November 2018 Review Round Up

Welcome to a slightly abridged version of Metalshopped. Given the employment circumstances, I’m actually pretty happy with how much got done. There was a period during the month when I worried there would only be two reviews.

One of those reviews was always going to be the Album of the Month, You Won’t Get What You Want. Daughters nailed their comeback album. Nailed it right to the wall. I loved what they had done before, but this is an altogether different beast.

Preparations for the best of 2018 list will begin in earnest in December. It still won’t actually get published until February. Always like to give the postie a reasonable timeframe for delivering December purchases.

As always, if you have critique or commentary, you can reach me at Facebook.

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Album of the Month
Daughters – You Won’t Get What You Want
(Noise Rock – United States of America)
Ipecac – 2018/10/26

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I would have sworn blind that Daughters had broken up, but here we are; they’re back and they’re brilliant. With guitars that sound like a musical air raid siren, drumming that consistently surprises in the best way, and one of the most evocative vocal deliveries I’ve heard they have delivered one of the most welcoming forays into discomfort ever.

The Rest in Alphabetical Order
Fucked Up – Dose Your Dreams
(Hardcore. Mostly… – Canada)
Merge Records – 2018/10/05

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Fucked Up have returned with their second turn at scoring a hardcore opera. And in using music to tell a story, it has allowed them to delve into sounds far removed from their core origins. Dandy Warhols-esque alternative, saxophone driven jazz, and thumping electronica all add a very distinct, truly unique sound. Its sophistication transcends punk.

Gaerea – Unsettling Whispers
(Black Metal – Portugal)
Transcending Obscurity – 2018/06/22

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It’s uncommon to find black metal that operates at this level of sophistication. Unsettling Whispers achieves a level of emotional depth that most of their genre mates can only dream of. Not just from song to song, but within songs there is range of dark feeling. They grieve and rage and hate and explore all the dark recesses of humanity.

Hank Von Hell – Egomania
(Glam Punk – Norway)
Headbanger – 2018/11/02

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Welcome back, Hank. Egomania is great example of what happens when someone takes their negative life experiences and turns it into creative gold. It’s got the riffs and the rock that you would expect, but what really impresses is the pathos. Hank clearly understands where he’s been and where he is now, and he uses it to sell deathpunk that touches you.

Hate Eternal – Upon Desolate Sands
(Death Metal – United States of America)
Season of Mist – 2018/10/26

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Hate Eternal come out swinging on this one. And in a death metal environment where every band seems to bring the fight like an MMA ground and pounder, it’s nice to see an approach more like Wladimir Klitschko: landing super-heavy blows with punishing cleanliness and devastating precision. They’re not here to fight; they’re here to win.

Outer Heaven – Realms of Eternal Decay
(Death Metal – United States of America)
Relapse – 2018/10/12

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Gristly and fetid death metal is what’s on display here, but in this year’s spirit of keeping the old school flame alive, Outer Heaven have produced an album more nuanced than your average gore-fed zombie blaster. Flourishes of technicality rub up against doomy chug in ways that allow distortion of the true death sound without diminishing it.

Psycroptic – As the Kingdom Drowns
(Technical Death Metal – Australia)
EVP Recordings – 2018/11/09

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More technical than their self-titled album, less technical than Sceptre of the Ancients, Psycroptic are trying to balance the old and the new on this album. It mostly works too. It’s definitely nice to hear an album that sets out to challenge from them, especially since it doesn’t try to alienate either. Not flawless, but it will certainly entertain.

Shining – Animal
(Hard Rock – Norway)
Spinefarm – 2018/10/19

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The blackjazz merchants are back with something definitely not blackened, nor jazzy. This is straight up “we owe royalties to Bon Jovi and Adrenaline Mob” hard rock. Nary a saxophone in sight. Not what anyone should expect, but it’s damn entertaining nonetheless. It’s delightfully boisterous, doubly so given how unexpected it was.