Selected and Dissected: The albums you need to hear next week…reviewed

By on 31 August 2012

Don’t know what to listen to this month? Want to know what to spend your hard earned dollar on? Well, fear not here’s a few albums that come out next week and we reviewed them, obviously. No need to thank us.





The unrestrained, hoarse throated menace of Frank Carter’s vocals may not have completely defined Gallows’ sound, but they were certainly a crucial part of it. That their self-titled, third album trumps both its predecessors is due in no small part to his replacement Wade MacNeil, who strides seamlessly from the ashes of Alexisonfire into a starring role here, matching Carter for passion and outdoing him for range.  Picked out seemingly arbitrarily for mainstream media attention when they looked to the world like a promising hardcore punk outfit with minimal crossover appeal, they’ve hit their stride here with a fat free, tune packed half-hour that plays host to some of their most accessible and vicious material so far, often in the same song. ‘Depravers’ takes a chorus that any pop punk band would kill for, sharpens it to a killing point and jams it through the middle of an irresistible, career defining anthem that still manages to pulse with aggression. ‘Vapid Adolescent Blues’s breathless race into mass sing-a-long territory pulls a similar trick, and if ‘Victim Culture’ and ‘Everybody Loves You (When You’re Dead)’ start proceedings on an overly obvious note, the latter half is liberally packed with highlights. ‘Cross Of Lorraine’ ends things in scintillating fashion, driving home the reality of post-Frank Gallows as not only a going concern, but a steadily improving, increasingly exciting band who are just beginning to live up to the hype. [4] BENJ GOLANSKI

Note: ‘Gallows’ is released September 10



‘Path Of The Goat’


The temptation was to review ‘Path Of The Goat’ half a second after hearing the guitar sound, which saturated our lives with more ‘Left Hand Path’  fuzz than we could ever need or want. A minute later, we quickly realised that reviewing this as such would have been a grave injustice as these Poles have dropped the firing pin on some of the most compelling and headbangable Swe-death since the term Swe-death became a viable vocabulary addition. ‘Path Of The Goat’ sounds like a chainsaw and is as catchy as it is evil as fuck: it grinds, rocks and is a primo example of death metal sliding down Hell’s slippery slope into the waiting bosom of the darkest of the dark lords. Is Instant Classic their label or a term of descriptive foreshadowing? [5] KEVIN STEWART-PANKO


‘Apophenia: Type I Error’


Every bit as violent and disorientating as a full-scale psychotic episode, it comes as no surprise that this technical head-trip is structured around the very darkest shades of schizophrenia. And despite being littered with indecipherable medical jargon, the concrete-heavy grooves, nightmarish electro and mind-bending time signatures contained within speak volumes for the raging insanity that fuels Doppler’s wondrously mutated breed of tech-death. Free from the directionless, technical showboating, ‘Apophenia…’ is a cleverly penned, unpredictable exercise in aggression and atmosphere that’s pulled off with whiplash-inducing aplomb. Whether mesmerising with mad polyrhythms or carving out a relentless barrage of clinical blasts, Doppler have set an unparalleled new standard in uneasy listening. [4] FAYE COULMAN



‘Perdition Of The Sublime’


Oh boy, is this album scintillating! This German juggernaut began life in 2009 as the project of the then 19-year-old, Adam Laszlo (Recently, a second guitarist, Sebastian Bracht, was recruited to the fold). If you enjoy snarling, über-technical creations along the lines of Necrophagist and Origin then this will most certainly appeal to you. Yes, most of ‘Perdition…’ sits in the high BPM realm, but ample melody, texture and tempo-shifts provide strong counterpoints. ‘Perdition…’ succeeds because Mr. Laszlo understands the importance of balance, dynamics and nuance, employing space effectively within songs, thus allowing them to breathe even when overwhelming the listener under an avalanche of blasting drums and vertigo-inducing guitar wizardry. [4] JOHN MINCEMOYER


Grab the latest issue to read more of our bollocks about a bunch of other records.




About Miranda Yardley

I'm Miranda. Bite me.

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