Dog and Cats

3 on their side: Brandon City gets tough on vicious dogs BRANDON, MS (WLBT) – A new vicious dog ordinance was passed in the Brandon and Flowood, severe Law and expensive for people who own pit bulls and pit bull mixes.

Disease $11.18 Second album from this rising Norwegian black metal entity. ‘The Disease’ sees Malsain’s sound embracing more doom-laden and claustrophobic sounds. Produced by Enslaved’s Herbrand Larsen. Dark Essence.

It’s a Disease $13.58 Here’s an album with a power punched and adrenalin soaked approach to the screamo/hardcore genre that leaves you wilted and drained after assaulting your senses. Hardcore five piece, The Vaine deliver their sophomore release, “It’s A Disease” to a savvy and eager youthful audience that demand the best a band can be. The band pull no punches here with a clever array of (13) hard edge tracks filled with melody and a big well balanced production sound that really sets the stage for a killer album.

Disease Is Man $15.98 Thanks to the Nirvana/Pearl Jam/Hole/grunge upheaval that occurred in the early ’90s, so many of the metal and hard rock bands that emerged in the ’80s sound very dated today. That is true of power metal bands, and it is certainly true of pop-metal hair bands. But thrash metal is another matter. Because they share grunge and post-grunge’s love of punk, the bands that came out of thrash in the ’80s — Metallica, Slayer, Megadeth, Sepultura, Anthrax, Testament, among others — have managed to avoid sounding overly dated by post-Nirvana, post-Nevermind standards. And similarly, Without End’s Disease Is Man draws on a lot of ’80s influences but still manages to be fairly relevant to the punk-drenched metal scene of the 2000s. If Disease Is Man emulated the Sunset Strip hair bands of the ’80s or the old-school power metal of Grim Reaper, Savatage, King Diamond, or Helloween, Without End would sound a lot more dated. But that isn’t where these headbangers are coming from; when Without End looks back on the ’80s, they get their inspiration from the thrash metal of Testament, Venom, Megadeth, Sepultura, and Joey Belladonna-era Anthrax as well as early hardcore (as opposed to the newer metalcore style, which is considerably more ferocious). Clearly, Disease Is Man is the work of headbangers who live and breathe punk, and forceful tunes like “You’ll Stink in the End” and “Lords of Defiance” thrive on the sort of dark, angrily rebellious nihilism that both metal and punk have often been known for. Disease Is Man falls short of exceptional, but it’s a noteworthy and generally decent (if derivative) outing that die-hard thrash enthusiasts should be aware of. ~ Alex Henderson, Rovi Performers: Erin Farley – Vocals (Background); Jeff Wood – Vocals (Background); Adam Tranquilli – Bass, Guitar, Vocals

SOCIAL DISEASE: DECADES OF DISEASE $15.18 Description not provided.

Flower of Disease $11.18 With Flowers of Disease, Goatsnake delivers its trademark slick, thick, and smooth guitar tones à la Kyuss meets Black Sabbath, way-low dropped tunings, heavy drumming, solid production values, and some pretty weird instrument appearances. These guys have been around the proverbial doom metal block, and it shows. Pete Stahl gives a vocal performance that is unique, melodic and dynamic in range, lending a classic doom sound that’s an increasingly untypical and refreshing vocal approach in today’s black-, death-, and grindcore-influenced doom metal scene. The slow- to mid-paced grooves are all the Sabbath-inspired heaviness you could hope for, but much of the album comes off like a wasted summer evening from your best memories. “Easy Greasy” has Stahl singing “Fellout and tore up/With my friends and their freaks/We laugh and lie so high it’s sweet.” Not only that, but the mouth harp thing, along with the slow, heavy groove, gives off this “down by the river, takin’ it easy” feeling. This is a doom record though, and aside from the fact that there’s plenty of mellow “let it go” attitude here, the title track is the most morose. “Flower of Disease” conjures suicidal thoughts with the lyrics “I touch these walls of this place I know/Death is standing right outside the door/I smile inside to hide the cries/The pain just loves to multiply.” An enjoyable listen, this album is a perfect marriage of modern production techniques, excellent riffing, melodic classic doom, and grooving ambience. ~ Paul Kott, Rovi Performers: G. Stuart Dahlquist – Bass; Greg Rogers – Drums, Percussion; Mathias Schneeberger – Piano; Peter Stahl – Vocals; Petra Haden – Vocals (Background), Violin