Album Review: Bombus – Repeat Until Death

With Sweden’s big, bad rockers now happily settled in at label giants Century Media, this new album of theirs is going to have to break the mould to impress. Can they create the kingmaker?

Things are sounding good. What we have here is as solid a series of grooves and as powerful a hit as we’ve come to expect from the Bombus boys. First of the bat, three cheers for the butch, meaty mastering job that Jens Bogren has managed to bring to the table after the raw, live feel of 2013’s The Poet And The Parrot. Layered deep to create a moving tsunami of sound this welds together the raw, gritty power of Motorhead with the driven riffing and voluble delivery of Stone Gods (yep, bonus points for those that remember The Darkness’ Dan Hawkins and his impossibly powerful, yet woefully short-lived, side project).

From Ola Henriksson’s first vast bass strike and warming buzz that disseminates slowly only to reveal a bona fide sonic riot, you know all is going to be well. “Eyes On The Price” positively glows with massive choruses, repeating dual vocal (think Richie Edwards in one ear and Lemmy in the other) and an absolute avalanche of electric guitars and rumbling bass. Rarely straying from this righteous path, we hot-foot it through the pile-driving “Rust”, rock-tastic “Horde Of Flies” and the smash-and-grab 3-minute title-track. There’s a pattern emerging, right? But hold on right there, Slick. Rewind a sec and dig a little deeper.

Third track in and “Deadweight” is where the pace slows and the album starts to splinter. Still rocking with the best of them, they now load up on metallic bite and sport a dark brooding visage. Behind, you’ll find a world of vitriol and sinister minor chords that weave whole new paths. Bombus have evolved!

Shifting mindsets then, we hit the gamechanger “I Call You Over (Hairy Teeth, Part 2)”. Those curious souls amogst you will find the rumbling, bass-loaded “[Pt. 1]” lurking within the confines of their debut album. “Part 2” has opening piano and post-rock drift harmonics in the verses (Between The Buried And Me fans, pay attention!) Those features pitch up oddly against the warm, almost gang-chanted chorus. It’s definitely a work in progress, but this proves they have the balls to go out on a limb and experiment.
 
As the album reaches it’s conclusion they take this new concept to a breath-takingly dark conclusion. The slow-melt chiming strings and visceral edge of “Shake Them For What They’re Worth” rings every last ounce out of the addictive lyrical hook they centre the track around. Reeling, we stagger into the power-hungry crush of “You The Man” and the swaggering, hooded menace of show-stopper “Get Your Cuts”. Two tracks that seal the deal.

I’ve always wondered where the line between rock and metal lies. Now, having heard Repeat Until Death, I know exactly its location and its name. It’s right here in the middle of this album. Brave, boundless and furiously catchy, Bombus have ticked every box and it will make them masters of their own destiny. Well played, boys, well played.

Also online @ Ave Noctum = http://www.avenoctum.com/2016/02/bombus-repeat-until-death-century-media/

Album Review: Unearth - Darkness In The Light

Unearth have always showcased plenty of hardcore clout; so much so that the schisms of metal that lie beneath often come in a good second place. I’ve always thought this to be something of a shame when you consider the freewheeling talent that they have at their disposal in the form of inseparable brothers-in-arms Buz McGrath and Ken Susi (so inseparable are they, that I tend to think of them as one entity – “Boozi”). These string-shredding demons know how to attain, maintain and entertain and this is the secret behind the band being so much better live than their albums may initially suggest. You haven’t lived until you’ve seen “Boozi” perform their trademark dual backflips, axe tosses, vertical spit and catches and multiple strap spins. So when you hear their work so often buried in the mix, as it is here, then it’s something to get angry about.

Listening to the colossal hammer blows that stand-in drummer Justin Foley (Killswitch Engage) manages to squeeze out, and hearing the combination of that with Trevor Phipps new-improved, throat-ripping vocals, you can fully understand why go-to producer Adam Dutkiewicz put the brutal, rhythmic onslaught first on his list of priorities. Yes, I did say “new-improved.” It turns out Phipps’ straight-up honesty knows no bounds – describing his efforts for 2008′s The March, he admits “…that’s probably my worst vocal performance… so this time I was like, fuck man, I really need to knuckle down.” The result is a relentless onslaught of absolute aggression, yet he still seems resistant to expand into lows and highs; stuck in that one-dimensional skin-stripping howl of his. That’s where Ken Susi’s lungs come in to play and here he offers more of the startlingly enigmatic cleans that he last showcased for 2006′s The Oncoming Storm.

One thing is for certain, this is without doubt the most instantly accessible Unearth album to date. The majority of song-titles form the core of the chorus, so singing along just won’t be an option this time around. The hooks are out of this world and the breakdowns are just fucking enormous – “Watch It Burn”, “Coming Of The Dark” and “The Fallen” are destined to create legendary pits. We haven’t heard gut-drops like this since “Endless” and “This Lying World” lit up The Oncoming Storm like a pair of open grenades bursting forth from a box of nails. “Arise The War Cry” is almost at Max Cavalera standards of neanderthal ferocity, whilst “Watch It Burn” builds up such a monstrous head of steam that when the cyclical lyric “Burn your eyes on the setting sun” kicks in you can only think of Hatebreed as being anything like this vitriolic.

The guitars, despite being left behind at times, still pile out these shafts of euphoric light. Onto the power metal speed solos, jagged shreds and skidding chord sequences, we can now pin swaggering swamp riffery, which comes in the form of southern-spiked groover “Eyes Of Black”. They stand out mainly where the tracks ache for them most of all – tracks such as “Overcome” and the intrusively personal “Last Wish” inspired by Phipps’ experiences of close friends ending up on life support – “This life soon will come to an end / I’ll leave with my convictions”.

It’s important that we hear Susi’s emotive cadence again. His uplifting input is particularly effective on tracks “Watch It Burn” and “Overcome”, though it would have been great to hear him on more. But, alas, Unearth want you pinned down where they can get at you. You want proof? Just tune in to the no-holds-barred lyrics on final track “Disillusion” – “Lies! You fucking failed me”. In fact, “Equinox” is their only surrender to a change of pace and even that refuses to lie down, as the tinkling piano suggests it might, the build instead giving Phipps the opportunity to turn it into a crushing monster – “There’s no way out, there’s no way out”, he yells showing the band’s clear intentions. He recently pointed out “There’s a bunch of bands out there that are all trying to get in the spotlight, so it’s a case of fight or die, and our fists are flying, man.” Using brute force will only get them so far, so they may have to start seeking a more cerebral method of attack in the near future. However, if it’s brawn you’re looking for, you’ve most certainly come to the right place.

Also online @ The New Review = http://thenewreview.net/reviews/unearth-darkness-in-the-light

The full album stream is available here for a limited time.