Roadrunner US レコード& CD

Review: San Francisco blackgaze auteurs Deafheaven offered a sharp left turn on 2021's Infinite Granite, which saw the band embrace a fully-fledged dream-pop sound complete with lush, gentle vocal cadences from enigmatic frontman George Clarke, known primarily for his shrieking, inhumane howls. Returning with their sixth full-length Lonely People With Power, the band seek to finally strike a balance between their equal understanding of black metal malevolence and ethereal shoegaze beauty, trading their usual penchant for small collections of lengthy, post-rock indebted ten minute plus tracks in favour of more instantaneous delivery, spread out across 12 individual pieces (their most on any project to date). Ranging from their heaviest and most straightforward black metal work on 'Magnolia', to the blackgazing familiarity of 'Doberman' to the seamless fusion of styles exuded on 'Heathen', which makes ample use of Clarke's now fully elaborated vocal range, marrying his caustic screams with fragile crooning, this is where Deafheaven have seemingly always been striving to land, it just took them a few albums of experimentation to get there.

Review: With 2021's Infinite Granite taking a sharp left turn into the realms of hazy, luscious dream-pop, eyes have been pointedly fixed on San Francisco blackgaze heroes Deafheaven ever since, with many of their fanbase pondering where to next? The answer is their highly anticipated sixth full-length, Lonely People With Power, which finally showcases the band freed from all creative restraint and audience expectation, marrying their equal and effortless understanding of black metal malevolence and shoegaze ethereality, even allowing frontman George Clarke to make full use of his recently discovered vocal range. Howling shrieks and delicate crooning weave around one another on the euphoric heft of 'Heathen', whereas 'Magnolia' offers up one of their most succinctly black metal cuts to date, radiating with the caustic aura of Emperor's more proggy latter-day output. Forgoing their usual post-rock penchant for a small number of tracks all clocking in at approximately ten minutes, the numerous cuts (12 in all, marking the most of any Deafheaven album to date) prioritise instantaneous delivery on their most sprawling and musically diverse collection yet, fusing their harshest and most accessible sonics into one monumental victory lap touching upon everything from black metal to shoegaze, dream-pop, thrash, post-rock, emo, screamo and post-punk.

Review: After their monumental rise from mask-sporting weirdos to forefathers of a new generation of mainstream metal, many wondered how or if Slipknot would manage to top their blistering self-titled debut, and its malevolent follow-up, 'Iowa.'

Hindsight paints doubts in curious colours, as 'Vol 3: The Subliminal Verses' is now regarded as one of the nine's most expansive, dynamic, and universally acclaimed works.

From the caustic anthem, 'Duality' to the surprisingly accessible 'Before I Forget', the collective managed the impressive feat of honing their craft to appeal to a wider audience while sacrificing little of the unbridled angst of their earlier projects.

Hearing frontman Corey Taylor let his guard down for gentle and hypnotic cuts like 'Circle' and 'Vermillion, Pt. 2', offered entirely new insights into a group known for their brutal intensity and little else. There's still plenty of that on display, with the venomous ode to their fanbase, 'Pulse Of The Maggots', ringing true with its abrasive composition.

Finally reissued alongside its predecessors, there's never been a more ideal time to finally lock down this seminal trilogy that would introduce, shock and cement Slipknot as legends of their own kind for decades to come.

Review: Continuing the onslaught of Slipknot back catalogue reissues, '0.5: The Gray Chapter', saw the collective channel the shared grief and inner turmoil of losing their bassist Paul Gray, into a dynamic, vicious fifth full-length that served as a twisted follow up to 2008's global success, 'All Hope Is Gone.' Harboring some of their darkest singles in over a decade, such as the blistering, 'The Devil In I', or the claustrophobic assault of, 'Custer', many may consider the project to be the outlier within the 9's canon, but with drummer Joey Jordison's last recorded performance, and before the rebirth of 'We Are Not Your Kind', this work served as a complicated reflection of artists lost in a deep state of bewilderment and trauma; utilising their connection and artform to process and heal in ugly, chaotic abandon.

Review: Since the release of their Grammy-nominated third full-length Glow On in 2021, Baltimore hardcore experimentalists Turnstile have legitimately ballooned to one of the biggest acts in modern rock music. Returning four years on with their longest gap between albums yet due to their immensely expanded touring schedule, Never Enough seeks to maintain the momentum whilst building upon their unique vision for what was once an admittedly niche subgenre. With the opening title-track's anthemic stadium-punk vibes complete with ethereal synths and bombastic, purposefully simplistic riffage, to the jangling disco-dream-pop banger 'Seein' Stars' to the blistering yet positive chaos of 'Birds', all signs point to the band nailing their mission statement for the scene, with yet another intriguing opus brimming at the seams with creativity, energy and incomparable proficiency. Their first work to mark the arrival of former Chubby & The Gang guitarist and Yorkshire-born Meg Mills following the departure of Brady Ebert, the album will also be complimented by a musical film, essentially offering music videos to all 14 tracks in a style reminiscent of The Who's iconic album-film Tommy. Due to premiere at the Tribeca Film Festival in New York City, Turnstile continue to decimate the boundaries and limitations of what a hardcore punk band can accomplish.