Black Monolith - Passenger

Written by Matt Hinch.


I have this rule of thumb that if a band has "black" in their name, I at least have to try them on for size. Most often it works. In the case of Black Monolith some trusted Bandcamp buddies were willing to pay for their debut Passenger, so that was another easy plus. I laid down some hard earned review writing money (It exists!) and dove right in.

Turns out that was money extremely well spent. This Oakland, CA group take metal and crust it over some d-beat fire leaving a desiccated and charred ruin of your ears. As painful and tortured as it may be, every second is undeniably desirable.

Opener "Intro/Void" introduces the band with an atmospheric and noisy intro leading into oppressive USBM. It's raw and muddy, scathing and densely layered. The guitars cut like serrated blades of sound as the drums castigate incessantly and tremulous melodies lope from mountaintop to mountaintop. The galloping rumble isn't all about pressing inward though, as moments of triumph and airiness find their place here as well as elsewhere on the album.

The two shortest tracks in "Dead Head" and "Victims and Hangmen" show off Black Monolith's malicious d-beat side. The former joined to a lumbering acidity, with an underlying melody evolving into soaring yet still filthy black metal. The latter's swagger battles with sludgy hardcore and a scorching solo.

"Adhere" features windswept and forlorn melodies shimmering below relentless percussion and the tortured ministrations of the harrowing and pained vocals. Similarly, "Gold Watch" sees a forceful racing black metal cacophony give way to glorious epicness while maintaining that snarly attitude.

After enduring the first five tracks the listener is left spent. Black Monolith tear out their emotional core and wipe it all over your face. Inhaling its essence leaves little room for fresh air but the unending darkness recedes on closing track "Eris".

From a slow, downtrodden doom rises joyous post-metal. A glorious light streaks across the landscape soothing the wounds incurred and leaving the listener filled with a feeling of contentment. It's an unexpected but welcome counter to the acute darkness of the majority of Passenger, although shades of the "Eris" aura are woven throughout.

Passenger is a captivating album blended with enough elements to entice a varied audience. There's a commonality across it all that ties it together and makes it feel like a complete whole and more than just a band struggling to find its identity. It's comfortable to say this stellar debut is among the best USBM releases so far this year.

[Go to the post to view the Bandcamp player]

Mad Max's Wheels of Steel #1

Written by Maxim Björky.

Dearest Metal Bandcamp reader, for some reason the friendly administration of this respectable blog has allowed me to subject you to my musical leanings. Then again, should you find yourself even mildly engaged by what’s scribbled below, then you’ll quickly realize that reason’s got nothing’ to do with it. It’s more about tunes that grab you by the intestines. Balls out heavy metal, touches of glam and power, indulgent harmonies, all these can be found below.


There are so many good bands doing this epic metal thing at the moment that I’m almost certain my self-important millennial brain might be playing tricks on me. Wellington, New Zealand’s Fallen Order released their debut EP, The Age of Kings, earlier this year and along with Stone Dagger, Borrowed Time, and Eternal Champion, they make up a nice cadre of promising Manilla Road protégés.

Singer Hamish Murray has a smooth low-octave range that gives this band a nice backbone but the tight harmonies and rhythm section certainly make his job a lot easier. He can also hit those highs when needed. Can’t wait to see what these guys can do with a slightly more atmospheric studio treatment. In the meantime, throw them a few bones.

[Go to the post to view the Bandcamp player]

This band makes me want to perm my goatee. Aside from all the obvious differences with the Norwegian folk rock band by the same name, Germany's Vamp is cool because they won't give you seasonal depression. This gem harkens back to its 1989 release, when the band finally seemed on the cusp of cracking the mainstream. Queensrÿche and the Scorpions were regularly playing to tens of thousands; surely they could do it too. Alas, it was not in the cards for these chaps. Some combination of label incompetence and awful luck derailed their dreams of stardom. Though they are no more, The Rich Don’t Rock has potential to send you tumbling down the 80s rabbit hole in a very cool way.

The real cornerstone here is Ricolf Cross' ballsy overdriven riffing. Like many sleazy 80s releases, the bass is too low in the mix (yes, that’s my number one complaint about glam), but everything else makes for a series of punchy, shredding tunes that still somehow always end up being about heartbreak. Combine this “what if” time machine with 15 unreleased demos and it makes this pricey digital release a little more reasonable.

[Go to the post to view the Bandcamp player]

What Call of the Wild lack in nuance and sophistication, they make up for in sheer intensity and firm traditional values like the belief that there is no musical sequence which couldn't use some wild flurries of lead guitar.

The next thing you might notice is that these guys listen to way too much Powerslave (or, by me, not enough). Where their transitions sometimes falter from overly complex lead-rhythm layering, one gets the sense that they’ll eventually start simplifying the bridge riffs to make room for that sugary, satisfying hook. Still the hooks are there, especially notable in the flash of the title track. In any case, the riffs and vibes never fail. Get this album and defend the faith.

[Go to the post to view the Bandcamp player]

Blackened thrash, crust, and osdm are next on the bill.

Emptiness - Nothing but the Whole

Written by Kevin Page.


My introduction to this Belgium black/death metal outfit came via 2012's, Error. While not a bad album, it never quite grabbed hold and swept me off my feet. They weren't able to fully encapsulate what they were attempting to convey. The approach was different, I respected that, and it contained enough intriguing ideas that I was willing to give future albums a listen.

Well that future album turns out to be one of 2014's best releases, Nothing But the Whole (once again being released on Dark Descent Records). This is a record that is as equally good as it is different and interesting. There isn't a single thing "typical" about Nothing But the Whole (vocally, musically, production, etc.). While Error hinted at what Emptiness were going for (and only partially succeeding), Nothing But the Whole, swings for the fences and connects.

Now be forewarned, this album is odd in its approach and not traditional by any means. Will this turn off a few people who are impatient? Probably, but its well worth your time to allow it to sink in over the course of many weeks or months. As I write this review I'm still discovering new things I haven't heard before.

You won't be steamrolled or run over like a freight train. What the band has accomplished is the ability to take you on an alternate journey along what seems to be a well treaded path (but really isn't). It will comfortably stray a few yards away in the bushes on the side of the road, almost ready to jump back on the known path, but never does. It deliberately wants to tease you. You'll experience plenty of moments where you think "Ok, they are gonna kick it into high gear here", yet they don't. Again, this may frustrate some people in our instant gratification world but patience and restraint pays off in the end.

Over the course of its 7 songs and 39 minute run time, you will experience a swirling mass of dark atmosphere. You'll hear background chatter as if you were walking on a busy city street. You'll be hypnotized and mesmerized, yet like everything else about this album, not in a way you would expect.

Death metal with a twist. A grower, not a shower. Immolation if they took a "chill pill" and got all trippy and spaced out on your ass. Whatever you want to call it, just get this album.

[Go to the post to view the Bandcamp player]