Job For A Cowboy - Demonocracy

Job For A Cowboy 2012

by Brent Elliott White
1. Children of Deceit
2. Nourishment Through Bloodshed
3. Imperium Wolves
4. Tongueless and Bound
5. Black Discharge
6. The Manipulation Stream
7. The Deity Misconception
8. Fearmonger
9. Tarnished Gluttony

More more more...

Like already hinted in the Gloom EP, Job For A Cowboy have become a whole lot faster, technical and ferocious.

As the band has mentioned themselves, this is due to their new members Tony Sannicandro (guitars, check out his videos below) and Nick Schendzielos (ex-Cephalic Carnage) who definitely have upped the technicality on Demonocracy.

Tony Sannicandro's distinct lead-sound bring a whole new layer to Job For A Cowboy's sound, while the leads add a new level of dynamic to the songs.

Another big difference one can tell is, that Nick's outstanding bass-lines are pretty dominant in the superb mix (again handled by Jason Suecof) - which is a good thing in my opinion.

But that's not all, to me it seems as though those two members have brought the confidence of trying out new things to the band. Just listen to the Black Metal influenced "Imperium Wolves" or the melodies in "The Manipulation Stream" and "Fearmonger" and you'll know what I mean.

So much for the new members, but there's still space for ex-guitarist Bobby Thompson's songwriting skills on Demonocracy: the slower, more doomy sounding "Tarnished Gluttony" was written by him. The band has mentioned that they are still close friends with him.

As for the lyrical themes, like the tile Demonocracy hints, Jonny dwells on social injustice, corruption and manipulation.

All those nuances combined with Jon's insane-as-usual drumming and Jonny's fierce vocals bring a new level of freshness to Job For A Cowboy.

Demonocracy is Job For A Cowboy's most technical record to date, but at the same time, the band seems hungrier and fresher than ever.

Job For A Cowboy recording Demonocracy

Tony Sannicandro's shredding skills

Carnifex - Until I Feel Nothing

Carnifex 2011
Cover Artwork

1. Deathwish
2. We Spoke of Lies
3. A Grave to Blame
4. Dead but Dreaming
5. Creation Defaced
6. Dehumanize
7. Until I Feel Nothing
8. Never Forgive Me
9. Wretched Entropy
10. Curse My Name

The executioner strikes again

Breakdowns, tremolo picking, growls, screams, blastbeats and a playtime of a little over 30 minutes. All the same in the Carnifex Camp you think? Well, not completely.

Continuing the development started on "Hell Chose Me", the San Diego-based deathcore outfit tends more and more to traditional death metal. The main riff of the title track being one of the main examples.

But that's not all. With the help and advice of producer Tim Lambesis, the band has focused on writing more fluent songs with actual hooklines and catchier melodies. Just check the underlying melody of "Dead but Dreaming" or the black metal influenced riffing on "Curse My Name".

The plan hasn't worked out completely though. Acoustic elements, even featuring strings ("Creation Defaced", "Until I Feel Nothing"), do loosen up the songs a little bit. Yet, at one point or another, the songs are a little bit too samey. The fact that the drums are slightly too loud only adds to that feeling.

Speaking of the sound of the record: For a modern metal production, it is top notch, especially the bass sound stands out.  The clean parts fit well into the audibility of the record, which often is a problem.

With "Until I Feel Nothing", Carnifex develop more and more into a more traditional death metal band while staying true to their roots.
I hope we'll see more of that development on the next record. For now, we should enjoy Carnifex for what they are: A simply brutal modern death metal with heavy break parts.

Carnifex - Until I Feel Nothing Official Video

Carnifex - Studio Episode 1/4

Animals As Leaders 2011
Cover Artwork

Do you know the feeling when you've experienced something outstanding and you want to tell everyone about it, but you can't because what you've experienced was simply indescribably good? Well, that's the exact way I'm feeling about Weightless by Animals As Leaders. I shall try to put my thoughts into words though.

Animals As Leaders' debut was written solely by Tosin Abasi. After touring with Javier Reyes (guitars) and Navene Koperweis (drums) for nearly two years, they've become firm members though. Consequently, weightless was produced by Navene and mixed by Javier. Which makes Weightless a very clear sounding record with a distinctive, massive drum sound. That's not the only thing they've added to Animals as Leaders though.

Navene's outstanding polyrhythmic powerhouse drumming definitely ameliorates the band's sound altogether. While, and that's just my impression though, Javier added a little bit of a rocking vibe to the band. Furthermore, they seem to have integrated more electronic bits and parts.

So what can be said about the songs? Lying in my bed, listening to the songs, I tried to find a word for the feeling the record gave me. The first thing that came to my mind was (and this may sound really stupid and cliché): the feeling of flying freely.

Weightless sounds just like that: The djenty, thick underground helps you get up in the air, the more melodic, mellower songs with their underlying harmonies lead you gliding through the air and Tosin's outstanding guitar work sharpens your senses to avoid obstacles while you're reaching heights that haven't been reached before.

While Animals As Leaders definitely have revolutionized progressive music per se, they not only prove that they are miles ahead of any other bands, but that they can easily outdo themselves as well.

Weightless is my tip for Album of the Year and if you're interested in witnessing a completely new approach to music, you're definitely in for a treat!

Isolated Incidents live @ Chelsea Vienna

Mastodon - The Hunter

Mastodon 2011


Mastodon: The quirky prog-boys go back to their rock roots.

Crack the Skye was Mastodon's proggiest effort ever. The sheer amount of different riffs, drum-fills, breaks and tempo changes made it the most complex Mastodon-record to date. At the same time, it was the end of a concept of the 4 elements, which had started with Remission.

So what does a band do after playing their most complex record as a whole every night on tour and now having a "new" artistic freedom at hand? They go back to their rock-roots, of course.

And in Mastodon's case those are, among others: Thin Lizzy, Foreigner, Boston and King Crimson. Not the shabbiest bands to draw inspiration from. Now imagine those classic/prog-rock roots combined with Mastodon's ability to write rocking riffs and their qurikyness: You get straight prog-rock songs with hilarious song-titles like "Octopus has no Friends", "Bedazzled Fingernails", "Blasteroid", "Creature lives" or "Stargasm".
I don't even have to mention that the technicality of the songs is at an extremely high level, do I?

While most of the songs deal with funnier, less serious stuff like 80s-games for example, the title-track is dedicated to the death of Brent Hinds' brother. You can definitely tell that Brend has poured a lot of emotions into this song. What also stands out, is Troy's (bass) vocals performance: he's never sounded more like Scott Kelly from Neurosis.

The Hunter to me seems like Mastodon combining the structures and energy of Remission with the feel of Crack the Skye. A big number of Mastodon fans probably won't like this record, because it is a step away from Crack the Skye. But, as the band has mentioned several times, the last thing they want to do is repeat themselves. And isn't that the main idea behind prog?

Video for Curl of the Burl

Machine Head - Unto the Locust

Machine Head 2011

Cover Artwork

The Blackening was named album of the decade. Machine Head were on tour for nearly 3 years straight to support their most successful record to date, headlining Wacken Open Air and With Full Force. They toured with none other than Heaven & Hell and Metallica. Metallica took them on tour, because they stated that The Blackening inspired them while writing Death Magnetic.

Who can top that? "No one" I hear you saying? Well, I'd like to disagree here: Machine Head can.

To me, Unto the Locust feels like a huge journey through the emotions of the band.

You get anger and rage (I Am Hell, Pearls before the Swine, This Is the End), hope (Be Still and Know) disappointment (Locust),  a huge testimony to music itself (Darkness Within) and last but not least: strength and self-confidence (Who We Are).

Unto the Locust roars, whispers, screams, weeps and contemplates, yet manages to stay interesting throughout the whole time. Every break, every solo, every drum-fill falls into place after a few listens - that's when Machine Head's most precious asset comes into play: their songwriting craftsmanship.

Technically, the band reaches new highs: Dave McClain's drumming is spot-on (you even get blast-beats!), Phil Demmel's solos are technical yet memorable. But the thing that stands out the most are Robb Flynn's vocals: his screams are as ferocious as we know them, but his singing has never been better.

The immense impact that the touring cycle for The Blackening has had on the band (Phil Demmel's sickness, the death of his father, Robb Flynn and Adam Duce fighting) seems to has been worked through with this record and the band is now at an ultimate-high.

But, most importantly, Unto the Locust is not The Blackening Part II. - it stands completely on its own, which probably is the biggest accomplishment that any band can achieve.


Making of Unto the Locust

Trivium - In Waves

Trivium 2011
Cover Artwork
In Waves Artwork by Danny Jones/Yasly
In Waves - A Mainstream Metal Masterpiece

The sound of an off-tune piano, creating an uncomfortable feeling, accompanied by a drum-rhythm, calmly lures the listeners in. Suddenly: "In Waves" - Matt K. Heafy's scream wakes them up and takes them on a 60-minute-journey.

What follows then is a blueprint for mainstream metal. In Waves features some of Trivium's catchiest songs. Yet, at the same time, Trivium are more brutal than ever, while some of the songs are really technical.

The record was written collectively: Matt K. Heafy's love for Queen is undeniable, Corey Beaulieu was responsible for writing some challenging leads and Paolo Gregoletto probably contributed the most to the structure of the songs.

Nick Augusto (drums, ex-Metal Militia, ex-Maruta), who has replaced founding member Travis Smith is just what Trivium needed: his drumming adds a new level of musicality to the band. His blast-beats almost work like an own instrument.

The band has mentioned it in several interviews: They took a lot of time and stripped the songs down to make them more accessible. This plan was a total success. The hooks on this record are undeniably catchy, while, at the same time, the more intricate songs keep the listener coming back.

The production was handled by Colin Richardson, who did an outstanding job - In Waves must be one of the best-sounding modern records.

What really sets In Waves apart and makes it special is the visual concept that goes hand in hand with the music: not less than 5 visual artists have worked for 1 year on the concept - the live-show, music videos, merchandise, band photos, the packaging of the record - all of those are coordinated which not only makes the band memorable but creates a picture in the listener's head whenever he hears a song.

The Special Edition features a dvd with a live-show recorded at Chapman Studios and a documentary on the recording-session. Whether or not you like the music, such actions have to be acknowledged, because they offer great value for money for fans.

Trivium have reinvented themselves. In Waves is one of today's milestones in music - you can quote me on that. This record sets standards and is on par with records like The Black Album. It is definitely worth checking it out.

Visual Artists on this Record:
Jon Paul Douglass
Megan Giese
Danny Jones
Ramon Boutviseth
Wes Sumner

Packaging Details

Video for In Waves

Trivium live @ Wacken 2011

All Shall Perish - This Is Where It Ends

All Shall Perish 2011
Cover Artwork

All Shall Perish are back - and go overboard

"Awaken the Dreamers" was All Shall Perish's masterpiece. Technicality, brutality, hardcore beatdowns and acoustic parts had never been combined in a more coherent and fitting way.

Unfortunately, then-lead guitarist and shredder extra-ordinaire, Chris Storey, quit the band together with founding member Matt Kuykendall (drums).

It didn't take long until new members were found. The live-shows (and videos) showed that Adam Pierce (drums) and Francesco Artusato (a Berklee-graduate, lead-guitar) have the technical skill to fil the holes left by the  ex-members.

Now, with the new record "This Is Where It Ends" they had to prove their songwriting abilities. And, unfortunately again, it seems as they wanted too much.

This is Where It Ends is as technical as ever (the beginning of "Spineless"!), features acoustic parts ("Procession of Ashes", "In this Life of Pain", "The Past Will Haunt us Both"), Black Metal-Parts ("Rebirth"), and has some of the fastest drumming ever on it.

Eddie's vocals vary between high-pitched screams, death metal-growls - his vocals seem to carry more emotion than ever before. Those are the good things.

The bad things are, that, first of all, the production of the record makes the songs sound blurred. Plus, the record is mixed really loud.

And, as mentioned above, All Shall Perish go a little overboard on this record. The record goes on for more than 55 minutes. While that usually is a good thing in my book - in this case, it isn't: it's simply too much. Some of the songs are too repetitive and not memorable. Less would've been more in this case.

Furthermore, it seems to me that the band has lost it's melody-machine with Chris Storey. While Francesco Artusato is an outstanding shredder, his leads aren't as distinctive as Chris'.

Nonetheless, "This Is Where It Ends" is a really good record, to me it just isn't as breathtaking as its predecessor. And: it proves that bands that have risen during the Deathcore-Trend are legitimate as well.

Video for: There Is Nothing Left

Decapitated - Carnival is Forever

Decapitated 2011



1. The Knife
2. United
3. Carnival Is Forever
4. Homo Sum
5. 404
6. A View From A Hole
7. Pest
8.  Silence

Decapitated are back - and they're kicking ass and taking names

So we all already know the sad story about Vitek and Covan. I'm not gonna go on about that. This review will be solely about the music.

Let's start right away. Carnival is Forever starts off with intricate, poly-rhythmic riffing. Nothing new here - that's how we all know the polish tech-death outfit.

The first thing one realizes though, is the organic sound of the record. You can hear right away, that no triggers, over-dubs or anything for that matter were used on the album. Which gives it a lively feeling.

A real surprise comes with the title track, though: An epic 9-minute-journey which combines soft, mellow, acoustic parts with Morbid Angel-esque riffing and ferocious blast- and double-bass parts. Intense.

This new addition to Decapitated's sound is kept over the record: "A View from A Hole" has acoustic parts - and the final track "Silence" is completely acoustic. In alteration with high-speed, violent attacks like "404" and "Pest" this makes for a great diversified record, which makes you want to come back and listen to the record again - because you know that there are still some little kinks to discover.

A great example would be "Homo Sum", with it's typical Decapitated riffing and a progressive middle-part.

Let's focus on the new line-up: Krimh's (Drums) performance is outstanding - he knows when to hold back and follow the riffs, yet, at times, showcases his technical abilities. Rafal's vocals are more shouted than growled, which, to some, might be off-putting. For me it's just fine. We'll see how he does on older Decapitated songs.

So what can you expect from "Carnival is Forever"? Fans will be surprised by some of the most progressive songs yet. Death Metal fans that are unfamiliar with Decapitated should get ready for a mixture of Meshuggah-type riffing with blast-attacks and some Tool-ish mellow parts.

In my opinion, Decapitated made a statement with this record: Not only are they back - they are here to stay - and that's a good thing!

Studio Webisode

"Homo Sum"

Unearth - Darkness in the Light

Unearth 2011


"Darkness in the Light" Cover

1. Watch it Burn
2. Ruination of the Lost
3. Shadows in the Light
4. Eyes of Black
5. Last Wish
6. Arise the War Cry
7. Equinox
8. Coming of the Dark
9. The Fallen
10. Overcome
11. Disillusion

Unearth are back...and leave 95 % of all Metalcore-bands in the dust

Unearth never fail to put me in awe. To me, they haven't released a bad album yet. I always thought they peaked with "The Oncoming Storm" though. "In the Eyes of Fire" and "The March" weren't bad albums by any means, but the sheer ferocity and unrelentlessness was somehow missing.

I now stand corrected. "Darkness in the Light" combines the sheer aggression of "The Oncoming Storm" with the technical madness of "The March" and presents Unearth's best effort thus far.

Ken Susi and Buz McGrath really showcase their abilities on this record. They are able to write technical, yet memorable riffs with great anthemic hooks. Buz's solos are as shredtastic as always. This guy must be one of the best lead guitarists of today's metalscene. He's got speed, technique and, most importantly: feeling. Something that seems to be missing among today's shredders.

Justin Foley (Killswitch Engage) is replacing Derek Kerswill on this record. And he delivers flawlessly. You get blastbeats ("Eyes of Black"). double-bass attacks - powerhouse drumming at it's best. Yet, he also holds back when the song demands it.

Often criticized vocalist Trevor Phipps stays true to himself on this record. We won't be seeing him using clean vocals any time soon (and that's a good thing!). Yet, Ken Susi's clean vocals are back. That might be off-putting to some, but they aren't forced and fit into the scheme of the songs.

Adam Dutkiewicz, Metalcore-producer-extraordinaire, has yet again accorded the record with a transparent, powerful and pounding sound.

Like I mentioned in the beginning, Unearth show how Metalcore is supposed to sound: they combine Iron Maiden-esque leads and melodies with the power of Hardcore-Beatdowns. The Boston-metallers are simply in their own league. Even though we've all heard gazillions of Metalcore records, Unearth have managed to breathe new life into an almost dead genre - that alone should get anyone out there to check this record out.

"Eyes of Black"

Evan Brewer - Alone


1. Actualize
2. Contraband
3. Currency
4. Altered Perspective One
5. Altered Perspective Two
6. Vertigo
7. The Decline
8. Degenerate
9. Looking West
10. A Climate for Change

A complete record with nothing but bass on it? Can that work? Well in this case, it sure does work.

Evan Brewer, known for his bass-work in technical death metal band Animosity, shows what this instrument is capable of. "Alone" is jazzy, funky, technical and full of soul and groove. Yet it's never too much for the listener.

Although, the songs are very intricate and multi-layered, listeners are able to grasp certain aspects of the songs, which keep them coming back. "Currency" being one of the prime examples.

The title "Alone" might make you think that the album is melancholy, but it is way more: it's upbeat, yet contemplative, laid back and, at times, cheerful.

Evan Brewer shows, that not only shredders like Francesco Artusato can release solo-albums - maybe this is the beginning of a whole bunch of talented bassists to release solo albums? Well, I as a bassplayer myself wouldn't have a problem with that.

Alone sure is an album for music-nerds, but casual listeners should at least give it a try, this record might be your introduction to a broader musical horizon.

PS: Evan Brewer is now the bass-player for "The Faceless"

Promo-Video for "Alone"

Sample of "Currency"

The Black Dahlia Murder - Ritual

Wierd metal-monks? TBDM always delivers

Ritual Cover

Ritual Cover

Ritual Tracklist:

01. A Shrine to Madness 
02. Moonlight Equilibrium
03. On Stirring Seas of Salted Blood
04. Conspiring with the Damned
05. The Window
06. Carbonized in Cruciform
07. Den of the Picquerist
08. Malenchanments of the Necrosphere
09. The Grave Robber's Work
10. The Raven
11. Great Burning Nullifier
12. Blood in the Ink

The Black Dahlia Murder have reinvented themselves.

Their latest Opus entitled „Ritual“ is everything they ever stood for, but only a little better.

Their fierce blastspeeds and high-speed At-The-Gates-ish riffing is still there. Yet, they have been able to incorporate more memorable, outstanding riffs which not only make the songs worthwhile but also more unique.

Just listen to the underlying melody of „Moonlight Equilibrium“ and you’ll get the idea. It seems to me as though Ryan Knight (ex-Arsis) has really been able to showcase his songwriting abilities. And that’s a good thing in my book.

Ritual is also TBDM’s first introduction of piano and orchestral-parts. The only let-down is, that they are pretty low in the mix. So careful when you turn your speakers up, cause you might get deaf when the brutality begins again.

Trevor’s vocals are as diabolic and vicious as always. Though, I gotta say, that I like his deep growls way more nowadays. Not that the high-pitched screams sound bad or anything, I just don’t appreciate them as much as I used to.

The production, once again handled by the mighty Jason Suecof, is great as always. The guitars are ripping, the drums are simply neckbreaking, and, as a bassist, i gotta say that the bass-tone is one of thickest metal-sounds I’ve heard in a while on an album.

My first listening-tip: Malenchanments of the Necrosphere (the Fear-Factory-memory-riff at the beginnig is simply rockin!)

If you want brutality with memorable riffs and songwriting, get this album!

Making of "Ritual" 

The Soulless - Isolated


Isolated Cover Artwork

1. Unaltered
2. The Path
3. Earthbound
4. 13th Morning
5. New Perspective
6. Clones
7. Revelations
8. Our Return
9. Unite Us
10. You Are nothing to Me
11. Without Heart

„Of Winter Born“ – that was the title of Ignominious Incarceration’s promising 2009 debut record. The music could be described as technical death metal.
The band’s name and the sheer amount of technical bands as well as deathcore bands at that time led to the band calling it quits.

Three members of Ignominious Incarceration want to give music another shot, though. Vocalist Andy Wardle, guitarist Steve Brown and bassist Chris Ball have now returned as The Soulless.
The band wants to be seen as a complete new band. The addition of Dan Wilding (ex-Aborted, ex-Trigger theBloodshed) as new drummer and Kristen Dawson as new guitarist only add to that fact. So here’s their debut album, Isolated for review then.

Unaltered starts off with intense melodic-riffing, fast-paced drumming and fast-forward, aggressive vocals. The technicality of the album is on a very high level, no doubt about that.

You got your breakdowns, melodic hooks, and small portions of blastbeats. I can’t really say that it’s bad in any way. The problem is though, if you look at the description of the first song, Unaltered, it applies to almost every song of the album. The production lacks dynamics, which makes it even harder for the songs to stay in people’s heads.

Yet, there are two instrumentals that stand out: „13th Morning“ and „You are nothing to me“ – they feature piano and acoustic guitar parts. Those two only clock in at a little over a minute though.

Looking at the running time of the album, only 33 minutes, you kinda already get the idea of what’s the problem here. The band has had a handful of great ideas, but the songs aren’t as memorable as they could be. The Soulless should ditch a few of their (pretty damn good) riffs and incorporate more transitions, this would add more dynamics to the songs.

Isolated is a really promising debut record once again. It isn’t bad by any means, but it doesn’t stand out either. The Soulless get an excuse for being a complete new band, but they shouldn’t blow it on their next record.

Video for „Unaltered“

Job For A Cowboy – Gloom [EP]


Gloom Cover Artwork

1. Misery Reformatory
2. Plastic Idols
3. Execution Parade
4. Signature for Starving Power

Job For A Cowboy, once involuntarily one of the leaders of the Death-Core-Genre, have become a full-blown Death Metal band since Ruination. Since then I have been really hooked on them. Their turn from an aggressive, brutal high-school band to a politically, critically thinking Death Metal band was, and still is, impressive to me.

There hasn’t been a press release yet, but lurking on JFAC’s facebook, and on YouTube, one could find out, that the band had to deal with some line-up changes. Seems like Bobby Thompson (Guitar) and Brent Riggs (Bass) have left the Job for some reasons.

In order to shorten the time-span between Ruination and the follow-up full-length, and to introduce the new members song-writing-wise into the band, JFAC have now released a little EP entitled Gloom. (a play of words in relation to their famous Doom EP, obviously.)

Gloom features some of JFAC’s fastest songs up to date. Yet, their songs incorporate dynamics. The band slows down the tempo from time to time, and that’s when they sound best to me. („Plastic Idols“) Jonny Davy’s vocals combined with the mean riffing is just what Death Metal is about. The guitar solos should be mentioned as well. They aren’t just technical wankery, as they fit into the songs really well and add a certain touch to them.

Jason Suecof produced this fine piece of modern death metal. He did a great job. The drums, which play an important role in the songs (kudos to Jon „The Charn“ Rice!) are never too dominant, the guitars are simply ass-kicking, and the bass is audible throughout the songs.

Job For A Cowboy continue their path of trying to get rid of any little aspect of their „Deathcore“-roots, and they do it well again. If their full-length album sounds anything like this, it’s a must-have for every fan of Misery Index, Morbid Angel and modern death metal fans.

Live footage of "Signature for Starving Power"

The Sorrow - The Sorrow

The Sorrow


1.      Afflictions
2.      Crossing Jordan
3.      Weight of the World
4.      Suffering Quotes
5.      Heart of A Lion
6.      Farewells
7.      You Are My Nemesis
8.      Paragon in Charity
9.      Draped in Misery
10.   Grief Machine
11.   Engraved in our Hearts
12.   Facing the End
13.   Reach for the Skies


Make it or break it. That’s what the third record is usually called. The Sorrow, having released a ferocious debut-album („Blessings from a Blackened Sky“) and a pretty safe follow-up („Origin of the Storm“) are gonna make it according to their third, self-titled, effort.

I showed a friend of mine their video for the song „Farewells“ and he said:“They have totally grown up“. This describes the record in a nutshell. The Sorrow sound nothing else but mature.

Gone are the forced breakdowns and exaggerated screams. The songwriting is the main focus. And the guys from Vorarlberg know how write good songs.

The record provides a great mixture of fast-paced, aggressive songs („Heart of A Lion“, „Weight of the World“, „Paragon in Charity“) and slower, more melodic and melancholy songs („Suffering Quotes“, „Farewells“, „Draped in Misery“)

Mätzes vocal-range has definitely improved. The guys once mentioned that they recorded all choruses clean-sung and screamed. Later on, they decided what would better fit the song. They made wise decisions.

The production of the record is mature as well. The drums sound organic, the guitars have really good attack and sound dry, while the bass is audible throughout the record the whole time.

A special thing I recognized about The Sorrow: They seem to have developed a whole concept for the band. Looking at band-pics, social media sites, homepage, videos, live-shows (banners, lights, outfits), and merch, the attentive viewer realizes that they tend to use the same colors and color-tones together with a certain style of presentation.
Never before have I realized something like that executed in that matter before. Such a concept is a great idea, as the band becomes somewhat of a trademark (in a positive way).
And they get more memorable as the band is linked to a certain feeling and image they create in people’s minds.

This album will hopefully help The Sorrow gain an international following. In my opinion they really deserve to play bigger venues and tours. So go check this album out!

Video for „Crossing Jordan“

Video for „Farewells“

Sylosis - Edge of the Earth



1.     Procession
2.     Sands of Time
3.     Empyreal
4.     Empyreal (Part 2)
5.     A Serpent’s Tongue
6.     Awakening
7.     Kindgom of Solitude
8.     Where the Sky Ends
9.     Dystopia
10.  Apparitions
11.  Altered States of Consciousness
12.  Beyond the Resurrected
13.  Eclipsed
14.  From the Edge of the Earth

English thrashers Sylosis have had a pretty wild career so far. A Deal with Nuclear Blast with their record „Conclusion of an Age“ had them tour Europe with The Black Dahlia Murder. They even hit up India. The reviews for „Conclusion of an Age“ ranged from „pretty good“ to „very good“ to „excellent“.
Things could only get better for them.
But then black clouds surfaced. Their singer Jamie Graham quit. Fans didn’t know how Sylosis would carry on.
This record erases all doubts.

Lead guitarist Josh Middleton is now handling vocal duties  next to his job as main songwriter and mastermind. Listening to this record, you can really sense his influences.

Mean death-thrashers like „Empyreal“, „Sands of time“, „Altered States of Consciousness“ and „Beyond the Resurrected“ remember me of Death and Testament.

But then you have songs like „Where the Sky Ends“, „Appartiions“, „Eclipsed“, „Dystopia“ and „From the Edge of the Earth“ incorporating connotations to Rush, Dream Theater and Mastodon. The melodic, melancholy proggy-aspects, incorporating acoustic and piano patterns really add to the diversity of the record.

As an old music-connaisseur, you can already tell that the technical level of the record is simply phenomenal. The good thing is though, that Sylosis always put the main focus on the song itself, instead of simply showing-off their skills.

Now a lot of fans were criticizing Josh’s vocals. But in my opinion, he adds a little more of a Rock ‚n’ Roll vibe to the record. His vocals aren’t really growled, as they are low-pitched, very intense screams. Mixing those vocals together with the more traditional guitar tone and non-triggered drums, the record sounds very organic. Which definitely is a plus.

The only thing one could get nitpicky about is the length of the record. 72 minutes are definitely a challenge to the listener. But it’s a challenge I highly recommend accepting.


1.     Procession
2.     Sands of Time
3.     Empyreal
4.     Empyreal (Part 2)
5.     A Serpent’s Tongue
6.     Awakening
7.     Kindgom of Solitude
8.     Where the Sky Ends
9.     Dystopia
10.  Apparitions
11.  Altered States of Consciousness
12.  Beyond the Resurrected
13.  Eclipsed
14.  From the Edge of the Earth

Video for „Empyreal“

Making of the record