The Sequence of Prime - Inter-

Guest review by That's How Kids Die.

Art by Brandon Duncan

I first experienced the one-man destructive force that is The Sequence of Prime via 2010’s Virion, an album that sounded like a man being assimilated by hostile machinery and forced to play cybernetic metal inside a black hole. Fast forward to 2012 and TSOP mastermind Brandon Duncan has finally unleashed a follow up in the form of Inter-, a record that sees the man crawling out of the bio- mechanical abyss and gaining control of those aforementioned death-machines, bending them to his will in order to create something even more violent and brutal.

Whereas Virion had a devastatingly mechanized feel, Inter- ups the ferocity by scaling back on the electronics, allowing Duncan’s fleet-fingered riff-mongering and vein-popping vocals to take center stage. The results are nothing short of stellar; in less than twenty-five minutes TSOP whips up more ferocity than most metal bands can muster in twice that amount of time with four times as many musicians. The music is mercilessly precise but possessed by a sense of total psychosis; think of it as Today is the Day meets T-1,000.

It’s worth noting that not only does Mr. Duncan handle all of the instruments, vocals, lyrics and programming for TSOP, he also records everything himself and is an accomplished graphic artist who designs all of his own album art and layouts. Even though Duncan gives his music away for free, he’s still dedicated to creating a complete experience for the listener that goes beyond music.

Overall, Inter- is one of the most flat-out ripping metal albums I’ve heard this year, which is saying a lot considering the amount of music I’m bombarded with on a weekly basis. Mr. Duncan’s singular vision has resulted in something totally unique, a razor-sharp assault on the senses that’s as cerebral as it is utterly neck-wrecking. Consider yourselves warned.

[Go to the post to view the Bandcamp player]

Generation of Vipers - Howl and Filth

Review by Aaron Sullivan.

Cover art by Anthony Couri

Generation of Vipers’ Howl and Filth is in your face Sludgy/Hardcore, sounding like a mix of Neurosis and Godflesh. Viper is a fitting animal to name themselves after, as this album is full of venom. The bass buzzes over a huge guitar sound while the drums pound you into oblivion. Bits of samples enhances the atmosphere, and Kurt Ballou’s thick production adds the weight needed to propel the intensity of Generation of Vipers. This album is a freight train and you are tied firmly to the tracks from the word go. The Obelisk adds:

Generation of Vipers do well in establishing a personality separate from their influences and offsetting some of what might otherwise be familiar with a crushing approach. Ultimately, the album is dark in a metallic sense, but still forward thinking enough to be tagged progressive in its way, and greatly benefitted by Ballou’s production.

Howl and Filth is scheduled for release on June 5th via Translation Loss Records! The vinyl version will be released through Inherent Records on June 5th. For now you can get it here. You can only stream one track, but a mere $3 gets you the complete album with six tracks.

[Go to the post to view the Bandcamp player]

Sandrider - Sandrider

By Natalie Zina Walschots. This self-titled release may be a debut effort by Seattle, WA-based Sandrider, but that's not an indication of experience or lack of chemistry. Nat Damm (drums) and Jon Weisnewski (guitars and vocals) have been playing

By Natalie Zina Walschots. Originally published by Exclaim.

Artwork by Jesse Roberts

This self-titled release may be a debut effort by Seattle, WA-based Sandrider, but that's not an indication of experience or lack of chemistry. Nat Damm (drums) and Jon Weisnewski (guitars and vocals) have been playing together in Akimbo for over a decade, and are joined by bassist Jesse Roberts (the Ruby Doe) to complete the line-up. Weisnewski founded Sandrider with Damm out of a desire to play guitar again. The group take their name from Frank Herbert's Dune series, a staple of heavy metal and hardcore inspiration for many. The term refers to someone capable of controlling a giant sand worm, or shai hulud. That idea infuses the music this record contains conceptually, as well as thematically.

Sandrider is characterized by a sense of restraint and control, a powerful sound that's carefully leashed. The tone is aggressive and muscular, but deployed very carefully, often pulled back or stripped down for effect. The thick, ropey guitar tone hints at sludge, but resists being weighed down. The riffs drive forward with a momentum that evokes a massive beast propelling itself through sand, forcing the desert to bend around it. Sandrider is vast, gripping the listener, and intellectual without over-thinking. This is an extremely promising debut from a powerful new project.