Axattack - S/T

From the moment Axattack's self-titled debut starts, you know exactly what you're about to do: thrash! I mean it, break out your white Reebok classics, your bullet belt, and your battle vest because it's time to get toxic wasted! Speedy riffs, "noodly" (yet tasteful; almost "Burton-esque") bass lines, and screeching wails gallop along as the drums pound like jackhammers.

This album doesn't slow down at all until about 2 minutes into the third song, and that's only to create a better dynamic when the solo comes blazing through the mix. This is really legit, it's even got the punk feel creeping in on "Never Again", and "Repent". I would also like to point out that Axattack's full length debut doesn't feel "retro" at all. This doesn't sound like some guys trying to reimagine Slayer. This is a true "power trio" bent on making the world ask "who the fuck is Slayer?"

This is stripped-down, straight-forward thrash metal for people who miss the good ol' days when metal didn't seem like pop music for wannabe tough guys in affliction shirts. Crack open a 40, and crank this album until your square-ass neighbors call the cops; then turn it up louder!

Gravehuffer - Your Fault

Gravehuffer is basically what happens when you take a handful of guys that are into virtually every style of heavy metal, and put them in a band. This album, their second full length, "Your Fault" starts off sounding a bit like 90s hardcore, kinda like Bloodlet or maybe Botch. This is off-putting to some, but I'm totally into odd timings, and crunchy, palm-muted riffs. Kinda death metal, kinda hardcore; nice start.

As the album progresses, you hear plenty of crust punk, d-beat, bottle-smashing skate punk (it's not really a genre) mixed with classic death metal. The comparisons to the heyday of Earache Records are absolutely fitting. In addition, you can catch a few traditional metal passages. For some reason I think of "...And Justice For All" when the dual guitar stuff comes in, and the lone falsetto wail is a nice touch. There's not a whole lot more to say, this is no-frills, punk-influenced death metal.

Take Discharge, Entombed, and a dash of Fates Warning, throw it in a blender with a little beer so it mixes smoothly, and you get something like this album. Technically, I guess you could call it deathcore because of the mash-up of genres, but there aren't any chugga-ch-chug-ch-chug-chug breakdowns. "Your Fault" is a solid sophomore release that shows a band with limitless potential.

Pale Ritual - Carriers of Nothing

For those of us interested in the upstate South Carolina music scene, particularly the heavy metal scene, this is a highly anticipated release. Thankfully it does not disappoint. All the delicious death metal destruction you would expect from the same 2 brothers who brought you Marrow of Earth is right here, but this time with more emotion, and sinister black metal. The vocal trade-off, and closing passage of "Artful Death Display" is as evil-sounding, and heavy as any black metal I've heard of late.

Second is the title track, a dark epic that effortlessly switches between tech death, and atmospheric black metal. These are all well put together compositions, which is to be expected from such technically proficient musicians, but doesn't cease to impress. "Blight Bearer" is equal parts pulverizing, pit-inducing power chords and beautiful, atmospheric passages with a solo that might even make you a little misty-eyed.

And then they close with "Scarlet Fever" bringing the thrash, and what is probably the closest to M.O.E. they get on this album. The overall sound of "Carriers of Nothing", is what they always wanted to do. It's brutal, melodic, raw, and emotional. As a musician, I'm over here geekin' out on these drum fills, and guitar riffs. As a listener, I'm banging my head, and holding so many invisible oranges... so many. Pale Ritual is a deeply personal project for Cameron, and Matthew Morris. I think the passion translates incredibly well, resulting in a stellar heavy metal album that serves as both a goodbye to S.C., and the start of something new. Something truly great.

Crocker and Ye$hua - Swagnostic

Let me start by saying this is not a review. The two men whose names adourn Swagnostic are family to me, and any attempt at a review would seem biased. However, I spent several hours last night listening to Swagnostic. I had it on repeat, soaking in all the words. Catching the grooves, enjoying the living hell out of what they did with UGK's "Wood Wheel", and everything else. "Dope" is an understatement.

Both Crocker, and Ye$hua (formerly Katalyst) have moments where they somewhat adopt a bit of the others persona. As a long time fan of both these artists, it's really cool to hear them feed off each other, and "exchange energies" for lack of a better phrase. It brought a huge smile to my face to hear Crocker say "UGK for life, bitch!", and Ye$hua go in on more serious topics he doesn't always touch on.

The wildest part of this album is that it's technically never been finished. Could've fooled me though because this sounds great. It's what I waited on for years, and I am not disappointed in the slightest. Rikki Tan guests in a few spots, and absolutely slays the hook on "Nobody". This whole thing is fire, but like I said, this isn't a review. I'm just telling you that you need to hear this. We have been given a very special gift with this release. Long live Crocker. Yuga.

Enthean - Priests of Annihilation

If you follow the heavy metal genre, generally speaking, it's completely likely you've heard the good news of Enthean's prog-a-licious, tech-death goodness. Metal sites from all over the world have been drooling over this band lately. (Apart from this one French site, but that's their loss.) Their long-awaited full-length debut, “Priests of Annihilation” delivers in ways you didn't even realize you wanted.

This album is equally breathtaking, progressive, and absolutely intense throughout. Enthean demolishes any expectations even a music nerd like me could have had. Jaw-dropping solos play with, and against “stankface” (otherwise known as 'whiskey face') breakdowns as well as tech-death riffs that might make your guitar teacher uncharacteristically mad. If that's the case, it's only because she/he realizes Enthean shreds way harder. No, seriously, try not humming along to these riffs.

In short, Enthean proves what only a select few North, and South Carolinians have known for quite some time: there's gold amongst these quiet towns. Pick a genre, and an area, you'll probably find something you like. Yes, it just so happens that South Carolina is currently full of truly bad-ass metal bands. We can't really explain it either, apart from the oppressive church culture, college sports, and yuppie lifestyle forced upon you... uh, anyway. As far as Priests of Annihilation goes, this album has single-handedly rekindled my love of... blackened prog/tech death with melody? Let's just go with bad-ass heavy metal.

Cebo - Guts

When I got the chance to get an early copy of the new Cebo release, I jumped at it. Already being quite familiar with the bluesy, sludgy, heavier-than-a-sack-of-mud goodness provided by Cebo's mastermind, Jim McMillan, I knew this was likely to rule. What I didn't count on was a sort of ambient, droning opening track utilizing samples of several blues legends. This creates a mood, and informs the unfamiliar listener of the down and dirty tales of debauchery, and disenchantment that pepper so much of the blues' history.

From then on, it's riff after perfectly-toned riff. It's easy to forget that this is just one person because it's just so tight. The sound effortlessly slides from Weedeater to Kyuss, and all the way around while never leaving the blues. You could call this “Stoner Doom” if you wanted, really you could call it whatever you want, but the fact is, this is the blues. More to the point, this is a modern take on the blues turned all the way up through a giant custom amp, completely drenched in fuzz, and I love it. Speaking of modern blues, track four is an absolutely killer version of “Blue Condition” by Cream.

Closing out “Guts” is another blues classic given the Cebo treatment. This is the only time he gets on the gas pedal during this e.p., and it's pretty much guaranteed to get you banging your head. I truly do hope he's able to get a live version of this band going; I can already see the circle pit while he's screaming “Bring me down my runnin' shoes!”. There's also a really sweet dual-guitar lead on this song, one with a slide, one without. I really can't say enough positive things about this release; it's really just badass like all of his stuff. Pick your poison, pour it up, pump the volume on this perfect sludge.

Neon Knives / Miscalculations - Split

There's something inherently fun about garage rock that I can't quite put my finger on; same with punk. There's a fine-line between the two rock sub-genres, an almost non-existent line. I guess they both makes me think of more carefree days blaring my guitar out the windows of my parent's home. When all the other kids were singing the praises of Green Day, and Blink-182, I was worshiping at the altar of Black Flag. It was just more raw, and that's how I like my punk. Allow me to shake my fist for a moment, and say “that's the way it should be, dammit!”

This split between Neon Knives, and Miscalculations is pretty much the most punk thing I've encountered this year. The damn thing even looks punk when you pull it out of the sleeve, it's just blank. Almost as if to say, “who cares which side goes first, just blast this shit!” And blast it, I did. I immediately thought to myself, “this band sounds like they're from the UK”, and sure enough, Miscalculations are in fact from London. If I wasn't already familiar with Neon Knives, I would've had no clue as to who was who, but would still enjoy this split nonetheless.

What you get with this split is a healthy dose of catchy riffs, and melodies buried in a din of fuzzy guitars, and reverb. It's just a fun listen. Pogo away, kids! Pogo until your heart is content! Throw caution to the wind, and live life to the fullest. Make this part of your soundtrack to the greatest year of your life. One day you might look back on this split with the same fondness I have for those Black Flag, and Circle Jerks tapes I grew up on. Happily unaware of, and unconcerned with the trends, but still on the cutting edge, much like this split.

AC-Nova - Sertoma (Because You've Never Had A Better Time)

It's beyond cliché to say that an artist has "found their sound", but in the case of AC-Nova's third full length album, it's completely fitting. “Sertoma” is an acronym for "service to man". It's subtitle "because you've never had a better time" suggests the man wasn't kidding at all when he told me he had "found peace" during our last recorded conversation. This isn't to say that Nova has softened at all; far from it. This album packs plenty of pugnacious punchlines, even without the scorching battle track on the early version.

The album opener, "ALYK" oozes with the confidence that often comes easy for the self-proclaimed "best in the ville". Dare I say, Nova is really feelin himself on this one. A point driven home by the refrain "you better act like you know who you fuckin with". The song features a slick bassline, and loads of energy. An excellent beginning to a masterful album. Yes, I said it. Masterful.

Not to give the whole thing away in the third paragraph, but holy shit this thing is fire. A towering inferno of bangin beats, and hard rhymes. Much more than just a down south boom bap release, there are well-crafted songs here. The fiery anthem "Boys of the Summer 2" seethes with all the anger & frustration you'd expect from a song about racism, and the police violence against black men, and women that we hear about far too often. Yet thru all the anger, and calls for direct (not necessarily nonviolent) action, the song is just damn catchy.

CEBO - Jerry

I've always found something deeply appealing about delta blues. Its raw, soulful vocals, stories of heartache, and sometimes even murder are the foundation upon which all rock (and later, heavy metal) music is based. Although I don't keep many blues artists in heavy rotation, it will be a strange day when I don't relate to songs about being down on your luck, and struggling with inner demons. Personally, I like a bit more aggression in my music most of the time. Now, thanks to one-man sludge outfit, Cebo, I can have my cake, and eat it too!

Alias For Now - S/T

I've always been a fan of older music. When I was at the beginning of my obsession with music, I read everything I could about the bands just before my time. All my friends, and I were obsessed with Nirvana, but I was the only one who went home, and listened to my parent's Led Zeppelin, and Allman Brothers albums. “Green Day? Yeah, sure whatever, but have you heard of Black Flag?!” I guess that's called being a hipster now, but you can rest assured that I give nary a fuck.

There's something about a band that knows how to lock into a groove that really draws me in; the reason I love old funk records is the same reason I love a great stoner rock band. Not that I would necessarily classify Alias For Now as a stoner rock band, but it's safe to say at least one of these guys owns a Clutch album or two. When they're not pumping out unrelentingly catchy 70s-style arena rock riffs, they're exuding a proto-punk flair with songs like the album opener, “Slippin' By”. This is also the only time on the album where you hear “harsh” vocals peppered in tastefully. A great, high-energy start to this roughly 25-minute collection of songs.

Marrow Of Earth - Lethe

The following is a grand understatement: heavy metal is an extremely polarizing genre of music. Its millions of fans, united in their love of loud guitars, black clothing, and grim imagery are simultaneously divided by sub-genre lines. These black metal fans over here hate grindcore, and those power metal fans over there can't get into death metal. Denim-clad thrashers stand around bored to tears when deathcore bands take the stage, and vice versa. Metal fans are a finicky bunch, but Marrow of Earth may have tapped into a style that can please most of them. It is impossible to please them all, so even getting remotely close to accomplishing such a feat is worthy of praise.

The second Marrow of Earth e.p. starts with the title track, “Lethe” which begins with a somber, yet melodic clean guitar riff, and bluesy lead runs. I found myself thinking about my initial forays into the metallic arts, and the first albums I purchased. It seems that in recent years, these kind of intros that slowly transform from a sort of melodic rock to full-on metal assault are somewhat of a lost art. Many of today's metal bands are content with a fast/slow dynamic that never relents in its brutality, switching from blastbeats to breakdowns with little interesting content in between. Marrow of Earth have stepped up their songwriting approach even further this time around, and bring a whole lot more to the table than your average metal band.

Neon Knives - Mind Control

Neon Knives bares only a passing resemblance to the band it formed out of, Now in 3D. The similarities pretty much begin, and end with the lead vocals, and lyrics. While the synth is still present, it acts as more of an accentuating instrument than one that's in the forefront. The approach is maybe a little more stripped-down, and raw this time; if crust-pop punk wasn't a genre before, I think it's going to be one now. This band's pop sensibility is often buried under an overdriven hardcore punk riff, but it's still there, driving the music forward and keeping the listener's attention.

This 4-song e.p. opens with the title track, which sets the tone for the following songs. Garage rock, and proto-punk are clear influences here, while somehow still occasionally bringing to mind early AFI or perhaps even The Misfits. This is no horror punk ripoff band though, this band is broadcasting directly from their own planet. A planet filled with black & white televisions broadcasting static-y signals of DIY punk from across the universe. The thick echo on the lead vocals give it a feel of being not of this world, or at least of this decade. The backing vocals often sound both menacing, and fun, providing much of the energy to the choruses.

“Chinese Hearts” is a speedy blast of synth-fueled punk, recalling Now in 3D's somewhat campy, sci-fi, b-movie charm. However, Neon Knives brings a much harder edge than their previous incarnation; a cutting, vibrant edge that will make you bleed fluorescent. “Knife in the Night” is a 96 second burst of catchy punk with a blasting, near-freak-out of a chorus; just a fun listen all around. The “Mind Control” e.p. zooms by in about 8 minutes, but it leaves you wanting to hit play again, and again. A great teaser for their next effort, which is already on its way. This is a perfect soundtrack for driving entirely too fast, and living life to the fullest.

Abacus - En Theory

If you've been paying any attention to the South Carolina music scene in the past few years, particularly the heavier end of the musical spectrum, you've been waiting on a full length Abacus album for a while. They put out five songs in 2013, and played loads of shows in support of that release ranging from houses to the ultra-trendy SXSW festival. While it was a damn fine burst of hardcore punk fury, it definitely left fans wanting more. “En Theory” provides all the catharsis expected from this long-awaited debut, and then some.

While their first official output was a competent exercise in first-wave metalcore, “En Theory” shows that release was merely a teaser for what was to come. Immediately, the band displays a sense of melody that was missing on their first e.p. with the instrumental opening track, “Culling Strength”. This proves to be a fitting warm-up for the album which then proceeds to beat the bejesus out of you with songs like “Snake Eater”. The instrumental interlude, “Figment” comes in halfway through the festivities to tease you with the possibility of a break, but provides only a brief calm before the rest of the storm.

Where this band's first e.p. kept pounding you with a steel mallet at a steady, but high speed, Abacus displays a more tactful, perhaps even masterful approach. Indeed, this is one of the few releases I've heard recently that actually sounds like an album. To clarify, this doesn't sound like just a collection of songs. There is a purpose here, and I can't be certain, but I think it's profound. Making something this good can't lack meaning. I refuse to believe this is just “some dudes jamming out” or some other band bio drivel.

Deathstill - The Losing End of Gift Giving

When I first heard Deathstill, I was immediately reminded of classic Melodic Death Metal, mainly the Swedish bands. The influence was fairly obvious, but not in a clone/rip-off kind of way, and definitely not in a “catch us on warped tour this summer” kind of way. Their 2013 demo was a great introduction to the world, and had me very excited to hear what was next from this Columbia, South Carolina band.

“The Losing End of Gift Giving” was unleashed on the world in February, 2014, right in the middle of winter. A more perfect time could not have been chosen. This time around Deathstill sounds a little harsher, perhaps even a bit like a Black Metal band. Yes, the production is on the “lo-fi” end of the spectrum, but it takes nothing away from the music. I'd even argue that it enhances the dark tone of the songs.

This E.P. is named as one song split into two parts, clocking in at around eleven minutes. “The Losing End of Gift Giving pt 1” starts with a similar feel to the material on the '13 demo in as much as it might make you want to pillage, and plunder while guzzling flagons of ale. It's still very much in the vein of Melodic Death Metal, but the production (or lack thereof) adds a raw intensity to the tremolo-picked sections. This is a viking ship manned by the undead, ready to ravage the land of the living.

Born Hollow - Live in Peace, Die in Peace

Born Hollow is a beast of a Hardcore band from Greensboro, North Carolina; “Live in Peace, Die in Peace” is their third E.P. since forming in 2010. It's three tracks fly by in under 8 minutes, but in that brief span, they show significant progression since their 2012 releases, “Sex”, and “The End is Near, The End is Here”, respectively.

The opening minute of “White Flag” features a somewhat tribal-style chant accompanied by a hand-drum. I can't place the language, but it rings with familiarity, perhaps from nightmares or a previous existence in which I was cursed. When placed under droning feedback, it's sort of creepy, and brings to mind a backwoods conjuring of Legba before transitioning into a “pit-tacular” Hardcore riff for the final minute. A simple, yet effective intro track to give you a hint of what else is coming.

“Neon Lust” then comes in with fury, and circle-pit-inspiring speed. A couple breakdowns punctuate the intensity of this track, offering a chance for everyone to go bat-shit crazy at the show, no matter what mosh style you may prefer. I'm picturing a couple skinny kids doing spin-kicks before each side crushes them in a “wall of death” when everything picks back up after the first breakdown. The urge to see this band live begins to grow stronger within me.

WVRM - Swarm Sound

Swarm Sound is the third release in less than a year from Greenville, South Carolina's, WVRM. This is a band who is not wasting any time getting on the radar of pretty much every metal fan in their home state, as well as some regional indie labels. Deservedly so, considering how ferocious and unrelenting their output has been thus far, and Swarm Sound is no different in that regard.

This is an album masterfully mixed by Roger Caughman of another fantastic S.C. band who have gained some national buzz, darkentries. Imagine Converge and Pig Destroyer trapped in a giant hornet's nest; WVRM is what comes barreling out at blinding speed, covered in welts, and screaming in pain, but still coming directly for your throat. It is a sound that is terrifying, and unstoppable in it's determination to destroy everything.

Two of my all-time favorite things to hear on a heavy album are prominently on display during Swarm Sound; blast-beats, and layered feedback. From the moment "Demoness" blares out of the speakers, you're sucked into the mire of "grinding self-hatred" that is WVRM. The occasional catchy riff provides only enough sunlight to remind you that you're not getting out of this bleak pit alive. It is immediately obvious that these guys aren't playing around here; to say this is intense music would be like saying that oxygen is important.

Axattack - Toxic Wasted E.P.

A horrific scream breaks the silence as thunderous drums fill the air, signaling the beginning of the attack. Giant, radioactive wolf-men gnash their teeth and tear at the flesh of their opposition as bodies fall throughout the wasteland. People beg for mercy on their knees, crying for divine intervention or at least a quick death, for they know there is no escape from the Werewolf's bite. It says so right there in the chorus. Oh wait, I'm reviewing the “Toxic Wasted EP” from Axattack, not penning a post-apocalyptic short story, so let me talk about riffs and headbanging and all the other great things you'll get from this release.

AC-Nova - House of Francis

Imagine a barren landscape, a vast desert with winds blowing purple sand all around. In the distance is an immense kingdom bathed in pale moonlight, a king surveys his surroundings as a simple, somber piano line creeps into your consciousness through the howling wind as the Pharaoh speaks, “They say I got it in every sense of the meaning, but...” his words are strong, but convey an underlying vulnerability showing that he is in fact, human.

“Moonrise Kingdom” begins this album with introspection and the idea that we must stay resilient and positive in our struggles. “Perhaps it's all or nothing in this game, do what you like, it's up to you, right? Under the moonlight.” Musically, this is a very fitting introduction to such a dark, yet uplifting album.

Now In 3D - Videoslaves E.P.

When we last heard from Now In 3D, they released an E.P. that was only available at Gusto Fest. This time around, they've polished up a few of those songs and added a few more for the official release, “Videoslaves”. All in all, the sound is much clearer and well-defined, this is immediately evident on the opening title track. The synths don't struggle to cut through the mix and the vocals are a bit clearer without sacrificing any of the raw, “garage rock” sound that you've come to know and love about this band.

Crocker and Walter Kronkite - High Almighty

What can I say about Crocker that so many South Carolina media outlets haven't said already? Well, a lot actually since I don't condense things into easily-digestible soundbytes and remove anything even remotely against the status quo, but let me not go off on a tangent here. For those of you unfamiliar with this artist's body of work and the controversies that have surrounded it over recent years, allow me to sum it up by saying that Crocker doesn't bite his tongue for anyone and certain people in the local hierarchy don't like that one bit. To be completely clear, the top spot on the southern totem of power is held in a vice grip by the church. I can only imagine what they would say about Crocker's latest collaborative effort with fellow Lovelorn Records artist, Walter Kronkite, "High Almighty".