NYS Music 20​13

Category: Reviews

  • Voices from the Dark: Death Wolf/The Foreshadowing/Inquisition/Moonspell/Marduk play the Gramercy Theater


    After the voices from the Dark tour was announced the package, though very mixed, was long awaited. Death Wolf (formerly known as Devil’s Whorehouse)were the opening act in support of their highly awaited album release “II: Black Armored Death”. This seemed like a good opportunity to tour along with Marduk as headliners as they feature members from Marduk. One can surprisingly say that they fall far apart from Marduk’s black metal sound, to a more thrash/heavy metal onslaught. Overall they add to the fact that this tour was very varied which brings us to The Foreshadowing. The Italian band were also touring in support of their newest album entitled “Second World” filled with gloomy, melancholic lyrics and very gothic/doom sound they surely something new and worth checking out.

    (Photos: Death Wolf)

    Death Wolf

    Death Wolf

    Death Wolf

    Death Wolf

    Death Wolf

    Death Wolf

    For a complete 360 Inquisition was one of the most awaited bands on this bill. Though they were not supporting any new albums, they were surely highly awaited here in NYC since their last tour with Septicflesh. This is when the crowd was packed and it was interesting seeing the support this two-piece band have gained with their signature black metal style.  Though they’ve been around for a while now they sure a delicacy for the black metal die hard every time they tour. Not to take anything from the following co-headliners but surely they crowd seemed to enjoy Inquisition the most.

    (Photos: inquisition)

    Inquisiton

    Inquisition

    Inquisition

    Inquisition

    Following Inquisition, the co-headliners, from Portugal, Moonspell. They sure made a surprising return to the states after almost 4 years. It’s fair to say that they have a huge following in NYC with many proud Portuguese fans waving their flag up high during their set. They were supporting their 2012 release “Alpha Noir”, yet their set list contained more of the old and best Moonspell songs which made for a very solid performance from this gothic band.

      (Photos: Moonspell)

    Moonspell

    Moonspell

    Moonspell

    Moonspell

    Moonspell

    For a few minutes the venue was very hectic as the techs raced to set up for Maduk on time. The main proble was that there was a set time to end the Marduk performance to avoid colliding with an event scheduled later that night. Marduk wound up starting late which led to a few songs to be cut from their set list. Despite all the pressure to get their set done in a timely matter they deliver a onslaught with their war, hatred filled, satanic lyrics, heavy drum blasts and a furious atmosphere that left no member of the crowd without the raw feeling of true black metal.

     (Photos: Marduk)

    Marduk

    Marduk

    Marduk

    Marduk

    Marduk

    Marduk

    Marduk

  • Album Review: George Kilby Jr. serves up a Six Pack

    George Kilby Jr., a singer-songwriter originally from Alabama, has released the album Six Pack, a collection of songs demonstrating his wide range of bluegrass, folk, blues and classic Americana music. He is accompanied by his long time band members, Neil Thomas (keyboard, accordion), Eric Halvorson (drums) and Arturo Baguer (bass). Kilby Jr. is also joined by Jono Manson on guitar and vocals for “When the People Sang” with Railroad Earth member Tim Carbone on fiddle. Andy Goessling, also of Railroad Earth, joins in on “Sunshine of Your Love.”

    sixpackforGeorge

    George Kilby Jr. credits Pinetop Perkins, the famous blues pianist, for teaching him almost everything he knows about playing the blues. With his influence, Kilby pours soul into his music and has his own rocker attitude of never regretting saying and playing it how it really is. The entire album is laid back and an easy listen. Each song carries lyrics meant to make you stop and think of the past, present and future. Kilby’s album reminded me that music can be used as one of the strongest weapons we have, more often than none; all you can do is sing and play.

    The album kicks off with “When the People Sang” a gentle, country vibe with simple strumming and soaring fiddle. The song is a helpful reminder that the 60’s are still alive and well.  The low, vocal notes Kilby Jr sings during “I Love You in Brooklyn”, a ballad in tribute to New York’s boroughs was sublime, plus it helps that I’m a sucker for love songs. Neil Thomas’ accordion gives the song a vintage charm. “Something I Can’t Find” is what Kilby describes as “bluesy rocker with a trippy side” and it’s easy to see why with all the strong, multiple guitar riffs. Kilby takes a break from his original songs to put a fresh bluegrass spin on Cream’s “Sunshine of Your Love”. He delivers the lyrics with a smooth and slow croon while sharp guitar and banjo picking is added for a great pick me up. I hate to say it but I might love this version better than Cream’s. The final song on the album, “You Never See the Hand Throw the Stone”, a haunting, blues melody from Kilby and a killer harmonica thanks to Phil Wiggins.

    Key Tracks: When The People Sang, Sunshine of Your Love, Something I Can’t Find

  • FORFEITURE Explode onto the Scene with Debut EP

    Forfeiture

    Rating: ****

    With not even 300 “likes” on their Facebook page to date, Forfeiture is stepping out into the Syracuse metal scene with an explosive new EP that promises to attract a lot of positive attention. Their self-titled EP is full of metal riffs, vocal variations, and brutal rhythm, exposing the band to numerous metal/post-hardcore avenues to experiment with. The music is excellently crafted and tightly performed, and the production highlights its brilliance by giving it a nice atmospheric sheen. No two songs on this four-song EP sound the same, and it is as exciting to listen to as you can tell it is for them to play.

    The EP opens up with the incredibly brutal and creepy “Reanimated”, mixing very low and shrieking high screams into one excellent harmony. The vocals match the intensity of the rhythm, which is so fast and brutal that it almost hurts your hands just to listen to. However, it opens up into a melodic chorus and shows some soft moments as well; making it a diverse song that is a good indicator of the variety provided on the rest of the record. The next song, “Brooklyn Rage”, does this even better, as it is like a journey through the different styles of metal, all compiled into one song that is appealing to any type of metal fan. Also, the vocals change a bit from the last song to this, and do so once again in “Salvation Song”. The EP ends with the humorously-titled “How to Succeed in Metal Without Really Trying” which rounds out the collection well, leaving you dying for more.

    Forfeiture‘s diversity is their key aspect. One minute they could be getting into a heavy breakdown, the next they could be playing melodic grooves. Their guitar work is fantastic, and their riffs are unmistakably metal. However, they also dabble in the realms of rock and postcore a little, and their rhythm section never misses a beat. It’s important to have a drummer that can play anything you throw at him, and with all the different styles worked in, their drummer certainly keeps it together and has room to show off a bit. Their vocals are also very distinct, and never really have any soft moments. Although, with all the variations in vocal style, they occasionally seem to get lost in it, and some vocal performances are stronger than others. This sounds harsher than it is; it’s the only aspect that could use a little improvement, and not much at all. As a band, they sound balanced, structured, creative, and overall excellent at what they do. The very professional-sounding production of the EP showcases their talents and makes the whole record come together as one work.

    Forfeiture should be very proud of themselves; they have put together an impressive debut that will easily get you hooked. This is exactly the kind of first impression you want to make on potential fans and listeners, and they have certainly made one out of me. Do they have some growing to do? Yes, but who doesn’t at this stage? Most bands around here would kill to have their first EP sound this good, both musically and in production. They are as groovy as they are powerful, and show endless creative possibilities for their future. Recording such a vast style in such a short EP was a good idea, because it gives them room to expand and explore, not being held to the expectations of any one particular style. The only expectation you should have for Forfeiture is that they be good.

    Go “like” Forfeiture here and download their debut, self-titled EP for FREE:

    https://www.facebook.com/forfeitureband

  • Formula 5 and The Assortment of Crayons at Oasis Cafe in New Paltz

    A cold wet day in New York didn’t keep the people of New Paltz from coming to check out a great night of live music at the Oasis Cafe, located on Main Street in town. It’s an easy venue to get to from the Thruway, with friendly staff and the place to go for those who like intimate shows with the bands who are playing.

    oasis cafeThe night started out with The Assortment of Crayons, hometown favorites from New Paltz and the crowd really showed up in force for their hour long set. Their funk came out immediately in full force and elicited a feel for Shakedown-era Dead. Matt Richards’ keys kept the music moving along nicely bringing it back and forth between funk and space. Erik and Sean Hill not only play guitar and bass, but also switched during the set, each holding their own on either instrument and Batu Attila’s drumming kept a steady groove for the others to layer over. A great opening set that had two covers, “Signed, Sealed, Delivered I’m Yours” and “Crazy”, with help from some lovely female vocals and great segues between songs and a tease of “2001”.

    Albany’s own Formula 5 came on next and slayed the crowd. Their two hour set had no lulls, keeping the energy high at all times. The crowd, although it had become a little thin near the 2:30 A.M. end, danced all night long. They opened with “Perch” and came firing on all cylinders, with great jamming where no member stepped on another’s notes and let each person shine for a bit. Then “Epiphany” hit and the funk oozed throughout Oasis. The dance party really got going here and never let up for a moment. This one had a great Dead vibe to it and it segued into “Uh-Oh”, which led to a noticeable Phish vibe. Joe Davis was hitting beautiful bright and lively chords, Bill Shattuck kept a mean rhythm going with Greg Marek, and Mike McDonald played the keys to match what Joe was doing. This is a band that knows how to jam.

    oasis cafeThe night continued and soon the night seemed like one long jam. Around 1:50 A.M., Joe mentioned Phish had announced their tour dates and maybe a little celebration should go down. With that, the band started up Phish’s “Ghost”. Formula 5’s take on the Phish classic was fantastic, funky, dirty and a little bit of rock thrown in. They did the song justice and followed it up with moe.’s “Happy Hour Hero”. These covers back to back showed who they are influenced by, but also how great their musicianship is to give both songs their due. They ended with a bluegrass tune “Catch Me” and followed it up with the space funk of “Houdini” to end the night. Both of these songs showed how diverse this band can be at any given moment. If you have a chance, make sure you see these guys when they come to your town.

    Formula 5 Setlist: Perch, Epiphany, Uh-Oh, The Ride > This Place > 3 Ring Circus, Ghost*, Happy Hour Hero^, Pedro

    Encore: Catch Me>Houdini

    * Phish Cover, ^ moe. Cover

  • Meg and Laura Get Lost in Austin: Take Two

    Two girls, one from Boston the other from Jakarta, Indonesia, sit down at a cafe in Austin with a Swedish synth-pop duo and their British PR agent, discussing a song remixed by a Spanish DJ in Syracuse. It’s safe to say that SXSW really crosses borders.

    But before divulging any more details, let’s go back to the start. It’s 9 AM on a Wednesday morning, three hours of sleep and ten outfit changes into the day, when Meg and Laura head out to take on the first of four interviews they have scheduled for the day. They head downtown to the Hilton Garden Suites to interview Ioanna Gika of I O Echo. Once in the lobby, which is bustling with the voices and ringing phones of busy band managers and artists, they find Ioanna and bandmate Leopold Ross waiting in line for some coffee at the hotel Starbucks. Ioanna donning a comfy blue smiley faced crew-neck sweatshirt and silky pink kimono graces us with her presence. There is something about her warmth that permeates the morning, setting a bright tone for the day.

    A surge of nostalgia fills the room as she takes the duo back to the bar where she first met Leo. “Neither of us knew that the other made music, but we bonded over the song “Venus in Furs” and clicked immediately”, spills Ionna. Over the course of an hour, Ioanna dished on the inspiration behind her edgy fashion choices, laser harps and growing up in South East Asia. The gracious singer songwriter talks about her upcoming projects and her collaboration with fashion designers on holographic I O Echo kimonos. After learning the intimate details behind the eccentric artists creativity the two packed up their mic and ventured across the street to hear about another’s.

    Next on agenda: an interview with the Stockholm/London based co-ed duo K.I.D.S. As Meg and Laura set up their equipment on the porch of the Moonshine Grill and Patio, they are interrupted by paparazzis shouting from across the street: “K.I.D.S. are the next big thing! Keep an eye out for them!” The girls sit down with the band to listen to backyard tales from their childhood. They learn that despite the duo’s polarizing taste in music – as diverse as Kendrick Lamar and Yoko Ono – they bring a refreshing twist to the musical table and share one of their music making secrets which is, “Don’t take yourself too seriously.” Just like a couple of kids, with hearts warmed by the bands take on music and life and with two interviews down, Meg and Laura move from the porch to a table on the Moonshine patio for a third interview.

    You would think that any artist with a single sitting on top of the charts for as long as Icona Pop’s hit “I Love It” would have big egos.  As Meg and Laura sit down to have lunch with the duo, they’re pleasantly surprised to find their feet on the ground and their hearts still very much into the music. There was a certain sincerity in the advice they had to offer which made Meg and Laura feel like they were listening to their own story. “We find ourselves constantly trying to create chaos in our lives so that we can rise up above it.”, claims Aino. The co-hosts exchange bewildered looks – an undeniable and almost tangible synergy is shared at this table for four along with the compulsive need to keep the adrenaline pumping.

    Only hours later, the two put their life motto into practice as they marched purposefully to each and every +21 venue determined to get in. Five rejections and failed attempts at pulling the we-know-the-manager card later, the two did what any two girls would do to get in (and no, they didn’t pull up their shirts to get in if that’s what you’re thinking). They took the road less traveled, i.e. the dark alleyway that led to the back door. Let’s just say they pulled a G.I. Jane but got to keep their hair. As it turns out, La Zona Rosa is much more fun when you’re inside, falling victim to Rudimental’s jazzed out drum and bass Meg, being the heavy bass line fiend that she is, decides to stay backstage at the venue to watch 12th Planet, UZ, and Baauer do the real-live Harlem Shake while Laura gets religiously overpowered by her Faith…Paloma Faith, that is. She decides to head over to Eighth Street to the Central Presbyterian Church to catch the British songstress in person.

    Though being chased down four blocks by a homeless man while navigating her GPS was a little more than Laura had bargained for, it was well worth seeing the performer take the altar in her all her glittering glory. The church resonated with hits like “Agony” and the singer got hearts racing as she raced down the pews in her Christian Louboutins with the grace of a goddess and a Chelsea Handler-esque sense of humor.

    The best part about SXSW is never knowing whats in store! Stay tuned for tales from day 3 of #LostinAustin. For more details, follow @themegandlaura  

  • Album Review: NERO DI MARTE

    Nero di Marte is an experimental metal band based in Bologna, Italy. Formerly known under the name “Murder Therapy” since 2007, the band released their debut album Symmetry of Delirium in 2009 and the EP Molochian in 2011.

    nero

    Michael: Forgive me, Father, for I have sinned.  This is my first confessional in the Church of Metal.

    Father Ozzy: What is it?

    Michael: I was assigned the task of reviewing Nero Di Marte’s self titled, debut CD.  Well, technically it’s their third CD, but they changed their name from Murder Therapy recently, and this is the first CD under their new name.

    Father Ozzy: Stop bloody wanking and get on with it.

    Michael: Uh, right. Anyway, I got the CD, and I listened to it.

    Father Ozzy: Are you asking me? How am I supposed to bloody know you listened to it?

    Michael: I mean, I listened to it, but…(pause)

    Father Ozzy: Yes?

    Michael: Well, you see. It’s…(pause)

    Father Ozzy: Will you come on with it, already!

    Michael: Father. I didn’t like it….(pause)

    Father Ozzy: Where’s the sin in that?

    Michael: I only listened to it once.  I couldn’t stand to listen to it anymore.

    Nero Di Marte is a quartet out of Italy.  They have a world release out of Prosthetic Records in a few days (March 18th in the United Kingdom, March 19th in the United States and March 22nd in Eurpoe), and I don’t want to pick it up anymore.  It scares me.

    Father Ozzy: You’re talking to the Prince of bloody Darkness, how is this CD scary?

    Michael: I know the band likes to experiment with their sound, but everything was off. The guitars drowned the vocals. The guitars were out of synch with everything. And, don’t get me wrong, I’m a fan of drums, but the drums overpowered everything.  Not only that, the cadence was off at times. It sounded like the guitars were playing to a different song than the drums! It was bedlam!

    Father Ozzy: (pause)

    Michael: Father?

    Father Ozzy: What else can you say?

    Michael: Lead singer, Sean Worrell is a howler monkey?

    Father Ozzy: Stop with the bloody howler monkey thing! It’s metal!

    Michael: You didn’t do it!

    Father Ozzy: Don’t you think I’m challenged enough with my speech?

    Michael: What’s my penance, Father?

    Father Ozzy: Listen to the CD again. Ask people not to take your judgments into mind, but let them decide for themselves the quality of this work.

    For more information, please go to www.nerodimarte.com

  • Meg and Laura Get Lost in Austin: Deadmau5

    Being at South by Southwest is kind of like being a kid at Disney World. Between the sun and the millions of rides to choose from, you’re left delirious to make your decision. Meg and Laura weren’t any different. Well, except for the fact that they had press passes hanging from around their neck this time.

    The duo kicked off Monday by sharing the bus with The X Factor Contestants to the Austin Convention Center, where all the conferences were taking place. The ACC was bustling with people from every corner of the world talking about music.  Being thousands of miles away from home, there was something easing about being surrounded by chatter about music that made feel like they belong.

    deadmau5After getting their bearings straight (a.k.a. capitalizing on the abundance of free food), the pair decided to take on the big panel challenge that had been surfacing the air – getting into room 12AB for Richie Hawtin’s interview with deadmau5. So they did what any other fan girls would do: they decided to line up three hours before the panel. “You could probably go to the Building Movements panel before deadmau5 so all you can just stay in the room for the next one”, suggested one of the staff members. And so that’s what they did.

    Not to say that watching Andy Ross talk about another life threatening concept idea for the next OK Go music video wasn’t enjoyable, but if only Meg and Laura knew about the last-minute room change for deadmau5, they would’ve stayed in line outside. When Meg’s Twitter feed updated her on the room change, the two headed for the door and found themselves to be the last ones in a long and winding line, surrounded by people pronouncing the DJ’s name as “dead-mau-five”.  It wasn’t long till the co-hosts charmed their way to the front with their radio personality (a.k.a. they spewed sarcastic remarks at everything that moved, until the people in front of them budged). Cut to: two seats, five feet away from deadmau5. The wait was definitely worth it. Though it took Laura a second to recognize the DJ without his headgear and Meg to well, keep her composure, the wait was well worth it. deadmau5 addressed a lot of the difficult points concerning EDM that most DJs prefer not to discuss. He advocates “throwing away being a purist”, specifically talking about how style isn’t something that can be taught. There are many institutions today that focus on teaching people the art of EDM. Instead of teaching students how to think, they teach them what to think, pigeonholing their creativity in the mold of preset sub-genres. The DJ also comments on how the industry has homogenized EDM, saying, “it seems like all the mainstream EDM artists are making the same cookie-cutter tracks, and then I wonder why the people at the labels don’t just go home and try to make the music themselves. I mean, why not just cut of the bands?”. Although Hawtin and deadmau5 are glad that EDM has appealed to the masses, they reminisce the two percent days back when it wasn’t so homogenous.

    With less than two hours of sleep from the night before, and a truckload of work to do, obviously the only sensible solution was to go out.  The two knew that it would be impossible not to spend the night out on the town when they were in the live music capital of the world. Meg and Laura took the streets of Austin, scouting from venue to venue, in search of good-time. After being turned down at The Warner Sound, The Belmont, and Maggie’s, the two realized that they had a hook-up: The North Door. Nicolas Jaar, minimal house DJ, was spinning a set and they knew his manager Alastar Dunkin. At 1 AM, the ambitious duo walked over about a million and one blocks over to Brushy St. in the unwelcoming windy weather (I guess Syracuse isn’t the only place with bipolar weather), and pulled the press card from under the sleeve. There was no way they were going back without getting in to a show.

    Jaar played Meg’s favorite track, “The Ego”, putting the lyrics, “the ego is the most expensive thing” on loop. Jaar really did speak the truth with his minimalist beat that took us on a tempo roller coaster. Unlike the typical female vocals that DJs sample, Jaar used a voice modulator to sample his own soulful vocals, giving the track a jazzier feel and filling up the entirety of the room with sophistication.

    All in all, adventures and glitches accounted for, there really couldn’t be a better start to South by Southwest for Meg and Laura. As it turns out, everything really is bigger in Texas.

    Continue following the #lostinaustin for more updates of Meg and Laura’s SXSW antics on Twitter!

  • Album Review – The Vanderbuilts ‘What We Forget’

    Every second of  The Vanderbuilts What We Forget is worth remembering. The Syracuse based baroque-rock band captures the warm, encompassing sound of early Velvet Underground and pairs it with the conceptual intricacy of The Acorn’s Glory Hope Mountain.

    the vanderbuiltsFrom the haunting intro “Sometime After 43” to the closer “Had A Hat”, it becomes evident that this album fits the description of an all-killer-no-filler, falling perfectly in line with their leading single, “I Wish I Was A Saber Toothed Tiger”. Entrancingly sincere songs like “Near and Far” suck the air out of the room when played. The album is produced by the Grammy Award Winning mixer and engineer Jay Newland, channeling a rather organic sound that pleads for the return of nature, capturing a vivid, live sound as a result.

    The Vanderbuilts are Sam Kogon, Dave Riddell, Max Newland, Aya Yamamoto and Grennan Milliken. What We Forget is engineered, mixed and produced by Jay Newland and features Finnegan Shanahan on Violin; string arrangements by Aya Yamamoto and Finnegan Shanahan.

    Key Tracks: I Wish I Was A Saber Toothed Tiger, Near and Far, Gypsy, Moscow

    The Vanderbuilts Website Twitter Facebook Youtube

  • Album Review: Chariots of the Gods – Tides of War

    Touting themselves as “straight up, balls to the wall, in your face Heavy Metal”, Chariots of the Gods have been spreading their melodic death-thrash across Canada since 2008. Though they’ve been around for five years – they have an EP (Reverence – 2010) and cameos on a few compilations to show for it – Tides of War marks their first, full length studio effort, and it doesn’t show.

    chariots of the godsFrom the rip, Tides of War gleams of a polished effort from this Ottawa quintet, thanks in part to producer, Glen Robinson, an acclaimed music veteran whose long list of work includes the names of Queensryche, AC/DC, David Bowie, GWAR and more.

    The band describes itself as showing only nuances of metalcore, but frontman Renaud Jobin certainly rings true to that genre (I call it being a howler monkey, but I can’t pan his efforts only because it doesn’t agree with my own personal tastes). His singing fits in well with the music. These nuances, as they say, really comes out on the CD’s third track, “Blind Assassin”. Guitarists Mathieu St-Amour and Dimitri Gervais each play with such precision and at lightning speed on this track, and throughout their entire work, to work in concert with Rich O’Neil’s rapid drum work is enough reason to pick up this CD.

    But, what impresses me most from Tides of War, and what I think really shows the personality and drive behind this band, lies within “Revillusion (1905)”, “Snow Falls on the White River (1914)”, and “Severing the Bloodline (1917)”. As it stands alone, “Snow Falls” doesn’t sound like it belongs on this CD. Its slow, melodic acoustic guitar is joined by piano play that slows down the overall pace. But, in fact, it accompanies the introduction to “Revillision” nicely. It’s a brief, minute-and-a-half transition that indeed fits. You can see Chariots of the Gods are not interested in serving up the cliché, and that they push to stretch out beyond being just another metalcore band. Tides of War does not have the theatrics of Queensryche’s metal operetta Operation Mindcrime, but the subtleties are present enough to sense Robinson’s influence here as well.

    If this is your first time hearing of Chariots of the Gods, I guarantee this will not be the last. The howling of lyrics that goes with metalcore may not appeal to me, personally, but these guys have a whole lot going for them. Their debut installment screams of an ambition and a discipline that exceeds their peers. Their sound is polished and can appeal to the masses. Tides of War showcases a wide breadth of talent, a talent that will take this band wherever it is they choose to go.

    For more information, visit www.chariotsofthegods.net

  • CIRCLE THE SUFFERING Destroys the Fusion Room on Live EP

    After hearing Circle The Suffering’s new live EP, Live at the Fusion Room, I now firmly believe that every single band should record a live EP. While many bands show excellence in the studio, where they are allowed to make a lot of mistakes until the final product sounds good, being able to show that kind of unison and tight performance as a band in a live recording is a whole different ballgame. Circle The Suffering does just this with their new EP, which is up for free download. It almost makes me wish that it had a price for download, because it would be worth every penny.

    CTS comes out swinging with their epic MMM (Melodic Metal Masterpiece), “Apollo”. In four and a half minutes, this song feels like three different songs in one, and takes you on a journey like an epic tale told through brutally melodic metalcore. The transition between songs is seamless, and each song shifts styles in a manner that is cohesive and exciting. “One Deceitful Day” keeps up the momentum, and is followed by the single, “Above All”, and the EP concludes with the onslaught that is “Quicksand”. Throughout all four songs are shifts in musical style, which include, but are not limited to, melodic metalcore, super heavy breakdowns, insane guitar riffs and drum fills, and quick bursts of rap-influenced vocals. The constant changes add variety to the sound of the band, but does not make them wishy-washy in any way. From the second they take the stage, you know who these guys are and how heavy it’s going to get.

    Since the last time I reviewed CTS, they have improved tremendously. They were never bad, but they had some room to grow and improve, and boy, did they ever. Their vocals have come a very long way, particularly in the screams. They were powerful and guttural, never faltering for a second. The clean vocals were also good, but not quite as much, getting drowned out once in a great while. There is absolutely nothing wrong with the music, as the whole band sounded tight and together the entire time. There was one instance where a guitar amp seemed to go out, but it was recovered quickly. The drums are in time, the riffs are shredding, and the rhythm is killer. Everything gels very well into one cohesive unit, which is no easy feat for a live recording.

    Overall, Circle The Suffering’s new live EP is melodic metalcore at its finest. If this is how good they sound live, then their studio recordings are going to blow us away. They’ve certainly stepped their game up, and have proven themselves as a force to be reckoned with in local metal. I couldn’t think of a better way for them to present themselves to the world than with Live at the Fusion Room.

    Go “like” Circle The Suffering and download their EP here: https://www.facebook.com/CircleTheSuffering