Every Time I Die - New Junk Aesthetic

Every Time I Die - New Junk Aesthetic (2009)

Every Time I Die never fails to get me in a party kind of mood, probably just because of how amazingly energetic their live show is. I walked away from their show having been spat on by singer Keith Buckley, who has a penchant for on-stage spitting acrobatics. ETID's music measures up to their frenzied live shows, it fills me with energy and the desire to run around aimlessly punching at the air. New Junk Aesthetic is ETID's fifth album, and although it's not my favourite album by the band, it has grown on me since it first dropped.

I think that I first dismissed the album because of the inevitable comparison I made to the band's excellent 2007 album The Big Dirty. But really, their isn't much change between the two. The blues-soaked hardcore guitar riffs are still in full effect, Keith's lyrics are still as clever as ever (something I want to attribute to his background as a high school english teacher) and their rock n'roll  approach to metalcore is still kicking much ass. The reason why I don't think it's as good as The Big Dirty is because many of the breakdowns sound a little bit too similar to one another. And although Keith's bluesy, southern rock influenced singing voice often makes the difference between a good ETID song and a great one (like on Wanderlust for example), it sometimes sounds like he's forced it into a song. His clean singing voice overtop of the jumbled riffs on Host Disorder doesn't work for me, and it quickly became my least favourite track on the album.

On a more positive note, there are enough fantastic whisky-soaked bluesy hardcore riffs on this album to make you feel hung over after a full listen. In addition, the lyrics are excellent. Keith has always been one of my favourite hardcore lyricists. His cleverly put, Nietzsche-referencing lines like, "there is nothing to see here, and nothing gazes back at me," or, "if life is pointless then point taken, say amen" are examples of why I find ETID to be some of the better lyricists in metalcore. Because  the rather depressing nature of the lyrics is paired with the rock n'roll party atmosphere of the music itself, ETID gives off the vibe that they play their music in a self-medicated kind of way. Just like how blues artists sing of their struggles and personal demons, this music can also serve as a way of exercising those demons.

Sepultura - Beneath the Remains (1989)

Sepultura - Beneath the Remains (1989)

25 years ago a few kids from Brazil created a thrash metal album that would later be considered a classic of the genre. Sepultura's Beneath the Remains, their third album and first release through major label Roadrunner, is hard-hitting and thrashy as hell. If I was to introduce someone to the genre, this would be a must-listen album I would give them. Even though various members of Sepultura have since taken different paths and seem to be doing their darnedest to sabotage their own legacies, this album lives on as a staple of the genre.

This being Sepultura's first time working with the now legendary producer Scott Burns, the production is much better than the band's two previous efforts. There are so many good Sepultura songs on this album. Inner Self is still one of my favourites by the band, even though its a bit more groove oriented than the rest of the album. After a seemingly pointless acoustic intro played with a strange echoey effect, the album kicks into high gear with the title track, and manages to maintain its intensity throughout most of its runtime. Unfortunately, I'm listening to the remastered 1997 version of this thing, which for some reason includes a god-awful cover of an Os Mutantes song, plus two poorly recorded instrumental versions of Inner Self and Mass Hypnosis. But lets just forget about those and call this thing a near-flawless thrash record.

The only problem I have with Beneath the Remains is one that kind of relates to the entire genre. For a style of metal that focuses on fast, energetic riffs, a lot of thrash metal bands tend to make their songs a bit long and drawn out. And while Sepultura are not even close to being the worst offenders (cough cough Metallica), I find that an average of 5 minutes is a bit trying when the focus is on speed and intensity. Maybe that's just my problem though.

Beneath the Remains' straightforward thrash riffs played in very technical rhythms with frontman Max Cavalera's dark yet realistic lyrics (performed in a super-thick accent) concerning social corruption, struggle with self and the follies of war made this album unique for its time. I'm listening to it 25 years later and it seems to have lost none of its original spark.

Leyland Kirby - We Drink to Forget the Coming Storm (2014)

Leyland Kirby - We Drink to Forget the Coming Storm (2014)

This is the latest offering from prolific composer and electronic experimentalist Leyland Kirby, who also releases albums under the name of "the Caretaker." This particular album was offered on Kirby's Bandcamp page in honour of his 40th birthday. The album appropriately contains 40 tracks of haunting, ambient reflection, and clocks in at a whopping 3 hours in length. The album is free but you can donate if you wish; Kirby suggests the price of a "birthday whiskey," as if you were in the same room celebrating with him.

It's easy to get completely lost with this album, but I'll refrain from saying that it's easy to get lost in this album. We Drink... is not an easy listening experience, it's not an album that you can simply give your full attention to for 3 straight hours. Instead, Kirby explains the album best by saying, "it should be used sparingly in your own favourite track combinations." So this is exactly how I use the album. I'll play it in the background on a rainy afternoon or evening as background music if I'm in that sort of mood. And this is the great thing about We Drink, when it's playing it can make you feel as if you're in some HBO drama, or even a David Lynch film. It serves as a form of escapism for me, like a long walk through the woods or a city park.

With regards to what the album actually sounds like, it's really best to take a listen for yourself. Or just read the description that Kirby gives, 

"It can be used to uplift on the low days, to gain strength and clear the mind. Each track combines the same elements piano, digital strings, and synthesized choir. There are dark twists and light passages. It leads you somewhere whilst going nowhere."

That last bit, leads you somewhere whilst going nowhere, is really the best way to sum up the feeling of this ambient and reflective album.

Xiu Xiu - Women as Lovers (2008)

Xiu Xiu - Women as Lovers (2008)

At the risk of oversimplifying a complex and experimental band, I like to think that there are two sides to avant-garde artists Xiu Xiu. The incredibly harsh, noisy and dark side of Xiu Xiu that takes the lead on albums like the recent Angel Guts: Red Classroom, and the more accessible side that consists of weird songs so catchy that they're almost pop. Almost. I've always leaned more towards the more accessible Xiu Xiu myself, as I love their ability to seamlessly incorporate strange, noisy samples, jazzy time signatures and oddly haunting melodies into songs that sound like they could get radio play if it weren't for Jamie Stewart's lyrics and his bizarre/creepy (yet often mesmerizing) voice. Women as Lovers is one of those Xiu Xiu albums that falls into this more approachable camp.

Women has a lot going for it. Songs that cover a wide range of emotions, diverse instrumentation and a very lush sound overall, with crisp and clear production that emphasizes just how layered all the sounds are on this album. There are pianos over a variety of acoustic strings, brass instruments, an array of wacky percussion, electronic bleeps, chimes, and more that I am still discovering with every listen. The amazingly unique rendition of Queen & David Bowie's hit Under Pressure featuring Michael Gira, of Swans and Angels of Light fame, is probably the best example of the kinds of instrumentation that are present, as the cover seems to make use of nearly everything that Xiu Xiu play on the album.

Typically, when I put on a Xiu Xiu record there are always songs that I love, and those that I find nearly unlistenable. But Women as Lovers is different. It's probably their most easily accessible album (more so than Fabulous Muscles and Dear God, I Hate Myself) and I can listen to it from front to back effortlessly. The song No Friend Oh! is a good example of what to expect from this album, it's poppy, melodic, weirdly catchy and instantly gratifying; all aspects that stand in stark contrast to much of Xiu Xiu's work. I think Women as Lovers can serve as a good introduction to those who are new to the world of Xiu Xiu, simply because it is approachable. I was introduced the other way around, and found myself surprised that Xiu Xiu wrote songs like the ones featured on Women, giving me a renewed interest in the band.

Cloud Rat - Self-Titled (2010)

Cloud Rat - Self-Titled (2010)

If you don't know them, Cloud Rat are a fantastic three-piece grindcore band based out of Michigan. My own band had the good fortune to open for them at a laundromat show a while back when they came through my hometown of Calgary, AB. After having met them, my respect for the band only increased. Despite writing some of the angriest and most emotionally charged grindcore songs I've heard, and touring so far from home with so many no-name local acts (mine included), they (along with thedowngoing) were one of the nicest touring bands I've played with. They seemed genuinely excited about the DIY spirit of the show, and they were very encouraging of everyone involved.

This is Cloud Rat's first LP, and it offers a lot in a solid 18 minutes. The first three songs on this thing showcase an angry and relentless grindcore assault. Madison's raging screams overtop of the chaotic, yet controlled, grind madness that comprises this album works very well together. But it's not until the third track, and one of my favourites on the album, Dwell, that we hear what makes Cloud Rat stand out amongst the abundance of modern grindcore acts. A touch of melody suddenly takes the listener by surprise, but in the best way possible. It doesn't sound out of place at all, but in fact gives the album an emotional edge that is lacking in so many grind albums. When your band is set on raging against all forms of oppression, as Cloud Rat proudly declares, it helps to have some genuine feeling in your music beyond "yeah, this is really heavy."

My favourite songs on this album are also the most melodic, songs like Dwell, Yama, and Faint Hearted provide the album with the personality that makes it unique. There is a killer riff near the mid point of Faint Hearted that reminds me a bit of acts like Discordance Axis, who infused grindcore with the emotion, melody and sense of artistry which the genre seemed to be missing.

This was one of my favourite releases of the year when I first discovered the band through grindcore karaoke, so check out the link and listen to it for yourself if you haven't already. I highly recommend it for any and all fans of the genre.

Trespasser - Wages of Faith (2012)

Trespasser - Wages of Faith (2012)

I've collected a lot of hardcore Eps and demos over the years, and I regularly read blogs that showcase new-ish underground hardcore bands. A lot of these bands turn out to be pretty dull, carbon-copies of other more notable hardcore acts. And then there are a few that I end up keeping and listening to more than a couple of times. Wages of Faith is one such example of a solid hardcore release by an underground band that stuck with me longer than usual. 

Trespasser were a hardcore band based out of Cleveland, Ohio. The group played a pretty well known style of hardcore that took off in Cleveland, aptly named "Clevo hardcore,"which developed thanks to forerunners like Integrity, Face Value and Ringworm. The style is typified by a very metallic form of hardcore with plenty of fast guitar leads. Trespasser pull off this style with skill, the vocals are grimy and pissed off, the guitar solos rip and the lyrics are clever and memorable ("For the Lord giveth, but mostly... mostly he taketh away"). Their only demo is a short one, 12 minutes long, but long enough to give you an idea of what Trespasser were about. Unfortunately, with so little material, this band has since pretty much slipped under the rug of hardcore demos in my music library. If it hadn't come up on shuffle I would have forgotten about it altogether. I'm glad that it did pop up though, it was a good listen.

Follow the link above for a download if you're in the mood for some Clevo style dark hardcore.

Earl Sweatshirt - Earl (2010)

Earl Sweatshirt - Earl (2010)

Ughhh. I was dreading the inevitable moment that an Odd Future project would pop up on shuffle. Mostly because the group has been blogged about by everyone on earth with a music blog. Whatever I say is probably going to be a regurgitation of something you've heard before.

Anyway, a few years ago, when OF was really building in popularity, I bought into the hype, checking out albums and projects by nearly every member and affiliate of the group. Not to say that I can't stand listening to Odd Future anymore, but the excitement at the prospect of something new, weird and crazy in hip-hop wore off fast for me with the more albums and songs I listened to. But this is Earl Sweatshirt we're talking about here, probably the most popular and praised member of OF next to Tyler, the Creator. So lets get to it.

I want to get this out of the way first; at the time of recording this album, Earl was 16 years old. I mention this because regardless of how talented the kid is, his young age definitely played a role in this mixtape's popularity. And there is no doubt that Earl is indeed talented, his instantly recognizable flow is really nothing short of hypnotic. This mesmerizing flow coupled with signature OF beats and off-kilter piano keys courtesy of Tyler, Left Brain and BeatBoy, makes for a unique listening experience that's hard not to like. That last part would be true, if not for the beyond-ugly subject matter on this mixtape.

Now I know the arguments, I've heard them before. The misogyny is only cranked up to 11 because it's satire. It's cartoonish. It's so ridiculous that it obviously can't be taken seriously. This may be true, and obviously I don't believe that music can really influence the way people act, I mean most of us have discerning minds of our own. But when I listen to music I'm always listening to it for the experience, and for me the lyrics on this thing are just so disgusting that they really take away from that experience. Even though Earl is as eloquent as he is repulsive, it doesn't really change the fact that yes, he did just say that. There are a couple of really great tracks on this thing. Earl, Kill, and Luper are some of my favourites. Even so, the album is only 26 minutes long and I couldn't wait for it to end.

Obviously things have changed a bit after listening to Earl's latest effort Doris. But when I go back and listen to earlier OF material, I find most of it to be cringe-worthy, which keeps me from enjoying the music itself.

Graf Orlock - Destination Time: Yesterday (2006)

Graf Orlock - Destination Time: Yesterday (2006)

Think of a grindcore record in which movie samples are used in every song. You'll probably be able to narrow down your list to about 12 billion albums. Now imagine a grindcore record where movie samples are placed ingeniously throughout songs in a way that doesn't awkwardly interrupt the flow of their incredibly fast pace, while simultaneously enhancing the stupidly action-packed feel of the album. That's a Gorlock album. Destination Time Yesterday is the first in the "Destination Time" trilogy, and while I think that Graf Orlock perfect their movie sample-driven grindcore on the second instalment (Destination Time: Tomorrow), these maniacs have created one hell of a grindcore experience with this record. 

Graf Orlock, who take their name from one of film history's most infamous black-and-white vampires, have taken the use of movie samples to new heights, working them seamlessly into the songs themselves. Take Captives of the Thuggee for example, a song that samples Indiana Jones and the Temple of Doom. Halfway through the song, we hear that evil priest / amateur heart surgeon chanting "Kali Ma… Kali Maaaa" just before the song tears into a break down in which Gorlock scream the words "KALI MA, SHAKTI DE!" Yeah it sounds kind of stupid when you read it like that, but its also what makes Graf Orlock so goddamn fun to listen to. Oh yeah, did I mention that all of the band's lyrics are ripped straight from the film scripts of the movies that they sample? Goddamn fun.

Don't mistake this album for being a novelty act though. Graf Orlock are also an amazing grindcore band and they sure as hell don't need to lean on their use of samples as a gimmick. The duelling vocals are some of my favourite in my entire collection of extreme bands. Kalvin Kristoff's strained, frantic scream paired with Jason Schmidt's roar (they even take turns yelling at each other, "fuck you!" "No, fuck YOU!" on Panic At The Galleria) makes for some of my favourite vocal deliveries in the genre. The song-writing is best described as spastic, never lingering on one riff for longer than 30 seconds, before moving on into a completely different, but equally awesome idea. Songs are short, fast and very chaotic. And yet, there are so many memorable parts of this 25 minute-long album.

That's all I'm going to say about Graf Orlock for now, god forbid I get another album from the trilogy playing next on shuffle and I'll have to repeat myself all over again. Follow the link above to get to the Gorlock Bandcamp page and take a listen for yourself. I'm eagerly awaiting their next cinema-grind project.

Freddie Gibbs & Madlib - Piñata (2014)

Freddie Gibbs & Madlib - Piñata (2014)

It's not often that producer/rapper Madlib pairs up with a single rap artist for an entire project, the results are usually pretty damn excellent though (I'm looking at you Madvillain). And Piñata is no exception, even if Gibbs is clearly no MF DOOM. I'll admit I have this album because it's a Madlib project. Before hearing this I wasn't too familiar with "Gangster Gibbs" aside from hearing a few singles and features. And even though this album hasn't made me a huge Gibbs fan, I find that he handles himself very well over Madlib's unorthodox beats. He never sounds awkward or uncomfortable, and in many cases his verses really compliment the songs. On album highlights like Shitsville, Thuggin' and Real (all from the album's strong midway point) Gibbs changes up his flow, making these tracks some of the more memorable ones on a jam-packed 17-song album.

Another track on the album worthy of mention is the excellent and highly addictive title track Piñata, featuring the most guest appearances on the album. Out of the plethora of guests on this song, I'm only really familiar with Domo & Casey Veggies (of OFWGKTA fame) and Meechy Darko, that unmistakeable zany voice of Flatbush Zombies. Even though I'm not a fan of Domo Genesis, I think everyone on this track has some solid verses. But in the end, it's still Madlib's infectious beat that really makes this song.

Last thing I'll say about Piñata is that I really appreciate the lack of any long, boring "skits," which I was expecting on a 17-track album. Instead, what we get is a number of samples from Blaxploitation films (plus a few bits and pieces people talking, and who I'm assuming is Gibbs trying his hand at mock-singing some TLC songs) that effectively break up the tracks and keep things flowing before and after songs. The movie clips are purposeful though, as Freddie described Piñata as "a gangster Blaxploitation film on wax." That's cool. I think that it adds to the album, having a general theme running through it while never shoving that theme down the listener's throat, as is the case with many a "concept album."

Streaming Now - Young and in the Way

Heyo! I just wanted to take this opportunity to quickly bring to your attention something that you should be listening to right now (if you're a fan of blackened crust & hardcore). The newest album, and  Deathwish Inc. debut, by Young and in the Way is streaming over on Pitchfork.

I'm a big fan of pretty much everything this band has released so far, but this latest effort really steps up YAITW's production. Everything is louder, the guitars have more punch, and the vocals are so much more disgusting. I mean, just listen to that intro, "WHEN LIIIIIIIIIFE… COMES TO DEATH!!"

In terms of song writing, this may be YAITW's best album yet. They've lost none of their edge or bite, their songs are still built on that blackened crusty hardcore that they are known for. And for those of you who loved the black metal elements and dark sounding piano on V. Eternal Depression, you won't be disappointed with this new album either; especially after hearing the epic final track Embrace Extinction.

There you go. You really have no reason not to be checking this album out right now. It drops officially on May 27th. More random reviews to come, just had to get this off my chest first.

Young and in the Way - When Life Comes To Death (2014)

 

Mykki Blanco - Cosmic Angel: The Illuminati Prince/ss (2012)

Mykki Blanco - Cosmic Angel: The Illuminati Prince/ss (2012)

So this is Cosmic Angel, the first mixtape from "Acid Punk Rapper" Mykki Blanco, and it's a trip for sure. When I first heard this mixtape, I downloaded it for the single Wavvy, which is linked up above. I still love this song, Mykki's insane vocal delivery overtop of Brenmar's nightmarish beat is a perfect match to me. This mixtape, as strange as it is at times, seems to be bursting with potential. As my first introduction to Mykki I was reminded of other "weird" rappers like Missy, ODB, Ludicrous or Danny Brown who have the most unique and recognizable voices in hip-hop. Her voice is at times eery, twisted but always assertive. When Mykki sneers lines like "I think they forgot what this shit supposed to sound like" on Haze. Boogie. Life. (an album highlight for me), its easy to see Mykki as the kind of rapper who dominates every track she's featured on, not because she's a spitter, but her voice simply oozes confidence.

Cosmic Angel starts off strong with tracks like the aforementioned Haze. Boogie. Life, Kingpinning, Riot, and Wavvy. Mykki manages to destroy the weird-ass production on most of these tracks. One song I can't stand though is Fuckin the DJ because I find the hook, with Mykki's pitched up voice, to be annoying as hell. There are also a few mediocre tracks on here like Virginia Beach and YungRhymeAssassin. After all of this however, the mixtape takes a real turn for the strange from tracks 10 to 15. Here we see Mykki pitching her voice to a mouse-like squeak, with the effect of sounding like the bad-bitch version of Quasimoto. This kind of works for Betty Rubble, and I love the hook "I wouldn't try to do the things that I do, you should pray to God and do not play with false idols" but I feel that I would like the song even more if Mykki wasn't pitched so high. It's unnecessary. Her voice is already interesting. She doesn't really need to mess with her vocals even more, a trick usually reserved for producers who sound kinda boring when they rap with their normal voice. But this gets even worse with the following two songs, on which Mykki's voice is so high-pitched that she sounds like the world's most foul-mouthed 5 year-old.

With all that said, Cosmic Angel is the reason why Mykki's first full length, called Michael, is one of my most anticipated releases of 2014. Listening to the single tracks she's dropped on SoundCloud has only got me more stoked as I find myself genuinely curious to hear what her full length debut will sound like.

Balance And Composure - Only Boundaries EP (2009)

Balance and Composure - Only Boundaries (2009)

This is going to be a short review because this is a short EP, only four songs. But that's exactly how I like my EPs. Short and sweet. This is a good example of how the format can be used as an excellent  way to show people what your band is all about. These four songs range from good to great, and included are two of my favourite Balance and Composure songs (Show Your Face and What's Wrong With Everything). I first heard Balance and Composure when I caught them at a pretty random show in San Francisco, they happened to be playing a block from my hotel and I was with a few friends who were in the mood for some live music. Their live show was amazing and I was instantly hooked on their unique form of post-hardcore and alternative style of rock music. It's emo. It's angsty. It's grungy. And the music is also very beautifully arranged, complex and so, so melodic. Songs get stuck in my head easily, and I find myself singing along with Jon Simmons emotive and personal lyrics. His voice also really sets the band apart in the genre. I find that Balance and Composure's songs are instantly recognizable simply because of Jon's damn near perfect voice and how well it suits the bands style.

There is nothing quite like listening to Balance on a rainy day to get me in a very introspective kind of mood. If you enjoy this EP, (and I highly recommend checking it out if you haven't yet) I can say with confidence that you will dig the bands first full length Separations, which sounds like a logical continuation of this very solid EP. Only Boundaries will always remind me of that San Fran road trip as after seeing Balance play live, they pretty much dominated our car stereo on the long journey home.

The Lonely Island - Turtleneck & Chain (2011)

The Lonely Island - Turtleneck & Chain (2011)

Oh my god. I just finished listening to Woe, and now I have to review The Lonely Island's somewhat dated second comedy album Turtleneck & Chain. This is exactly what I meant when I said putting my iPod on shuffle tends to alienate people. Not to say that black metal and comedy are two completely separate universes in terms of genre… but, they are.

Anyway, most anyone who has ever watched a YouTube video, Saturday night television, has heard a pop culture reference in the last decade (specifically, every single time you happen to set foot on a fucking boat) or doesn't live under a rock has heard of the Lonely Island and their musical comedy shtick. They gained a huge following with their contributions to SNL in the form of digital shorts, and their often times hilarious music videos and skits. After the popularity of their first album, and the number of new songs and videos popping up, it seemed inevitable that these three comedy-rappers would come up with a sophomore album. The weirdly-titled Turtleneck & Chain is that album, and now that I'm listening to it again for the first time in years, I'm remembering how hilarious it is. Mostly hilarious. Okay, kind of half-funny. 

The problem with a comedy album like this is that many of the songs rely heavily on their respective music videos to be funny. Songs like The Creep were really only funny when I watched the video, it just feels weirdly out of context when I hear it on my headphones. Luckily, the comedy isn't all that topical, and so it doesn't run into the problem of aging poorly. Instead, the comedy comes from lyrics being straight-up bizarre or just really blunt (i.e. I Just Had Sex). The Lonely Island also excels when they are parodying a style in music, like the ridiculously nonsensical bragging in the title-track Turtleneck & Chain, typical of most modern rap artists. Or the ludicrous, story-driven Rocky that parodies a "Dr. Seuss" kind of rhyming style popularized in the early days of hip-hop and reminiscent of the Fresh Prince of Bel Air theme song.

Wow. Enough of trying to explain how comedy works, its making this album less and less funny the more I try to deconstruct it. Either you are going to find the songs on this album funny or you're not, but I would be very surprised if you thought the entire album was hilarious. There are songs that became huge YouTube hits (Motherlover, Threw It On the Ground, etc.) and some very meh or cringe-worthy songs you have never heard of unless you bought the album (Trouble On Dookie Island, Attracted to Us). When songs from this album come up on shuffle in my car, my girlfriend will either sing along or tell me to shut it off. What I'm trying to say is that it kinda sucked to listen to this from start to finish for the purpose of a review three years after it was released. Next!

Woe - Withdrawal (2013)

Woe - Withdrawal (2013)

Okay, so first up is the album Withdrawal from black metal band Woe. I honestly don't know much about this band, and I'm not going to pretend that I do. I found out about these guys through another blog one day and kind of put this album on the back burner. What I will do is listen to this album from front to back and give you my thoughts.

And the first thing I can tell you is that albums like this are what got me into metal music in the first place. It's absolutely punishing, dark and just really, really hostile. The speed at which these guys are playing their instruments is relentless throughout most of the album, aside from some really groovy riffs on songs like Exhausted and Song of My Undoing. Oh, and the really corny acoustic guitar intro on All Bridges Burned which just seems awkwardly placed to me. The art of transitioning from mid-paced acoustic guitar riffs to hyper-speed blasts and tremolo riffs is difficult to get right, and many bands opt for no real transition at all. Anyway, back to the good stuff… the production is really clean for a black metal record, but it works for the style that they are playing. You really want to hear everything that is going on, because at the end of the day there is a lot of good melody on this record. This really does remind me of a lot of metal bands that I loved growing up. Bands like Absu, early Marduk, Witchery. Essentially anyone who played black metal with a strong thrash influence, and did it well. Yeah, I like this album. This is the shit. And that solo halfway through Carried by Waves to Remorseless Shores of the Truth !!! Beautiful. The drawing point of this album has to be the riffs though; They are exactly the kind of riffs I hope to hear when I put on a metal album, dark and punishing, yet very catchy and head bang worthy.

Well, even though I really wasn't in a black metal mood, listening to this has made me want to go back and check out the Woe discography that I have missed out on and see how they have evolved. 

Welcome!

Welcome to the first ever instalment of "I Have To Review This." In this blog you will find a number of eclectic music reviews and music related verbal vomit whenever I feel like writing. I created this blog for a number of reasons:

a) I love music
b) I love talking about music
c) Nobody in real life can abide listening to me talk about music for very long
d) I'm gonna develop my creative writing skills goddamnit

Although these are the reasons why I created this blog, I wanted to give myself a challenge beyond writing reviews of music that I like. So I came up with a process to determine what music I would actually be reviewing. This process involves putting my music library on shuffle and reviewing whatever album my computer chooses. It should be noted that my library is indeed extensive, growing at an exponential rate (as I am fortunate enough to live in a geographical location and time where we have more access to music than we know what do with) and eclectic as fuck. Seriously, if you manage to alienate everyone in a room simply by playing your iPod on shuffle, then you might enjoy this blog.

This process means a number of things for my blog. It means I might have to review Public Enemy when I really just wanna listen to Phil Collins. It also means this blog could turn into a black metal review site with one random-ass review of Weird Al Yankovic's Running With Scissors. It really depends on the ambiguity of the iTunes shuffle gods. But that's also kind of the fun part. So I hope you stay tuned and bare with me as my reviews (hopefully) improve.