Bloodbath "Unblessing the Purity"

Unblessing the Purity is four songs of heavy, churning death metal with a nice, balanced split between shredding riffs and blast beats, and crushing, double bass-fueled grooves. Aside from the guitar solos and dark, melodic segues, Bloodbath doesn't let any frills, bells or whistles hamper their music's barreling energy -- it's all balls, all the time. And while a lot of similarly straightforward death metal loses me with its sheer technicality and utter lack of hooks, there's something subtly catchy and accessible about Unblessing the Purity. I can't quite put my finger on it, but it probably goes back to the concise songwriting, forceful riffs and big recording quality. It also doesn't hurt that the band features Opeth singer Mikael Åkerfeldt's monstrously powerful vocals. (I wish my throat was capable of creating such hellish noises.) I'm the first to admit that the artwork and song titles reek of stereotypical death metal, but Unblessing the Purity is surprisingly (or not, considering the band's extensive credentials) solid and entertaining.

Bloodbath - Weak Aside

Grab a copy here.

Blacklisted "Heavier Than Heaven, Lonelier Than God"

Like so many hardcore bands, Blacklisted burst into the scene with a justifiably loud buzz -- due in part to their killer Our Youth Is Wasted EP -- and quickly fizzled out after one subsequent release and an untimely breakup in 2006.

But unlike so many hardcore bands, Blacklisted reformed shortly after calling it quits. And they clearly didn't get back together to do more of the same; they kept Blacklisted going to make something a little different, and even stronger.

Heavier Than Heaven, Lonelier Than God is Blacklisted's return to the full-length realm, and it's proof (along with the preceding Peace on Earth, War on Stage 7") that the band hadn't reached their potential before throwing in the towel. While it's got the manic, crunchy intensity and hard-as-rock grooves that the band kept front-and-center on their previous releases, Blacklisted incorporates much more diverse and eclectic influences this time around. From the middle of the first song, "Stations," through the end of the record, you'll notice a dingy, bluesy note to some of the guitar parts and even front man George Hirsch's singing. You'll be surprised by sudden, acoustic guitar plucking that somehow fits. You'll hear sludgy riffs and lumbering, melodic songs in "Circuit Breaker" and "Wish." There's a lot more going on and, still, the 11 songs last a short, but tasteful 20 minutes; there's nary an indulgent, unnecessary moment on Heavier Than Heaven.

I'm more than thankful that Blacklisted's breakup was as short-lived and temporary as it was. The band has tapped a bank of ideas and inspiration that might have otherwise gone untouched, and swiftly delivered what will be one of 2008's best hardcore records.

Blacklisted - Touch Test

$10 will net you this gem at the Deathwish Inc. store.

The Hottness "Stay Classy"

Wow, I wholly expected to hate this record (I'm starting to realize that I say that a lot). The Hottness? Is that not one of the worst band names you've ever heard? It sounds like real Rise Records shit to me. Yuck.

But Stay Classy is an enjoyable record, making the best of big, bold, sometimes Southern-sounding guitar riffs, a combination of forceful screaming and surprisingly (for this genre) masculine singing, and driving, meaty drumming. Everything on the album just sounds big and energetic, a stark contrast to the whiny, weak stylings of the bands with which The Hottness probably shares the stage. There's more of a gruff, alternative rock slant to their sound and, as much as I can't stand that label, it speaks to Stay Classy's character. Nothing here is particularly new, but it's all entertaining and crafty in a big way.

Like the similar I Am Hollywood-era He Is Legend and Maylene and the Sons of Disaster, The Hottness showcases natural songwriting tact, tinges of the South and plenty of energy on Stay Classy. The record isn't winning any awards from me, but I've spent more time listening to it than most everything else in my collection over the past couple weeks -- a pleasant surprise.

The Hottness - Blue Eyed

You can nab a copy of the full length here.

Said Radio "Tidal Waves and Teeth"

Tidal Waves and Teeth is a cool, quick EP from Said Radio, a relatively new band that's usually (and justifiably) touted as featuring members of The Nerve Agents and Redemption 87. Most notably, the voice of both those bands, Eric Ozenne, fronts Said Radio, finally bringing his unmistakable presence back to the hardcore punk fold.

While the similarities between Tidal Waves and Teeth and anything The Nerve Agents did are largely unavoidable, Said Radio does hardcore punk with a very different slant. Not only are there some experimental flourishes, from the moody, spoken-word "Rogue Transmission" to the eerie first half of "The Killer (Mara)," the guitar parts emphasize texture as much as sheer speed. There are lots of little, less distorted riffs and leads layered over the base chord progressions, and they most definitely contribute to the dark, mysterious tone of the record. While the sound ultimately stems from classic hardcore punk (it even has a bit of a retro feel), Said Radio takes it in a direction that I haven't quite heard from anyone else. As a debut effort, Tidal Waves and Teeth sets the stage for a potentially sweet full length.

Said Radio - The Killer (Mara)

And the first store to show up on my Google search is... RevHQ!

Veil of Maya "The Common Man's Collapse"

Is it so technical that it lacks personality? Is it so machine-like in its precision that it ends up too rigid? As I listen to Veil of Maya's sophomore full length, The Common Man's Collapse, I ask myself those things. And usually the answer is "yes."

Certainly taking some influence from Meshuggah, Veil of Maya's songs are anchored by complex rhythms and hard-to-decipher, atonal chugging patterns. Every note, every chug and every drum hit is precisely delivered and squeaky clean, one of the many testaments to the band's skill. Blast beats and frantic riffs, and driving death metal parts pepper the songs; flashy arpeggios hint at a tinge of Between the Buried and Me.

Instrumentally, there's hardly a sound that's worthy of complaint. But the songwriting bravado of the aforementioned acts is largely absent on The Common Man's Collapse, leaving its 10 songs stale and forgettable. Even though the tracks usually last three or four minutes and comprise a relatively huge amount of sweet riffs and skillful tempo shifts, they don't seem to get anywhere. The only thing I ever remember is the lush, crafty melodicism of "It's Not Safe to Swim Today" -- the melodic chord progressions and subsequent twin-guitar harmonies work tremendously in Veil of Maya's favor.

This is a well executed hybrid of death metal and contemporary metalcore, but it leaves a lot to be desired. With some songwriting flair, Veil of Maya would be on to something.

Veil of Maya - It's Not Safe to Swim Today

If it does for you a little more than it did for me, you can buy it here.