ABORT Magazine™

Album Review: Slaine – The Boston Project

May 18th, 2013 Filed under: Reviews - Music by Editor in Chief

Album Review: Slaine
The Boston Project
Suburban Noize

Like many albums that fall into what many would call gangsta rap Slaine’s latest offering, The Boston Project, doesn’t fail to deliver.  With that said, however it’s more than just that and in spite of ample references to eight balls, Percoset, and weed, as well as driving drunk and living life in the fast and hard lane, the album is more than what a cursory treatment of the first few tracks of the album would reveal.  

While this surficial view of the surface this can certainly grate on the nerves of many a fan of hip hop, the album takes on a shape that represents the immense diversity in the style of the artists that make up the album building a complex tapestry of styles that keeps the listener engaged.  It represents an amazing collection of collaborations put on by one of Boston’s baddest, as a way of displaying the ample diversity present in the city’s underground scene.  From the smoother and more R&B oriented Polaroid Picture, to the harder tracks like Loyalty, the album nonetheless delivers on some more mellow and contemplative fronts.  Bible Pages is a wicked treatment of coming to be in the rougher parts of Boston and is lyrically fantastic, and tracks like Rat’s Maze serve as a gritty and real treatment of the harsh reality of addiction.  The Boston Project is full of songs that serve as nostalgic reminders of where Slaine has come from, with tracks like Back Where I’m From, Evolution of the Kid, and Buildin’ With Edo chronicling the past, and Faster Than Time and Hero giving an idea of just where hip hop is headed in Boston and who exactly these figures are.  Are portions of the album stereotypical?  Yes.  Does that take away from the overall effect?  No, not in the ears of this reviewer, because of the sheer diversity of tracks and styles.

 Mastery of the art of word by these artists is put on display in this album, and it’s definitely an enjoyable journey through what the city of Boston has to give the world of hip hop.  Full of lyrically tight tracks The Boston Project is a worthy listen whose parts make for an enjoyable whole.  

A solid 8/10.

By: Edward Quinlan

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Album Review: Magnus Rising – Whatever it Takes

May 15th, 2013 Filed under: Reviews - Music by Editor in Chief

Album Review: Magnus Rising
Whatever it Takes
L8R Records

When compared to the first album, “Whatever It Takes” is best described as not just a step in the right direction, but a leap in the right direction. It’s the difference between playing at a bar, and being able to play an arena show. The difference is that drastic. However, all the things that you liked about the first album such as the amazing axe grinding, the rad bass lines, that’s all there as well, it’s just a lot more polished than in “Counting the Numbers”. The pacing of the new album follows a much better formula than the first album, and the tone is a lot more consistent throughout. If you were a fan of the tone of “Counting the Numbers” however, you will still be very pleased with the new album. It is a bit more tame than the first, but the songs turn out a lot more fluid and melodic, and ultimately this leads to a better experience. When I first started listening to “Whatever It Takes” I played it about six times in a row to get a good feel for it. By the time you finish the albums entirety, you just have to listen to it again. It’s surprisingly addicting. It’s like one of those movies that you keep watching, and every time you watch it, you notice something more. I’ve happily listened to “Whatever It Takes” over a dozen times now, and I’m still picking new things up.

There’s a great diversity of songs on “Whatever It Takes”. “The Journeyman” features acoustics, providing a more dramatic experience mixed with very defeated lyrics. This song is then followed by what I would consider one of the most heavy songs on the album, “Frankenstein’s Monster”, but this transition is made fluid through the overall experience of this album. “Whatever It Takes” tells a story, similar to many successful albums of the past. It’s hard to recommend anyone to listen to any one song without saying to simply listen to the whole album. One song alone is great, but if you can just pop your headphones in for a bit longer and hear the whole journey “Whatever It Takes” is, you’re going to finish with a greater reward. This album comes highly recommended for anyone that needs to fill a musical void, and enjoys harder rock, or softer metal.

The title of the album is a big draw, as it’s almost a tribute towards the pains of being an aspiring rock god. The people with the real drive will reach that pinnacle, whatever it takes. My favourite song on this album is Dinner Is Served. It’s not because I like to eat though, it’s because of the rhythm. I love everything about this song, the lyrics, the guitar, the bass, the drums; everything. The lyrics of this new album definitely improved as compared to “Counting the Numbers”, and I believe that’s due to a bit more collaboration between band members, and the producer, Dave Slote. He really works hard with the guys to establish a great musical experience on the latest album. I got a chance to see some of the exercises he did with the band, and heard about some of the stories of this albums production, and I think Dave has a lot to do with the night and day difference between the first and second album of Magnus Rising. It is teamwork like this that really take albums to that next level. I definitely foresee “Whatever It Takes” taking this band to the next level, earning them even more exposure.

This album proves that they’re willing to do whatever it takes to succeed, and definitely proves that they deserve it.

Magnus Rising are set to release Whatever it Takes worldwide May 31st 2013

By: Clayton Cyre

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Album Review: Imprecation – Satanae Tenebris Infinita

May 15th, 2013 Filed under: Reviews - Music by Editor in Chief

Album Review: Imprecation
Satanae Tenebris Infinita
Dark Descent Records

Dirty filthy rotten satanic death metal has been awarded an upcoming release from long time band Imprecation with their lengthy anticipated full length “Satanae Tenebris Infinita”. Finally released during their second coming, this album offers a refreshing taste of pure dark and ominous death metal from the cesspool That is Missouri City, Texas. Imprecation is not an unfamiliar band for those die hard underground OSDM fans who are pleased to have this band resurrected from the dead with three of five original members. Molded in the brink of 90s death metal Imprecation released a total of two demos and one EP which were then put forth onto a compilation titled “Theurgua Goetia Summa” sought amongst many avid death metal collectors before succumbing into hiatus in 1998. Legendary French artist Chris Moyen is the guilty verdict of this impeccably fitting cover art while inner art work done by the none greater Mark Riddick proves worthy of the bands horrifying, sinister and dark sound.

Pure and unadulterated death metal in a haunting form not departing far from their original sound over their beginning reign 20 years ago. Crushing track “Of the Black Earth” is frighteningly heavy filled with a murky and sinister atmosphere that a lot of today’s death metal bands have a severe deficiency in, the entirety of the album is unpredictable leaving you on your toes for the total 40 minutes of chaotic solos, trem picked riffs, and a nethermost heavy sound. Supplementary memorable tracks include “Hasanna Ex Inferis” and “Calls of Eden”. “Satanae Tenebris Infinita” is a finely tuned and mater piece by a band long put off for. The use of eerie and mystic keyboards is a suitable touch to the albums atmosphere and heaviness.

Released on the reputable and fitting Dark Descent Records it would be wise to pre-order your copy today.

By: Ruthless

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Album Review: Dead Awaken – Where Hope Turns Dripping Red

May 13th, 2013 Filed under: Reviews - Music by Editor in Chief

Album Review: Dead Awaken
Where Hope Turns Dripping Red
Abyss

Having self-released five previous demos, this Sweedish death metal act formed in 2002 saw numerous lineup changes most recently consisting of ex members of fallen Swedish band Abhoth. Dead Awaken have shared the stage with powerhouse bands like Vomitory, Aborted and Behemoth, to name a few. Dead Awaken finally get to take the stage themselves and release their nine track debut full length offering through Abyss Records. Appropriately fitting cover art prepares you for the catastrophic awakening this album has to offer.

Right off the bat, this album blasts you in the face with what the Swedish do best – assaulting, brutal death metal. This album is truly refreshing straight up old school death metal with added touches of American death metal influence. The production is strong and unblemished leaving every instrument easy to get lost in. Ranging from mid to slow tempos, this death metal attack brings you forth to the depths of WWII. “Where Hope Turns Dripping Red” offers a healthy dose of technicality in their guitar melodies without being overly wanky. The strong and powerful bass dominates like a tank as the drums are evidently forceful. Vocals are low and menacing growls lacking diminutive variation being the only plausible complaint. Opening track “Carnivore” stands out amongst them all with triumphantly rolling tremolo riffs while track “Rocket Symphony” crushingly slow intro bleeds well into the bands use of melodic melodies. However releasing the previous five demos and finally their first full length, it is eminent that this band has a lot to offer in the near future and surely a band to look out for.

By: Ruthless

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Album Review: My Woshin Mashin – Evil Must Die

May 9th, 2013 Filed under: Reviews - Music by Editor in Chief

Album Review: My Woshin Mashin
Evil Must Die
Independent

When you go a bit crazy–tossing your inhibitions to the wind and laundering your colors with your whites, sometimes instead of pink socks, you’ll come away with something like My Woshin Mashin. Vocalist Bibi Tulin fronts this eclectic trio featuring Hugo Simons and Wolfgang Scherman on a slew of different noise making objects each. With German and Russian roots, there are also plenty of parallels to be drawn from other breakout bands from the two countries in decades past.

Released April 30th 2013, My Woshin Mashin’s new full length offering “EVIL MUST DIE” is a rare aural treat. The album steps outside of traditional boundaries and invents its own thing, which is what more bands should be doing, now that record labels have as little say as they ever have on whether a band is popular or not. Opening track, ‘Riders on the Storm’ Leads you in thinking you’re about to hear yet another DOORS cover, but quickly transcends that thought with a sound reminiscent of classic Mortal Kombat techno meets those lovely ladies in t.A.T.u, whose influence may not be far off.

The album continues to expand on its unique, addictive sound with powerful tracks scattered thorough the playlist, namely ‘Hobo Rap’, ‘Babylon’ and ‘Sun & Rain’, the latter two of which showcase the softer side of the bands range while retaining their strength. Songs like ‘They Live’ offer a grungy sweet tune with a very Moulin Rouge burlesque undertone, while ‘Eli’ transports you to a post modern french café, with just enough accordion to put you into a deep trance.

My Woshin Mashin as a band is still in its infancy stages, having only been on the scene since 2010, but with past experiences in other musical ventures, they’re way ahead of their time. As mainstream pop and rock continue to fall flat on the charts, My Woshin Mashin is primed to be BIG. As an album, Evil Must Die is an important look at modern society, touching on today’s big issues. Politics, money, and love — and of course, the all prevailing evil of it all.

Even with a daunting task ahead of them, as oceanic barriers always are to bands on either side of it, It’s not really a question of whether or not North American audiences will take to this, it’s more like WHEN will they take to it.

https://www.facebook.com/MyWoshinMashin

By Scott Alexander

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Album Review: Monks of Mellonwah – Sky and the Dark Night

May 1st, 2013 Filed under: Reviews - Music by Editor in Chief

Album Review: Monks of Mellonwah
Sky and the Dark Night
Independent

When anyone brings up alternative Rock ‘n’ Roll and Australia in the same sentence, those old enough to remember will undoubtably all think of the same Aussie band that made a huge impact in music history. Silverchair. Those not nearly old enough (which seems like everyone today, amiright?), well, they’re going to have Monks of Mellonwah.

Monks of Mellonwah might not be on the radar of MOST mainstream listeners, but rest assured, the hipster revolution won’t be picking up on them, as they’ve recently added a pair of prestigious awards to their trophy cases. One for Best Indie Rock Band (2012 AIM Awards) and Best International Act (2012 LA Music Awards) so you’re in for a real treat without feeling like a douche telling your friends about them.

The quartet that make up Monks are an exceptionally strong group of musicians as previously evidenced, specifically by their powerful four song EP “Neurogenesis” from last year. Vocalist Vikram Kaushik’s influences show strongly in his style, taking several cues from rock and roll masters of the past and melding the resulting knowledge into something new and exciting. Think Chilli Pepper Anthony Kiedis meets Incubus, reworked with a tad bit of early STP Scott Weiland. The vocals are definitely exceptional, almost hypnotic when practiced in front of a drummer like Joshua Baissari, whose impact is somewhat subdued at times but remaining powerful in essence at all times.

Traditionally, an EP is built as a precursor to a full album, which showcases the bands talent and potential to fans and labels. In this case, a three track ‘trilogy in one part’ “Sky and the Dark Night” is more than mere potential, which built, or rather GREW from what was offered in “Neurogenesis” but at an epic album worthy scale. Tracks ‘Breakout’, ‘Control’, and ‘Condition’ play out an slight rock opera series of struggles and triumphs. Aside from the lyrical content, this is most notably achieved through John and Joe de la Hoyde’s bass and guitar respectively. The duo set an emotional tone with their instruments playing characters in a story for the listener to be enveloped by. Masterfully, I may add.

The real draw of the music rests not in any one member of the band, but in the cohesive, family-like nature where all parts come together as one. While this statement may be cliché as far as music reviews go, but listening to the EP there is no more appropriate way of looking at it. These musicians have what it takes. With paperwork recently signed with A&R worldwide, and a new full-length offering currently in production, Monks of Mellonwah will undoubtably find themselves breaking past the college radio playlists, and into stadiums and festivals throughout Australia and the states as early as this year.

www.facebook.com/monksofmellonwah

By Scott Alexander

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Album Review: Iced Earth – Live in Ancient Kourion

April 11th, 2013 Filed under: Reviews - Music by MetalEditor

Album Review: Iced Earth
Live in Ancient Kourion
Century Media

Pardon me while I pour out my beer – someone must have put syrup of ipecac in it while I wasn’t looking. No, wait – it’s just shitty vocals. An entire set-list of otherwise killer songs (twenty seven of them, to be exact) has one noticeable fault – that the vocals sound like those of a transvestite banshee going through puberty. It’s a shame really – as the guitar work and percussion is some seriously good stuff.

The album’s first track, “Dystopia” (excluding the brief album intro) is a pleasantly brutal (a bit of an oxy-moron, but it’ll have to do) track to open such a long setlist with. A few minutes later, the band tears the audience a new one with “Burning Times,” and “Angel’s Holocaust.” Later on, tracks such as “When the Night Falls,” “Wolf,” and “Declaration Day” do a great job of fleshing out the setlist.

With vocals like those of a strange Gossow-Dickinson love child, provided by Stu Block and Jon Schaffer, Iced Earth is definitely not high on my list of must-see bands. However, kick-ass drumwork and shredding aside, there is one vividly redeeming quality to be found here – good audience interaction, which so many bands seem to either lack these days, or simply fail at. (Think Dave Mustaine’s infamous quip at a girl in the audience – “Why would I want a shirt from a fatty like you?” Yes. This really happened.) Yes, this is what it’s really about – having fun. With Live in Ancient Kourion, you can really tell both the band and audience are enjoying themselves, and this is what makes the album a good one.

So, if you’ll forgive the somewhat bipolar opinions, simply put, this album kicks ass. I can feel the heavy metal in the air tonight.

By: Chris Neuberger

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Album Review: Hypocrisy – End of Disclosure

March 29th, 2013 Filed under: Reviews - Music by MetalEditor

Album Review: Hypocrisy
End of Disclosure
Nuclear Blast

Hypocrisy’s 13th full length End of Disclosure is a melodic death metal album sure to delight the average fan. While not so diverse from the band’s previous albums released over the past decade, End of Disclosure is Hypocrisy doing what they do best.

Recorded at Peter Tagtgren’s (vocals, guitar, synthesizer) Abyss Records four years since A Taste of Extreme Divinity, Hypocrisy has stuck with what works best for them: mesmerizing, hypnotic keyboards, enunciated vocals and whirlwind guitar melodies with unique extraterrestrial paranoia and ufology themes throughout. Mastermind Tagtgren even pays homage to the cancelled television show The 4400 in “44 Double Zero“; one can only imagine how disappointed Peter was when the show was cut. Fitting in flawlessly with the heavy ufology theme is the album artwork created by distinguished artist Wes Benscoter (Slayer, Kreator and Vader).

Tagtgren’s lower intelligible and well-articulated death growls, mixed with his near perfect harsh screams, create a cold and bleak atmosphere throughout the album. Soaring vocals, perfectly matched with melancholic guitar and keyboards, are showcased on tracks such as “The Return” and “Hell Is Where I Stay.” While many songs have debauched melodies and tremolos, the album mostly sticks to depressing slower riffs shadowed by haunting synths and the clean, pounding drums of Horgh (Immortal). Jonas Kjellgren (Scar Symmetry) offers a guest solo on “Tales of Thy Spineless”, one of the faster and catchier songs of the album. All in all, while a solid album for the typical Hypocrisy or commercial metal fan, End of Disclosure may disappoint those expecting something new.

By: Ruthless

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Album Review: Swollen Members – Beautiful Death Machine

March 22nd, 2013 Filed under: Reviews - Music by Editor in Chief

Album Review: Swollen Members
Beautiful Death Machine
Battle Axe Records · Suburban Noize

The latest offering from B.C. legends Swollen Members does nothing less than deliver what fans and critics alike have come to expect from them. Chalk full of infectious beats and vicious lyrics, the album itself is assembled as a listening experience from start to finish. The beginning of the album starts off calm and controlled with driving tracks, with a strong feeling of Mad Child’s latest album Dope Sick giving way to the fifth track on the album, “Juggernaut”. Unique for its heavily electronic and almost dubstep feel people will either love or hate it.

Undeniably, however, Prevail slays the intro, and the team deliver some solid, rapid fire lyrics. The album gives way to the first interlude on the album, “Watts60″, which comes in stark contrast to the tracks before it, drawing upon a more playful, Jurrasic5-esque head-bobbing beat with a positive, brighter vibe than the previous tracks on the album. With “River Monster” the album plunges back into a dark sound with dark lyrics once again. The album moves along with a slower beat and an infectious synth hook, a highlight being Mad Child’s reference to his struggles with addiction to Oxycodone and his gradual road to recovery, also which he chronicled (in depth) in Dope Sick.

The remainder of the album carries on with the darker tone, with worthy mention going to Colossal Beast and Fear, two additional collaboration tracks on the album full of heavy beats. Overall the album can’t be said to have something for everyone, however it can be said to deliver plenty of aggressive and darker tracks and driving melodies, complete with flowing, solid lyrics, exactly what we’ve come to expect from these Battle Axe Titans.

A solid 8/10, for those with an affinity for numbers.

By: Edward Quinlan

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Album Review: Lost Society – Fast Loud Death

March 13th, 2013 Filed under: Reviews - Music by MetalEditor

Album Review: Lost Society
Fast Loud Death
Nuclear Blast

One of the newest metal bands from the ‘land of lutefisk,’ Lost Society has a sound highly reminiscent of the classic “Big Four” era. With such colorful tracks as “KILL (Those Who Oppose Me)” and “Piss Out My Ass” (perhaps some Immodium AD is in order?), Fast Loud Death is one hell of a debut album, especially considering the age of the band members – 17 thru 19.

Scandinavia is known for some kick ass metal and Lost Society certainly lives up to this reputation. Opening the album, “N.W.L.” is one of the more thoroughly headbang-able tracks of the past few years. Next up, the epic “Thrash All Over You” continues the grotesque party. A few tracks on, we have the fast and sassy “Bitch, Out’ My Way.” Overall, the album tends to have a rather snarky sound, which is a pleasant change from the frequently over-serious tone of metal.

Smack dab in the middle of the album are “Fast Loud Death” and “Lead Through The Head,” two not-so-smooth and classy tunes perfect for giving yourself a wee bit ‘o whiplash. Third and second to last respectively are “Braindead Metalhead” and “Piss Out My Ass,” also kick ass.

This is definitely one of the more enjoyable albums of recent years, and offers something for both the veteran metal head and the metal head in the making. With some moments reminiscent of Slayer, some of Anthrax, and a few vaguely similar to Beast-era Maiden, Fast Loud Death is about as lush as metal gets (Nightwish and the like notwithstanding). Samy Elbanna (vocals/guitar), Arttu Lesonen (guitar), Mirko Lehtinen (Bass), and Ossi Paananen (drums) have put together a top-notch debut album. Especially commendable as these lads are still in their teens. Whether this quality and momentum can be sustained in future efforts remains to be seen, however the future certainly looks promising!

By: Chris Neuberger

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Album Review: Soilwork – The Living Infinite

February 19th, 2013 Filed under: Reviews - Music by MetalEditor

Album Review: Soilwork
The Living Infinite
Nuclear Blast

Some of the world’s finest, balls-to-the-wall, hard-rocking metal bands come from Scandinavia. Soilwork (formed in 1995, originally under the name Inferior Breed) is no exception to this tradition. The Living Infinite, their ninth release under the present name, has some of their best and most melodic work yet. Here’s a quick play by play to walk you through the 20 tracks that make up The Living Infinite.

1. “Spectrum of Eternity” – With a softer intro this track opens up the album in an almost theatrical way before turning into a heavy hitter.

2. “Memories Confined” – An almost radio-friendly tune, with an unforgiving attitude.

3. “This Momentary Bliss” – Rather uplifting.

4. “Tongue” – An average track, the first weak point on the album.

5. “The Living Infinite I” – Perfect for a bit o’ headbangin’ with your morning cigarette and coffee. Sure to wake you up!

6. “Let the First Wave Rise” – An invigorating call to arms.

7. “Vesta” – The third track on this album to feature an acoustic/soft intro, “Vesta” eventually picks up the pace to maintain the emotionally charged tone of the album thus far.

8. “Realm of the Wasted” – This is what “Baba O’Riley/ Teenage Wasteland” should have sounded like.

9. “The Windswept Mercy” – The second particularly radio-friendly track on this album, “The Windswept Mercy” comes off as someone questioning the world around them.

10. “Whispers & Lights” – Whining about someone ruining your life has been done before. Shall we move on?

Disc 2:

1. “Entering Aeons” – Here’s a bit of a head-scratcher.

2. “Long Live the Misanthrope” – A killer track musically, this one gets full marks just for having a totally kick-ass title!

3. “Drowning With Silence” – With a bit of an introspective tone, “Drowning With Silence” gives you a bit of that same feeling of ‘living in your head.’

4. “Antidotes in Passing” – Yet another soft intro; it turns into a heavy hitter but not quite on par with the rest.

5. “Leech” – Pure-effing-metal. ‘Nuff said.

6. “The Living Infinite II” – The gentle intros are getting old by this point.

7. “Loyal Shadow” – Ok. They’re really getting old now.

8. “Rise Above the Sentiment” – What sweet air guitar bliss from yonder amp breaks?

9. “Parasite Blues” – An all-around kick ass song, vaguely reminiscent of KISS’ “Parasite.”

10. “Owls Predict, Oracles Stand Guard” – Not the best track to end an album.

An interesting album, weighing in at a meaty 20 tracks, The Living Infinite packs one hell of a punch. When most bands might do ten or eleven songs, Soilwork goes for the gold to double that. Thankfully it seems, with little exception, the album passes muster. Although with so many killer tracks, it would have been easy to eliminate the filler.

By: Chris Neuberger

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Album Review: Fake Shark Real Zombie – Liar

February 14th, 2013 Filed under: Reviews - Music by Editor in Chief

Album Review: Fake Shark Real Zombie
Liar
Light Organ, Universal Music

The structure of music forces artists to fit into small boxes, each one lined with the well-versed definitions of genre specifications. These guidelines can create the best of the best to rise above the rest but, in certain situations, can impede the brilliance of artists to shine to their full potential. The essential part of any band at the beginning of their careers is to know where they stand musically, but when they can finally destroy that box, that solid genre structure that closes them in forcibly, than true growth happens. Growing pains are just that, painful, and none have experienced the beauty of being broken and built up again musically then Vancouver’s dynamic Fake Shark Real Zombie, led by the chaotically charismatic Kevvy Mental.

The band’s long awaited third album is just that: a long time coming for FSRZ fans. Stacked tall with eighteen songs, “Liar” reads like an open diary of the band’s, more specifically Kevvy’s, evolution from their early start as purely a dance/hardcore band into something completely different. Each song carries independently into the next, not linked necessarily by similar musical stylings or vocal formality but by the band’s incessant drive to stretch to new limits. Each track delivers a new lyrical adventure as Kevvy bends his vocals in mind-numbing ways while the rest of the boys carry the FSRZ sound to levels that pull from funk, hip-hop, and punk. The production quality of “Liar” exceeds their other albums and successfully presses musical risks into the hands of special guest artists including Jimmy Urine, Care Failure, and Steve Bays.

“Liar” comes at the tail end of a spinning few years for Kevvy Mental and FSRZ. On a solo professional level, Kevvy grew quite successful as a key producer for various artists across the country. Aiding in others’ musical discovery process evidently allowed Kevvy to flesh out his own evolution as an artist. On the other hand, FSRZ went through some heavy line-up changes which altered the overall presence of the band. Adjusting to such changes caused the band to slow down their touring process and focus on their main purpose, to become the Fake Shark Real Zombie they were destined to be. “Liar” is direct proof of that perfected success.

Fake Shark Real Zombie has returned. Calling all babies, Kevvy Mental has returned to the building and we can all collectively rejoice.

By: Fierce “Reppin’ NYC” Kitty

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Album Review: Suffocation – Pinnacle of Bedlam

February 7th, 2013 Filed under: Reviews - Music by MetalEditor

Album Review: Suffocation
Pinnacle of Bedlam
Nuclear Blast Records

A full-on aural assault from Long Island’s finest, Pinnacle of Bedlam rips through your eardrums with all the ferocity of the Wehrmacht’s infamous blitzkrieg. From “Cycles of Suffering” all the way through “Beginning of Sorrow,” the album is all but completely lacking in anything resembling a slow moment.

“Cycles of Suffering” opens this fine exhibition with instant balls-deep-in-the-molten-iron sense of anger and warning. Listeners receive but the briefest respite in “Purgatorial Punishment” before being subjected to “Eminent Wrath.” Mind you, none of this is in the least bit a bad thing – some of us are just gluttons for effin’ punishment – and Pinnacle of Bedlam is sure to please all but the most twisted of us masochists.

As a whole, the production of the album has evolved from the band’s earlier work, sounding less akin to Cannibal Corpse (think Suffocation’s album Pierced from Within) and more in line with the ‘brighter,’ to-the-front sound of albums like Arch Enemy’s Khaos Legions.

The vast brutality of this album does not even begin to let up until midway through with “Sullen Days” and even here, only for a moment before Frank Mullen’s deepest, most repulsive growls proceed to grab the listener by the neck and slam them into the ground. Next up, the title track has an almost Wagner-like sound, paving the way for further assault with “My Demise,” the album ending a few tracks later in “Beginning of Sorrow.”

Verdict? Although Mullen and crew are in fine form on this newest release and the album is very well put together (not to mention the kick-ass artwork!), it simply isn’t the sort of album you’d put on while taking a shower, or have a growl-along to while driving down the road. No insult intended; it simply seems better put to use as background music for doing housework and other such labor. Of course it is equally valuable as the soundtrack to some ass-whoopin’.

Facebook.com/suffocation

By: Chris Neuberger

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Album Review: Sean Price – Mic Tyson

January 7th, 2013 Filed under: Reviews - Music by Editor in Chief

Album Review: Sean Price
Mic Tyson
Duck Down

Sean Price, one of the founding members of Boot Camp Click and the second half of Heltah Skeltah recently released his third solo album “Mic Tyson” named after his hometown, Brownsville Brooklyn legend Mike Tyson. Production throughout this album is untouchable, featuring beats by Alchemist, 9th Wonder and Evidence, just to name a few. Sean P’s raspy vocals and laid back style of rhyming definitely compliments the beats, and with a top shelf collection of guest rappers Pharoahe Monch, Buckshot and Ill Bill you really can’t go wrong. The only downfall to the album was lack of creativity. The theme of the album seemed to be non existent, just a bunch of tough talk and one liners that really were not that good. In my mind it’s seems production, Sean P’s voice and flow made up for the lack of content in this album. When Sean was asked if he ever met Mike Tyson his response was “I bumped into him once outside my place sitting on the front of my Mom’s car, when I asked him to move he took the bag of potato chips out of my hand and told me to get lost”. Being a Brownsville resident and construction worker between albums, he seems to have tons of interesting stories, too bad he doesn’t incorporate any of them into his rhymes.

By Joe McNeely

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Album Review: Soundgarden – King Animal

November 10th, 2012 Filed under: Reviews - Music by Editor in Chief

Album Review: Soundgarden
King Animal
Universal

The world of rock music has been an ever evolving beast. From its beginnings in the early fifties through to present day, rock has always been a genre to buck the system and create controversial and socially progressive body of work that has inspired generations of musicians and music lovers alike. In the early nineties, rock took on an unpolished and aggressive style known as grunge. Centered in the Seattle music scene, several key groups emerged as the forefront of this exciting new style of rock and Soundgarden quickly proved to be among the best. While the genre has largely disappeared from the mainstream consciousness in the face of contemporary pop music, Soundgarden have always been a prominent member of rock’s elite despite breaking up in 1997. 2010 came and the world of rock was given a new star to follow as word came out that Soundgarden would be reuniting for an extensive tour. This was followed quickly with rumours that a new studio release would be in the very near future. Flash forward two more years and fans would finally satisfy their yearning with the release of “Been Away Too Long’, the premiere single from what would become the band’s first studio release in sixteen years; King Animal.

King animal serves up what Soundgarden fans have been dreaming of for the past decade and a half. The original crew; Chris Cornell (Vocals), Matt Cameron (Drums), Ben Shepherd (Bass) and Kim Thayill (guitars), return with a powerful collection of songs that seem to pick up exactly where the band left off. Chris Cornell’s vocals are as strong and melodic as ever, with his full vocal prowess exemplified on such tracks as “Non-State Actor”, “A Thousand Days Before” and the eerily melodic “Bones of Birds”. At the same time, Cameron, Thayill and Shepherd have rekindled the chemistry of old, putting together a musical bed of thick, rich riffs and crushing rhythms sure to delight fans both new and old. Other tracks, such as “Halfway There” and “Rowing” showcase the band’s multifaceted songwriting capabilities as the hard hitting riffs are set aside in favor of a groove and mood oriented feel. This helps to solidify “King Animal” as more than a nostalgic trip back to the days of grunge, as the band has done a superb job of taking their unique sound and making it as relevant, progressive and powerful as any of today’s best groups.

King Animal is due to be released on Tuesday, November 13th 2012, in time for the bands upcoming tour. Whether, fans choose to enjoy this music in a live setting or the comfort of their home, Cornell and crew have surely given their fans something to cherish and a future to look forward to with renewed hope and anticipation.

By: Matt Snow

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Album Review: Devin Townsend Project – Epicloud

September 18th, 2012 Filed under: Reviews - Music by Editor in Chief

Album Review: Devin Townsend Project
Epicloud
Century Media

What can one say about an album such as this? The entire album has been put online prior to the release date, complete with commentary by Devin Townsend himself. So everything you could possibly want to know about the music is already there for your enjoyment, perusal and enlightenment, regardless of what I have to say about it. However, since I am charged with the great honor of presenting you with an opinionated preview of this illustrious work of art, I will do so with as much grace as can be mustered under these unique circumstances.

First off, the album is called Epicloud. I advise you foremost that you should not waste valuable mental energy wondering where the emphasis in the title lies. Is it “epic, loud” or is it “epi, cloud”? Do not spend any time with these questions. According to Townsend, it is a play on words, it is all of those things and whatever else you can derive from it, and it should be left at that. Enjoy!

The album features a healthy dose of multi-layered female vocals, which Devin amiably refers to during live performance of the music. The vocals, along with other electric ambience, give the album the classic “wall of sound” feel for which Townsend has become notorious. In this application, however, the wall is softer and easier to swallow, like a great wall of marshmallows. Many of the melodic themes on this album lean less toward sinister intensity and more toward a sort of beefed up new wave pop-sicklicity. (It is so inventive I find myself inventing words to describe it.) It is kind of like eating sugar frosted roast beef on a pair of sticks. But this playful anecdote does not scratch through more than merely the skin of the record.

There is most certainly an epic quality to Epicloud that is very moving, namely on the track “Grace”. There is also the mellower inclusion of the love ballad, “Divine”, and the bouncy single “Lucky Animals” (for which a fan video is currently in production) stands alone as a silly yet serious social commentary. In sum, Townsend has thrown both middle fingers up in the face of any expectations one may have about what his works will or should sound like. It may take ten tongues to taste this polymerous popsicle of a piece of art, but if you wag your head around rapidly to the music with your tongue out, you should be able to catch a few licks, and they taste damn good.

By: ninjoelspy

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Album Review: Madchild – Dope Sick

September 14th, 2012 Filed under: Reviews - Music by Editor in Chief

Album Review: Madchild
Dopesick
Battle Axe/Suburban Noize

Laced with what are quite possibly some of the most infectious hooks to be found in 2012, Mad Child’s solo album Dope Sick is another solid release by one of Vancouver’s finest, and represents a comeback for the artist which might just prove to be substantive. While the album contains the usual smattering of boastful claims of lyrical prowess and personality disorders that you would expect from Mad Child, what is perhaps most important about it is its symbolic significance in his life.

The album is a lyrical representation of the fierce mentality that he now has coming out of a drug habit that topped out at 20 Oxycodone 80s a day, with over 3 million dollars being sunk into it by his own admission over the years since getting started on Percocet. “Wake Up” is perhaps the most revealing and raw track on the album with regards to his addiction, its mellow, steady beat in stark contrast to the first half of the album. Similarly, “Runaway” touches on the upbeat reality that Mad is now living, back on track and driven to rise to the top once again as he gradually climbs his way up the ladder he fell from. A similar theme is present in the opening tracks of the album, all backed by bouncy, bass-heavy, head-nodding beats that perfectly complement his lyrics. A point worthy of mention is that these tracks are reminiscent of another BC local’s vicious lyrical style and affinity for heavy beats, namely Snak the Ripper, and perhaps not surprisingly Snak appears in the music video for “Monster.” After the story told by “Wake Up” the album continues along its course with sombre songs that reflect the inner struggles of Mad Child, with “Dickhead” providing an amusing, if misogynistic, look into the story of someone is is simply “addicted to being a dickhead.”

While the lyrical themes of the album can come off as tiresome and repetitive to some, the simple fact remains that the mirth that Mad Child feels being back in the light of his art shines through, and frankly we can’t say that we blame him for one second.

Overall score: 8/10

Look for ABORT Magazine’s interview with MADCHILD in ISSUE 18 – Coming this week!

By: Edward Quinlan

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Album Review: Rick Ross – God Forgives, I Don’t

August 9th, 2012 Filed under: Reviews - Music by Editor in Chief

Album Review: Rick Ross
God Forgives, I Don’t
Universal Music

Arguably the most questionable character to ever emerge from America’s pre-apocalyptic Hip Hop landscape, the former CO known to his employers as William Roberts and to the public as the rapper Rick Ross has not only succeeded in adopting the name and persona of the real Freeway Ricky Ross, but recently won a court victory requiring his opponent and namesake to cover all of his legal bills. As a barometer of authenticity in a culture that began as a revolution and evolved into another tool of oppression, the “Bawse” has risen to the top of the heap through cosigns from respected artists and the kind of promotion that only a made man gets – and rest assured his ample weight is felt all the way down to the bottom. A few notable figures have had the brass ones to call him out, notably the OG Ice-T who called him “MC Identity Crisis” – and yet the well known fact that Ross was once a prison guard has been forgiven by many who should know better.

On his latest offering “God Forgives, I Don’t” (which again begs, and answers the question of Ross’s identity…), the Maybach Don collects the same tropes heard on “Port Of Miami” and “Teflon Don” – “self made”, “made man”, “slinging” etc. and drops them convincingly over a diversity of up to the minute, if syrupy beats. “3 Kings” features the almost as suspect Jay-Z once again riffing on his hustler roots despite the fact that he is on Forbes’ wealthiest celebrity list every year. On “Sixteen” Ross manages to pull Andre 3000 from semi-retirement to drop one of the more listenable tracks, while “Diced Pineapples” features Wale and Drake on a jazzy, laid-back tip, with Drake’s softly crooned hook keeping it lightweight. On “Three Jesus Pieces”, fellow Maybach artist Stalley brings some much needed authenticity. The production throughout, while epic, tends toward the high-pitched trap sounds of a Lex Luger without the bang, putting a more lush and less gritty sheen on the life of a drug dealer. The thing is that it’s all fiction.

It’s not that the music is terrible, it’s just that without the back story – whether the real or fake, it’s fairly tepid. As a piece of propaganda, it’s perfect – a seamless blend of contemporary sounds and standard plotlines to create a hypnotic state more susceptible to impression. And the point of all this? Ask Professor Griff, Chuck Creekmur, or any Hip Hop conspiracy theorist on the web – it’s not just that the people are being sold a lie, they are begging for it! Counterfeit money makes counterfeit people, and with America’s soul in more chains than ever, perhaps Ross the “Bawse” is the idol that the public deserve, an object lesson in total materialism. If an obese, grotesque and inebriated wannabe killer and former officer for the evil empire is who you want to model yourself after, who am I to judge? I just wish more OG’s had the juice to call out this fraud once and for all…

By Dave “Corvid” McCallum

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Album Review: Chapel – Satan’s Rock n Roll

August 8th, 2012 Filed under: Reviews - Music by Editor in Chief

Album Review: Chapel
Satan’s Rock n Roll
Invictus Productions

The best kept secret to come out of Vancouver in a long time. These dirty black n roll satanic speed metallers sure know how to rock. Venom, Discharge, Motorhead inspired fucking satanic rock n roll to bang your head and drink to. For fans who can’t get enough Inepsy, URN and Midnight.

Formed in 2008 in the depths of Vancouver, a city known to produce some of the best known underground metal bands like legendary gods of war Blasphemy and new coming occult death metal Mitochondrion, Chapel have finally released their first full length album fittingly titled “Satan’s Rock N Roll” from Irish label Invictus Productions (ZOM, Vomitor, Antedulivian, Diocletian). Opening track “Rock N Roll from Hell’s” creepy organ opening sets you up for the assault of high octane speed, and this album doesn’t slow down. Hellish memorable tracks include the raunchy catchy self-titled track, clear Motorhead influence “Trashed” to shake your junk or booty to in an alcohol induced frenzy. Every song is catchy and groovy, full of lyrics about Satan, drinking, and all things blasphemous. Great track “Hell Breaks Loose” has an obvious yet caustic blues influence with its infectious grove.

This three piece; big sound band is not a one to miss out on. Chapel’s vocals are throaty, well enunciated, and harsh like an angry demon on speed done by Radioactive Vomit’s Desolator on guitar and vocals. Incinerator/Hesher of crustcore band Mass Grave on drums is like a possessed beast, performing a simple yet keeping the classic D beat sound which flows so well with this band. Devastator dominates on bass keeps the beat perfectly adding just the right touch of backup vocals. It’s hard to not find yourself wanting to head bang to this album. Grab a six pack of beer, order this album off Invictus Productions and enjoy in the name of Satan and get trashed!

By: Ruthless

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Album Review: Nas – Life is Good

July 19th, 2012 Filed under: Reviews - Music by Editor in Chief

Album Review: Nas
Life is Good
Universal

It’s been four years since multi-platinum artist Nas released his last album which was simply ‘Untitled’ due to his controversial first choice (that N word people don’t like to use or hear). His much less controversial titled album Life Is Good released a few days ago, and if you are a Nas fan this is a must have. If you have followed Nas’ career closely over the last eighteen years it seems to drift off from solid underground lyricism to commercial tracks made to appeal to the masses. Many would consider this his comeback album, as beginning to end this album is a reminder that Nas is one of the greatest rappers to ever bless the mic. The production is fantastic, featuring tracks like ‘the don”, one of the last beats Heavy D ever made before passing away and ‘Nasty’, perhaps the best thing heard from Nas since illmatic. This album manages to appeal to true hip-hop heads by combining tight lyricism and raw modified 80′s styled beats with great story telling and keeps the top 40 pop loving masses happy with house hold names appearing all over the album including Amy Winehouse, Rick Ross and Mary J Blige. The concepts are genius, down to the album tittle and cover art with a recently divorced Nas holding his ex-wifes wedding dress (the only thing Kelis left him in the divorce) with the tittle below stating Life Is Good, showing a little bit of emotion with class. I think this album proves that poets are at there vary best when surrounded by drama.

By Joe McNeely

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Copyright © 2004-2012 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.

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