Infinite II is an enjoyable, though unpolished, follow-up of Infinite I. Rooks is a band whose sound has not quite matured to its full potential. It blends elements of hardcore, groove, and of course djent quite nicely, but suffers from a few flaws which are quite noticeable. I will start with the cons. First, the production is a lot better I think, but still needs a little work here and there. Even if it's an EP, I was expecting something longer too, since Infinite I is only 12 minutes long! But for the most case, the weakness of Infinite II is the constant use of breakdowns.
Rooks is yet another project backed by Jeremy Carroll (ex-Oceano), following in the tradition of modern groovy hardcore juggernauts Bermuda and A Plea For Purging. Indeed, the music itself is pretty much an amalgam of every modern hardcore tendency ever thought of.
'Portals Through Ophiuchus', The Wrath Of Vesuvius's first full-length release, is a great step up from their debut demo 'A World In Peril', solidifying the band's sound and proving them to be approaching the top tier of modern extreme metal. This is an album that I can see putting regularly into my playlist; each of the tracks here is very strong and well constructed, and the band plays with conviction and a unique enough to style to remain interesting after numerous plays.
From the first sight of the name Djentagram, I thought the cheesiest name would be followed by a cheesy album. In the case of "Thirteen by Thirty Six", that shall not be applied. The thought of Death Metal and Djent blending is tough. While you would think the complex notes and time signatures would go hand in hand, the opposite sounds may be very clashing. When the first track "Fuck It" started it packed a huge punch of nice Death Metal that gets your head banging, and as the song continues you can see the Djent beginning to blend and metamorphosis takes over and creates Djentagram.
Medieval. If I were allowed to choose only one word to describe Måsstaden, the upcoming full-length release by Vildhjarta, then it would be this. The utter darkness and despair that this album manages to conjure up, along with moments of shimmering beauty and a sense of timelessness, is truly magical. The direct yet hugely challenging guitar work, hauntingly dissonant and wielding terrifying power, is layered thickly yet somehow gives the illusion of having spades of room in which to work.
Bad Blood, the new album by Russian djentleman Nemertines, is a heavy, in-your-face mesh of djent, math, experimental, and doom. With ear-shattering guitars, in-your-face dissonance, and a sound that only Nemertines himself can truly pull off, this is definitely an album worth getting. Nemertines' music is dark, heavy, and unique. There's just about no way to deny that, and there's no way to deny that he upped the ante just a little bit more with his album "Bad Blood". This album is easily one of the best albums of the year in the djent scene, if not the best.
Djent is often criticized for being unoriginal, uncreative and lacking variety. Its critics point to the mass of copycat bands that sound a little too much like Meshuggah and compare the scene/genre/style to Deathcore which exploded just as suddenly and has already begun its decline back into obscurity. These critics are wrong. Djent detractors from outside the scene/genre/style frequently fall into the same trap that non-Metal fans do when making generalizations about any form of Metal music.
Visions are a band who follow a long tradition in the British Tech Metal scene: however, they must not be immediately pigeonholed in the vast movement forged by their mighty predecessors purely on the basis of their overtly complex riffs. Their originality is showcased in their album 'Home': this is a band with a penchant for juxtaposing aggression with melody by integrating chaotic vocals and elements of awe into the mix.
The problem with having fans is that they can build an image in their own minds of what a band should be. Taking a virtual ownership, holding the band in question to certain standards, expecting certain things from it. This is often one of the biggest dilemmas for a band. They are forced into asking themselves "will the fans like this?". It can create an interesting conflict of creative control, one that can often tear bands apart. Let's look at this problem through the perspective of Vildhjarta, for no particular reason!
Recently I watched a documentary about the evolution of the universe and the physical laws that make our very existence possible. This programme and its footage evoked thoughts of a lone voyage into the mists of space and time, roaming the shores of far-off galaxies, and folding into ones own strange and bleary subconscious.