Converge, "Meir" is solid and captures the energy and ferocity of a young band that is, even in its infantile stage, more impressive than many of its peers. "Meir" succeeds where so many albums fail because it does something so many fail to do, rock. It rocks with memorable songs, nostalgic nods to the past, and excitement about the unknown future. Pick this up and check this band out live, I know I will.

9 / 10

 - Joe

Speed Trials Part 1

Violent Restitution- S/T LP (Black Banana, 2012)

Vegan animal liberation activists turned grindcore assault squad Violent Restitution from Vancouver, BC released a LP this past year that is definitely worth checking out if you're into Phobia, Excruciating Terror, and saving whales. As faster bands are concerned it is fairly standard, but what sets these cats apart from their peers is their creative and ferocious female vocalist and a fairly gnarly guitar tone that reminds me of early death metal acts. Sludgy and droney tones are also in abundance on this record which gets the head banging and is a welcomed change of pace from a rather speed-induced assault. Not good enough to make me put the veal down, but worth a spin or two.

Gets Worse- S/T LP

Powerviolence has reached Leeds my friends, and if you think they are merely copying what they've heard from California you are dead wrong. Gets Worse's LP ironically gets better every time you listen to it with its bombastic blasts, Lack of Interest / Insult vocal attack, and terrifyingly heavy guitars. Sprinkle in some gang vocals and enough 80s hardcore riffs to keep the circle pit alive and kicking and you pretty much have a recipe for a beautiful disaster. I'm looking forward to these guys being around for a while.

Weekend Nachos- "Watch You Suffer" (A389 Recordings, 2013)

Two new tracks from Chicago's masters of all things ugly and putrid. Still the heaviest, still ahead of the pack, still miserably pissed, and still the humblest kids playing instruments, the Nach deliver two tracks on this 7" EP. Picking up where "Worthless" left off, the band once again demonstrates how riffs can make post-adolescent males kick each other in the face on a regular basis. I like to think of this as a teaser rather than a single since it only makes me that much more excited for a new LP from these dudes. Defeat the Christian right.

Manpig- "The Grand Negative" (Deep Six, 2012)

Recorded in the glory days of 1992, Manpig's LP "The Grand Negative" has finally seen the light of day thanks to the fine folks at Deep Six Records. Expect what you love about Infest, LOI, Neanderthal, and the other bands that you love from the west coast. With clear production and quality song writing, it's surprising that this band's release has avoided the spotlight for so long. It may not have been the trendy thing in 1992, but it's great that this album has a second chance at appreciation.

- Joe

Darkthrone- "The Underground Resistance" (Peaceville, 2013)

Always ahead of the black metal curve or constantly redefining what exactly that curve even is, Darkthrone are back with their best record in years and arguably the best metal record of the year thus far. If you've been following Darkthrone over the last few years, their style has taken an interesting turn away from the second wave of black metal they helped define toward a crust punk / black metal hybrid akin to Amebix having sex with Carpathian Forest while Venom jerks off. "The Underground Resistance" retains some of the punk riffs but plenty of the punk spirit and injects even more Sodom, Mercyful Fate, and Bulldozer into the mixture to create a metal cocktail that is one of the most enjoyable buzzes I've had off of a metal album in years. Crisp production and recording brings out the songwriting and power of the instruments and compliments the songs without losing any of the raw emotion the band is recognized for. Where "Dark Thrones and Black Flags" and "Circle the Wagons" had confused moments, the newest Darkthrone effort is demonstrative of confident songwriting and a band that has found the sound they've been searching for for quite some time. Truly bright musicians are able to create songs that allow influences to arise naturally without forcing them to the forefront awkwardly, it is great to see Darkthrone reach the pinnacle of their abilities with this release.

9 / 10

-Joe

Orchid- "The Mouths of Madness" (Nuclear Blast, 2013)

"Mouths of Madness" is the latest release from San Francisco doom / stoner rock outfit Orchid. Nowadays it's difficult for the heirs of the Sabbath to stand out in the crowd, but Orchid reminds skeptics how it can be done with well crafted, interesting, and powerful songs. While it may not be the heaviest of Sabbath-influenced music out there, "Mouths of Madness" pays homage to the godfathers of doom while incorporating other interesting sounds reminiscent of Pentagram, Blue Oyster Cult, and Trouble. Classic metal fans and newer doom freaks alike can enjoy jams such as "Silent One" that begins with Church of Misery-esque power before diving into a retro joyride. "See You On The Other Side" and "Leaving it All Behind" each clock in over seven minutes, yet they demonstrate that lengthy songs don't necessarily have to alienate listeners and can keep a solid energetic pace and hold attention with interesting time signatures and catchy riffs. While solid, the album does lack in certain areas. Primarily, many of the songs lack strong character due to some uneventful drumming by Carter Kennedy who seems to be mindful not to overshadow the power of some very crushing riffs. Likewise, Mark Thomas Baker's guitar playing, although fantastic and highlighted by the album's clear production, doesn't offer as much lead guitar thrills as I was hoping for. "Nomad," for example, contains a small and underplayed lead that irritates rather than leaves one begging for more. If you're expecting the wheel to be reinvented you may be left disappointed, but if you're looking for a solid hard rock record in 2013 this may be a record you want to pick up.

7.5 / 10

- Joe

Everybody Loves The Melvins

In case you're a Melvins fan whose been in a coma for the last two months you may not be aware that the Melvins will be performing at the Grog Shop on July 25th to celebrate their 30 Year Anniversary. The Melvins are perhaps one of the most respected bands in music and definitely a fantastic live act that always has some amazing surprises live. This tour is particularly interesting because of the band's release of their new covers record entitled "Everybody Loves Sausages" and special guests including Caleb Benjamin of Tweak Bird and Jeff Pinkus of the Butthole Surfers. Audiences can also expect to hear the newest song from the band "Dr. Mule" that was made available for download via Scion AV and Pitchfork recently.

As for the covers, Amphetamine Reptile Records will be releasing the cover tracks from last year's "Sugar Daddy Live" as a series of nine 7" records that should keep Melvins collectors happy. The first of the series includes the band's covers of "Set it on Fire" and "Swampland" by The Scientists and part two will be "In League With Satan" and "Warhead" by metal legends Venom. Pretty cool shit. Also, Novak and I should be there, so feel free to catch up with us and suggest that we stop blogging. Hopefully we'll see you all there on July 25th.

 - Joe

Iron Lung- "White Glove Test" (Prank, 2013)

Iron Lung's 2013 offering "White Glove Test" is the best material of the band's stellar career thus far. Fast, uncompromising, straight forward fastcore blends with ultra heavy noise / sludge to surely melt your face and genitals off. What is truly impressive about Iron Lung is how they continuously test the boundaries of extremity while existing as a two-piece outfit. As with their previous records, "White Glove Test" is solidly produced as well, allowing the band's sonic assault to travel alongside their archaic and distinguishable wall of sound that underlines each track. Twenty minutes is all it takes for Iron Lung to reclaim the throne, consider the bar raised....again.

-Joe

Useless

Courtney Love is working on a new album with the working title of "Died Blonde." This is too easy to shit on so I'll just leave my words to the imagination.

-Joe

Keep it Short

This past weekend I was reading some reviews for the latest Terror record entitled "Live by the Code" and, what sparked my attention, was how narrow-minded most underground music fans truly are still and how artistically imprisoned many artists are. "Live by the Code" is not a bad record, it's the same record Terror has always recorded and is EXPECTED to record by their audience, the most purist of the purists who drafted this code that the band apparently adheres to. I'm not shitting on Terror or this record at all and in no way is this post a review of that record. What I am pointing out is something that I feel is obvious to all in the underground, that too many bands overstay their welcome. One of the things that makes subgenres like thrashcore and powerviolence so special is the fact that the bands understand the importance of a brief life and appreciate that fact. The template of "write as many songs as you can, release two records, break up and wait until the kids call you for a go around of shows" is more respectful to the fans and culture in many ways. The sound and image doesn't become a stale commodity and the music is often higher quality because the bands recognize that they won't have very much of it and that it is artistically boring as fuck to write seven hardcore records.

"Fuck it, I Quit" - Scholastic Deth

Experimentation is, as it was in the days of "My War," not welcome in hardcore punk culture still in many ways despite what many followers may say, but passing the audiences off as narrow minded isn't exactly fair in its own right as well. Most bands spend most of their career releasing such similar records that by the time they are "over it," they end up releasing very pedestrian offerings akin to "Slither" or whatever the fuck that last Hatebreed record was all about. Hatebreed and Earth Crisis, Victory's cash cows, expected an audience cultivated on monotonous bullshit to welcome their "experimentation" with open arms and it failed, as well it should. If you're going to purposely compartmentalize your band that's fine (I for one happen to love many bands who play one chord and never experiment), but keep your career brief and try to write the highest quality material in as short of time as possible unless you want to become that guy at the party whose jokes aren't funny anymore and everyone wants to leave so they can go to fucking bed already. This ethos is perhaps best summed up in Punch's latest album entitled "Nothing Lasts." These youngsters get it. They won't be here for very long and in two years the hardcore kids will have new heroes, and that's fine with them.

-Joe

Machetazo- "Ruin" (Parasitic, 2013)

Spain's grindcore veterans Machetazo are back with a new record out now on Parasitic Records entitled "Ruin." Machetazo's brand of death metal tinged grindcore is in full swing on this release with signature Repulsion / Terrorizer riffage with signature blasting and ferocious vocals. Added to the band's pot of disgust is production reminiscent of early Grave and Nihilist that is certainly aesthetically pleasing and blends perfectly with the band's musical direction as of late. "Ruin" was recorded in a mere 18 hours and the album is a very fluid listening experience with no fillers or awkward transitions. Despite Machetazo's desire to capture the intensity and spontaneity of the musical moment their tightness is very apparent and in tact with obviously well rehearsed.material. Drummer and frontman Dopi's blast is one of the most consistent in metal and his d-beat inspired battery will keep your head banging as well, especially on the band's thrashier tracks which are in abundance on this gem. Possibly one of the best characteristics of Machetazo is that they manage to pay such obvious homage to their influences without sacrificing any originality, something very rare in many bands nowadays. One song made me want to jam Sacrifice, another Massacre, another Corrupted, making "Ruin" a very enjoyable listening experience as it reminds me of why I fell in love with extreme music so many years ago. Pick this up and, if you enjoy, feel free to check out the band's back catalog that includes many killer LPs, Splits, and EPs.

8.5 / 10

For Fans Of: Grave, Terrorizer, Corrupted, Repulsion

My First Video Entry!

Well this was awkward.. 

Here's my first attempt at a "vlog" as I've heard it called. I have no idea what the hell I'm doing when I write in this blog, let alone talking about this shit on video. The quality was kind of poop and I must have shot this fucking thing 100 times because the video would stop any time someone texted me. It cuts off a review of a Gary Numan album, but I don't think anyone is going to last 2 minutes into this, so I'm not really concerned haha. I'm also not sure why at some points it looks like I have tits..

-Novak

Oakhelm

Growing up in Mayfield Heights I was surrounded by metal kids and played in a death metal band called Severed Remains. There were no hardcore or punk kids in school, so most of my friends listened to melodic death metal, black metal, and viking metal. Over the years my musical influences took different directions, but I still love a great metal band and recognize something special when I hear it. Recently I was introduced to Oakhelm, a Portland band featuring members from such prominent hardcore / punk / grind acts as Assuck and Fall of the Bastards. I'm not going to lie, I thought this band would be a joke, I was further from the truth than I ever imagined. Oakhelm play a very serious form of melodic death / viking metal with strong influences from black metal as well. Imagine Amon Amarth in a fist fight with Enslaved before being tackled to the ground by Unleashed. These guys are the real deal. The songs are melodic but retain enough blasting fury to keep even the most hardened metal purist entertained and the lengthy songs manuever craftfully in enough directions to keep the listener interested throughout. Having released only two records (2007's "Betiwxt and Between" and 2011's "Echtra"), Oakhelm has enough material to introduce new fans to the band before they release more fantastic material. "Echtra" contains a bit more of a black metal influence, but both records are full of melodic anthems that are reminiscent of the best of early In Flames and Dark Tranquility.

Currently playing shows on the West Coast, I have been told that Oakhelm is interested in venturing East in the coming year and I for one cannot wait to see these guys live. I encourage anyone interested in metal to check this hard working band out by seeing a show or buying one or both of their equally impressive records. Slick production, fantastic guitarwork, and interesting song structures will knock your socks off and make you a believer in this up and coming band. If this band continues to release material of this strength I forsee nothing but promise in their future and it will be well deserved. Cheers!

 -Joe