Soulless – "Forever Defiant"

Imagine if you combined all the best aspects of Metal and threw them into a pit and let the blast beats play. The product that would walk away from this experiment would be Soulless "Forever Defiant". I haven't heard an album like this in a long, long time. The riffs are amazing, from old school Metal to new school melodic thrashings, every lick worthy of whiplash and blood. There are albums that you play a few times then they proceed to rot away and collect the dust they deserve while you search for something new, then there are albums that you never put away, that get consistent listens for a lifetime. Everyone has a few. Dave Johnson now has a place on two of mine, Ascension's "Abomination" and Soulless' "Forever Defiant".

Somewhere along the lines Metal put away their beat up, ripped, dirty, patch covered Jean Jackets and went out and bought designer ones that are dry clean only. Somewhere Metal stopped being about the dark area's of our lives, about the pain of history and the tribulations of our present. At some point Metal (or false Metal) started to really care about its girlfriend or ex-girlfriend as it may be. Metal went to the salon, and has been very concerned with its looks for too long. Soulless brought it back on a broken down Greyhound Bus littered with cheap beer and ugly groupies.

Enough of my lame attempt at journalism, on to the music.

I can't think of anything from present day that this reminds me of. It has the feeling of older metal albums, though not musically dated, just in that memorable riffage type of way. Blazing right hands, solos more in the vein of Hanneman then King, death metal/thrash vocals, thought out drums parts that give each song its own feel, so as not to fall victim to sounding repetitive. Had this album come out when thrash metal was in its heyday, everyone would be sighting this album as an influence. Because of the complexity of each song, I've yet to find a favorite even after 10 or so listens, but I know it's getting better every time, there's enough here for you to notice a little something new every time you hear it.

"D-Composition", a short acoustic/electric guitar instrumental is a beautiful piece with solos from all 3 axmen in the band. Recorded at Mars by Bill Korecky, as almost all good Cleveland Metal is, the quality of the recording is as good as it comes. I have nothing negative to say about this album, except maybe the cover is to similar to its predecessor. But maybe there's a reason for that and I'm a fucking moron. Comes with sticker and patch, or at least mine did.  5 out of 5 – NME

Riffs – 5

Drums – 4

Bass – 5 (wish you could hear more of it!!)

Vocals/Lyrics – 4

Recording – 5

2^nd Half - "Left Behind"

In the first 30 seconds you know this is not something you've heard before. From a blazing almost 80's metal riff into Husker Du/Dag Nasty 'ish melody then into the chorus of the title track 'Left Behind" where we make the jump into their 311 influence. Holy shit it's catchy, it'll be in your head for a few days. That seems to be an ongoing theme of the album, really catchy hooks. Every one of them gets stuck in your brain.

I spent the first run waiting for evidence of the lack of a Bass player and the lackluster effect it would have when I did. But that never happened, I wanted it to because I'm a Bassist, but it didn't. Ordinarily I'm not one for poppy or friendly music, I like the more hardcore end of the spectrum, but I have to say I found myself looking around to see if anyone was watching, and once the coast was clear I popped it back in (a few times) and came really, really close to singing along. But I didn't, and if I did I wouldn't admit to it anyway.

My favorite tracks are "Left Behind" and "No One", but the whole disc is really good. Vocals sound a lot like 311 at times, but they list them as an influence, so I think it's intended. I know their stage show is something to see, I have seen it, but I also found the bar and that seemed to deteriorate what should have been a vivid memory of what I hear is an awesome Live show. 2^nd Half is another example of a totally original, creative band with a lot to offer a large audience, getting slept on probably just because they're from Cleveland.

Skipped tracks: "After All" is to close to a sitcom theme song for me to enjoy it.

I realize this has been out for awhile, but I just got it so fuck off.  4 out of 5 - NME

Play Havoc – "All Things Due"

First I need to correct a mistake I made in my first PH review: I was under the impression that DJ Sleepyhead was doing all the Production for PH, but after checking the credits on the album I see all but 2 tracks were done by Ill Advice. So sorry to PH and the 2 or 3 people that I misinformed. Hey I'm not a Pro at this; I do it for fun….

"All Things Due", what's not to like about this album? It's got everything a great album should have. Strong Production thanks to Ill Advice and tracks by M.Tilla (Kick Drums) and Krossword. Lyricism? Yeah they brought that too. I'm really impressed with these cats, actually I started thinking I was being biased just cause their hometown kids. But naw, that ain't it. Its good cause' it's genuine.  It feels like an old EPMD album, not that it's dated, but just in its feel from start to finish. They make it feel like an album, one worth listening to again and again. I kept waiting for the garbage, I had just heard Prophs album, and thought there was no way I was gonna hear two equally amazing disc's from Cleveland back to back. But I DID.  And so should you. So if you're reading this and you don't have it…Get it stupid. There's some really great shit going on here right now, I'm glad just to witness it.  Standout tracks are the M.Tilla produced "Goodbye" and "Danger Us" produced by Ill Advice.

Negatives? Ehhh, depending on what system I'm listening to it on, the vocals sometimes lack clarity, I don't know. I guess that's a con, but not really so long as you have a decent stereo (my PC's speakers are the worst) to listen to this CLE classic on you'll be more than fine. 4.5 out of 5 - NME

Proph the Problem – The Proph LP…Welcome Back to Hip Hop

 
Wave goodbye to Proph the Problem, we'll get a postcard I'm sure. Hopefully we'll get more albums that continue to get better. Whatever we get, Proph gets props. There are a million rappers in every city at any given time, so there's a lot of music not worth the plastic it took to make it. But then there are the elite, the guys/girls who break away from the mold and separate themselves from the rest of what's going on by doing something different. Is Proph that different? Yes, he shares some traits with the guys that matter. People like Nas, Jay-Z, Eminem, and Chino XL (yes I said Chino. Proph knows why. Ask OJ). Proph gives you a little more insight into himself in tracks like "Like Mother Like son" which is where I draw the Nas compliment. He has potent punch lines as a main ingredient throughout like the best usually do. Prophs delivery is a page taken straight out of Hova's book, but what better book to take from? The thing I like about Proph is obvious versatility, I could imagine him on a track with just about anybody, and it would sound good. Not everyone can do that. 50 Cent CAN'T do that.

 The album as a whole is well worth the $9.99 it cost me (including S&H) and comes in a DVD style case made out to look like a composite notebook, so points awarded on packaging. Starts with an Intro and ends in an Outro, nothing new there. But it's what's in between those two that makes it different and better with every listen. The eleven songs that come between each have a purpose, an idea conveyed with intent by a confident, talented Proph the Problem. He even breaks each track down on the insert sleeve, but it's not even necessary, he gets his points across without question each and every time. Imagine that, songs with content and a focus point, hmm, what a concept. I don't have a favorite song yet, which is really the biggest compliment of all, because in most cases if I have found a song that really sticks out, its because its the only good one on an album full of shit. There are two things missing from this album…guest appearances and the words "fuck" and "fucking" in places where Proph could have gotten writers block. I guess he doesn't need em.

 With production from Kinetics, Garbs Infinite, Yung Zup, (Who I think is allergic to garbage beats) Yessurr, Coach, J Dilla, and Lay-Z P, I strongly recommend to whoever is into Hip Hop to pick this up immediately. You'll be sorry when Proph blows up and you can't get this LP no more. Seriously though, Proph takes you on a short journey evoking emotion and making you nod all the while. It's an album, not filler with a single in the middle. Good from beginning to end.

 The only cons are Talk of greatness and other self congratulatory type lyrics. I think the album should have been left to speak for itself. Like a woman who is far too aware of her flawless physique, it cuts the appeal, the sexiness of said woman. But man I really had to dig for that one. And some of the Mix is a bit off, but I hate even going there after all this.

Standout tracks:  1. Hear Me Out  - 2. It is What It Is

Production: 4 - Good overall flow from song to song

Lyrics: 4.5 - Can't do much better than this

Delivery: 3.5 - Worse than it sounds. I only went that low cause his influences shine through more than they have to.

Sound Quality: 3.5 - There are some songs that are lacking in the mix.

Overall 4 out of 5 - NME

To Envy the Horrid

As previous metalcore/hardcore/grindcore bands have done in the past, To Envy the Horrid takes a page out of the "breakdown'" handbook with brutal breakdowns christening every song. Although the breakdowns are a little overplayed, they bring dynamic to each track that many bands that are into speed now a days lack. Utilizing two vocalists is yet another way this band sets itself apart from the plethora of bands playing this type of music now. With vocal ranges varying from bullfrog to axe murder, the vocal patterns alone bring an added rhythm line in addition to the skillful and fast drumming. The guitar work is also very intriguing due to its technicality and speed. Overall, with the catchy riffs, breakdowns, and speed associated with To Envy the Horrid, I would give them 4 out of 5. - Brick Shithouse

Money Da Ox – "Killin Em"

It actually hurt me when after playing it back 5 times just to make sure, I realized that he was actually saying "I spit hot vomit". Maybe it's just me, but I don't know that if I were trying to applaud my own lyricism I would refer to it as "vomit" hot or cold. But that's me. It's not helping either that Ox apparently does not have access to a studio quality mic, cause the vocals are thin sounding, like he used a Radio Shack mic (don't hate me man), the vocal track lacks the depth and warmth you would get from a better condenser microphone. But that's not what we're here for is it? So aside from that one regrettable line and my cheap shot at the mic, everything else is decent. Specifically I'm talking about "Killin Em" just because I could download it. The beat is actually the best part, I think it makes the song feel a little better than it is, a somewhat eerie synth with a matching bass line underneath and strong drum track behind it.  Lyrically there are some standout lines but overshadowing the finer points of Ox's flow is the fact that he tends to run words together at times, making it hard to know exactly what he's said. He brings a strong confidence to the mic though and put Ox in a studio with a better mic and/or engineering and I think you'd have a whole new story to tell. So in the end I'm gonna leave rec. quality issues out of it and give Money Da Ox 3 out 5 - NME

Set Free Among the Dead Themselves

Although 50% of what they're doing is pretty much exactly the same as every other band that looks uncannily similar to them and contains a derivative of the word "dead" in their name, there's something else going on here…could it be? Yes I believe it is. they're being creative. Tracks like "My Blackest Letter" go from melodic speeding riffs (and good ones too) to traditional breakdowns then off into space…but just for a moment. Then they resume the beating.  I have to respect their ability to do this because when attempted in the past by metal bands it usually turns out to be a horrible reach toward Metallica instrumentals, and ends up droning into a repetitive riff for days, to the point where you've thought the song ended 4 times and wished it would have. They've managed to incorporate many different influences rather fluently, and at times they show the potential to be a very individual band with a unique sound to call their own. They appear very young and should they stay together, I expect great things to come from Set Free Among the Dead Themselves. Right now though, there's some work to. Starting with some of the solo notes that don't seem to blend very well and what I swear is off timing in the solo work, but maybe that's their Dillinger influence and I missed the cue. I feel like I forgot to mention how much I like it, because I do. As I played the songs I realized how different each song was, not a repeating format with different words said the same way. Each song contains more than enough character to separate itself from the next and leave its title implanted in your brain. I very much look forward to hearing a studio album from SFATDT in the near future. For fans of psychedelic drugs and punching people in the throat. 3.5 out of 5 - NME

Ringworm

Ahhhh……You hear that? That is the sound of Hardcore. Not just any Hardcore. Cleveland fucking Hardcore. Remember boys and girls, we are home to a long list of innovators and genre defining music. Ringworm remembers, and they are continuing down that path with their newest offering leaving trendy metal clones bloody and scattered in the ditches. Be sure to leave your dance moves and whirlwind ballet/kung fu kicking at home, because when tracks like "the key" get played…well I just don't imagine you'd have the room to practice your Walker Texas Ranger impressions. It's been awhile since Cleveland had a classic, the wait is over. 5 out 5 easy - NME 

Dead in London

A little Guns n' Roses, a little Misfits, and whatever's in between there. However you describe the exact formula of Dead in London's sound it should start with Rock. DIL has a very polished sound and it would seem to me to go best at high volumes and with a beer or two in hand. I imagine their power really comes out live, but that's kind of the physics behind Rock n Roll isn't it? I don't know that their doing anything that you haven't heard before, but I would say check out "get what you deserve" and decide for yourself. Aimed toward a mainstream sound (not my cup of tea, so take that into consideration when reading this), I think they have a little ways to go before achieving the radio popularity their heading for. But for those of you who are into the more radio friendly side of Punk/Rock check out Dead in London.  2.5 out of 5 - NME

Big Mitch

 "Fuck Bein Famous", just the title makes me wanna hear it, but there in lies the problem…Big Mitch is only serving samples, not meals on his profile. Each of the 5 tracks you can hear are only snippets of the actual tracks, so it makes reviewing all but impossible, unless Big Mitch wants to send us a hard copy of the tracks???  Tag your it Big Mitch, get at us.  n/a - NME