Cephalic Carnage

“Anomalies” (Relapse)

Compare to: Nasum, Napalm Death, Agoraphobic Nosebleed

With “Anomalies,” Colorado-based grindcore purveyor Cephalic Carnage has put together an album that sounds like the ultimate heavy metal mix CD. Although the speedy blastbeats and demented Cookie Monster vocals characteristic of the grindcore genre are still in abundance, the band has chosen to push its sound into previously uncharted territories.

On its fourth full-length offering, Cephalic Carnage has eschewed the jazz-inspired freakouts of its previous album, instead attempting to tackle any and every metal subgenre that strikes its fancy — from scathing death metal to Black Sabbath-inspired doom and all points in between.

Far from being mere copycats, the band displays the ability to put its own unique stamp on a variety of styles, from the stoner-rock swagger of “Piecemaker,” to the monolithic final track “Ontogeny of Behavior,” which sounds like a steroids- and marijuana-addled version of Tool’s twisted art-metal. “Anomalies” is all over the heavy-metal map, heading in a thousand different directions at once, yet the album never feels disjointed or random.

— Joshua Haun

Armor for Sleep

“What to Do When You Are Dead” (Equal Vision)

Compare to: The Used, Recover, Skillet

If you’re itching for an album that pushes the tired emo/screamo genre in a new direction, Armor for Sleep may just have the answer. Its new record is pulse-pounding, dark and strangely addicting.

Excellent musicianship, extreme dynamics and amazing production cause this album to stand out from the hordes of mediocre emo bands who are saturating the market. Singer/guitarist Ben Jorgensen has done nothing less than perfect his signature sound, mixing his simplistically captivating lyrics with songs that span a huge range of dynamic diversity.

All of the songs on the album are tied together to tell a very unique story. The dark and seductive track “Car Underwater” is about the last pains and feelings of a man committing suicide. The ensuing tracks tell the story of his wandering ghost, giving you a personal account of his feelings and regrets as he revisits loved ones and observes their lives after his passing.

The dynamics of the tracks range from raw, thrashing screamo to soft, melodic ballads. It’s obvious the band poured its hearts out on this record in terms of raw emotion and energy. It’s the synergy created by the band’s combined emotion and musical expertise that make this record fun to listen to.

The album’s excellent production value should make this album attractive to fans of the genre who have not yet been exposed to Armor For Sleep.

— Dan McClanahan

Death From Above 1979

“You’re a Woman, I’m a Machine” (Last Gang)

Compare to: The White Stripes, The Von Bondies

Death From Above 1979’s Sebastien Grainger and Jesse Keeler are definitely trying to break the mold of stereotypical radio rock. Their attempts to be clever, however, are not so extreme that the music suffers.

The band is a two-piece rock outfit featuring Grainger on drums and vocals and Keeler on bass. Throughout the album, Keeler uses some effects for his bass that make it sound like both guitar and bass.

Grainger and Keeler are musical geniuses when it comes to composition — every song on the album is upbeat, yet each has its own sound.

A few of the songs, like “Romantic Rights,” “Going Steady” and “Little Girl” have a very radio-friendly sound, yet they don’t sound contrived in any way.

The strongest point is Grainger’s vocals, especially considering he pulls off some amazing fills on drums while belting out the words on key.

Death From Above 1979 is great for both fans of mainstream rock and elitists who shun anything that is not underground, because its music bridges the chasm between the indie and mainstream genres.

— Dan Hopper

Moby

“Hotel” (V2/BMG)

Compare to: Paul Oakenfold, Fatboy Slim, Thievery Corporation

Whether you like Top-40 radio, visit a dentist or go to a coffee shop, you will be subjected to Moby’s new album “Hotel.” Unfortunately, getting that root canal or burning your tongue on a cappuccino is more pleasant than sitting through this record.

After countless albums with identical sounds, Moby has hit a rut. Once considered edgy techno, his latest album shows the musician has trapped himself in a loop of tame beats and weak lyrics.

Half the songs are catchy, slightly loud pop ballads that seem manufactured for radio play. Those tracks bounce off Moby’s attempts at romantic songs with female vocals and minimalist keyboards.

Possibly the best song on “Hotel” is the hidden track at the end. It has no lyrics and no strong techno beat, yet the symphony that makes up the music is both beautiful and oddly tragic.

Nothing on this album is daring or dangerous. Moby never takes a risk with any song to have music that sounds fresh or original. But, after years of selling songs for car commercials and movie trailers, Moby might not have his best intentions centered on music fans.

— Keith DuCharme