Album Review: Devour the Day’s debut album, Time & Pressure By Cassie Carlson  Everyone at RockRevolt™Magazine is  pumped up for the release of Devour the Day’s debut album, Time & Pressure, premiering today through Fat Lady Music.  Branching out from Egypt Central, Blake Allison and Joey ‘Chicago’ Walser have managed to bridge the gap between the [...]

Anyone familiar with the play of Macbeth knows that the witches brewed poisoned entrails, toad venom, fillet of a fenny snake, eye of a newt and any other thing they can use to create a spell. Now, it seems that they’ve tried it again, and cocked up, thus creating The Bunny The Bear. This isn’t a bad thing – as a whole concoction of scream/clean vocals and party anthems, these are provided to make one hell of an album.

The name says it all for the Finnish quartet – an album potentially full of cliché horror punk lyrics, themes, music and just another band to laugh at for having a rather ludicrous name. However, take note that I used the word “potentially.” It could have happened, there’s no doubt about that, but having been to quite a few horror punk gigs myself, this album is something not to be laughed at and dismissed easily. Containing near pop punk before divulging into massive breakdowns, this is one of the best releases I’ve heard of this year so far.

Read what RockRevolt Magazine’s writer thought of the upcoming Black Sabbath album, 13, which was played in it’s entirety at an exclusive listening premier event in Hollywood, CA on Wednesday.

Per the notes included with my review copy of Davey Suicide’s self-titled debut album, Davey Suicide, he is “ready to set the world ablaze.” That is quite the introduction; however, does it actually accomplish this? Does it really set the world ablaze? Well, see the notes at the end of this review, and that will tell you whether or not Davey accomplished what he set out for.
If you appreciate dirty, punky, “fuck you” type of music, then yes. You will love this album. People are wondering where metal went. Well, it went somewhere after the wake of grunge, but Davey might be bringing some of it back. With a myriad of themes, this album is definitely an interesting compilation of songs, moving through various styles, displayed through the Davey Suicide lens.

Killswitch Engage are back with their original singer Jesse Leach, and this has caused a lot of controversy among fans. The first two albums released by the band cemented them as the founders of metalcore, and they gained much more popularity during the Howard Jones era, despite having a weak second self-titled album before he left. Now, Killswitch Engage have to win back fans with ‘Disarm the Descent’ – if it’s good, then the fans will stay, but if it isn’t, then the band might as well not stay together. After listening to the album, I’m going to conclude what it’s like now: ‘Disarm the Descent’ practically shits on all of the band’s discography: it’s nothing short of amazing.

This album has EVERYTHING that you could ever want in a metal album: a great intro, a full and varied body, and a capstone that sums up the album as a whole. It’s not exhaustingly long or overwrought with songs that were forced into it to meet a quota to make it an album vs. an EP, and it is interesting enough to keep listening to, allowing you to discover new features to savor as you plow through the tracks again and again.

Post-Hardcore/Pop-Metal? That’s the odd label that the six-piece Apparitions call themselves, but there’s no real evident genre present in their latest album.

Voices and Vessels waste no time in the three track EP “Those Who Deceive.” It’s structured to be one of those records that are good enough to be melodic and lure you into a sense of sweet security, before punching you in the face and telling you to wake up.

Every once in a while, a great band you’ve never heard of crosses your path, or a great album from a previously lackluster band grabs you by the balls and gets your attention. Sadly this is neither of those.

Read a review of the newest album by The Bronx written by a longtime fan of the band, who wasn’t sure what to expect and got pleasantly blown away.

Read the review of the new album by the powerhouse that is S.U.N. – featuring Sass Jordan, Brian Tichy, Michael Devin & Tommy Stewart. The music gods have shined down upon Thee. Read, listen, buy!

Hailing from Canada and describing themselves as “Melodic Death-Thrash with nuances of Metalcore” you have to wonder if these guys are joking around, or can they really deliver? Read our review and find out!

There are certain things you expect when listening to the Misfits: 1950s and 60s sci-fi horror movie references, barbershop quartet style harmonies, and New York punk sensibilities. This latest release manages to deliver one of the three.

Phinehas’ latest EP The Bridge Between features an interesting mix of rearranged works from their previous albums and a couple new tracks. Some of these are pretty great, like the heavily thrashed out “Panhammer” (originally from 2009′s The Phinehas EP) while others are somewhat puzzling, such as the acoustic version of “A Pattern in Pain” (which debuted on 2011′s thegodmachine album) or just plain bad *cough* “Enkindler” *cough*

A Sound of Thunder seemed to come out of nowhere in 2012 with their album Out of the Darkness. Even though the band had been busting their musical chops since 2008 as the personal pieces of the puzzle began to come together, it was their 2012 release that caught people’s attention. That album seemed to fill a void in metal fans that had been missing in today’s flavor of the week market. Songs such as “Murderous Horde” and the tongue-in-cheek “Kill That Bitch”, along with great videos to accompany them, seemed to strike a chord with many metal lovers.

2013 already has new entries in that ever growing genre of metalcore. I Call You Legion have just thrown their hats into the musical ring by unleashing their self-titled debut EP onto the world.

Blissful psychedelic hippie oriental electronic experimental pop music. Yes, this is quite a handful to spill from your mouths, but this is exactly what the duo The Glass Canoe have done with their most recent album Through Lianas. It takes your mind on a trip at first, making you think, “What the hell is this?” but once that’s over and done with, the album is essentially a sonic masterpiece.

With Atreyu on what is seemingly an indefinite hiatus and with none of these “Surprise, we’re back” tours that always spread like a plague amongst bands that just can’t call it quits, drummer Brandon Saller has gone out on his own and created new band: Hell or Highwater. They’ve taken what his previous band started, and rocktified the shit out of it on debut album Begin Again.

In perusing Spoken’s press release, it states that the band’s latest and greatest release, Illusion, “is an exercise in aggression and calculated fragility. Laced with testosterone, the album throws down with the elite of metal and hardcore in calculated moments of heaviness. But what makes this record distinctive is not its speedy riffage or its pounding beats, but its emotional candor.”