Unsigned

  • Fangtooth – Fangtooth (2010)

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    Featuring two members of Exhuman, today we have Fangtooth, a Doom Metal band from Italy that blends traditional elements of the genre with some Stoner/Southern Metal influences and craft an interesting sound. Featuring six track totaling around 38 minutes of music, this self-title release shows a promising band that is still trying to find their sound.

    While the genre is full of great bands, the younger bands struggle a bit to find their own identity. This is exactly what happens with Fangtooth in their debut full-length release; the band tries too many different things and ends up a bit short in achieving something very cohesive.

  • Exhuman – Fear of Oneself (2010)

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    All the way from Italy, today we have Exhuman and their neck-breaking Death Metal that will help remove all the bad taste left from the inexperienced kiddies taking a whack at the genre. With catchy riffs, meaty hooks and overall flawless execution, this band uses the basic elements of the genre to craft seven highly addictive songs.

    Death Metal is a genre full with uninspired bands and it’s refreshing to listen to a band that can hold your attention for over 30 minutes, the duration of this release. Exhuman does not do anything fancy or out of the ordinary, but yet, their music feels just right and creates a solid mixture of old school DM with nice solos and melodic hints.

  • Imperial Conquest – Omnipotence (2010)

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    Today we have a self-released Melodic Black Metal album that shows a very promising band under the hood but due to a sub-par production this EP undersells Imperial Conquest. While most Black Metal bands in the USA are trying to out-evil each other, the few good Melodic/Symphonic BM bands are making progress in the scene. Bands like Abigail Williams, Blood Stained Dusk, etc, are getting recognized for their musical aspects and it’s time to have another band take the spotlight, and such band might me Imperial Conquest, if they manage to properly record something.

    Immediately after the nice intro, in the track “Where the Portals Intertwined”, the band goes on a full-on assault of blistering blast-beats, deranged vocals (in a good way), powerful riffing and nice keyboard atmospheres. However, immediately you can hear the wobbly drumming and a flat mix that greatly cripples the effect of the song. While this problem persists through the EP, you still get some very enjoyable parts.

  • Arsenic Addiction – An Undertaker’s Lament (2010)

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    With their 2009 release of “Requiem of the Fallen”, the band made a powerful statement that they are a force to be reckoned by combining powerful vocals, crushing guitars, and precise drumming with an equally interesting and interactive Victorian-themed live show. “An Undertaker’s Lament” is the bands latest release where they try to push things one step closer to national (and why not international) recognition.

    Starting with the atmospheric piece “Invocation”, Arsenic Addiction immediately shows considerable improvement when it comes to writing songs and creating catchy melodies within the first two songs in the album (“Lady Death” is the second one). Led by Lady Arsenic’s contrasting clean and growling vocals, the band has grown musically into crafting better songs that showcase her vocal abilities.

  • RattleheaD – Tales from the Gutter (2010)

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    Back in the day when Speed/Thrash Metal was (originally) a thriving genre, we used to have some pretty good bands (that later became really big: Megadeth, Metallica, etc.). If RattleheaD would have been formed in those days, for sure they would have been epic and big, but they probably would have sucked since they wouldn’t have had anybody to steal their sound from.

    Don’t get us wrong, we love old-school music and when a younger band does a great job in emulating past glories of other bands, we are all for it. But this is not the case with RattleheaD, their latest release “Tales from the Gutter” clearly shows why they are not signed and it might be a time to consider a genre change or some drastic changes in their music in order to get really noticed.

  • Pestifer – Age of Disgrace (2010)

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    Sometimes we are greatly puzzled as why bands like Pestifer don’t have a recording deal, but other shitty ass bands are making crap music and releasing it every year. With the current Technical Death Metal boom, bands are appearing out of nowhere and crushing things up with great musical abilities and solid songwriting.

    “Age of Disgrace” is one of those releases that push the boundaries of Death Metal into the technical realm while maintaining the music fundamentals in place. Pestifer is one of those few bands that focus more in the song-structure department than in the high level of virtuosity a band can fit in one song.

  • King Giant - Southern Darkness (2009)

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    After reviewing very good Stoner Rock bands from Poland in the last few weeks (Black River and Corruption), it’s very easy to determine that King Giant are from the USA and from the ‘Old South’ their brand of Stoner Metal has a nice Southern feel to it. With a hefty dose of lyrics about Drugs, Depression, Fear, Hate, etc. King Giant has a very catchy sound that hopefully gets them noticed by a bigger label in the future.

    Opening up with “Solace”, the band quickly shows what they are all about: catchy down-tuned guitar riffs with raspy vocals and a healthy Stoner vibe that prevails through the whole release and greatly captures the genre’s atmosphere. While many other releases are faster paced and more ‘hard rocking’, King Giant goes more Stoner/Doom Metal than average and we completely dig the rocking melancholic atmosphere that the band creates.

  • Lava Engine – In Limbo (2010)

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    In a day that almost everybody is doing what has worked for somebody else, playing it safe and avoiding any kind of creativity seems to be the typical approach ‘new’ bands take to making music. Luckily for us Lava Engine actually tries to craft their own unique sound and actually manage to create pretty solid compositions with intricate musical palettes that sound very well when mixed in together.

    Hailing from Sweden, Lava Engine brilliantly merges Progressive Metal elements with some ‘Symphonic’ elements and creates a very uniquely sounding Experimental Metal sound that many bands will surely envy. The band’s combination of powerful riffs, keyboard arrangements, and well crafted vocal lines, carries their second EP “In Limbo” from start till finish and hopefully lands them a record deal.

  • Poois – Opera House (2010)

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    Every once in a while we get albums that make us listen to them over and over in order to form an actual opinion about them. After the first spin, we knew that Poois latest release “Opera House” will be one of those albums that will take more time and effort in order to properly describe and correctly inform the listener about what they should expect with such a rich and interesting release.

    Hailing from New York, this band will surely turn everybody’s head around with confused and puzzled faces for at least a few minutes. After you get over the first weird impression about this album, you discover that Poois is actually one hell of a talented band that has constructed a very diverse and unique ‘sound’ that is showcased in small doses through the album’s 13 tracks. There is not really a ‘main’ influence other than the Metal aspect of the bands music, and this is also a stretch since they feature influences of Alternative Rock, Grunge, Progressive Rock, and other genres.

  • A Dream of Poe – Lady of Shalott (2010)

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    Doom Metal is a an art that has been slowly dying in the last few years with more bands switching to the more ‘lucrative’ Gothic Metal scene or just starting off as a Metalcore band. Luckly today we have A Dream of Poe, as you can expect and Edgar Allan Poe inspired Doom Metal band from Portugal with members of In Peccatum.

    In this 5 song and 36 minute EP the band does a great job in crafting crushing songs that will make you want to dig up your older My Dying Bride albums and get on full-on melancholic mode. Starting with the slow (it’s Doom Metal!! what do you expect!) self-album-titled song “Lady of Shalott” the band quickly sets the tone in terms of down-tuned guitar riffs and mournful vocal atmosphere.

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