THIS WEEK ON ALTPRESS.COM

DR. ACULA
Slander (Victory)

Long Island sextet Dr. Acula have come a long way since the “party grind” of Below Me and The Social Event of the Century. Their music is slower and heavier now, moving into the chest-beating deathcore territory of Emmure, The Acacia Strain and Chelsea Grin. The movie and TV dialogue samples that have riddled all their releases are still there, of course, spicing things up and adding an additional layer of satirical bite—as though an album with a song called “Cocaine Avalanche” needs more jokes. It doesn’t, not when it’s got riffs this potent. Slander is more than just a parade of sludgy breakdowns—the party synths add some texture, but so do the occasional bursts of pop-punk and even melodic death-metal riffage on tracks like “Pure And Immature Goon” and “Who You Gonna Call?!” There’s a passage toward the end of the latter track that could have come from a Black Dahlia Murder album. With Slander, Dr. Acula have grown from a joke band into a group worth attention and respect, without losing their sense of humor. [Link]

THE FAMINE
The Architects of Guilt (Solid State)

It seems pretty clear that Texas-based death-metal band The Famine like The Black Dahlia Murder a lot. That’s fine; lots of people do. But there are a few moves cribbed straight from the BDM playbook on The Architects of Guilt, including but not limited to the screech-and-growl vocals, the melodic solos tucked into death-metal riff-storms and the ability to write songs that are damn close to catchy while staying extreme. Oh, and then there’s the fact that The Famine use the exact same font as The Black Dahlia Murder for their name. But don’t blow this album off just because it has some superficial similarities to the work of another (excellent) band; The Architects of Guilt is the work of an assured and talented group of musicians. Drummer Mark Garza’s playing is particularly impressive, adding unexpected subtlety to “Bigger Cages, Longer Chains!” while jackhammering the listener into submission on “The Crown And The Holy See” and “Ad Mortem.” Bassist-turned-vocalist Nick Nowell’s upper-register delivery is more powerful and unnerving than his death-metal roars, but he’s always a compelling presence, and guitarist Andrew Godwin offers catchy riffs and squiggly solos, as well as chugging breakdowns reminiscent of Demiricous’ excellent, overlooked Two (Poverty). This is the album you want to play for anyone who thinks Texas metal died with Dimebag Darrell. [Link]

FILE UNDER: A SLOW DEATH(CORE)

THE ACACIA STRAIN
Wormwood (Prosthetic)

The Acacia Strain are in no hurry. The songs on their fifth album, Wormwood, aim for the groove of Pantera, but slowed down to Crowbar speed; the band play an ugly, crawling style of deathcore, with some of the most creepily misanthropic lyrics in all of extreme music. Vincent Bennett’s delivery makes lines like “Your blood will blanket the earth/I am the shot heard ’round the world,” weirdly believable, not just more of the hyperbolic hostility metal bands have been trafficking in since the ’80s. The music isn’t all it could be, though; the songs feel longer than they actually are, and digital production trickery does little to make them exciting. The closing instrumental “Tactical Nuke” is so downtuned and dragging it sounds like it’s playing at the wrong speed, something which should be impossible on a digital device.

[From AltPress.com.]