Reviews

DENS have released a behemoth of a concept album that solidifies them as one of the hottest upcoming bands on the Facedown roster.

Second to Safety's second album presents an intricate narrative in the form of nine genre-defying tracks.

High energy melodic, synth pop punk goodness! FFO: Veronica, Eleventyseven (early), Karate High School, Yellowcard, Nofx, and Green Day!

To brush my bangs to the side, or not to, that is the question. For some, emo means The Jazz June, but for others, it means Hawthorne Heights … ad infinitum. While emo is a genre that is difficult to define, I would say that Chase Tremaine combines emo, indie, and pop—think Mae or Number One Gun. Unfall begins with “Matter,” which makes a good first impression with its wonderful guitar and a chorus that immediately gets stuck in your head. Throughout, Tremaine demonstrates his ability to structure songs, as made evident by “Humanizer” and “Unfallinlovewithable,” though I felt like certain tracks (e.g.,… Continued →

Huntingtons are back with their first new album of recorded material in 17 years—their 8th full-length overall. This time around the band comprises Mike Holt (vocals/bass) Jonathan “Cliffy” Walker (guitars/vocals) Josh Blackway (guitars/vocals) and Chris Eller (drums). While the band has been known for its admiration for the Ramones, the first thing that struck me about Muerto, Carcel o Rocanroll is how much less obvious their worship for the leather-clad New Yorkers is this time. There are a few nods to them, most notably on ‘You Don’t Have to Go,’ and ‘I Don’t Wanna Die Alone’ (which reminds me a bit of ‘Poison Heart’ from Mondo Bizarro), but there’s clearly been some development of their sound in their 17-year hiatus.… Continued →

  It’s wild when a new band appears in the music scene and blows away the competition. That’s the case with What’s Your Damage? Generating powerful old school punk that harkens back to a classic ’70’s style. What’s Your Damage? is drawn into the top slot by the ultra talented vocalist, Quinn. Her style mirroring that of a young Debbie Harry, albeit with a trace of a flat tone, and it instantly commands attention. What’s Your Damage? self-titled debut album is brief, 8 tracks and just shy of a quarter hour, but it’s the songs that make this a big release.… Continued →

Every so often a reviewer decides to review an album purely out of appreciation for the album that they just heard, and in the case of Humble Feet‘s debut album, that certainly holds true. For those unfamiliar with them, Humble Feet is an acoustic husband-wife duo. Their music is highly melodic, orchestral, and deeply rooted in Scripture. In fact, the couple have served as missionaries overseas, and all of the music for their debut was written while in the field. The album opens with “Quench”, a light and airy acoustic folk song.… Continued →

It wasn’t long ago that GFM announced an acoustic ep, set for release on December 1st. With the release date being just about a week out, I thought I’d tap out a quick review on it. I was fortunate enough to have caught the band’s recent show at the Space Coast State Fair in Melbourne, FL. The show was great and sitting right there on the merch table were copies of the acoustic ep, available a few weeks ahead of the scheduled release date. Needless to say, I picked one up.… Continued →

With the development of the black metal genre into an ever-splintering family of subgenres (symphonic black, atmospheric black, blackgaze, folk black, traditional/harsh), there’s been a lot of room for diversity. However, and probably as a result, those artists who take the traditional sound have become fewer and fewer. Hailing from Chile Anima Mortuum take their stylistic nods from Venom and Bathory (instead of Emperor or Pyramids), and seem keen to keep the traditional sound alive. Morbid Temple is a newly released 4-song demo, and it does not disappoint.… Continued →

Glass Age's debut EP is an exciting resurgence for the gentlemen of Abandon Kansas.

Although bands like My Epic, Abel, The Ember Days, and Ascend the Hill have been incorporating elements of post-rock, ambient, and experimental pedal usage into their sound for ages, it’s the sort of thing that was bound to cross into the mainstream eventually. There’s something about the emotional experience of cinematic passages and insurmountable crescendos that made this style perfect for charismatic and mega church worship. Such has been the trend for modern worship for the past few years – pathos preceding ethos. There are naturally many exceptions, but suffice to say, there is something very marketable about this type of music.… Continued →

“Damn” is the only curse word you’ll hear on Kanye West’s latest album.* Jesus Is King is gospel rap, and not only in the usual sense. With the help of the Sunday Service Choir and Fred Hammond, the gospel influence is potent; although rhymes and beats are present, the latter are especially minimal. Opening track, “Every Hour,” includes no rapping at all and reminds me a little bit of Tonéx. Lyrically, the album is forthright in its expressions of Christian faith. Bible verses are referenced in “Selah” in such a way that would make even Goliath dizzy, while “Water” mentions Jesus’ name 16 times.… Continued →

For fans of: As Cities Burn, Tiny Moving Parts, Mansions

Longtime metalcore band The Devil Wears Prada is back with an incredible album that should be the surprise of the year. Let’s be honest, metalcore has become somewhat predictable with only a few bands making quality music. Even still, it’s become stagnant as there has been very little growth in the genre over the past decade. This is where The Act comes into play. The group’s 7th album travels into unknown territory and gives us a glimpse of what metalcore can be. The Act is a multi-dimmensional album spitting of fury, emotion, and angst.… Continued →

Two thousand and nineteen has proven to be quite the year. One day, a bunch of rowdy hooligans on Facebook are planning how best to invade Area 51, and the next, there’s a War of Ages occurring on planet Djent. Void places an emphasis on groove, which is kicked into full gear by track three, “Blood of the Earth.” That being said, the more conservative fans need not fret; War of Ages are still our metalcore heroes from Mars. “Sulphur and Salt” – a Star Wars metal opera – capitalizes on what is perhaps the band’s greatest virtue: epic choruses.… Continued →

I usually like to have some Kenny or Dolly playing on the turntable in the background as I start writing a review. It gives me the inspiration I need. NOT, but now that I have your attention I must point out that the opening track to this album comes blazing off the starting line at full speed. It’s a skull crushing track and the epic start of an album that brings back that late 80s hardcore punk vibe, and although I didn’t experience that era live, the videos and stories people tell bring it to life.… Continued →

The Belgian lo-fi Christian scene himself, Bram Cools, is back with a fourth album. More quirky weirdness accompanied by lyrics that tackle a wide range of social topics. I don’t know how familiar IVM readers are with this Belgian artist, but Bram makes eccentric lo-fi indie pop/rock with socially-conscious lyrics from a European viewpoint. He has over a dozen albums under his belt and Civilised is his latest full length. It stays within the lo-fi umbrella, yet true to that genre, touches on a variety of styles including indie rock, electronica, spoken word, trip-hop, etc.… Continued →

  The fan base of crust punk may be slim, but the music is significant. Returning to the studio is Sweden’s Svarteskerm. Sung entirely in Swedish, the four song EP, Illojala Till Slutet, delivers a blistering fast and aggressive look at the political and social turmoil found in their native country. But each of the song topics transcend borders. These are concerns that hit home for all of us. “Diognetus” reminds us that it’s too easy to have national pride take away our sensibilities by failing to recognize that all the countries of this earth are our home.… Continued →

SPOILER ALERT: This is a fantastic release! 3 different bands playing 3 different styles (sub-sub-subgenres) of black metal. Each band contributes 2 songs, and while it would be logical to assume that 6 songs equals an EP, this album clocks in at 37 minutes, so I’m gonna call that a full-length. First up are TIMŌRĀTUS (from Louisville, KY), who continue to surprise and amaze me! Every album they do is in a different style, and amazingly they somehow manage to do them all well. Previous efforts I’ve heard have been in post-metal or drone metal territory and others have touched on experimental metallic sounds.… Continued →

Josh Garrels has been making a name for himself for quite some time now, even as far back as 2011’s Love & War & the Sea in Between. Despite your opinion on his music, it’s certainly evident he consistently aims big and doesn’t take shortcuts. His catalog consists largely of long-form albums with layers and layers of instrumentation, harmony, and production nuance. Nonetheless, it’s also not unreasonable to find his music perhaps a bit too sleepy. When an album is over an hour long, it can get tiresome – and the risk only increases when it’s acoustic instrumentation paired off with falsetto.… Continued →

I got my first taste of Skillet in the early 2000’s just after I came to know the Lord. I was drawn to their raw, gritty, heavy sound because, musically, I heard some similarities to Marilyn Manson, a band I’d been a tremendous fan of in my B.C. days. As the years went by, as is to be expected, the band’s sound changed a bit, mellowing here and there, adding string sections, adding electronic sounds (or at least making them a bit more prominent), having a much more produced sound, songs that are more radio friendly…the list goes on.… Continued →

Coming off of their undeniably best album to date, Wolves at the Gate is back with their fourth release. Eclipse begins with “The Cure,” which was the first single released for the album. Already, lyrics are beaming from the album. “I can taste the misery, spitting out the remedy. All I’ve been through, all that I’ve seen, these eyes, this heart still can’t dispel the lies.” The opening song serves as what to expect for the rest of the album in respect to the lyrical tone.… Continued →

Although this was released around Easter of 2019, I only recently stumbled across this gem while perusing the Zap Records page on bandcamp. As it turns out, its history is even deeper than, having been recorded and self-released in 2010. Hailing from Pittsburgh, the band has roots in the punk scene in that area, but UHWU is a completely different animal. The union was formed to create “authentic church music . . . devoid of hype.” So I guess you could call this a worship band, but it’s not what you think.… Continued →

A-Duff is no Calvin Harris; and coming from me, that’s quite a compliment. Well, at least my perception of Calvin Harris – I’ve never really given him a fair listen. In any case, there’s enough cheese-ball EDM in the world to go around. Some of A-Duff’s material could be on the radio (e.g. “God is Real”), but he clearly values creativity. Opening track “Don’t Stop Believing” kicks things off with an optimistic mood and some groovy brass, while “Block Rocking Flammable” reminds me of playing SSX 3 on PS2.… Continued →

Salt Creek's sophomore EP leans heavily on alt-rock for a catchy blend of radio-friendly songs.

Atmospheric, floating, literary and lush. Leem of Earth has completed their trilogy with the June 7th release of Chapter 3,  the third EP in their belletristic series: Chapter 1, Chapter 2 and Chapter 3. In all three efforts, the band from Pensacola, Florida, creates a fragile wall of sound that hearkens between the fuzz and soundscapes of 90s 4AD shoegaze bands and the ethereal charm of Mazzy Star, The Sundays, Cocteau Twins and The Innocence Mission.

Right off the bat, it’s loud and energetic.  This is melodic, yet noisy indie rock, reminiscent of the classic 90s Britpop with hints of 70s glam (think the rock riffs of Suede meet the swagger of The Divine Comedy).  But don’t be fooled, this isn’t simply nostalgic stuff, stuck in the past.  There is a real energy and drive to this music that captures one’s attention right off the bat. For those who don’t know, MrENC is Eric Collins’ nom-de-rock (formerly of Denison Marrs).  Lyrics deal with the need for love and compassion—both the giving and the receiving—through the chaos and noise of life. … Continued →

Chris Bernstorf is the poetic equivalent to a bowl of jelly beans. Well, unless you study those jelly bean guides, but that’s beside the point. Opening track “Swing” lives up to its name, offering a dizzying array of topics from water parks, to The Mentalist, to online classes, all pointing to the theme of overcoming personal vices. That probably sounds random – which it is – but that’s precisely what works for It’s All Joy: the negative “without rhyme or reason” is turned into a positive.… Continued →

My Epic returns with their long-awaited follow up to Ultraviolet, and it's aimed to be one of their most provocative releases to date.

This 5-song EP contains 3 songs of melodic death metal (tracks 2-4) sandwiched in between 2 longer, unusual songs that genre-wise feature a hybrid of nu metal, doom metal and some classical instrumentation. Stylistically, the middle 3 tracks are similar to bands like Pantokrator, World to Ashes and similar melodeath bands (or In Flames and At the Gates from a mainstream perspective), but there is not a huge emphasis on the lead guitar. These are the strongest tracks with the most cohesive sound. The first and last tracks are more original, but ironically also weaker.… Continued →