The most interesting releases of these weeks!
Just some fun blues released on Hoboville. Amacher‘s raspy voice fits the style perfectly, and he manages a wide range of expression that gives some extra intrigue to each track. While the songwriting and song structures are standard blues styles, they are played with tight pizzaz. Thoroughly entertaining music.
Tutta La Morte In Un Solo Punto is the newest excellence released on I, Voidhanger. On the band’s fifth album, Noise Trail Immersion gives the listener a clusterfuck of dense and dissonant riffs that resolve into something resembling a melody for just a moment before coming crashing back down to earth. There are elements of Ulcerate here, but all influences have been distorted into something unique.
I do wish that the band had done more. The performances, especially the drums, are great but subdued. While the record stands as a successful flex into the weird side of metal, there is a feeling of restraint that permeates the record. Tutta La Morte In Un Solo Punto would have been more interesting to me as something more unhinged. However, what could have been does not detract from what is. Noise Trial Immersion have made an engaging, dissonant death metal release that rewards repeat listens.
Near Death Travel Services was released on Relapse Records. While Fixation on a Co-Worker is a stone classic, I was a bit worried about whether Near Death Travel Services would live up to expectations, or if it would wither against the specter of it’s older relative. After about two minutes of listening, I realized that I didn’t care. The furious vocals, excellent riffs, well-constructed tracks, and baffling mix of earworm dissonance make Near-Death Travel Services such an excellent experience.
Deadguy‘s songwriting remains a series of curveballs wrapped up in hardcore dogma. The performances are across-the-board spectacular, with each band member sounding like the star at all time while still working as a cohesive whole. This is just such a good band. Take this excuse to listen to both their albums again if you’re already a fan or discover them and pretend you knew about them for years if you aren’t. One of the best releases of the year.
III was released on Listenable Records, and is, shockingly, King Witch‘s third full-length release. The vocals are excellent. They are drenched in reverb and use this plus healthy vibrato to full effect, sounding like they’re ready to bite off the top of a mountain. The drums sit in the pocket in a satisfying manner. The fills and shifts in beat fit the band’s blues/doom sound perfectly. The bass fleshes out the band’s sound, giving everything a deep, extensive feel that is aided by a solid production job. All of these band members play together like veterans, blending their sounds towards one focus instead of acting as a bunch of musicians in proximity to each other.
But that’s not why King Witch‘s III has received the hype that it has. The riffs are stupid good. The guitar solos are just straight up satisfying. King Witch just make their music sound like you’ve heard it a million times, but that you’d enjoy nothing more than to listen to it again anyways. Those riffs. They’re simply that good.
