Wormrot
Dirge
Earache
Street: 05.03
Wormrot = Brutal Truth + Insect Warfare + Napalm Death
The latest release from Singapore’s Wormrot should include a universal sticker that you can place over the play button on your audio-playing device that simply says “pwn’d.” That’s damn well what Dirge is going to do to you—not only when you’ve given it a full spin but within the first five minutes of listening to the new offering. Dirge is anything but a dirge—once you click “pwn’d,” you’re in for a hell of a ride of pure ultra-violent grindcore—no frills—no fucking around—eyeballs blowing out of their sockets and bleeding ears ferocity in speed-shredding-drum kit annihilation (who needs a bassist) bliss. If you were one of the lucky few to catch Wormrot play at Raunch Records in March, Dirge puts into perspective the very aspect of the live quality of the band, which is what they sound like on record. Well, except for the fact that live, the drummer has to stop and catch his breath every few minutes. Keep in mind that the drumming is one of Wormrot’s best qualities, showing it’s not just all about grindcore blasting, but executing that percussion to near-perfection. Dirge just may be the best grindcore record you hear all year. –Bryer Wharton

Xerath
II
Candlelight Records
Street: 05.03
Xerath = Meshuggah + film score + Dimmu Borgir
The aptly titled second release from symphonic death metal band Xerath hits like a sledgehammer to the knuckles, fearlessly combining elements from progressive, thrash and even cinematic scores into a brutal, soaring trip, albeit not in a powerful enough way to really stick in your mind. The album’s mixing lends weight to this unique collective, letting the vocals accompany rather than lead. Opening track “Unite to Defy” sets the stage with symphonics that rise like toxic gas to bone-crunching drums and guitar stutters. Richard Thomson’s voice is a demonic rip in their sound, reminiscent of Heaven Shall Burn, a surprisingly effective counter to the sludgy strings. Xerath never lets the symphonic overwhelm the metal: “Numbered Among the Dead” is an excellent showcase of their ability to balance, creating fierce atmosphere where lesser musicians might only find chaos. Ultimately, however, the album is lacking in memorable moments. When all was said and done, ravaged though my ears were, nothing stuck in my head for long. –Megan Kennedy

Young Widows
In and Out of Youth and Lightness
Temporary Residence
Street: 04.12
Young Widows = Swans + Liars + Coliseum
Largely abandoning the Jesus Lizard-influenced weirdo swagger found on 2008’s Old Wounds, Young Widows have become slower, darker, creepier and noisier on their latest effort. Created in the wake of vocalist/guitarist Evan Patterson’s divorce, In and Out of Youth and Lightness is cold and distant, maintaining a detached ambiance throughout the album’s 48 minutes. Patterson’s guitar and bassist Nick Thieneman provide a constant buzz rather than the jerky riffs of previous albums, as each instrument seems to creep above Jeremy McMonigle’s constant drumming to provide only fleeting licks before being devoured once again by the noise. Repeat listens reveal that these songs are actually incredibly well crafted and do indeed include catchy moments (most apparent on “Young Rivers,” “Lean on the Ghost” and “In and Out of Youth”), but this is still a dark album that can be an instant bummer—in a good way (at least you’re feeling something, right?).  It may take old fans a while to appreciate In and Out of Youth and Lightness, but it is well worth the patience. (Burt’s: 06.03) –Ricky Vigil