Metal wouldn’t exist without three core things — intoxicants, babes and the BOOM. In this edition of Bombshell we have the trifecta for you; a legit babe who slays the mic with intelligence and beauty, as well as two seminal intoxicant heavy bands that have carved out a mark for a generation of new metalheads to adore (see: they bring the motherfuckin’ BOOM). In preparation for the onslaught of summer tours, check out what some of my current faves are getting into and get your pink ass out to the pavement to see them in full glory. I promise, with all the female advice you’ll get from this column, you’re one step closer to getting laid.

Metal has always been a domain consumed with masculinity, for better or worse there is an inherent testosterone burst in every metal laced musical endeavor. As a musician and a commentator, I have always been intrigued with other females in heavy music. In an almost voyeuristic fashion I’ve connected with many other females in metal and despite my power-dykish disposition, have realized in the end we’re all just ladies who love the music. Meeting with Grace Perry from Landmine Marathon was quite a surprise; tall, fit and well-spoken she could easily step off the pages of a Prada ad. But what impressed me most was her genuine personality and love for music. Librarian/student by day, death metal/sludge goddess by night, Grace has been upping the ante with her Arizona-based band for over five years. Recently signing on with Prosthetic Records in late 2008 the band released Rusted Eyes Awake a raw and cathartic throwback to the days where production was minimal and the doom sandstorm was king. Sizing up with a heavy dose of charm and intelligence, Grace’s stage presence and demeanor leaves her untouchable, the girl oozes a rare brand of sexuality, one any gal or strapping young lad can get into. Although classic ovary driven bands like Girlschool set a precedence for the caliber of female fronted metal, bombshells like Grace have reshaped the way non-metal elitists view ladies in the genre — with equal respect and fascination. Grace was on hand last weekend as part of the Maryland Death Festival and word on the street is she had a little something brewing connected to the event, so keep your peepers peeled and check out my hangout with Grace here.

*****

Thunderous. The minute I heard “March of the Fire Ants” from Mastodon, I knew that I had stumbled on something purely Earth shattering. Part 90s post-hardcore, part progressive meltdown, all the while remaining wholly booming, Mastodon has perfected the formula of a hook-laden metallic rock conquest. Forming out the the ashes of the upstate NY-based Lethargy, bassist/beard master Troy Sanders linked up with Brann, Bill and Brant (must be lonely being the only non B guy) in Atlanta, connecting together to fuse a definitive southern rock feel with crushing metal/doom undertones that sticks to your ribs. Graduating to the big leagues, Mastodon’s second major label release Crack The Skye is looming positively on the tongues of both fans and critics, drawing in listeners with unexpected harmony, finesse and careful song craft, all filtered though the ears of mastermind producer Brendan O’Brien. Mastodon’s swift rise to the top of the metal world can clearly be attributed to hard work, extensive touring and plenty of perseverance. I sat down with Troy Sanders before a sold-out headlining show at NY’s Fillmore at Irving (Irving Plaza always in my heart) to talk about the new album, a possible Crack the Skye movie and many more debauchery filled behaviors.

*****

Torche are a quintessential summer band, perfect for jumping into your fathers beat up Chevy, lighting an overstuffed spliff and cutting loose. The first time I saw Torche was at an Isis show in 2006 and, in all honesty, was not totally sold. Retrospectively, my apprehension made perfect sense — they were a but a budding baby at the time and needed some saucy metal breast milk! Since that time, Torche has swiftly grown into a sneak-attack band, offering listeners a fresh melting pot of doom, post-hardcore driven vocals coupled with dynamic structuring. Offering rock-driven metal in the way Cynic bless prog metal — tight, appealing packaging with attention grabbing elements that keep listeners coming back for more. Their 2008 release Meanderthal topped Decibel Magazine’s top-records of 2008, probably much to the surprise of their deaf metal lovin’ core audience. Torche have been grinding hard since Meanderthal’s release and have been spending most of their time on the road, planning to conquer Europe with the legendary Coalesce and Kylesa, as well as return to the US late summer to trek with Harvey Milk. Genre defying and poised for glory, I had a chance to sit down with them on their recent US tour with Dredg — don’t let the soft spoken demeanor fool you, these men all all business when they hit the stage.

Brooklyn is experiencing quite the revival when it comes to heavy music. Or maybe it’s just that people outside of NYC are taking notice again. Hardcore and metal have always thrived in The Rotten Apple in the face of trends, with bands like Batillus and So Hideous My Love receiving a lot of attention of late. On all the up and comers, Tombs are definitely one of the biggest Brooklyn success stories. Since their inception in 2007, their EP on singer/guitarist Mike Hill’s Black Box Recording has sold out a couple of pressings and last year’s split 12” with German metal merchants Planks continues to sell briskly, especially on the heels of their tour with Isis and Pelican.

All these factors have heightened the anticipation for a full-length. The new record is called Winter Hours and its aptly named. There is very little that is light here, whether it be tonally or texturally, but what did you really expect? They are a metal band from Brooklyn called Tombs, and on Relapse, no less. Mike Hill and company make a fearsome noise that will take your ears prisoner and do very bad things to them. The trio sounds a lot like Neurosis doing their favorite Black Flag tunes at Swans tempos. While drums (and your ears) are given very little respite over the ten tracks, Tombs remain decidedly monolithic regardless of the tempo, hell-bent on crushing anything in their path. After the almost six-minutes of caustic sound the opening “Gossamer” subjects you to, the opening of “Golden” pummels you from the drop before adding insult to injury and getting even heavier. And you’re not even at track three yet, so strap on in.

Caustic tones are the order of the day on Winter Hours. Tracks like “Filled With Secrets” are brash and excoriating with very little in the way of mercy for your eardrums. “Merrimack” is a departure of sorts, using smoother tones to invoke a Jesu/Isis feel. In fact, a lot of the quieter moments on Winter Hours recall Justin Broderick, especially the end of “Filled With Secrets”. It sets up the epic “Seven Stars The Angel Of Death” like a jab to your chest setting up a right cross to your face, but you’ll like it anyway. While Winter Hours is staunchly abrasive, if you listen closely, there are definite filigrees of melody throughout. Little sonic oases like “The Great Silence” offer small periods of respite with clean guitar and more atmospheric tones, but this is not a record for the faint of heart. Winter Hours is definitely not going to be the soundtrack for your next holiday gathering. Unless you’re perhaps a member of the Manson family.

Metal fans have always gotten a bad rap from the populace at large. An easy target for pretentious new-school douchebags smugly snickering their way through Heavy Metal Parking Lot, the genre maintains the same quotient of sub-literate bozos as any other, but with a refreshing lack of pretension (for the most part). The corpse-paint set are pretty silly, but talk to the average adult metal fan who’s favorite artist isn’t Pantera or isn’t Cradle Of Filth and you’ll find them to be an educated, well-mannered lot. It’s the new-school of contemporary metal vocals that may well be the main stumbling block for the average punter. The at best barked/at worst unintelligible vocals that typify the genre tend to obfuscate any intelligent commentary you’d find therein.

Vocals aside, it’s a good time for bands that like to write concept records and stretch things out a bit. Doom franchises like isn’t Earthless are extending the boundaries well past the single song/one hour paradigm instituted by isn’t Sleep’s Jerusalem, and the average metal song of today is creeping steadily past five minutes. So it should be no surprise that every song on Buried Inside’s Spoils Of Failure, save for a single track, stretches past the six minute mark. While their isn’t Relapse debut, Chronoclast, was linked by the concept of society’s use of time as an imperialistic tool, Spoils is of a vaguer focus, railing against broad topics like eugenics as well as specifically Canadian societal ills like the Westray Mine disaster or Walkerton water pollution scandals. Whether the issues are micro or macrocosmic, Buried Inside sure are pissed about them.

The eight songs that comprise Spoils Of Failure have no formal names, save for the Roman numerals that denote their order. Each track displays the musicianship we have come to expect from bands like Isis and Pelican, with guitarists Andrew Tweedy and Emmanuel Sayer playing off each other nicely. Both are equally adept at playing textural parts or soaring lead lines and it’s that ability to play ripping single note parts over the pummeling onslaught that bedrocks Spoils Of Failure that sets Buried Inside apart from the death-grunting masses. Three out of the five players do vocals, although the lion’s share is handed by sound manipulator Nick Shaw. Rest assured, genre purists: Spoils of Failure features no Halfordian hi-jinks, just throat-shredding vocals in the lower register with the odd errant wander into the world of melody.

It’s been four years since their Relapse debut, but Buried Inside has not been idle in that time. Few bands have lasted as long or progressed as much with each release. Their Ottawa bailiwick puts them in the same camp of bands like Germany’s equally stunning Daturah that don’t see much of a presence stateside, but this record is well worth searching out. If you like your metal progressive musically as well as politically, the Spoils Of Failure may very well be your gain.

ISIS has finally set the date for the release of Wavering Radiant, their fifth studio album and fourth with Ipecac Recordings.

Boston boys Aaron Turner, Aaron Harries, Jeff Caxide, Michael Gallagher and Bryant Clifford Meyer (who kick it on the west coast now, of course, like all the cool kids do) have set a May 5 release date for Wavering Radiant. The album was produced by Joe Barresi, who has put his producing fingerprint on albums from Tool and Queens of the Stone Age. Tool guitarist Adam Jones also played on two songs on the album.

Wavering Radiant will actually see a little daylight on April 21 with a limited edition vinyl release.