Danish five piece Nord believe in metal with a captial M. They also appear to believe that the inclusion of hugely melodic passages is entirely necessary if they are to attract more than a niche audience. They’d be right to assume that, too, especially when their debut EP includes more than a little death metal throatiness.
Formed in 2010, Helsinki based rockers Damage Limit spent six years plying their trade on the live circuit and released a couple of demo EPs before taking the plunge and entering the studio to record their first professional release. The years of stage toil and sweat shows, too, since ‘Crank’ has an edge that very much sounds like the work of a hard-driving live act. Throughout the seven tracks, the riffs come thick and fast – aided by a reasonable crunch, too – and some of the hooks not only feel like they’ve been honed not just in front of an audience, but created very much with that audience in mind; a more than reasonable translation from stage to disc.
“Welcome to our faceless lives” implores The Foreign Resort’s frontman Mikkel Jacobsen during ‘Suburban Depression’, a neo-gothic, downbeat look at the dark side of the modern world. Set to music conjured through a remoulded sonic image of the 80s and released as a standalone track via the Danish band’s Soundcloud account, this is both the perfect introduction to The Foreign Resort for unfamiliar ears and an equally perfect homage to the sounds of some thirty years previous. The recycled sounds of a Peter Hook-esque bassline placed against the measured rhythmic pacing of The Cure’s classic ‘A Forest’ forge ahead, as the tale of “your own private hell” unfolds. With the repeated refrain and suggestion that “everybody’s empty now” being bandied around with sheer abandon, some may experience knee-jerk feelings that the track itself is depressing, but nothing could be farther from the truth. There’s a sense of knowing within this band’s gothic throwback of a sound. As the track builds, never ever shifting from the basic rhythm – pulsing, pulsing – and the guitars increase, the bass holds firm and despite the familiarity, The Foreign Resort strike musical gold.
It’s not a fluke, either.
Death metal is never easy listening, but it often comes with varying degrees of accessibility and with the best stuff you can always tell where the talent is. This album from Ligature Wound goes firmly against the grain, pushes all the dials into the red and never cares about allowing any kind of melodies – no matter how obtuse – get in the way of the band’s musical art. For it must be considered a kind of performance art, as it’s hard to believe that there will be people out there who’d have enough patience to tackle this debut willingly.
Norway’s Shotgun Rodeo released their debut EP in 2012 and subsequently proved fairly prolific, releasing another two discs over the next three years. Fusing various rock styles, 2016’s ‘The New Standard’ is a hard and riff-heavy six-tracker that, influence wise, is sometimes hard to pin down and occasionally just as hard to take seriously. In this respect, Shotgun Rodeo are frustrating. Their sound is full of great riffs that sadly collide to create a mess of hard rock that never quite knows what it wants to be. This EP includes sounds that appear somewhat contemporary at the time of release – with bits of Avenged Sevenfold bubbling under the surface – and yet there are other elements that borrow from thrash’s past glories, as well as occasional rhythms hinting at the most melodic end of something more extreme. And it’s all topped by a fairly old-school vocal. It’s like experiencing Pantera’s ‘Cowboys From Hell’ by way of Skid Row and with added bits of Buckcherry but with less trash…if that even begins to make sense. Needless to say, it should be better than it is.