500 Word Review: Primal Rite “Sensory Link To Pain”

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Recently I’ve gotten back into thrash metal by listening to both classic bands like Metallica and Slayer and newer bands like Skeletonwitch and Eternal Champion.  However, through listening to the new era of thrash metal, I was able to discover a recently formed band, Primal Rite, who combine influences from hardcore punk and thrash metal to embody a hard-hitting, completely abrasive thrash metal sound that is simply addicting.  Last month, the San Francisco based metal band released their latest EP, “Sensory Link To Pain”, which showcases the group’s stellar, most recent sound.

The EP begins with a sinister, ominous sound of guitar feedback slowly fading in, leaving the listener anxious and at the edge of their seat as to what is coming next. Suddenly, the whole band enters and a wailing, distorted guitar, pummeling drums, rattling bass, and of course aggressive, hatred filled vocals create the title track, “Sensory Link To Pain”. Sporadic section changes with heavy, yet intriguingly groovy riffs encompass the entire EP with only a few moments of chugging riffs at a slower tempo to give the listener some kind of breathing room in between the chaos filled parts heard throughout each track.

These slower tempo sections can easily become highlights of tracks, however, as the near breakdown heard on “Is It Me?” becomes the most memorable part of the entire track and is easily the catchiest riff you will hear in Primal Rite’s latest project. This hardcore influenced breakdown perfectly exemplifies Primal Rite’s raw, bone-snapping sound of hardcore influenced thrash metal. The project itself, which comes in at just under 8 minutes, leaves its audience feeling like they got hit by a train of pure hardcore and thrash metal, as the project ends just as abruptly as it began with the fast tempo, mosh pit inducing riffs on “Primal Discipline” transitioning directly into the same eerie guitar tone heard at the beginning of “Sensory Link To Pain” slowly fading out. This Primal Rite EP is in your face hardcore thrash metal done right and is full with non-stop, unrelenting heaviness from start to finish.

In summation, this is metal, simply put. Everything from the harsh vocals, to the phenomenal guitar riffing to the upbeat, old school thrash metal inspired drum beats purely encompasses what the new era of thrash metal is all about. The only gripe I have with this project is that it sounds a little too much like Power Trip, who happen to be the most prominent modern hardcore influenced thrash metal band, and my personal favorite thrash metal band as well. I’m sure over time Primal Rite will find their signature style and sound in this crossover subgenre of punk and thrash metal, but their latest material still resembles, and is inspired by, the Texas based act in a very prominent way. However, if you listen to older Counterparts material, you can hear how it is directly influenced by Misery Signals, so it’s not a huge concern to seem Primal Rite paying tribute to the sound of the act they most likely look up to, especially since sounding like Power Trip is far from being an insult. I give “Sensory Link To Pain” an 8.6/10 and highly suggest that you check this EP out by the soon to be household name, Primal Rite.

 

“Sensory Link To Pain”:

Breaking News: Opprobrium’s Label Brutal Records Issues Cease and Desist Stating “Moth Into Flame” Ripped Off Opprobrium’s “Hunger For Power”

Oddly enough, only a few days after I posted my unboxing video in which the first record I received from my Relapse Records 10 LP grab bag was Opprobrium’s “Serpent Temptation”, Opprobrium’s label, Brutal Records, released a statement saying that they believe Metallica ripped off Opprobrium’s “Hunger For Power” in their song “Moth Into Flame”.  The label then went on to issue a cease and desist letter to both Metallica and their attorney.

According to Brutal Records, the similarities between “Moth Into Flame” and “Hunger For Power” are too close, and because of this the label believes that Metallica copied and “ripped off” the track featured on the 1988 death metal album, “Serpent Temptation”.  Brutal Records announced this cease and desist letter via their Twitter page and have since unrelentingly tweeted out statements about the alleged copyright.

Apparently, the person behind these tweets is actually related to the two brothers who were in Incubus (named changed to Opprobrium in 1999 due to the more widely known Incubus copyrighting their band name) as their uncle and godfather and claims to have produced “Serpent Temptation” and “owns the publisher and copyrights for the master recording”.  The link to the label’s recent tweets about the cease and desist letter and the official cease and desist statement towards Metallica and their legal team are attached below for you to scroll through and read.  Honestly, the tweets seem fairly deranged and lack enough credible proof to truly show Metallica’s guilt without reasonable doubt.  These were the only statements about the cease and desist letter from any parties involved until Opprobrium themselves commented on the news story days later…

 

Brutal Records’ Cease and Desist Statement to Metallica and their legal parties:

As you have not sought or requested permission/authorization to use, nor to make and/or distribute, sell, lend or lease my copyrighted work entitled Hunger for Power, you are hereby notified to CEASE AND DESIST any and all further unlawful acts of copyright infringement with regards to your actions and/or statements relating to this matter.

Failure to comply with this notice will confirm your complicity and leave me no other alternative but to proceed to file a civil action suit seeking monetary damages and compensation for court and attorney’s fees incurred as a direct result of your unlawful actions of copyright infringement. It is not my wish to seek legal recourse; however, I will vehemently do all that is necessary to protect my work, Hunger for Power, and interests. Please note that this letter will be the only warning I will provide.

THEREFORE, you are hereby requested to immediately CEASE AND DESIST any further acts of copyright infringement and within 10 business days return the signed written assurance below affirming that you will refrain from any further acts of copyright infringement.  (via Exclaim! Music)

 

On April 8th, two days after the story of Metallica’s alleged “ripping off” of death metal band Incubus’s track “Hunger For Power” broke, Incubus released a statement via Facebook about the cease and desist letter (this was through the Opprobrium Facebook account, since Opprobrium recently rereleased a rerecorded version of “Serpent Temptation” through Relapse Records).  Apparently, Opprobrium themselves never released the cease and desist letter, or even knew of its existence before the story broke.  Opprobrium then went on to say that they are fans and love the band and that they would never do anything of the sort to the thrash metal legends themselves.  What’s most shocking is their response to the individual at Brutal Records claiming he owns the rights to “Hunger For Power” and the rest of “Serpent Temptation”.  Opprobrium stated that this is not true at all and that the death metal band themselves holds all of the rights to their songs.  Their statement via Facebook is attached below.  Also, it appears that “Spit Out The Bone”, another Metallica track off their latest album, “Hardwired… To Self-Destruct”, is also in question now of “ripping off” “Hunger For Power”.

This news story has been a combination of both fascinating and extremely odd, in my opinion.  The label, Brutal Records, refuses to let up on the accusations of Metallica’s alleged copyright, and Incubus (Opprobrium) continue to state that they do not approve of or want to issue this cease and desist towards Metallica.  The bay area thrash legends have yet to release a statement on the issue at hand.

Personally, I don’t hear the resemblance that Brutal Records is claiming.  Are both of the riffs heard in the sections at question, fast chugging riffs?  Yes, but they are in no way illegally similar, especially since they are written in two completely different metal sub genres.  I will say though this has brought significant attention to Opprobrium, who deserves more traffic as their album, “Serpent Temptation” is fantastic!  This recent attention however, made me initially question if this was just a publicity stunt, with the end goal of receiving more album sales of “Serpent Temptation”.  However, I quickly realized that Incubus’s release of “Serpent Temptation” has been out of print for decades now and the only copy of “Serpent Temptation” you can still buy today is the repress sold through Relapse Records, which features the new band name, Opprobrium.  If album sales were to increase from this possible publicity stunt it would benefit Opprobrium, but would not benefit Brutal Records, as Relapse Records would earn profits from the repress sales.  Although, if Brutal Records does repress “Serpent Temptation” in the near future I would easily draw the conclusion that this whole scenario was designed in order to profit off a classic death metal album.  For now, based on the little information given, it appears that someone with access to the Brutal Records Twitter page is attempting to acquire some royalties from Metallica that are not owed to them in any way.  Of course we will keep you updated as more information about this news story unfolds, so stay tuned!  Also, listen to “Hunger For Power”, “Spit Out The Bone”, and “Moth Into Flame” below and let us know if you think Metallica copied the death metal band Incubus or not.  Lastly, while you’re at it, check out the full albums for “Serpent Temptation” and “Hardwired… To Self-Destruct”, as both of these albums are classics and should not be warped or diminished by this odd news story.

“Hunger For Power”:

“Moth Into Flame”:

“Spit Out The Bone”:

“Hardwired… To Self Destruct”:

“Serpent Temptation”:

The Thursday Ten: 11/15/16

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For those who visit Erik’s Album Reviews regularly, you will know that the staff has been very busy for the last two weeks.  Because of this we unfortunately missed the last two “The Thursday Ten” segments.  However, last week we announced that in order to make up for this lack of album ratings, we will give 20 album ratings for this week’s installment rather than the usual 10!  This week’s post features various releases over multiple genres covering everything from Black Metal to EDM.  Even though twice as many releases are feature in this installment, the rules to “The Thursday Ten” haven’t changed, and of course, we encourage you to check out every album listed on any of the major music streaming platforms.  Let us know what you think of the ratings, which albums you want us to rate next, and don’t forget to check out the previous installment to “The Thursday Ten”.  Here is this week’s post:

  1. Skeletonwitch – The Apothic Gloom EP: 8/10
  2. The Acacia Strain, Thy Art Is Murder, and Fit For An Autopsy – The Depression Sessions: 9/10
  3. Power Trip/Integrity Split EP: 7/10
  4. Dan Mason – Summer Love: 7/10
  5. Radiohead – A Moon Shaped Pool: 7/10
  6. Aborted – Termination Redux EP: 8/10
  7. Lamb of God – The Duke EP: 7/10
  8. Jason Richardson – I: 8/10
  9. bl00dwave – Distance: 8/10
  10. Defeater – Abandoned: 8/10

 

  1. Mac Miller – The Divine Feminine: 8/10
  2. Blink-182 – California: 8/10
  3. Balance and Composure – Light We Made: 8/10
  4. Moose Blood – Blush: 8/10
  5. Wakrat – Wakrat: 4/10
  6. Tesseract – Polaris: 7/10
  7. A Day To Remember – Bad Vibrations: 6/10
  8. Adventure Club – Red // Blue: 5/10
  9. PZA – AMERICAN RITUALS: 9/10
  10. Vaerbitt – Tid: 9/10

The previous “The Thursday Ten”:

https://eriksalbumreviews.wordpress.com/2016/11/25/the-thursday-ten-112416/

500 Word Review: Metallica “Hardwired… to Self-Destruct”

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Last week, thrash metal legends, Metallica, released their tenth full length studio album, “Hardwired… to Self-Destruct”, which is their first full length album since 2008’s “Death Magnetic”.  Personally, I’m not a massive, avid fan of Metallica, however, they are the first ever metal band I listened to and became a fan of, and the releases I do enjoy are very important to me.  So with the announcement of a new Metallica album to be released in 2016, my anticipation and excitement for new material was very high.  Although, if you are familiar with Metallica’s discography, then you will know that the California based metal act has had some questionable releases in the post-“The Black Album” era.  So my excitement for new material would greatly depend on how the record’s singles sounded.  Thankfully, these singles exceeded expectations!  The three singles, “Hardwired”, “Moth Into Flame”, and “Atlas, Rise!” were phenomenal tracks and only increased how much I was looking forward to hearing the rest of the project!

When you first listen to “Hardwired… to Self-Destruct” the first thing you will notice is that this is probably the best production a Metallica album has seen in literally decades.  Albums like “St. Anger” and “Death Magnetic”, which were the two releases prior to “Hardwired…”, feature some of the worst production quality in Metallica’s career.  Everything from how the drums were recorded to the mix and mastering of the entire album overall were terrible and at some points unbearable.  On “Hardwired…”, the exact opposite is seen.  The drums, especially the tight, bone-snapping snare sound, are recorded perfectly and the distorted guitars and bass tracks sound amazing.  The vocals sound powerful, well mixed, and most importantly, in tune.  Overall, the great production quality allows the album to sound like a successful modern day thrash metal record, and in return makes the whole release more enjoyable.

The songwriting exemplified on the new Metallica album is ridiculously good as well.  The entire album is full with catchy, memorable tracks that sound like great, classic thrash metal songs.  Chugging, head-banging worthy riffs are simply powerful, especially with stellar vocals.  Tracks like “Now That We’re Dead” and “Halo On Fire” are perfect examples of this and are reminiscent to their older sound heard in the mid to late 80s.  Even tracks like “Atlas, Rise!” and “Murder One” are instant classics and should be praised as some of their best tracks in their extensive catalog.  If you are a fan of the mind-numbing guitar solos from lead guitarist, Kirk Hammett, then  you will love this album as it is full with solos of his, like the extremely impressive solo heard on “Murder One”.  Overall, there are only two songs that personally I thought were just ok or decent songs on the record, but there is still over an hour of amazing material off this two disc record.  Besides the fact that there are only two decent songs, “Hardwired… to Self-Destruct” is mostly fast tempo, in your face, classic thrash metal with some great, short, melodic breaks in between the hard-hitting riffs and catchy choruses.  There is rarely a dull moment throughout “Hardwired… to Self-Destruct”, which keeps the listener attentive and into the album despite the fact that it is well over an hour in length!

In conclusion, this is one of the best Metallica albums in literally decades.  The record features all the classic, widely praised aspects of Metallica that make their old releases so phenomenal.  It’s important to not listen to this album thinking it will be as good as the legendary releases like “The Black Album, “Master of Puppets”, or even “…And Justice For All”, considering the fact that these are some of the greatest metal albums of all time, but “Hardwired… to Self-Destruct” is still a remarkable album and is for sure their greatest release in the post-“The Black Album” era.  I give “Hardwired… to Self-Destruct” an 8.5/10 and highly encourage anyone, regardless of their opinion on Metallica, to give it a listen!  The Youtube playlist for the album is attached below to view and make sure to check back in this weekend for more reviews and other music content!

Classic Album Review: METALLICA St. Anger

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Metallica may be a thrash metal band, but for all their aggressive drive, they manage to make their music balanced. The same cannot be said for “St. Anger”. To put it quite simply, it is a mess. In an attempt to recreate the raw sound of their early work, Metallica decided to make new material for their album in an old military barracks. A noble idea, but one that ultimately failed. In the end the band decided the sound was too raw, and moved to their own studio to record the final product. Sadly, even a bona fide studio and the skills of producer Bob Rock were not enough to save this album.

Shortly before recording started, Metallica’s bassist Jason Newstead left the band. Determined to release a new album, Metallica had Bob Rock step in as a temporary replacement. James Hetfield’s alcohol addiction and personal issues further complicated recording, and a sloppy album was the result.

Metallica’s drummer Lars Ulrich is often criticized for his decision to remove the wire from his snare drum, and for good reason. The drums are overwhelming. The kit doesn’t sound raw, but like it is composed of trash cans. The gimmick is distracting from the rest of “St. Anger’s” noise, which is probably a good thing. Apart from their sound, the drumming is tame compared to the skill Ulrich has shown before.

Putting it mildly, the vocals are strident. Hetfield is frequently off key and manages to sound far less suave than before. Uncomfortable wailing and ugly shouts plague the album too. The lyrics are all things childish, cliché, and boring. In the title track, Hetfield spouts cringe worthy lines like “fuck it all and fuckin’ no regrets” and the album ends up sounding ridiculous, rather than metal. Other times the lyrics are lazy.   For example, Metallica lists off as many words as they can think of ending in “or” in the track, “Dirty Window”, to show off their rhyming skills. The background vocals are usually buried in the mix, but Metallica has hung on to the kind of gang vocals that have worked for them in the past. Unfortunately, we can often hear what sounds like layers of Hetfield screeching over each other, like what is heard on “Some Kind of Monster”, as if he wasn’t making enough of a ruckus already.

It was depressing to listen to a Metallica album without a single guitar solo. Kirk Hammett usually delivers standout riffs at the least, but none were to be found on “St. Anger”. In general, the guitar could be described as uninspired. Hetfield’s performance wasn’t very impressive either. It doesn’t have much of an impact on the album, instead it’s just there. Perhaps they are rusty or old, but it was a lackluster performance.

Bob Rock’s bass performance was completely drowned in the mix, which is strange considering he was the album’s producer. You really have to press your ear to the speaker to notice the bass, and when you do, it sounds like a carbon copy of Korn’s signature rattling bass, especially when listening to “Purify”. On the other hand, who knows what that sound is. It could even be Hetfield puking into one of Lars’ trashcans.

“St. Anger” is not cohesive. Each transition is clumsy, and the instruments fail to complement each other. Not a single aspect of this album is without flaw, and that includes its themes. The lyrics, like those heard on the track, “Invisible Kid”, try to be philosophical, but sound like they were written by an angsty teenager. The songs last too long and even when they have something good going, they ruin it moments later. One of the albums redeeming moments, reminiscent of the stylish rhythms of Metallica’s self-titled album, is when the band lays down a grooving riff to Hetfield’s well delivered lyrics of “Open your heart, I’m beating right here”, but the moment is murdered moments later with more horrible wailing. Overall, this is a horribly discordant album that relied too much on production despite its goal of achieving a raw sound. Something tells me that recalling an album on the sight of a trashcan is not a good sign.

 

Score: 3.4/10

 

Album Review by Zachary Norton, November 2016