Misery Index is a band currently destroying its competition. Not considered a new band, but not an old band either. What makes this band stand out in this current state of junt-junt, pig squealing 'core' bands is that this band, to me, is of the olde guard. Founded by basically the 'Destroy the Opposition' line up of Dying Fetus (A band that helped write the book most new bands jerk off with), this band comes from an era of Death Metal where people were writing technical music that still had a song in it. This is why Misery Index remains a cut above your Job For a Cowboys and your Faceless'.
Their latest effort, 'Heirs to Thievery', is another collection of outstanding songs. Initially it felt like the band took a step back from their previous masterpiece, 'Traitors', but they didn't. 'Heirs' is by no means a subtle album. After listening to it a few times you'll hear all the intricacies. What you do hear first brutal hardcore fused death metal. You're not smacked in the face with a swarm of 1,000 riffs you can't even wrap your mind around (see: A.D.D.). Instead you're pounded by crunching riffs that don't whiz by you. 'The Spectator' is probably one of the more catchier songs as it almost feels like a DM band writing a hardcore song, not the other way around. Lastly, there's several guest vocals from the likes of Hate Eternal's Erik Rutan and Dying Fetus main man John Gallagher. While a nice treat for fans, unless you know what song they appear on, and listen closely, you won't notice. Great Album.
The last few years have been great for Georgia's heavy music scene. Last year brought epics from Mastodon and Baroness. 2010 has already provided listeners with new tunes from Black Tusk and Harvey Milk, and a new Kylesa album is on the way. However, Zoroaster's new jam, 'Matador' is probably my favorite thus far.
Critics in the past have called these guys Atlanta's loudest band, and for a good reason. 'Matador' is a loud fucking album. The opening segue in the first track, 'DNR', grabs your attention and then slows down to a cosmic mountain groove. Right away you get the sense that this album is going to rock. The vocals on this album sound like they were recorded deep in a mountain while the music was recorded on the moon. This album probably wouldn't be as loud is Zoroaster wasn't playing these songs, or maybe not. Don't get me wrong, the riffs are heavy, but they manage to play them with a certain finesse. Elements of this album remind me of Electric Wizard when they're rockin' out. This album creates a giant wall of sound, but also has such clarity that you can actually hear all the notes. 'Black Hole' is probably one of the more stand out tracks for me, it's not quite like the rest of the album but it fits right in. It has the elements of crushing southern sludge, but blends it with hints of an almost black metal riff from outer space, but not really.
Simply put, Zoroaster accomplishes many things I wouldn't expect from bands in the genre. They have a great ear for riffs and song writing. If you haven't heard this band, or are looking for something new and heavy, go by this album right away.
Hazzard's Cure is a San Francisco band comprised of some local folks you may or may not have heard of. Members include Shane of Walken fame; Chris from Floating Goat; Clint, Sludge's answer to Neil Pert; and some guy named Leo (sorry). Chris gave me their crushing three song demo, and here we go.
The opener has Chris's charging guitar work written all over it. Immediately you can tell this guy loves Matt Pike, but not too much. Clint's drums are all over the place. Sometimes I'd wish he'd bang on the cymbals a little more (he does later), but he makes up for it in pounded them toms. Leo and Chris might be one of my new favorite guitar duo's in the SF scene. They effortlessly flow in an out of charging sludge riffs and then lay on some funeral-esque undertones and finish up with some epic Wealking inspired black metal rants. The last two tracks are a little more thrashy, but do not loose any of the spirit of the first track. Chris's vocals on the last track are reminiscent of Pike-meets-Hetfield.
This band is another example of San Francisco's approach to metal of recent: take the best of everything and then write great, epic songs. Go see these guys live and get your hands on this demo!
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