INCUBUS have come a long way since S.C.I.E.N.C.E . A Crow Left Of The Murder delivers 14, mostly beautiful, melodic tunes.

Although Boyd and the others have not failed me with this exuberant and gritty album, they do seem to be exploring a more commercial side of rock. Songs like ‘Agoraphobia’ have some good rocking riffs and then drift into a more clean and softer sound … which I suppose balances the CD out when being compared to a rockier tune like, ‘Melagomanic’. Even though the CD, after 5 or 6 songs, becomes slightly monotonous, solid guitar riffs and good lyrical content should keep you listening.

A Crow Left of the Murder’s production is raw but not so much in-your-face as previous albums. Being an avid fan, INCUBUS have not let me down but a casual listener may not find it as intriguing as I have. (more…)

Born again anarchist, don’t destroy the system within.”

Prophecy cements itself in Wee Man’s favorite albums of all time chart! I was expecting the hard-as-hell stuff that SOULFLY usually unleash upon the world but they have proven that they can fuck shit up in one track and slow it right down in another…and be top of their field with both.

Beginning with the in-your-face ‘Prophecy’, the album continually delivers one good track after the other. Not surprisingly, SOULFLY have collaborated with other musicians; Danny Marianino on ‘Defeat U’and Eyesburn on ‘Moses’ (an awesome Ska, Reggae and hardcore mixture). #12 is broken into 2 parts: the elongated, melodic ‘Wings’ featuring Asha Rabouin and the Mexican style trumpet section, ‘March On River Drina’.

My favourites are ‘Execution Style’ (typical SOULFLY style) and ‘Moses Perrada’ (which begins with a Samba feel and fades into a rapid Punkish one). ’Soulfly IV’ is a full 6min 04 sec instrumental that just proves how good Max Cavalera and Co. really are.

It’s hotter than hell in a heat wave!

by Wee Man

“Come on everybody, lets rock.”

I am still trying to decide whether I like this album or not. I have never heard anything like it. On one hand, I’m in alien-disorientated land but on the other it presents an attraction. Because ONEIDA’s so difficult to classify, I’m even at a loss to fathom their influences but others have mentioned the likes of MC5 and 13th FLOOR ELEVATOR.

Each One Teach One often emits wailing guitar, farting out major squalls of feedback whilst the rhythm section prances around like a drag queen with a feather boa. There are distorted keyboard lines that seem to be chucked into no particular order. Somewhere, in the midst of this instrumental anarchy, you will discover spaced out vocals. The opening track ‘Sheets Of Easter’ spans 14 minutes and sums up much of the albums 1-2-3-4 chants and experimental vendetta against the mainstream. (more…)