Biomechanical-The Empires of the Worlds
(Elitist/Earache Records, 2005)

Despite being able to pick up a few obvious influences, Biomechanical have managed to write a challenging, and extremely heavy album that is sure to please fans of everything from death metal to straight ahead heavy metal.

The core of the band’s sound is essentially Pantera mixed with Ripper-era Judas Priest, Chunky heavy sections give way to extremely melodic choruses with extremely effective higher register singing. Add in some extremely unique riff ideas, flying fingered solos, and orchestral elements, and you have a style that is extremely powerful and about as hard hitting as heavy music comes these days.

The production is perfect for the band’s style, and with Andy Sneap behind the boards it’s not really a surprise. The album is heavy, but there is clarity and even during the busier moments everything rings though. It’s the perfect production for the band’s style.

Does this album appeal to a lot of people? You bet your ass it does. Fans of Pantera will definitely be into this, as it’s one of the first bands to take the influence and actually do something unique with it. Fans of Judas Priest will also be all over this.

Epoxies-Stop the Future
(Fat Wreck Chords, 2005)

This is a CD that basically has me saying no thanks. The band plays quirky new wave influenced punk that is somewhat catchy, but far too cheesy to be taken seriously. If you stripped away the synths and the trying way too hard to sound 80’s vocals, you’d be left with some fairly catchy progressions and your standard Fat Wreck sound. This isn’t what I’d call horrible, or even bad, it’s just not really something I’d listen to very often and I’m not sure what niche of the punk scene would even latch onto this.

Cursed-Two
(Goodfellow Records, 2005)

Cursed is a band that really manages to break the mould of hardcore punk. Part screeching insanity, equals parts dirty dirge, the band is caustic yet not with a sinister underbelly. The band also isn’t afraid to take it’s time getting from point A to point B. Sure the band does have it’s fast moments, but there is a lot of build up and this is the most effective use of doom passages that I have heard possibly ever.

There is a lot of discordance to the band sound, coming across at times like the bastard child of Converge and Entombed. Fits of manic screaming and buzz saw staccato riffs meet with rock influenced passages, coming together to form a style that is essentially a cross of manic hardcore and death rock.

Each song however brings in a new dynamic, and this is an incredibly varied album. Yet everything fits perfectly, and nothing seems forced at all.

This is dirty, disgusting and possibly the best album to ever come from a Canadian hardcore band.

Whiskey Rebels-Create or Die
(GMM Records, 2005)

With a name like Whiskey Rebels you would almost expect drunken street punk, but these guys play incredibly tight, surprisingly melodic hardcore, with slight hints of street punk. Being that I am not an incredibly huge street punk fan, the surprising nature of the band’s sound is definitely welcome.

Think along the lines of a combination of Blood for Blood, Good Riddance, and just a hint of The Exploited, and you basically have Whiskey Rebels. It is sure to appeal to a lot of different people, but they manage to be appealing without being trendy or oversimplified. Sure there are catchy choruses, the songs themselves are well put together and memorable from beginning to end.

A strong production really helps the band hit the mark, as the beefy guitar tone and perfectly mixed vocals deliver the goods. The band manages to have an amazing production, but this is far from being overproduced. It’s powerful, clear, and the ideal production for a band of this nature.

This goes to show that you definitely can’t judge a band by their name alone. Whiskey Rebels are a band that is sure to make a name for themselves once this album begins to create a buzz.

GZR-Ohmwork
(Sanctuary Records, 2005)

You might expect a solo album by the bass player of Black Sabbath to well sound like Black Sabbath. But that couldn’t be further from the truth here. Ohmwork is an incredibly modern sounding album, full of beefy guitar riffs, stellar vocals, and a much more aggressive approach then Sabbath has ever had.

I wouldn’t call this a tremendously original album, yet it doesn’t really overtly mimic any of the newer bands in metal. Certain songs do bring to mind bands at times, but these moments are short lived and few and far between. Plus showing similarities to bands like Alice in Chains, or Nevermore really isn’t a bad thing. The only thing I could have lived without is the incredibly out of place rapping during one of the songs.

Definitely don’t go into this one expecting an album full of Sabbath riffs. It is a heavy album, but this is much more up-tempo, full of heavy riffs, and catchy vocal lines. Sure, it’s not incredibly original, but it’s a good listen none the less.

Cardiac Arrest-Heart Stopping Death Rot
(Independent, 2005)

I was expecting this to be in the vein of the current crop of Carcass worshippers, but Cardiac Arrest is much more old school in nature. The band is heavy, simple (in a good way) and incredibly heavy.

There is definitely an old school slant to the band’s sound, bringing to mind everything from vintage Napalm Death, Benediction and even hints of Massacre. Add in a few modern influences, an extremely guttural vocal approach and you have Cardiac Arrest.

What really draws you into the band’s style is the fact that the riffs are incredibly heavy, yet stripped down and not overly complicated. They don’t waste time throwing in technical runs or endless blasting. There is a lot of power to the song writing, and so watch if the riffs are simple? When the hell did metal become so complicated anyway?