Jeremy Ulrey's Posts


Album Review: RORCAL Creon

Posted by | April 22, 2016

Scratching all itches from black metal to doom to speculative hardcore with even occasional hints of the more gothic side of extreme metal, Creon manages to be all things to everyone without sacrificing urgency or vision. Not one to be slept on, which you will no doubt be reminded of come December when these pages are inundated with unanimous year-end accolades.


Album Review: VARIOUS ARTISTS Metal Massacre 14

Posted by | April 7, 2016

Along with the two volumes of Metal for Muthas, the Metal Massacre series loom large over the history of heavy metal in the 1980's. Where Muthas was a short-lived showcase for UK artists dabbling in the freshly minted New Wave of British Heavy Metal genre, Metal Massacre enjoyed a much more extended stretch highlighting a variety of new sounds emerging (mostly) out of the US west coast.


Album Review: ÅRABROT The Gospel

Posted by | March 19, 2016

Though stylistically adventurous, the unifying thread across The Gospel lies in adherence to an interrelated group of early-to-mid 1980's musical genres, namely the aforementioned splinter groups that fractured off from the trunk of post-punk's root. Though no two adjacent tracks sound a whole lot like each other, it nonetheless reads like a credible greatest hits album by a band who spent the 1980's cycling through that decade's succession of genre innovations.


Album Review: ANVIL Anvil Is Anvil

Posted by | March 14, 2016

Early on in the earnest, deservedly beloved 2008 documentary Anvil! The Story of Anvil, a series of 80's metal luminaries are trotted out in talking head fashion to opine about how influential the band Anvil were to their own band's nascent sound, the ultimate aim of which is to introduce the question the remainder of the documentary makes only the most cursory attempt to answer: why didn't Anvil become as successful as the peers namechecking them?


Album Review: KYLESA Exhausting Fire

Posted by | October 2, 2015

Kylesa has long been a band of limited metamorphosis, which made their abrupt turn toward a sort of mitigated psychedelia on 2013's Ultraviolet eyebrow-raising, but even that smirkingly "outré" turn was still recognizably within the band's wheelhouse. Was it meant as a furtive first step toward something more outlandish, though, or did Ultraviolet represent a standalone experiment, a notable – even commendable – blip in an otherwise reliably consistent (if increasingly predictable) catalog?