Hardcore is a style of music that is currently taking over my world for the most part. The chunky bass lines, amazing riffing and pummeling drums are absolutely killer in bands like Trap Them, New Lows and The Carrier. I have fallen in love with all of these bands over the last year and now with the coming of Baptists, I have another band to worship.
This band comes right out of the box with aggression piled up. Amazing chugging guitars create an amazing groove that will get your head banging guaranteed.

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OUR DAYS ARE NUMBERED are a Washington DC area band that brings something new and something old to the table. After the release of their self-titled debut album, these DC area metallers are at it again with their newest album, No Need to Mark These Graves. In addition to having a pretty cool and catchy album title, the band backs this up with some solid heavy, aggressive, and progressive death metal that is sure to catch you by surprise at times.

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The fact that Vendlus Records are mostly renowned for their black-metal rooster and the mixing duties are credited to Agalloch’s bassist Jason Walton have led me to believe that Arkhum’s Latin-named first album “Anno Universum” was peddling a black-metal style in the vein of their label mates Agalloch and Wolves In the Throne Room. Nothing could be further from the truth ‘cause although “Anno Universum” does bear some black-metal influences, but it owns more to acts like Beneath the Massacre and Necrophagist than it does to Burzum or Darkthrone.

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Ghostlimb are a band with a lot to offer. I began listening to this album with an open mind. There were a lot of good things about Ghostlimb, but there were just a many bad things that trumped the fact that they have talent. Their songs are catchy and melodic, but within every track there is an extra melodic section that makes the boredom automatically set in. I really dig what these guys are trying to do, just not so much their execution. 

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Good music, just like any good book or movie provides some satisfactory entertainment. Great music however, speaks to you and disturbs your emotions and thoughts. It could make you want to kill someone, question authority and act irresponsible, or in the case of Catacombe’s “Kinetic” it makes you ponder on the purpose of life, your failures, your triumphs and your regrets.
That was the experience I gained with Catacombe’s first full-length work when I first listened to it, late at night inside the comfort of my home, after an exhausting day at work.
Yours could turn out completely different, yet even if you’re having a great day, I promise “Kinetic” will ruin that in a good way, it will take you on a rollercoaster ride of sounds and moods, mostly dark, melancholic and introspective.
Although the Portuguese act moves through musical ambiences that shows references of post-rock and post-metal, two styles that have long ago reached the saturation point, they’ve avoided the genre’s most boring clichés and crafted their own sonic signature along the lines of Mogwai, Caspian and Red Sparowes. There’s precious little of the filler and meandering that has too often hampered the impact of most post-rock or post-metal efforts.
The chiming, jangly guitars constantly create an intense atmosphere that’s equally bleak and beautiful, inviting you to step in and lose yourself in the placid and equally disturbing nature of their soundscapes.
Sit quietly, plug in your headphones and enjoy the ride, let the music project the images you’ve buried deep in your mind. I promise it will be musically and emotionally gratifying. (8.5/10)

David Alexandre

Band info: www.myspace.com/catacombeband
Label info: www.myspace.com/slowburnrecords
For fans of: Mogwai, Caspian, Red Sparowes, Callisto

Catacombe - Anna-Liisa

For lack of any other convenient tag, Italians Viscera are often placed on a post-metal category, yet their sound incorporates far more styles and moods than the standard Neurosis/Isis hybrid.
Indeed, the band’s second album “2: As Zeitgeist Becomes Profusion of the I” displays a wide array of influences raging from shoegazing to black-metal, all cleverly merged together into something singular and unified, without ever sounding disjointed or forced.
Just try to imagine Jesu’s Justin Broadrick playing with someone like Deathspell Omega and you’re half-way close to figuring them out. Subtle melodious and hypnotic passages are interspersed with abrupt and harsher moments complemented with a pleasant dichotomy between soft and lulling vocal harmonies and gnashing screams. A song like “Hands in Gold” better reflects their drive to balance the song-writing between harsh and soft moments, beauty and angst gentle. It begins with a gentle, mellow and hypnotic guitar chords before transforming into a transforming into a fraught and frenetic black-metal outburst.
Although “2: As Zeitgeist Becomes Profusion of the I” is not a wholly spectacular or groundbreaking record, it’s nonetheless a pleasant and interesting journey through their own world, and form my opinion it’s very much worth joining them. (7.5/10)

Luca Niero

Band info: www.myspace.com/detestatio
Label info: www.consouling.be
For fans of: Jesu, Old Man Gloom, Agalloch, Deathspell Omega

I’ve a soft spot for this Portuguese act ever since I’ve come across their debut album "The Shape Of Hell To Come" in 2008. We Are The Damned basically epitomizes everything I love in old-school death-metal and hardcore. “Devorador dos Mortos” which means “devourer of the dead” is the band’s brand new video-clip taken from their soon to be released second album “Holy Beast” and it’s a furious, raw and downright insane theme.
You really, really need to see this, and don’t forget their sophomore work comes in March 18th through Germany´s Bastardized Recordings.

More info at: www.myspace.com/wearethedamned

Los Angeles, California four-piece Intronaut are fast becoming one of the most vital and interesting bands in modern metal music. Two years on from their excellent and critically acclaimed “Prehistoricisms” album, the band returned last year with an incredible new record that tops everything they’ve done in the past and boasts an unlimited progression. With an increased amount of melody present in the song-writing and a wider exploration of new sounds and nuances, “Valley of Smoke” was unanimously elected as one of the greatest albums of 2010 for various musical publications. Scratch the Surface traded e-mails with vocalist and guitarist Sacha Dunable to find out more about their third full-length record.



“Valley of Smoke” marks a new direction for Intronaut and the first thing that’s audibly different is your vocals. There are a lot more vocal harmonies on the record in detriment of the usual growls and screams. Did anything in particular motivated that decision or it was just a desire to try out something new?

“Yeah basically it was about doing something new. The thing is, we're not really as young and "angsty" as we were 5-10 years ago, so it was starting to feel a little forced, getting up in front of people and just growling at them. Plus, when the music is so intricate and melodic, it’s almost a disservice to just barf your lungs out all over it, rather than using voice as a couple extra musical instruments to have at your disposal.”

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Nine long years on from their first work “Posthuman”, avant-garde black-metal act Void return with a new record and a revamped line-up. What initially started out as a Norwegian-British collaboration featuring members of Code, Dødheimsgard and Ved Buens Ende, has now morphed into a fully fledged group based exclusively on British soil.
One aspect that is immediately noticeable with “Void” is that is less adventurous than its predecessor, the band stripped away most of the electronic elements that were prevalent in “Posthuman” to go back to a more basic and raw approach, but still with a strong sense of experimentation.
So while you shouldn’t expect anything too out there, Void’s are still crafting some challenging and demanding black-metal, falling somewhere in between Voivod and Thorns.
That’s perhaps the best way to describe this album in the sense that it delivers some pretty weird time signatures, merging fierce, cold riffs with off-kilter, dissonant and Voivod-ian guitar chords. Songs like the weirdly titled “Alligator X-Ray”, “Ego Tranquilizer” and “Feral” certainly reminds me of a concoction between the two acts.
Bottom line, while “Vile” is not as bizarre and eccentric as “Posthuman”, it’s a more refined, raw and in-your-face proposition that will surely satiate your needs for a more technical and complex black-metal style. (7.4/10)

David Alexandre

Band info: www.myspace.com/posthumansynthetics
Label info: www.duplicate-records.com
For fans of: Dødheimsgard, Ved Buens Ende, Thorns

Over the last two decades Carl-Michael Eide, also known as Czral, Aggressor and Exhurtum have been responsible for some of the most innovative and eerie music made within the extreme metal scope, first with Ved Buens Ende, then with Dødheimsgard and lately with Virus.
Often tagged as avant-garde jazzy metal, Virus is definitely where the Norwegian multi-instrumentalist most explores his leftfield verve at the moment and in that respect, their latest album “The Agent that Shapes the Desert” offers some pretty weird and dark music.
The album ebbs and flows brilliantly from track to track, transporting listeners into a dark and mysterious scenic ambient, just like a journey through an old and obscure circus full of freaks, wonders and other curiosities.
Jazzy drum patterns coupled with some outstanding bass work accompany dissonant and hypnotic guitar chords, while the singular vocals of Czarl have a somewhat theatrical feel, just like the ringmaster of the circus I’ve mentioned.
Off course their unorthodox and indulgent brilliance is just not for everyone, therefore Virus’ music will eventually remain confined to only a privileged few with a penchant for challenging music and regrettably Carl and co. are condemned to live on a diet of rice and beans for the rest of their lives. (8.5/10)

David Alexandre

Band info: www.myspace.com/czral
Label info: www.duplicate-records.com
For fans of: Ved Buens Ende, Voivod, Vulture Industries

On paper, I admit that Kvelertak might sound like a terrible proposition, the prospect of a Norwegian band merging garage rock with black-metal isn’t very appealing and might even raise a few eyebrows to say the least. But once opening song “Ulvetid” kicks in, it becomes near impossible to resist the band’s tremendously contagious energy.
Arguably one of the best albums to come out in the last year, “Kvelertak” is a furious, dirty and catchy record that meshes the worlds of punk, garage rock, thrash and black-metal in a way that sounds so natural and wicked. Imagine if Satyr, Iggy Pop, Nicke Andersson and Lemmy all meet in a rehab program and decided to form a band to channel all their energies and frustrations into music, the end result wouldn’t be too dissimilar from Kvelertak self-titled debut record. The Norwegian piss all over the genre’s conventions that some of you hold sacred to discharge upon us all a potent and infectious blend of sleazy rock 'n' roll melodies, fist-pumping riffing, thunderous beats and harsh black-metal screams.
“Kvelertak” is a wholehearted recommendation for fans of everyone from The Stooges to Enslaved, from Motorhead to The Hellacopters, from Metallica to Turbonegro, and I bet it won’t be the one-trick pony that some are suggesting on various message boards. (9/10)

David Alexandre

Band info: www.myspace.com/kvelertak
Label info: www.myspace.com/indierecordings
For fans of: Satyricon, Enslaved, The Hellacopters, Turbonegro

The old saying “don’t judge a book by its cover” rings true with Abacinate’s second full length “Genesis” because once you get past the amateurish album cover with the obligatory undecipherable logo you’ll find out a work that isn’t bad at all.
Although this U.S. five-piece plays a sort groove oriented death-metal that isn’t bound to break any new ground, their Dying Fetus meets Merauder style is fairly competent and solid. Expect some vigorously fierce riffs, harsh growls, vile screams and lots of double bass pummelling all delivered in a furious manner. Occasionally, the band tosses in elements from other genres like traditional heavy metal and sludge, perhaps in an attempt to prevent the songs from sounding too homogeneous.
One of my favourite songs of the album is “Purveyors of Scum” and serves to best illustrate their subtle eclecticism, as it starts with some vicious mid-tempo riffs akin to Morbid Angel circa “Domination”, then gradually tails off into some deathcore manoeuvres before ending with a glorious groovy and sludgy riff.
Overall, “Genesis” isn’t bad record at all, but it’s not great either and probably will be confined to remain in obscurity. (6.4/10)

David Alexandre

Band info: www.myspace.com/abacinatenj
Label info: www.epitomite.com
For fans of: Dying Fetus, Misery Index, Pathology

Seemingly from out of nowhere, well Stavanger-Norway actually, Kvelertak literarily took the world by storm with their incredibly infectious self-titled debut album which was already elected as one of the best works released in 2010. That’s no mean feat for a band that emerged only three years ago, when a bunch of friends decided to create a group just to overbear the tranquil and monotonous lifestyle of their hometown.
Yet not much is known from Kvelertak except for that, so I suppose the most obvious thing to enquire about right now is exactly who is Kvelertak? Some garage-rock musicians with a fixation towards black-metal, punk-rockers twisting around Satyricon tunes or just a bunch of individuals with a wide array of musical tastes and a desire shove them over your face, as violently and energetically as humanly possible?

“Definitely the last one! We are six very different people with different music tastes. We don't really subscribe to any sub-culture or scene, we just really like catchy rock music.”

Definitely “Kvelertak” is one of the most interesting albums to come out last year, merging genres as diverse as black metal, punk and garage-rock and into a potent and infectious amalgamation that defies conventional labels.
Do you guys ever pay attention to what people are saying about your music? Critics seem to throw a lot of different labels to describe your music.

“Of course we do! All bands that say they don't are liars. But it's not like we rushed out to pick up the reviews. We did not expect this massive acclaim obviously, so it's a flying start to a career, and we're very grateful for that.”

How would you describe the overall mood of the album?

"We wanted to make a party-album that you could listen to sober! It starts off right in your face, and then throughout the record the songs get longer and less single-y and more epic. I hope it makes for a good dynamic when listening through the whole thing. I like it when an album sounds like an album, and not just a bunch of songs.”
I’m told that you write all the music, while vocalist Erlend Hjelvik crafts all the lyrics."

Do you have a particular process that you go about when you’re writing music, or it’s just a matter of sitting down and jam whatever comes to you and then build from that?

“I'm not a jam-guy really. I like a good jam, but I'm not sure if it's a very effective way of writing songs. You can't just expect people to listen to something you came up with randomly. I record parts when I feel confident they are good enough, compile them in Cubase, play around with them for a while, re-record and mix, throw some midi drums and dummy vocals on top, pitch a guitar down an octave for bass, then send the mix down to the other guys, and hope that they like it. Sometimes, if there is a part I feel like I'm missing, we'll try it out in the practice area first, just to see if something comes up, then I will make the demo. ‘Nekroskop’ was the last song on the record to be written, and some of the stuff there we came up with together in the practice area, and that's one of my favourites on the record. But usually I will try to make a demo that expresses the idea as well as possible. Sometimes it's hard to get a certain riff or part across if it's not in the right context. It has happened that a riff that I've tried was rejected at practice, but when one was able to hear it with drums and vocals and all the parts combined, it made sense. But it's not a point for me to be the sole songwriter. We used to be several people writing songs, but it just kinda ended up like this. As long as the songs are good, doesn't really matter who writes them. It's not like it's going to get you laid anyway.”


All the lyrics were written in Norwegian and I’ve read somewhere that they deal with Norse Mythology and Viking Folklore, can you shed some light on what vocalist Erlend manifests through his words on the album?

“I guess it just makes sense thematically, since we're Norwegian and all. It would be really dumb not to utilize such an amazing source of material. Some of the lyrics are actually pretty clever too, in that they reflect stuff that happens to Erlend, but are disguised as your typical metal-lyric. ‘Liktorn’ may seem like a song about that whole thing with Balder, but it's really about this one time when I didn't pick Erlend up from band practice, or something (even I don't know half the lyrics). Balder is also the Norse origin of my name, pretty clever?? Too bad no-one will ever get to read that. Other lyrics are just very stupid. Let's just say they were written WAY before we even dreamed of releasing a record, hehe!”

There’s a long tradition of Norwegian bands that chosen to sing in their native tongue. In your case, it was just a natural choice, or it kind of happened by accident so to say?

“In the beginning we were playing around with the idea of mixing English and Norwegian, and so we had some really silly songs that would switch between the languages. We quickly realized it was a pretty stupid idea, and at that time it was not even a question, the lyrics had to be Norwegian. I guess the attitude was, no-one really care about lyrics because you can't hear them anyway, might as well be Norwegian. Unless you read them in the booklet, which we would DEFINITELY have none of. And we stuck with that. Turns out people DO care about lyrics! People are asking us all the time to release them. We have been on two European tours by now, and we see people all the time singing along to lyrics they couldn't POSSIBLY know! But they still have to sing along! That's pretty funny. And we love watching people post their own ridiculous transcripts. So we wouldn't want to kill all the fun by releasing them!”

One of the most interesting things about this new record is the production work. Sonically “Kvelertak” strikes a perfect balance between being engagingly melodic and rhythmically powerful. I take it the band is quite pleased with the work of Kurt Ballou at his GodCity Studios right?

“Hell yes! That was the best thing that could have happened to the record. I was kinda worried that my lack of studio experience wouldn't do justice to the song material that we had accumulated, unless we had a really kick-ass producer. So we set up a strictly hypothetical wish-list of producers, starting with Kurt. We didn't expect anyone would actually say yes. I assumed we would have to do it ourselves, so I was listening around to find references to music that I would use to describe the sound to a technician. When I started doing some research I realised Kurt's name was showing up on all my favourite references. I said “what the hell”, and sent him a bunch of demos on Myspace, and on account of that (he had obviously never heard of us before) he said yes the day after! I remember a huge sense of relief when I read that, the fact that he said yes based on that was really a testament to the material and his ability to hear it in a crappy demo. At that point I knew the record was going to be bad-ass, which it was, thanks to Kurt. Not to mention that Converge booked us for their tour without even seeing us, and way before anyone outside Norway knew about us. We really owe a lot to those guys!”

Are there any plans for a follow-up to “Kvelertak” yet?

“Of course! It will obviously be shitty, but at least there will be more songs to choose from live. ;)”

David Alexandre

All Kvelertak photos by: Paal Audestad

More info at: www.myspace.com/kvelertak

The thing I loved most about this album is the insane amount of melody present in every single track. Regardless of how massively brutal and hardcore the atmosphere is, there is always a perfect amount of melodic structure.
Joining the ranks of bands like New Lows and Trap Them, The Carrier are a band with the brute force and logic associated with the hardcore punk ethic but the thing that makes this band stand out is the association of atmospheric elements in their tracks. Songs like "Wash Away My Sins" contains fragments of song structure similar to bands like Isis and Pelican. It is refreshing to listen to a band with so much influence ranging from all different aspects of the metal spectrum. From straight up hardcore passages like "In Silence Together" to the more ambient, emotional tracks like "A Stranger to Myself," The Carrier prove time and time again that their music is not only heavy and powerful but distant and profound.
These guys definitely know what they are doing musically. Every piece of every track is perfectly structured. The guitars are distorted and melodic. The drumming is complex and demanding and the vocals are over the top amazing. This album is absolutely mind-blowing. You will not be disappointed in the least. Bravo! (8.5/10)

Ross Gnarly
Full review: American Aftermath

Band info: www.myspace.com/thecarrierhc
Label info: www.deathwishinc.com
For fans of: Trap Them, New Lows, Dead Swans

With only two members in their ranks, The Neologist start off on the right foot with a competent and promising debut album that dwells on a melodic death-metal style with a strong Swedish bound.
There’s a detectable In Flames influence running throughout most of the songs, opening song “Dead Winter Inside” in particular brings to mind the Swedes’ early period when they used to imbue their songs with a folk flavour. Indeed, the U.S. duo made no efforts to camouflage their influences and even included a cover of “The Hive” from the Swedes’ third album “Whoracle” that stands up pretty well with the original material.
“The 26 Letters of Your Universe” is heavy and packs a muscular punch, but it’s also extremely melodic at times with a great amount of clean vocalizations interspersed between ferocious rasps. I should also mention the outstanding guitar work of James Lewis, who reveals a special knack for killer hooks and mesmerising harmonies.
It’s not an instant success though, some songs do lack a more consistent identity as they sound too clued to acts like In Flames, Soilwork and Scar Symmetry, and the drum work sounds far too mechanical and processed for my own taste. I guess that’s one of the shortcomings of having just two members.
Nonetheless, “The 26 Letters of Your Universe” is definitely a competent and entertaining work that shows that The Neologist has the musical talent and skill to make a difference in the scene. They just need to work hard to develop a more distinct personality and refine some of the rough edges. (6.6/10)

David Alexandre

Band info: www.myspace.com/theneologist
For fans of: In Flames, Soilwork, Scar Symmetry, Disarmonia Mundi

For a guy that spent most of his youth listening to bands like Iron Maiden, Judas Priest and Manowar among others, Darkblack from Oregon-U.S. are a surprising flashback to those juvenile years, when I actually had more hair on my head than on my pubic area and didn’t had to worry about rent at the end of the month. Ahh those were the days!
Indeed, “Midnight Wraith” sounds straight from the 80’s heavy-metal vault, exuding a retro vibe that hints at dinosaurs like Iron Maiden, Judas Priest, Saxon and Manilla Road. The guitar work of Anthony Crocamo and Rob McConlogue on these five tracks is quite impressive, they constantly churn out twin harmonies and blazing solos that on a few occasions verge on 70’s hard-rock in the vein of Thin Lizzy.
Off course, it’s nothing groundbreaking or outstanding, but in an age of polished productions devoided of soul and sweat, and big pompous choruses, Darkblack most definitely scores some points with their traditional heavy-metal sound oozing passion and integrity.
I’m not sure that this is a disc I would have in a regular rotation in my stereo though, as it tends to get a bit repetitive after a few listens, yet I’m positive that “Midnight Wraith” is perfectly capable of pleasing all the 80’s metal aficionados out there, new, old, bald or hairy. (6.8/10)

Luca Niero

Band info: www.myspace.com/darkblack
Label info: www.stormspell.com
For fans of: Iron Maiden, Manilla Road, Saxon

Discodeath. This is what the German metal band DEADLOCK describes their sound as. I find this, as of yet, unheard of genre perfectly fitting to the sound of their newest album “Bizarro World”. As they have done in the past, DEADLOCK manages to combine elements of all around the musical spectrum into one giant cohesive piece of musical artwork.
“Bizarro World” starts off with a classic rich sounding guitar and drum pounding that these guys do so well. The intro track “Virus Jones” is a perfect way to introduce the band to new listeners as it contains everything that is DEADLOCK – epic choruses matched by Sabine Weniger’s angelic vocals, heavy as hell verses filled with the vocal prowess of singer Joe Prem, and of course the killer heavy music that they play to a T.
Since DEADLOCK is so good at throwing curve balls at the listener, they immediately follow the hard hitting intro track with the bands first single titled “State of Decay”. This song is very mainstream radio friendly as it consists entirely of Weniger’s clean vocals and a solid song structure to match. The band also includes their signature synth/keyboard work in this track as it blends with the catchy guitar lines and heart melting leads performed by Sebastian Reichl and Gert Rymen.
One thing I have learned while listening to DEADLOCK is that you never know what they are going to throw at you and you can’t get a grasp of their music by listening to only short bits – you really have to hear it all from beginning to end. As they have shown in past efforts with including even rap passages and a saxophone, these guys are at it again with surprises. Just when you are beginning to be serenaded by Weniger’s vocals on “Falling Skywards”, the song abruptly cuts to a heavy breakdown revolving around yet another unique synth part that is matched with the heavy vocals of Prem, only to once again return to the soothing sounds of Weniger’s voice.
After having been familiar with all of DEADLOCK’s releases, it is clear that “Bizarro World” is their most mature and confident release as a single band unit. This is portrayed beautifully on songs like “You Left Me Dead” as Weniger and Prem brilliantly play off of each other’s vocals coming together as a complete and singular entity. It is a perfect blend of brutal heaviness along with the soft vocals of Weniger. Reichl’s song writing is also showcased in having very well structured song parts that serve the good of the song as a whole rather than highlight an individual’s talents. The good ‘ol adage “Quality over Quantity” certainly applies to much of Reichl’s songwriting done on this album.
“Renegade” is by far my favorite song on the album thus far as I think this song is the culmination of what DEADLOCK is. I say this because of the wild ride this song will take you on. It starts as a slower and more somber song consisting primarily of Weniger’s voice and a piano. Once you start grooving to this, they immediately throw heavy ass vocals at you with an awesome techno sounding synth part in the background that adds such a unique layer to their sound – all right before bringing it back to the piano/Weniger duet. “Renegade”, as well as the entire album as a whole, packs a punch with every single element that makes up DEADLOCK. (9/10)

Devin Walsh

Band info: www.myspace.com/deadlock
Label info: www.lifeforcerecords.com
For fans of: Evanescence, We Are The Fallen, Caliban, Heaven Shall Burn

"Jason... The Dragon" is a dirty, monstrous album. Aside from the magnificent sludge metal that Weedeater has produced in the past, this album contains, as best I can describe, melancholic bluegrass. Now, it only comes up in one song ("Palms of Opium") and the 'outro' ("Whiskey Creek") which also contains a nice ditty played on piano. Yes, those elements did throw me off a bit, but it in no way threw off the album as a whole.
Every track, aside from the aforementioned, contains some of the filthiest sludgy goodness as I can imagine. It is magical, to tell the truth.
Dave Shepherd absolutely kills the guitar. His droning, southern accented playing, in every way possible, helps to form a rather unique sound for Weedeater. Keith's drumming is extremely well executed. He does not rely on double bass and blast beats like some bands in the genre do. He keeps it nice and steady and sets up an amazing tempo. And Dixie's vocals? I have been a fan of Dixie for a long time. Buzz*oven are an amazing band and I have looked up to them for years. His vocals are pretty much the same as he expresses in Weedeater as he does in Buzz*oven. I love it either way. From tracks like "Hammerhandle" to the self-titled Jason... The Dragon (which has one of the best song lyrics I've ever heard: "you smell like fuck"), I was not let down whatsoever.
These North Carolina boys know how to deal out dirty music and they have put together an amazing record that will not go unnoticed when year end lists come around. Bravo! (9/10)

Ross Gnarly
Full review at: American Aftermath

Band Info: www.myspace.com/weedeater
Label Info: www.southernlord.com
For fans of: Buzz*oven, Bongzilla, Sleep