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November 2008 ~ January 2009
Absu
Candlelight
Texas occult metal band Absu return after an 8 year absence with their long-awaited, self-titled follwup to the well-received Tara. Since that release, the band was on hold for a while, with all but drummer/vocalist/etc Proscriptor leaving the band. In 2007, Proscriptor recruited some new members, signed on with Candlelight Records, and proceeded to create the 13-song, 54-minute affair I am about to ramble on about.
After listening to this many times to get an idea of what was going on, I realized that there seems to be a lot of progressive and NWOBHM influences in the music. Check out "Amy" with the massive NWOBHM riff going on, and the dual guitar bit in the middle - then they sneak in what sounds like a violin. Then comes the three part "...Of The Dead Who Never Rest In Their Tombs Are The Attendance Of Familiar Spirits" has a crazy part in the middle that sounds like a carousel, the return of the violin, and some downright psychadelic analog synth near the end. "In The Name Of Auebothiabathabaithobeuee" has some of the best guitar solos on the disc, as well as a kickass main riff, and probably the hardest song title to pronounce. "Sceptre Command" is the best track here - it is just ferocious from start to finish, with monster riffs pounding your ears while the great drumwork crushes your skull - and a quick little wah-wah pedal attack at the end.
Absu's self-titled effort may not trump Tara in some people's eyes, but I see it as their strongest effort to date. Proscriptor's drumming is great (as expected), his vocals sound better than ever, and the guitar work on this is just top notch all around. I like the inclusion of the prog-rock, NWOBHM psychadelic rock as well - it adds to the music without completely taking over. I'm definitely looking forward to seeing them when they tour this Summer.
B+ -Goz
Black Ice
Columbia
In any debate regarding the world’s greatest three-chord hard rock band, the discussion begins and ends with AC/DC. I will not debate this. I will, however, admit that there best was undeniably delivered in the 1980’s. That is until now.
Black Ice is classic AC/DC and easily their best album since For Those About to Rock (We Salute You). If the rumors are true and this is indeed their final album, they certainly left me wanting more. Admittedly I am not the most objective audience. I’ve been a diehard AC/DC fan since I bought Dirty Deeds Done Dirt Cheap when I was just a tyke. But I do know this – when I listened to the album all the way through, I was giddy. Giddy, I tell you. I hadn’t felt this good about an album that I bought in years.
The lead track and single “Rock N Roll Train” is perennial AC/DC, but not an indication of the strongest selections on Black Ice. The title track, “Decibel,” and “She Likes Rock N Roll” are standouts that echo back to the band’s hey day, while “Anything Goes” and “Stormy May Day” offer just enough of a twist to pique a longtime fan’s imagination. “Money Made” is another great track that has radio hit written all over it.
I love this album. I also love the fact that a band whose collective age exceeds 300 years can still sell millions of albums, and still school any band today on how rock and roll is supposed to be made. And they can still do it all with just three chords.
A -Dan McDermott
Psychotropic Annotations Of The Lights Unreceived
After My Own is a trio from Carver, Mass., that has self-released this three song demo, Psychotropic Annotations Of The Lights Unreceived. While only three songs, it is more than 23 minutes of modernized, technically proficient, psychadelic rock.
"Sun in the Water" is the opener, and it starts off with a trippy, echo laden bass/guitar bit, then feeds into what I can best describe as Tool-ish - in fact, much of what I hear from this band brings Tool to mind for me. I think it has a lot to do with the drum sound, but the rest of the music seems a bit like that to me, as well. This is not to say they are simply sounding like Tool, as it is far from it, but I'm just trying to set a baseline to give someone an idea of what to expect. Anyway, the song progesses through a couple of different mood changes, and the crescendo is the final minute and a half, with some great dueling guitar/bass work and stellar drum fills. "Paotlu" is the 11-minute closer, and it is also the bands most ambitious and entertaining effort on here. It features all three band members showcasing their stuff at various points in the song, tons of tripped out riffs and vocal lines, and just about everything else you'd want in a song. About midway, there are some killer trippy effects laid down that really add to the psychadelic feel.
The disc is only $4 from the band via their myspace page, and well worth it. The band plays frequently in Southeastern Mass, so if you are in the area, you may want to check them out. I would have to assume, based on the effort they put into this demo CD, that their live show would be quite good.
B -Goz
Amputators
I don't know if anyone here remembers New Hampshire's "mountain metal"
band Suicide Contest, but if you do this is the current project of former frontman Guts now out of Colorado. If the family from the Hills Have Eyes could form a metal band they would come second to the Amputators. Some of this stuff is really awesome, and partly comedic.
With songs like "Donkey Show" and "Lighten Up Jesus" you can't help but laugh here and there. Heavy crunchy riffs and harmonica playing set these guys in a category all their own. The vocals go from almost story telling to full out screaming.
10 songs of mountain metal for anyone who loves Suicide Contest, Scissorfight, Mess with the Bull or even bands like Gwar (back in the day). I really dig this cd and can't wait to see what they come out with next.
B -Eric
From Arcane Fires
Paragon
From Arcane Fires is German black metal trio Anael's third full-length release. They play a doomy, atmospheric black metal, with nods to Necromantia, Varathron, and Samael to name just a few. Mind you, they don't straight up copy any of these bands, but definitely show that they are influenced by them in some way.
Dark, gloomy, doom riddled black metal is what you'll get here for the hour plus duration of the disc. The 12-minute opener "Devil's Tongues" starts off quietly, but comes along strongly after a minute or so. There are some great memorable riffs contained here, especially right around the mid-point of the song when the time change occurs. Great stuff there. "Down Winding Stairs" reminds a bit of Primordial, especially with the vocals that are reminiscent of AA Nemtheanga for much of the latter half of the song. The gloom and doom are amped up quite a bit with "Song of the Moth" - a 10-minute piece that plods along at a snails like pace for most of the track, with the pace adding to the foreboding darkness that the music and vocals convey.
Anael have put together a really good collection of doomy black metal here. The production is real good, with the sounds layered thick and heavy to help keep the constant feeling of depression and gloom present. This is a worthy pickup for fans of atmospheric/gloomy black metal.
B -Goz
A Very Brutal Christmas
Metal Blade
Well, I'll be darned if track 1 isn't the best rendition of "Jingle Bells" I've ever heard. If it's possible for a balls-out, thrash version of the song to be done, I don't believe this will ever be surpassed, given its raging, galloping arrangement and air-tight production. However, I'm hard-pressed to figure out how this 3-song EP would warrant repeated listens. After "Jingle Bells" (inspired by Tim Lambesis' desire to "bring justice to [Arnold's] masterpiece, Jingle All the Way") comes "Get to the Choppa" (from the Total Brutal album) and then a cover of Judas Priest's "Hell Bent for Leather." Constant double-kick work aside, the excitement level drops dramatically because the vocals on this version really don't 'deliver the goods.'
So what we have here is a lackluster cover tune, one song already available on the full-length, and one song that you might get a kick out of during the month of December. For completists only.
C- -Mark Fields
EP
Los Angeles three-piece Behold! The Monolith put out their debut, three-song EP themselves, making it available on CD as well as numerous online digital music stores. Check out their myspace page for more info on where to get it for yourself. While only containing three songs, this EP comprises nearly 20-minutes of sludgy, technical and grooving music. Think of Mastodon smoking dope with High on Fire, and you might get an idea of what to expect from Behold! The Monolith. While probably not as "polished" as either of those three bands, BtM does showcase a great collection of music here.
The opener "Land of the Midnight Sun", with it's slightly slow opening and immensely heavy yet hook-laden bits through the middle of the song (including a really good lead guitar part), is my favorite track here. This isn't to say that "Witchhunt Supreme" and "Volcanus Eruptus" aren't good songs, as they both are, but the first song just pleases my ears a bit more.
Overall, this is a good effort from a band that is just getting it's feet wet. Hopefully we'll get to hear more of them in the near future.
B- -Goz
Freedom Metal
Cruz del Sur
Some bands refuse to follow trends. With the modern over saturation of metalcore, melodic death metal, and mindless death metal, an act like Bible of the Devil, who delightfully refuse to give in, are a welcome treat. Their latest album Freedom Metal is a pulsating, riff-heavy, yet indisputably modernized slab of classic metal, without the seemingly inescapable high pitched vocals. Blending the quirky traditional metal sounds of Brocas Helm and Slough Feg, Bible of the Devil add a tinge of stoner metal into their melting pot of crusading anthems and catchy tunes. Each song has a memorable, catchy chorus highlighted by Mark Hoffmann’s rigid mid range voice. The riffs are aplenty, bombastic, and strong, cascading in dual harmony.
Opening up the album with a stark, proud, mid-paced metal riff, the album’s tone is set. The first song, “Hijack the Night” is an invigorating song that simultaneously harkens back to the heartiest of NWOBHM tunes and the groove-laden shores of Louisiana. This song carries all the traits of a great opener: energy, album themes, and an insatiably infectious refrain. “The Turning Stone” is another anthem. Its rebellious, almost anti-establishment passions rip at the listener through its bridge and riffs. Each song conveys the classic metal style of empowerment except for the curio “Ol’ Girl.” What a shocker this song is. After a string of old-style metal with dabs of stoner metal, comes this song: a mild mannered hard rock song about breaking up. Despite the initial shock, the song has growing power, eventually becoming one of the album’s strongest.
Get into your car, put down all the windows, drive into the sunset and blast this album. This is old school, ballsy metal sans the high pitched vocals.
A- -Adam Kohrman
Cheat The Gallows
Custard Records
I don't think the word 'psychedelic' can encompass Bigelf's unique sound. If I had to describe this album, it would be like 'taking mushrooms and going to the Cirque du Soleil'. Heavily influenced by The Beatles, Black Sabbath, Pink Floyd, Queen, et cetera, L.A.'s Bigelf have found a way to incorporate every single thing that they like about music and put it into their own. What's different about Bigelf is they sound as enormous as an arena. Almost like a show bigger than a Broadway musical about every important influence in classic rock history. But it's not corny like most musicals can be, they rock.
The main reason I admire Bigelf is Ace Mark. This guy has a way with the guitar just like Slash has a way to communicate through his Les Paul without speaking. Emotions spewing from a guitar is just irresistible to me and definitely leaves a lasting impression. The "Mad Hatter" Damon Fox also has a very interesting personality and style that shows in the music. Their use of piano/organ and orchestra is noteworthy and very different from most bands out today. Bigelf seems to marry good ol' guitar rock, (and maybe a little glam) with a progressive side that is more in tune with classic rock n' roll than the newer flighty, off-key stuff that's popular now.
Cheat the Gallows has a definitive Sergeant Pepper overtone throughout.
Starting with "The Gravest Show on Earth", "Blackball" and "Money, It's Pre Evil" they set the expectations of the album to be quite a circus laced with tons of psychedelic elements. There's no end to how many things you can pick out that remind you of other bands. At times, Damon sounds like Ozzy, and next he sounds exactly like John Lennon.
Listening to this album with a group of people is like playing the game Outburst where you shout out the answers as soon as you can think of them... Wolfmother, Led Zeppelin, Kiss, David Bowie, Screaming Trees, Roger Waters, Queens of the Stone Age, King Crimson, Enuff Z'nuff...
better put a timer up this could go all night.
Through all the obvious influences in Bigelf's music, they still have something that makes it all new, too. I mean they purposely sound like they're ripping off everyone, especially The Beatles, but not totally.
They bring something of themselves and these modern times into the music. They have a sensual and sinister quality that pops up often. The first three songs were my favorites on this album so it started out great. "Money" being the best track because of it's great guitar solo (that song has been rewritten many times). There were a couple times when the music got a tad too weird for me but it remained impressive regardless. Maybe too psychedelic, like closing track "Counting Sheep".
But hey, it's still real new at this point and I might grow accustomed to the weirdness eventually. I actually liked their album Hex better than Cheat the Gallows because there was alot more Sabbath influence on Hex. If you're looking for something 'larger than life', check out Bigelf.
B -Alesha
Always a Six, Never a Nine
Crucial Blast
"My Last Shred Of Decency" kicks off Black Elks' second release on a frenetic sludge filled note that definitely wouldn't seem out of place on an early Jesus Lizard album. Now, I read the press release and even though it's touting lead singer Tom Glose as a David Yow reincarnation, they have every right to say this because he is definitely THE closest thing to David Yow as David himself. Manic howls, disjointed screams littered with schizophrenic lyrics. "Hospital" continues the pace similarly and "Pig Crazy" slows things down a bit with a driving rhythm and searing, burning guitars that get quite heavy and could easily be mistaken for an early Melvins song without Buzz on vocals. "The Brazen Bull III" is a nice short clean guitar instrumental and "Stab" sounds like a lost cut from Jesus Lizards "Liar" album with some nice trippy guitar solos interspersed throughout the mayhem.
"She Pulled Machete" is another psychotic Yowesque tune that is slower than the other songs. "Brine" brings out an experimental edge we don't see on the other tracks and starts off as a nice breather from the pace of the earlier songs but turns into the frenetic pace of the earlier songs. "The Brazen Bull II", yes, it comes AFTER "Brazen Bull III" starts off with some dual guitar riffs that could be from a heavy metal western that lead right into "Hold My Head", another blast of controlled noise-filled fury. "Winter Formal" ends the disc on a mid-tempo number that stretches to the six and a half minute mark with a sweet mid-section that has some nice slidey guitar that blends into a nice melodic noise-filled buildup that ends abruptly.
Although sounding a little derivative at times, Black Elk adds a heavier element than was already conquered by the almighty Lizard. If you're a fan of the old Amphetamine Reptile days then you'll definitely dig Black Elk!
B -Matt Smith
Demo
This 3 song demo on Western MA's doom phenom is formed of ex-members of Artimus Pyledriver & Palace In Thunderland, plus Gein from Gein and the Graverobbers. I may not be the go-to doom metal guy but even I can say these guys are fucking awesome. I don't know what they have available for you to buy online but check them out if you have the chance. The Demo features 3 songs of finely structured doom for fans of Sabbath, High on Fire and Cavity. My only complaint about the demo is that I feel they are so much better live than they are recorded.
Maybe it's the rawness, maybe its the volume of Gein on bass that makes my head feel like its going to explode. Keep an eye out for this band (they have a full length coming out real soon on Meteorcity), and if they come to your town check them out, you won't be disappointed.
B+ -Eric
All Hyllest Til Satan
Agonia
Norway's Bloodsworn finally get to release their debut album, All Hyllest Til Satan. You see, this disc was originally recorded in 1999, but the label that was supposed to put it out went out of business, and it is just now seeing the light of day thanks to Agonia Records.
What we get for a nearly 10-year wait to hear this, is a blazing collection of old-school sounding black metal (what do you expect, though, since this is a decade-old recording). While mostly paced by extreme blast beats and lightning tremolo picking guitar work, there are shades of slowdowns and catchiness here and there - the latter part of "Helvetesferd" comes to mind real quickly. There are bits and pieces of the disc that stand out like that, but they are short and surrounded by too many same sounding bits that blur together.
So, after a 10-year wait, we're given just over a half-hour of pretty formulaic, old-school black metal. There's nothing really bad about that, but there isn't anything really good about it either.
C+ -Goz
Memoria Vetusta II: Dialogue With The Stars
Candlelight
Blut Aus Nord return with their latest release, Memoria Vetusta II: Dialogue With The Stars, which the band states is a conceptual follow-up to the 1996 release Memoria Vetusta I: Fathers of the Icy Age. Gone is the industrial starkness and dissonance that were present on MoRT and Odinist (although not as extreme on the latter), as the band return to more straight ahead black metal stylings here (although describing this as "straight ahead black metal" isn't quite right, either).
After the atmospheric intro track, the band gets ripping with "Disciple’s Libration (Lost in the Nine Worlds)". Full of blasting drums, tremolo picked riffs, and raspy-ish growling vocals, Blut Aus Nord delivers the ferocity on this track. While the riffs are fairly typical tremolo picked affairs, the guitar sound really stands out here - it isn't the wirey, trebly mess that often is used in black metal. Rather, it is a sort of muted melodic tone, which works very well with the music here, and helps set this apart from other stuff out there. It really is an unmistakable tone. Keyboards are used to add some depth to a slower part in the middle of the song. While they are used a fair amount throughout this disc, they are never overused or seem out of place.
The amount of melody in the music here is surprising, considering that MoRT came out just about 3 years back, and had almost nothing melodic about it - dissonance was king there, whereas on this disc, melody is back and taking hold of Blut Aus Nord's music once again. Listen to "Antithesis of the Flesh (...and Then Arises a New Essence)", my pick for best track on here, if you want to hear just how melodic the band can be - especially the ending of the song with the guitar leads.
Blut Aus Nord are back with a new disc, and back to their black metal roots as well. This is sure to please long time fans, many of whom were dissapointed with the industrial stylings the band went with on MoRT and Odinist. While I quite liked those offerings, Memoria Vetusta II - Dialogue With The Stars is also a stellar effort.
A- -Goz
Evisceration Plague
Metal Blade
If you haven't turned on to Cannibal Corpse by now, nothing I say in this review will change your mind. How does it stack up to their previous ten albums? I'd rank this one near the top of the heap.
The production, again by Erik Rutan, is clearer than what we heard the last time around on Kill, and is a nice marriage of the best production aspects of previous CC albums produced by Colin Richardson and Scott Burns...decipherable, visceral, and claustrophobic.
Musically, it's not any radical departure from the tried-and-tested CC style, but I'm pretty impressed throughout at the little timing change-ups and overall smarter (and still generous) use of tempo changes which give the song arrangements more flavor while never losing focus on the prime ingredient: brutality. Of the 12 songs, only 2 exceed 4 minutes in length, so no riffs are being dragged out. Corpsegrinder's vocal patterns compliment the material here especially well, always on time but never locking in for too long with any one instrument. The performances of all members are super tight, for that matter. Nobody with hearing can accuse these guys of being hacks.
Lyrically, there are some great, murderer-victim songs ("Evidence in the Furnace") alongside higher body counts as heard on the title track and others.
If you're a fan of Cannibal Corpse's brand of brutal death metal, this is a no-brainer.
A- -Mark Fields
Location: COLD
Massacre
They hail from Oulu, Finland and they definitely have that Scandinavian melodic-symphonic metal edge and they excel at it. Catamenia's seventh studio album Location: COLD was released in 2006. Their eighth release
VIII: The Time Unchained is out now but I don't have it yet so I'm telling you about this one first because it's good, motivating true Finnish metal.
What I like most about Location: COLD is they remind me a lot of Children of Bodom only I like Catamenia much more. Olli Mustonen and Hape Haapsamo have similar low, almost hissing dark vocals like COB's Alexi Laiho and Riku Hopeakoski and Ari Nissila's driving guitar melodies are as good, if not better. The clean vocals, courtesy of Kakke Vahakuopus sound almost exactly like James Hetfield (pre-Justice even) so you never really notice they're actually clean vocals.
Another thing that was a major draw for me on Location: COLD was their use of piano. I didn't notice the usual, fake-ish synthesizer keyboarding. There was a little but not enough to take away from the music. Tero Nevala's classy use of keyboard, like in "Gallery of Fear"
and toward the end of title track "Location-COLD" sounded more like an actual piano. It gave the music more of a real orchestra feel that I appreciated.
Location: COLD starts off strong and memorable with the slightly anthemic "The Tribe of Eternity". The opener sets the vibe of Catamenia's sound. I can easily envision a darkened venue with a fist-pumping, sing-a-long mass at their feet with no shortage of energy. Next is eye opening "Gallery of Fear" and then my favorite track "Coldbound". It had the most motivating melodies and rhythms which lasted throughout the whole song and even spilled onto the rest of the album. Also the clean Hetfield-esqe vocals were very memorable in "Coldbound" and also in "The Day When The Sun Faded Away". The last track is a W.A.S.P. cover of "I Wanna Be Somebody".
The rest of the album is consistent with it's previously mentioned fine points. Its nine original tracks have a lot of speed, melodies, and even some medium-fast tracks mixed into it's 47 minutes. Veikko Jumisko is fantastic on the skins. Nothing retracted from Location: COLD as there was no need to skip anything. Over-all it is a great album to re-visit.
So, horns up from America to Finland and Catamenia. I'm looking forward to acquiring VIII: The Time Unchained next time I visit the record store.
A- -Alesha
The Harvest Floor
Metal Blade
To be blunt, up until today I've never found any Cattle Decapitation material worthy of repeated listens; that includes everything dating right back to 1997's Ten Torments of the Damned. To my ears, they didn't even record anything listenable until their (unremarkable) 2002 Metal Blade release, To Serve Man. Between then and now, apart from small, incremental improvements in production, the band's basic musical formula remained pretty constant: tons of blast beats, measure upon measure of technically impressive yet otherwise unmemorable noodling, and double-tracked high/low vocals. The songs were cleverly titled and the lyrics retained a healthy tension between dark humor and dead seriousness; and they turned in great live performances throughout their seemingly endless touring schedule...but, for the life of me, I couldn't find anything the least bit memorable, musically, about the actual songs themselves. I found them all pretty much interchangeable...skilled performances of material that was more or less a waste of time.
This time around, with The Harvest Floor, Cattle Decapitation seems to have turned a creative corner and discovered an approach that works FAR better, and I'm more enthusiastic about it with each successive spin. Instead of giving you a song-by-song review, I'll enumerate album-wide quantum leaps over even the best of their earlier works: 1. more effective use of tempo changes; 2. completely warp-speed "gravity" blast beats and artful drum work; 3. absolutely more memorable songs of varying structures and wide dynamics; 5. sparing use of Travis Ryan's double-tracked vocal approach (previously employed fairly pervasively) to much more dramatic effect; 6. judicious instrumental melodies and even the occasional vocal melody(!!); and 7. a nicely-balanced, extremely dense-yet-somehow-more-decipherable mix.
Seriously, it doesn't seem possible this is offered by the same band that's been going in circles for years. Cattle Decapitation has disposed of mediocrity and jumped directly to something great. I just hope it doesn't fly over the heads of their dedicated fans who have, up until now, settled for drastically lesser-quality output.
A- -Mark Fields
Battle Sluts
Blackmarket Activities
I don't really know where to begin describing Tennessee's Destroy Destroy Destroy. They combine elements of power metal, thrash, viking and a bit of folk metal together to create some decent and at times catchy music. Then the vocals kick in and just kinda ruin it all for me. The vocals remind me of a million various <whatever>core bands out there - constant whiney screaming with the occasional guttural growl thrown in for good measure. At least they don't have pig squeals or constant breakdowns in the songs.
"Beyond The Scorpion Gate" features some really killer music, with a great melodic intro that has some nice guitar work and pretty solid drums. We'll ignore the vocals since I already trampled on them in the first bit of the review. The use of keyboards is nice for an extra bit of texture and depth, and the twin lead guitar work in the latter part of the song is killer as well - in fact, the entire song is musically really solid. They end the disc with the comical "Battle Slut Drinking Song" - it is pretty much the only song where the vocals don't annoy me to the point of hitting the skip button.
I could easily listen to DDD's music all day long, but I can't take the vocals for more than a short period at a time. The band has a lot of obvious musical talent, writing catchy and technical music throughout the disc, but overall it fails in the listenability department.
D+ -Goz
He Who Shall Not Bleed
Candlelight
Sweden's Dimension Zero first started as a side project for two members of In Flames. Also featuring members (or former members) of Marduk, Soilwork, Dark Tranquility and Lord Belial, I guess they could almost be considered a "supergroup" of sorts. Whether that matters to you or not is your own choice, but what does matter is the music, right?
Since they are based in Gothenburg, and were spawned off from In Flames, it shouldn't be too much of a stretch to guess that these guys play melodeath, plain and simple. Technical, precise, and mostly quick paced are the standards by which this band bases it's music. The songs are short for the most part, which is good, as they never wear out their welcome. You can easily draw comparisons between much of the music here and At The Gates, and also early In Flames. "Deny" is the strongest song here, in my opinion - it features some kickass riffs in the opening, while the middle has some flat out heaviness thrown in for a bit, and then a quiet passage pops up and throws you for a loop before a really good guitar lead shines through it all. The disc ends with two bonus tracks - one is a cover of the Bee Gee's "Stayin' Alive", and the other is a song from a Norwegian children's book People and Robbers of Cardemon Town (aka Folk og røvere i Kardemomme by).
While nothing here really stands out to me, overall this is well done and fairly catchy at times, but it is lacking anything overly original that would increase the appeal of the disc to me for future listens. As it stands now, I probably wouldn't revisit this anytime soon. Bigger fans of melodeath or the Gothenburg sound will probably enjoy this more than I did, but this has all been done a billions times, and is done far better by others.
C+ -Goz
Tweak'd Out, Strung Up & Redlined
MeteorCity
Eighteen Wheels Burning is one of those bands that you would want playing at a keg party or barbeque, for many reasons, the main ones being they have a serious rocking party vibe to their sound and they play a brand of hard rock that is sorely missing in a lot of kids iPods these days.
"Mary Jane Is My Only Friend" leads off the disc in the aforementioned party-style mode that would definitely have me up and rocking out in front of the stage with a beer spilling out of my hand as I rocked out. "Topless" showcases Matt Cusack's heavy hitting drumming and overall ability to keep the band grooving and Adam Valk's blazing psychedelic bluesy guitar solos backed up solidly. I thought "Tears Of The Moon" was called "Tears From Space" as that's what vocalist bassist Jeff Mackey sings in this catchy chorus you'll find yourself singing all day. "King Of The Ian Hill" with it's great title (playfully an ode to Judas Priest's bassist Ian Hill) has a great bluesy stoner rock main guitar riff that eventually cooks into a groovy Foghat/Molly Hatchet type riff with the chorus "black rain" sung passionately.
"Grand National" seriously showcases Adam Valk's aforementioned guitar prowess with a smoking lead off solo in the first minute of the song and further along in the song. "Mobscene" has an anthemic vibe to it that could almost be heard in a car chase scene in an 80's film while "Third Reich Trucker" has a nice mellow bluesy vibe to it with some more stellar bluesy guitar work and the album's title is also sung in this tune, "Tweak'd Out, Strung Up & Redlined". Speaking of singing, I must say the closest I can come to comparing Jeff Mackey's voice is Neil Fallon of Clutch. Speaking of Clutch, it should be noted that Eighteen Wheels Burning would seriously appeal to that bands following. "Cockblocked" has a rocking reckless abandon to it while "The Wheeler" is sure to kick your ass in similar fashion with some more smoking bluesy guitar solos. "AMA" ends the disc with a nice groove filled bass riff that penetrates most of the song which is code for Methamphetamine.
This is another gatefold Meteorcity CD release that is sweet in it's homage to the vinyl days in a small compact version and a perfect packaging to a band that brings back the days of bands that like to get the party rocking and keep it rocking until the wee hours, or at least until the cops show up!
B -Matt Smith
Elder
MeteorCity
From the first thundering bass riffs of lead-off track "White Walls" to the crushing guitar riffs you know what you're in for when this disc kicks off! Slowing down to a mellower doom riff Elder conjures everything from Sleep to recent retro-doomers The Sword with a closeness that could be deemed clone-like but it feels too fucking good to care about that! Vocalist Nick DiSalvo (guitars/keyboards) could easily front a Sleep cover band but has his own twist on the aforementioned singers prowess. Groove-laden like a heavy metal bong hit the keyboards nicely accent the heaviness and give this song a breath of fresh air that many doom clones don't. Nice guitar harmonies abound and make this song fuller sounding than it could have been.
"Hexe" has a very Electric Wizard approach to it with Jack Donovan's bass and Matt Couto's drums sounding a lot like the Wizards back beat section and the vocals sound a lot like Jus Oborn's style, but hey, I've always been a sucker for his style so I'm NOT disappointed. Nice wah-wah guitars spark this tune up to a pummeling pace early on. The song ends with a nice acoustic guitar part that leads nicely into "Riddle of Steel Pt. 1", an epic song at ten minutes that any stoner doom fan would find hard to resist. With nice ethereal keyboard accents in the middle of the song it's definitely my favorite track on the album. "Ghost Head" seriously kicks some major ass with some blazing solos and "Riddle of Steel Pt. 2" ends the album on a similar note.
Since they're from Massachusetts (I don't know why I hadn't heard of them before?) I would love to see these guys on a bill with Northampton's own Black Pyramid, another stoner doom act to watch out for in the VERY near future, as in NOW!
While not groundbreaking in any way I must admit I'll never tire of hearing bands paying homage to the almighty stoner doom legends of yore! If you're into any and all things stoner doom I recommend you get this disc ASAP! And while Meteorcity.com has it in the limited gatefold CD packaging!
B+ -Matt Smith
Live From London 2006 DVD
Ipecac
This live DVD is a full concert of the Fantomas Melvins Big Band filmed at their London show on May 1st 2006 and it consists of Mike Patton (Ipecac founder and main label artist, Faith No More, Mr. Bungle, etc.) on vocals, various synths, Buzz Osborn (Melvins) on vocals and guitar, Dale Crover (Melvins) on drums, Dave Lombardo (Slayer) on drums, Trevor Dunn (Mr. Bungle) on bass, and David Scott Stone (Melvins, Big Business). They play Melvins songs and Fantomas songs and some song highlights include "Sacrifice" (a Flipper cover), "Page 27", "The Bit", "Page 14", "The Omen", "Skin Horse", and "Cape Fear". The footage is interspersed with some low budget special effects and trippy segments that enhance the musical experience. Dale and Dave's drumming is incredible, Buzz's guitar is fiery as usual and Trevor and David are great accents to the show. Mike really is the ringleader of this concert and he has total control of the band as he conducts them from the center of his synths and microphone. The energy is great and the audience is very responsive and it looks like it was a sold out show.
I think it's a great idea to combine both Melvins and Fantomas songs as the heaviness of the Melvins songs nicely compliment the noise and soundtrack-type quality of the Fantomas songs and it makes for a nice listening as well as visual experience. Keep in mind this is coming from a fan of both bands and if you're not a fan of either you probably won't enjoy it as much!
The only bonus feature is some great audio commentary with actor Danny DeVito (whom they introduce as the bands manager), Ipecac co-owner Greg Werckman, booking agent Robby Fraser, Dale Crover and Buzz Osborn and they barely talk about the show and instead talk about everything under the sun to do with the music and movie business and otherwise just shoot the shit. The disappointing thing is Mike Patton and Dave Lombardo aren't present for the commentary but it still is worth listening to. Highlights include Danny talking about working with Martin Lawrence and what an asshole he was, his experience working with Andy Kaufman, and a story about Les Paul and Dale and Buzz talk about how they got started in the music business.
I highly recommend this DVD if you're a fan of Fantomas, The Melvins or soundtrack music that pushes the boundaries of metal and experimental music. Also, if you;re a fan of Mike Patton you literally NEED this DVD!
A -Matt Smith
Fogcutter
Signed By Force
Windsor, Ontario's Fiftywatthead's latest disc Fogcutter pulls no punches right from the get go! The first track, "White Out" slams right into your face like a Mack truck while the second track "Fogcutter" is a slower Melvinsesque dirge number that sounds like the same Mack truck in the first song slowed down in a desert but still chugs at an earth-shaking pace. Smoking guitar solos by Ben Guthrie and piledriving drums and bass by Kevin Patrick and Bill Butt respectively are relentless and it's really no use trying to get out of the way of this complete crusher!
"Seadawg" has vocalist J Drummond shining on this cruise ship from hell track. "Capsized" is further proof of this monsters ability to lay waste to anything in it's path and "Four Points" has a slamming start that could easily be the soundtrack for a demolition derby with a nice bluesy break down in the middle. "Iron Clad" kicks off in a noisy style that quickly turns into a slow sledgehammer riff with some great harmonic guitar leads. "Last Leg" is a slow riff slaughterhouse instrumental and "Followed By Thunder" would easily get me to flail around drunkenly if I were seeing this driving sludgefest live!
If you want no nonsense straight ahead monster riffs and Mastodon-like bass and drumming look no further than Fogcutter!
B -Matt Smith
Six Waves Of Woe
Firedoom
Forest of Shadows is a one-man doom project from Stockholm, Sweden. Niclas Frohagen is the individual responsible for all the writing, instrumentation, and production on this disc.
Throughout the six songs of melancholic, depressing doom contained herein, we get a good mix of heaviness, melodic bits, and both clean and growling vocals. The second track, "Selfdestructive", stands out as my favorite on this disc. A slow, moody opening with large amounts of synth and clean vocals sets a mellow tone, and just before the mid-point of the song, it gets massively heavy and the death growls come in to crush all in their path. I like the effect of the way the mood changes pretty suddenly there. The mood changing effect is used elsewhere on the disc as well, but I found this to be the best and most stark example of it.
Production here is quite good. The guitars are clear and heavy when they need to be, the keyboards add layers of texture to the music without overpowering everything, and the bass is solid and actually holds the foundation to many of the songs. The drums here are programmed, yet they actually sound pretty decent - far better than a lot of other current metal offerings with live drummers sound. This is a decent addition to any collector of doom.
B- -Goz
Die Verbrechen der Liebe
Crucial Blast
"Prelude to Amber Pays the Rent" hits you with a wall of noisy punk metal insanity I wasn't expecting from this Bristol, UK based powerful angular bands second release. At times completely chaotic and others mellow with noisy tension-filled build-ups that take you by surprise in a psychedelic swath of sound. "Stop Talking, Let's Fuck" has a Jesus Lizard type punk vibe to it and is a stark contrast to the opening track as it is only one and a half minutes compared to the eight minute opener. "A Wilderness, Except by Sight" is a nice mellow melodic clean guitar song that could almost be described as shoegaze style before it picks up into a frenzied noise punk fest. "Cocktown & the G Boys" is definitely Fantomas/Melvins influenced in its ferocity and ability to shift from noise to mellow to mega-sludge-heavy guitar riffs. "Sportsfister" has more J. Lizard influence with some sweet analog synth happening amidst the chaos. The vocals throughout the album are effects-laden but that's appropriate with what they are doing.
"Theme From Diana" is the most intriguing track on the disc clocking in at over thirty minutes, it's an experimental trance-like piece that you can easily get lost in from it's radio station/telephone call type dialog (not sure who it is) to the hypnotic drumming to the droney guitars and finally complete noise overload in the last three minutes of the track.
Out of all the discs I have reviewed this year I can easily say Geisha was one of the more interesting! If you're looking for something off the beaten path I highly recommend checking this disc out, you will be pleasantly surprised!
B -Matt Smith
The Ichthyologist
Self-released (limited to 1000 copies)
I first became aware of Giant Squid when they opened for one of my favorite bands, The Gathering, for a show at the Middle East in March of 2006. I remember I was intrigued by their unique sound, and at the time made a mental note to check them out a bit more after the show. Then The Gathering played an amazing set and wiped out all memories I had of anything before they hit the stage. A year or so later, I finally got around to picking up their debut, Metridium Fields, which I found to be a very interesting mix of experimental and progressive metal, with a strong doom feeling. Jump ahead to 2009, and the band find themselves self-releasing their latest, The Ichthyologist, in a limited (1000 copies) format. This is a concept album, based on a graphic novel of the same name by founding member/vocalist/multi-instrumentalist/lyricist/etc Aaron Gregory.
So, musically, what can you expect from the latest Giant Squid opus? A wide range of styles, mostly rooted in metal, but ranging wildly in all directions. Progressive, experimental, and far reaching would be terms that describe it well. Instruments include your standard guitar/bass/drums, but we also get plenty of other stuff - like a cello (played by Grayceon's Jackie Perez Gratz), trumpet, oboe, flute and banjo. And, they all fit perfectly into the musical compositions laid out here by the band.
"Panthalassa (Lampetra Tridentata)" is the opener, taking us on a journey from a quiet opener with the cello being the focus, to some fiercely heavy parts where the distorted guitar and shouted vocals take the stage (albeit with a trumpet blaring alongside). "La Brea Tar Pits (Pseudomonas Putida)" is a bit spacey and psychadelic for about 3/4 of the song, but ends up with some thrashing riffs before fading out with a solo banjo playing. Pretty interesting and far-reaching stuff so far. "Sutterville (Vibrio Cholerae)" changes things up yet again, with a sound that would fit in nicely at a small jazz cafe, and the majority of the vocals provided here by Jackie.
The highlight of the disc for me is "Sevengill (Notorynchus Cepedianus)", not only because it is a great song, but because it features a guest appearance from one of my favorite vocalists, Anneke van Giersbergen. The first half of the song sounds as if it could be the soundtrack to an old Film Noir from the 40's or 50's, with it's slow, dark and dreary feel, and Aaron's smokey vocals providing the aurally photographic setting for such a film scene. The song picks up bigtime for the last 1/3 or so, with Anneke's powerful voice being joined by a much more gruff attack by Aaron. "Blue Linckia (Linckia Laevigata)" is also a highlight, mainly because of the emotional feeling of both the music and the vocals (and even the lyrics).
Giant Squid certainly isn't going to be for everyone, but they should be. They have no boundaries on their music, either in terms of style or substance. They experiment with all sorts of stuff, weaving in non-standard instrument perfectly well in their musical compositions. If you have an open mind and want to listen to some truly good music, then Giant Squid is for you. Get on over to the bands myspace page and order a copy for yourself, before they're all gone.
A -Goz
Cloaked In Doctrine
Ground of Ruin are an Irish five-piece that has been around since 2003, playing gigs around their home country with the likes of Desaster, Destruction and Primordial to name just a few. Cloaked in Doctrine is their latest self-released EP, featuring 3 tracks (plus and intro) of blackened death metal.
After the intro, the title track delivers it's blasphemous message in fine form, with blazing guitar licks laid down over solid drumming and the raspy vocals of Dave Hynes (who has since left the band) all combining to deliver an impressive opening track. I especially like the dual guitar lead that is about 2 minutes into the song - good stuff there. "Beneath Contempt" follows in a similar suit, and is the best track on this EP. The melodic guitar bit during the second verse (a theme that returns late in the song), and the crushing breakdown that comes right after it are just great, and make this song stand out to me.
Having not heard of this band before, I am glad this disc made it's way to my review pile. I'll be keeping my ears open for any future releases from this band for sure. The band should be happy with the results of this disc, as it sounds good and the music they lay down is damn good.
B+ -Goz
Double Gnarly/Triple Suicide
Interloper
Double Gnarly/Triple Suicide is the debut from the Windy City duo named Harpoon. While we've seen a bunch of duos recently (Black Cobra and Om to name but two), most of them have been in the stoner/doom category. Harpoon sticks itself firmly at the other end of the spectrum, playing grindcore with a bit of a thrashy feel, while incorporating programmed drums to keep the frantic pace going.
"Company Man" kicks off the disc with a feedback laden intro, which may lead you to believe your going to get some massive drone doom out of this disc, but you'll soon find out how wrong you are. Once the guitar and drums kick in at full speed, you're eardrums will be grinding just like the music. At over 5;30, this is also the longest track on the disc, with most being in the 1-1:30 range - why beat around the bush when you can make your point and get on with the next one in a lot less time. While the drum machine is blasting away, guitarist/bassist (and drum programmer) Dean Costello plays tight and concise riffs with plenty of distortion and a good bit of shrieking leads sprinkled in. Vocalist Toney Vast-Binder spews forth a blast of venomous vocals that complement the music perfectly. Highlights for me are "Sloth-Ass", "The Cacographer"...fuck, the whole thing is only 23 minutes long, so just set aside a small block of time and let this disc kick your ass into oblivion.
Since recording this disc, the band has expanded to a trio, with the addition of DJ Barraca (formerly of Lair Of The Minotaur, and one of the owners of Interloper Records). They should be hitting the road this summer, so brace yourself for a crazy ride and go check them out.
B+ -Goz
Night Terror
Hydra Head
Hydra Head records do it again... and by do it again I mean put out a stellar album for an amazing band. I'd have to say this is one of my favorite finds of 2008. The heavy parts are beyond heavy and the melodic harmonies are so pleasing to the ear. The vocals follow the same measure switching from male to female in an awesome mix. This trio is a combination of current and or former members of Harkonen, These Arms Are Snakes, Roy, Lozen and Your Enemies Friends... so if you are familiar with these groups you should have some idea what you are info. A Huge sound from a small package.
B -Eric
Mysticism
Paragon
Mellow isn't a term I use much to describe black metal, but in the case of Khor's most recent release, Mysticism, I think it kinda fits. Combining black metal feeling with mellower parts and some folky flavor, Khor creates an atmosphere that exudes darkness.
After an intro track, "Raven's Dance" dims the lights with it's massively dark and heavy opening riff. Crushing would be a good way to describe it, I think. Aside from the nasty guitar riff here, the vocals are also deep and dark, kinda of a death-doom growl with a slight black metal quality to them. "Milk Of Heavens" changes things a bit, as it is a synth laden track with acoustic guitars and whispered vocals - this track pretty much personifies darkness if you ask me. Listen to this one in a dark room and you might be looking over your shoulder in fear at what is approaching. While I would pick "In the Cold Embrace of Mist" as my favorite track here, the title track gives it a run for those honors.
Also included on the disc is a live video of the band performing the intro track and "Raven's Dance" at a show in their native Ukraine. A nice little extra if you ask me.
Although it straddles many styles, this disc is likely to appeal to fans of black metal, doom, and pagan metal pretty much equally. It may not end up being a favorite for everyone, but it is a pretty dark and emcompassing collection of songs.
B -Goz
Whatever It Takes
Ironclad/Metal Blade
Whatever It Takes is the debut release for Ohio based Kill What I Adore. It is basically a 40-minute breakdown with some crappy guitar wanking thrown in, and cheesy tough guy vocals on top of it. Oh, and the production is crappy, too - everything is kinda muddy sounding, but that might just be because all they seem to do is play open string breakdowns 95% of the time. About the only song on here that is worth a listen at all is "Always Kiss Me Goodnight", which actually has some good riffs in it...but of course they go and ruin it with a bunch of lame ass breakdowns towards the end. They also see fit to include not one, but TWO intro tracks. WOO HOO!! I guess you can never have enough intros when the music is as bad as this.
Do Whatever It Takes to avoid listening to this crappy disc.
F -Goz
Hordes of Chaos
SPV
Writing a review for the new Kreator album is like revisiting an old booty call that was not very satisfying to begin with. She may have learned some new tricks and matured a bit, but she’s still uneventful. In the end though, you’re still getting laid. After their revered comeback Enemy of God, Kreator once again found themselves on top of Thrash, and on many year-end top ten lists. Oh, how they have fallen. They just couldn’t keep the pace up. This one starts off with some exciting riffing, but drops off into up and down, mediocre territory. Moreover, just like an unexciting lay, it just doesn’t end, even long after it should have.
The days of unabashedly unpolished and sloppily played Kreator are gone. So the Pleasure to Kill fellators should turn away now. But seriously, does metal really need such abrasive music anymore? It hasn’t been cutting edge for longer than I’ve been alive. Realizing that their classic sound is outdated Kreator have decided to polish their sound, learn a little something about writing music, and Mille has clearly practiced his vocals. They’ve clearly matured as musicians. Even with those newfound skills and a seemingly endless onslaught of riffs, the album lacks the immediate poignancy of thrash. The riffs don’t mesh together to create memorable songs. I found that three quarters of the way through the album, I was just waiting for it to end so I could put on something better. Kreator have the building blocks to a towering building on Hordes of Chaos¸ but instead are only able to create a shoddy trailer.
C+ -Adam Kohrman
Purification
Powerage
Welsh rockers Lethargy began as a band in 2000, when the four childhood friends formed the band through their collective love of music. They put out their first disc themselves in 2005, and Purification is the follow up to that disc, out now on Powerage records.
Lethargy take old-school rock n roll, add a bit of stoner edge to it (the wah-wah intro to "A Lost Adoration" being a prime example), lay down some slick grooves and super-clean vocals on top of it all, and come out with some solid and catchy as hell rock music. This stuff will get you tapping your feet, banging your head, and probably singing along once you get the lyrics down. They definitely exhibit influences from many bands - I could pick out bits of Soundgarden, Sabbath (who isn't influenced by them?), Monster Magent, and even Silverchair (mostly from the vocal styles used, when all three of the vocalists are harmonizing). "Innocence Serene" is my pick for standout track here, with some super heavy riffing and super catchy hooks. There are two "ballads" on here, which I will likely never listen to again as they didn't appeal to me, and didn't even seem to fit in with the flow of the disc too well.
While not breaking any new ground, Lethargy take a wide range of influences, wrap them up into a tidy package, and the result is some flat out good music. It probably won't appeal to the most extreme/jaded metalheads out there, but if you have an open mind and want something that just flat out rocks, then Lethargy are the answer...just skip past the ballads.
B- -Goz
Massive Conspiracy Against All Life
Moribound
Experimental/ambient black metal band formed and consisting entirely of "Wrest" (Jeff Whitehead). I think I'm going to leave this review short and sweet. With seven sings clocking in around an hour this album is more lean than previous releases with the songs not separated buy ambient tracks, however there are more complex riffs and the blast beats are probably faster than ever before. Wrest takes all the things that made the previous releases and manages to combine them into each track. This is honestly a great black metal album and if I could sum it up with one word it would be EVIL.
B+ -Eric
The Stark Arctic
Spare Change Records
New Jersey four-piece Maegashira slam down their debut full-length disc in the form of the 6-song, hour long The Stark Arctic, on Spare Change Records. What they deliver is a massively heavy slab of tripped out, psychadelia laced pummeling doom.
After the trippy intro, "Caribou Crossing" plows through with massive riffs, wah-wah pedal laden solos, pounding drums, and a powerful range of vocal styles that compliment the music perfectly. Welcome to The Stark Arctic indeed! "Baggage Claim/Skin Slip" begins a bit uptempo, then goes into an acid-trip in the middle with a tripped-out quiet bit. "Hi From Jersey" aims to kick all the scene kids down a notch, and it does just that.
The masterpiece on the disc, though, is the 22 minute closer, "Back to Muro". An extended intro starts off the track in a nice mood building way, before clobbering you upside the head with a huge dose of heaviness. There's another slowdown at the midway point, just in time to re-ignite the spark that might've gone out from when you were headbanging to the heavy bit. This almost feels as if the band was just jamming out in a smoke filled studio with the tape running, and it turned into a crazy ass good song.
Drop this disc in your CD player, smoke it if you got it (or drop it if you have it) and kick back for a wild ride into The Stark Arctic with Maegashira.
B+ -Goz
Narrows
Deathwish
Seattle/London based powerhouse, Narrows features a fairly all-star line up consisting of: vocalist Dave Verellen (ex-Botch/Roy), bassist Rob Moran (Unbroken / Some Girls / Over My Dead Body), guitarist Ryan Frederiksen (These Arms Are Snakes), guitarist Jodie Cox (Tropics / Bullet Union) and drummer Sam Stothers (Makeout Boys / Quarantine).
This 7" with digital Download released by Deathwish records this year features three songs that pump me up so much I want to skull fuck your wife and kids. Pardon my crudeness but hearing ex-Botch singer Dave Verellen again is exciting for a guy who grew up in 90's hardcore/metal. If you are a fan of mathcore... you pretty much have to love this, that is all.
A+ -Eric
Destination: Nulle Part
Agonia
There seem to a bunch of really good metal bands coming from France at the moment - Gojira, Arkan, Psalm, Blut Aus Nord, and now Necroblaspheme drops on my desk. They've been around a bit, but this is my first exposure to the band.
Necroblaspheme play straight up death metal - no frilly melodeath or crappy deathcore here (although a couple of the guys were previously in a deathcore band). Crushing, distorted riffs, blasting drums, and vicious vocals are all you're going to get here. After an intro, the opener sounds like something that could've been on Deicide's The Stench Of Redemption disc - quick, catchy riffs and superb drumming set the stage for the brutality that follows. "Wounded" is the standout track here - starting off with some nice blasting drums and a fast, brutal guitar riff, the song breaks down in the middle to a really catchy almost rock riff before returning to the earlier style again.
I do also want to mention the production here. It is simply great - the guitars have a fierce and biting sound to them, the vocals are mixed perfectly, the bass is audible and solid sounding, and the drums sound fantastic. It seems that just about every metal disc I get nowadays has crappy programmed/triggered drums that sound weak as shit. The drums here sound organic and solid. Maybe they are programmed or triggered, but if they are, kudos to the engineer that got them to sound so damn good.
B- -Goz
Journey Through Lands Unknown
Firedoom
Originally formed in Belgium by Greek born Kostas Panagiotou, Pantheist is now based in London, and their latest release is Journey Through Lands Unknown, on Finland's Firedoom Records. The disc is a collection of 8 tracks of funeral style doom, with the addition of some unusual instrumentation and style to create a somewhat unique sound.
The most impressive track for me is "Dum Spiro Despero". Heavy guitar riffs are backed by substantial use of an organ at the start, and Kostas' gruff vocals evoke a feeling of extreme darkness. The vocal style changes drastically for the second verse, utilizing a clean singing for that part, which switches the feel from darkness to despair. It is also here that the use of a Theremin shows up, adding that distinctive, spaceship like sound to the music. Other instruments used here that aren't typically seen in metal are the Santoor and the Baglama. While they aren't used as main instruments at all, they are quite noticeable, as they have unique sounds that stand out from the distorted heaviness that accompanies them.
Pantheist take funeral doom and add a whole bunch of different and unique instruments and feelings to it. From the frequent use of the organ sounds, to the Theremin and Santoor, and to Kostas wide ranging voice, the music here never gets stagnant or uninteresting. A good take on the style, and one that I can recommend everyone checking out.
B -Goz
Natasha
Relapse
Pig Destroyer put out a one-track 37+ minute song... wait let me say that again. Pig Destroyer, one song, 37+ minutes? Something sounds fishy here, aren't they a death/grind band known for short chaotic songs your mother would never approve of? Don't worry, this is still the same band. Here is a break up of the song:
1-1:10 Birds chirping, setting a peaceful park setting as the lyrics allude.
1:10-3:30 A much more eerie tone is set, around 3:10 church bells ring.
3:30-5:14 As a tonal note plays in the background, the first couple lines of the song are whispered quietly.
5:15-10:00 A simplistic doom metal song begins, and vocals come in at 7:56.
10:00-10:23 Whispering begins again.
10:24-13:00 A second doom metal song begins, and the vocals are closer to the vocals heard on Terrifyer.
13:00-15:45 A harsh feedback-esque noise is heard, with samples used from Gravedancer.
15:45-18:50 The feedback turns into a low hum, and a peaceful slow instrumental song is played.
18:50-20:40 The song is replaced by the sound of raindrops and continued whispering.
20:40-31:04 A third doom metal song begins, very close to the second, and the tonal note heard at 3:30-5:14 can be heard again. vocals come in at 24:10. at 25:51 The song stops and raindrops can be heard again.
The song continues at 26:36, and fades out at 31:04.
31:05-37:36 The song stops and increasingly heavy rain is heard.
This was originally included on special editions of Terrifyer as a DVD.
I think the song portions of the song are awesome, but I also think I was expecting something entirely different when I sat down to listen to it.
C+ -Eric
Rabid Rabbit
Interloper
From the opening drums and bass to the guitar that can only be described as a noisier Larry Lalonde, it's clear Rabid Rabbit have a unique approach to songwriting. At times sounding like improvised jam sessions, the songs are anything but predictable and vocalist Andrea Jablonski (also on bass and accordion) sound like they may be improvised as they have a loose playful stream of conscious feel to them. For instance in the song "Spider" Andrea sings "the itsy bitsy spider crawling on the ladder" over and over again like she's making it up on the spot all the while being backed up by a sound that can only be described as Helmet and Primus having a stoned jam session. It should also be mentioned that there are two bass players in the band that I'm sure is much more effective live than on album.
The drums are very prominent on the recording and they should be as they're very inventive and solid and many of the songs sound like they revolve around the drums. A lot of the songs are almost instrumentals with very little vocals and when the vocals do appear they are very subdued and almost like an afterthought. "September" starts off as a mellow tune and is the only track that doesn't feel like the vocals were improvised, but that may be because they sound like they're in a different language but is probably just improvised to sound like a foreign language. This track kicks into a serious stoner rock jam during the last part of it that sounds unlike any of the other tunes on the album. "Morse Code" has a groovy beat to it that almost sounds like Clutch with Andrea singing some of the most stoner bubble gum lyrics I've heard, sounding at times like Melissa Auf Der Maur fitting perfectly with the music.
They have been tagged "metal" which may hinder their fan base as some people are turned off when they hear it's "metal" and may not give them a chance, my point being they are so much MORE than metal, they are jazz, rock and experimental all rolled into one interesting mix, check them out!
B -Matt Smith
The Resting Sonata
Metal Blade
Rose Funeral released a disc in early 2007 on Siege of Amida/Candlelight records (see my not so glowing review here). From that slab of crap, apparently someone at Metal Blade heard something they liked and decided to sign the band. The Resting Sonata is the first disc the band has put together for their new label. Let's hope it is a huge step forward from their previous release - it really can't get much worse...or can it?
A cheesy intro opens to the sound of a heart monitor that flatlines at the end. "Interchangeable song title" (just pick one, they're all pretty much the same) is next up, with a slew of overly generic guitar riffs, generic (and lame) -core style vocals, omnipresent breakdowns (with the requisite super-growl introducing many of them), and numerous bass drops (do people really like bass drops?). Oh, yeah - they seem to have used the same exact crappy drum programming on this as they did for Crucify.Kill.Rot. There is absolutely no substance to the drum sound at all (listen to the opening fills in "Buried Beneath" if you need proof) - you could get more power and attack out of striking a piece of paper with a cooked spaghetti noodle! I mean, the drumming here is boring as fuck anyway, but at least with a better sound it might have had some ooomph behind it. St. Anger's drums sound like a freakin' masterpiece compared to this crap.
I didn't think it was possible for Rose Funeral to outdo themselves in the crap department, but they went and did it here, and by a long shot. Why oh why couldn't this disc have just ended when the intro flatlined?
F- -Goz
New Metal Leader
Candlelight
Guitarist Ross The Boss returns to his metal roots following a long exile after leaving Manowar. The first four albums in their long standing discography probably receive the most reverence in the heart of their followers, and I’ve got to be honest that newer Manowar albums have been quite inconsistent in their bombast to worthy full song ratio. New Metal Leader prefers to keep the epic metal song quotient on high, delivering 10 songs (plus appropriate set up intro) that feature larger than life soaring vocals, jacked up drumming with plenty of double bass work as well as Ross The Boss throwing down all of his guitar riff and solo tricks just as if he never left the 80’s.
“Plague Of Lies” for instance is a mid-tempo number that captures your attention with one of those Accept Restless and Wild back and forth parts, holding out chords for a time and then moving through a riff perfect for Flying V stage poses while Ross The Boss picks up the pace in the solo. “May The Gods Be With You” brings you back to the early New York Twisted Sister days, with vocalist Patrick Fuchs using more of an emotional sneering quality through the verses. The first half of the album holds up a little stronger than the second half, as “Matador” grates a touch with his highly repetitive / simplistic riff and chorus approach while “Immortal Son” ends the album in a typical Manowar epic fashion to the point that Joey DeMaio can cry out in writing felony.
With tracks like “Blood Of Knives” and “Death And Glory”, there’s no question where Ross The Boss intends to go with their music- straight for the heart and true to metal’s lifelong spirit. Great if you need a throwback to 1983-1986, hopefully more to come in their future as it obliterates Manowar’s current output.
B+ -Matt Coe
Station
Suicide Squeeze
Chicago's three-piece, instrumental, bone-crushing, ambient metal act does it again with the release of Station. It's amazing to me how epic sounding they can be with just three members. This album is a good follow-up to their previous release "Enter", though not as heavy sounding at times it still possesses the same driving force that got them noticed in the first place. If you like instrumental metal with complex riffage and amazing drumming this is a must have. I'd have to say it's six tracks of awesome.
B+ -Eric
Damnation To Salvation
Firebox
Finland's SaraLee ("Nobody doesn't like Sara Lee") bring us their second release, Damnation To Salvation. These five Finn's play a sort of poppy, slightly gothic influenced metal with a big rock feel to it. Think recent Katatonia mixed with a bit of Anathema and latter day Cemetary, but a bit poppier than any of the aforementioned bands, and you should get an idea of what to expect from these guys.
The opener, "Scars", sounds as if it could easily be played be on mainstream rock radio. There are some decent bits in the music, the chorus is catchy as hell, and Joonas' voice should be easily accessible to a wide array of music fans. Unfortunately, it kinda goes downhill from there - maybe I should say it just spins it's wheels in place, as most of the songs follow a similar pattern. There are exceptions, especially the two "ballads", which are just weak if you ask me and detract from any momentum that SaraLee had built up going into them.
While this isn't a terrible disc, here isn't much that jumps out and grabs my interest too much. They do what they are trying to do fairly well, but it just seems a bit uninspired and flat for the most part, and doesn't really lay anything down that would warrant a re-listen in the future. And what the heck is up with the bands name anyway?
C+ -Goz
The Age of Nero
Koch
Two and a half years after releasing the great Now, Diabolical, Satyricon returns with their latest effort, The Age OF Nero. Many weren't happy with the more rock oriented direction Satyricon headed with Now, Diabolical (which they actually started doing to some extent way back in 1999 with Rebel Extravaganza), and would rather they go back to their "old school roots" and make Nemesis Devina II or something. Anyway, it is obvious that they band likely won't be doing that anytime soon.
Like on their last couple of discs, the music here is rock oriented, but with strong black metal elements as well. Songs are all based around strong, catchy riffs ("Commando", "The Wolfpack" - heck, all of the songs have great riffs in them), pounding mid-paced drums, and many have some superbly catchy choruses in them as well (see "Black Crow on a Tombstone" for the most obvious example). Of course, they throw some more experimental stuff in there as well - the horns in "Den Siste" and the weird bassy synth effect in "The Sign of the Trident". If I had to pick a favorite track here, it would be "Die By My Hand". I'm a sucker for blast beats, and that song is as close to having them as you'll get. There is also the Gregorian chant like backups behind the chorus.
The Age Of Nero comes across almost like a cross between the better parts of Now, Diabolical and Rebel Extravaganza - while leaving out much of the industrial feel of RE. This may not be pure black metal, but it is damn good music. Like it or not, this is how Satyricon sounds now. I, personally, like it very much.
A- -Goz
Into the Labyrinth
SPV
Fact: I’ve been into this band since 1984, when I first picked up Crusader at my local home town mom and pop record store- then went on an eternal search for all of their records. Judas Priest and Iron Maiden started my love affair with the British metal contingent, yet I’ve never forsaken the down to earth street ethic that Biff Byford and the men of Saxon deliver. How can you deny classics like The Power and The Glory, Denim and Leather, Wheels Of Steel, and The Eagle Has Landed?
Even when the band lost their record deal for North America in the early 1990’s, I bought the imports until CMC International came to their senses to release the mighty Unleash the Beast, signaling a resurrection of their traditional metal style along with a slight nod to heavier guitar tones and fuller modern production values. Finally my wish came true in 2000 when I received the chance to witness the Motorcycle Men in West Warwick, RI one Halloween night on the Metalhead tour- veering from the set list and allowing audience members to call out the classics along with newer material for two plus hours.
Into the Labyrinth represents their latest studio offering, another 13 track album that doesn’t stray from their roots of searing guitar interplay between Paul Quinn and Doug Scarratt, the pumping bass backbone of Nibbs Carter, the metronome drum steadiness from Nigel Glocker and the ageless passionate delivery from the pipes of Biff Byford. Lyrically Saxon tackles historical events in “Demon Sweeney Todd” and “Valley Of The Kings” as well as their odes to the genre in “Live To Rock” and “Come Rock Of Ages (The Circle Is Complete)”. Occasionally the group will throw a curve ball at you, such as the punk-speed of “Hellcat” with thunderous double bass emphasizing the energy during the chorus as well as delving into some older blues influences with “Slow Lane Blues” and the stripped down “Coming Home”
done in a special bottleneck version. Consistency has to be the keyword one returns to with this act- because I think there’s enough variety in their arrangements and dynamics to assure continued full playbacks.
I think of the past decade plus of their studio releases Into The Labyrinth slots in the top 3 for my personal pleasure, a great balance of hard rock and metal that should go down a storm at gigs worldwide.
Even your esteemed G.A.S.P. editor Goz admits his guilty pleasure in checking this album out- so it’s not just for the purists but for anyone who loves metal.
A+ -Matt Coe
Carving Desert Canyons
Prosthetic
Scale The Summit are a four-piece instrumental band from Houston, and Carving Desert Canyons is their second release, their first for Prosthetic Records. The band refers to themselves as "adventure metal", and it seems a fitting term given how wide open the music sounds and feels.
Opener "Bloom" is a quick 2-minute piece, and reminds me of something Eric Johnson would be proud to play. It has a similar guitar tone (used throughout the disc) and same feeling of some of his work, especially during the first half of the track. "Sargasso Sea" picks things up a bit in terms of heaviness. A much more riff-driven track, there are some downright thrashy parts to this one. There is of course, enough great dual guitar work (from Chris Letchford and Travis LeVrier) to make any fan of such six-string acrobatics happy. "The Great Plains" has a downriht jazzy feel to it. "Glacial Planet", while it starts off slow and quiet, has some massively heavy chugging riffs, and is probably the most "metal" track on here.
If you are into technically proficient, progressive rock/metal, then you should definitely check this band out. While many bands of this style get crazy with 10-minute songs and all sorts of pretentious and boring crap, Scale The Summit write technically impressive music that is actually FUN to listen to. They also have their self-released debut still available, and I might just pick it up to check it out.
B+ -Goz
Communion
Season of Mist
So, Septic Flesh broke up in 2003 after releasing the great Sumerian Daemons. Then, in 2007 they (thankfully) decided to get back together again, and Communion is the first release for the band since reuniting (and apparently dropping the space from their name and becoming Septicflesh).
Opening the disc is "Lovecraft's Death", a great combination of brutally heavy riffs and orchestration. This is pretty much what Septicflesh does best, anyway, so it really is no surprise how well it is done here. "Annubis" introduces clean singing in the chorus, and it works perfectly with the music here. "We The Gods" is an extreme metal masterpiece, with an orchestrated opening that flows seamlessly into a brutally heavy riff with some of the most amazing drum work I've heard in a long time keeping the lightning pace. "Sangreal" does a great job mixing clean vocals with brutal vocals in kind of a call and response with some really nice melodic guitar work as the setting for it. There is no way I could pick a favorite song on this disc, as they are all great.
The musical arrangements here are all spot on - a tribute to the skill of guitarist and composer Christos Antoniou. The production on this disc is superb as well. Sometimes it seems that bands using orchestration like this in their music don't get the mix right, so the orchestration is either overdone or slammed into the background. On Communion, everything fits together perfectly, with the crushingly heavy guitars sharing space with the string and brass instruments from the Czech symphony they used. Get this disc now if you haven't already. Welcome back Septicflesh!
A -Goz
A-Lex
SPV
I have to admit I haven't listened to a Sepultura album since Chaos A.D. but I have to say when I heard this album was a concept album based on one of my favorite books/movies, A Clockwork Orange I perked up a bit.
"A-Lex 1" kicks off the disc with a synth-type intro that breaks into some serious slow heaviness and right into the second track "Moloko Mesto" a fast-paced thrash number complete with "what's it going to be then eh?" before it breaks down into a serious mosh-inducing part and smoking solo. "Filthy Rot" starts off with some cool rhythmic drums and a some serious Voivod influenced guitar riffs and gang vocal-type chorus that almost sound like they could be off a ska-type album. "We've Lost You!" has a nice mellow guitar intro to it that kicks into some heaviness that is trademark Sepultura. "What I Do" is pretty straight ahead heavy and "A-Lex 2" starts off as a psychedelic instrumental that is influenced by A Clockwork Orange Soundtrack composer Walter (Wendy) Carlos.
"The Treatment" slams into you with a wall of heaviness and "Metamorphosis" has the same Sepultura sound. "Sadistic Values" at almost seven minutes is the longest track on the disc and is probably one of the most interesting tracks. It has some mellow vocals and clean sounding guitars playing out a cool riff with trancelike drums backing it until it breaks into a groove hook riff that picks up the tempo. "Forceful Behavior" is a thrashy rocker and "Confirm" is a groove-thrasher with a heavy mosh part in the middle. Honestly, these last few tracks get a little repetitive but with the spacey "A-Lex 3" things get more interesting and "Experiment", with it's solid thrash foundation keeps the pace going. "Strike", and "Enough Said" all lead up to their interpretation of some Clockwork Beethoven classics all done in a medley called "Ludwig Van" that is probably one of the most entertaining classical-influenced thrash songs I've heard in a LONG time!
"A-Lex 4" is a nice Walter/Wendy Carlos "Timesteps" tribute and "Paradox" ends the album on a heavy note. All in all they covered the topics of the book/film in a 55 minute nutshell, or should I say Orange! Good work guys!
B+ -Matt Smith
Crash & Burn
Candlelight
Most of you long time metalheads would probably know of at least one Sinner record considering their 3 decade plus recording history. However over the past decade the higher profile act for bassist Mat Sinner would be his Judas Priest-sounding Primal Fear- which means that Sinner hasn’t been as full time a proposition. Crash And Burn hits the streets fairly quickly for this German troop, as this 11 song album navigates around street credible hard rock with a boat load of 70’s influences.
Accessible material such as “The Dog” and first single “Revolution” (the latter containing LA-styled lyrics and female chorus vocals) wraps around faster, guitar oriented power tracks such as the opening title track blast and highway ready “Fist to Face”. Mat still pays homage to Phil Lynott and Thin Lizzy with a couple of songs, especially in terms of his raspy quick vocal delivery and the dual guitar harmonies that make “Heart Of Darkness” and “Connection” perfect for all who love the 1975-1979 Lizzy days. This veteran group know how to mix up the arrangements and tempos, keeping all the songs between the 3-4 minute mark so that you feel the grooves and move instantly into the next one.
What I enjoy most about Sinner is there willingness to float through traditional hard rock and power metal genres from album to album- and I feel that Crash and Burn reflects more of their early discography while keeping the production values current and the emphasis on energetic songwriting. Bring this one to your next party bash and crank it up to 11.
A- -Matt Coe
Adult Situations
316 Productions
New York's SOS has been cranking out their groove laden, DIY combo of rock, punk, metal and hardcore since 1995, and Adult Situations is the latest slab of power to come from the foursome.
The punchy sounding "Walk Of Shame" kicks things off with a funky bass beat, then is joined by a nice hook laden guitar riff and the almost spoken vocals - don't worry, the singing comes in later for the chorus and is quite catchy. "Fear & Ferocity" showcases the band a bit better, in my opinion. It is a faster paced track with a bit of a pop-punk feel to it, and has some superbly catchy parts that just force you to tap your foot, bang your head, and pump your fist. "Frames" has more of a straight ahead rock feel to it, with thundering guitar licks, melodic vocal lines, and some pretty good wah-wah guitar work in it - this one could possibly be a radio hit if radio didn't suck now.
SOS gives us a good collection of catchy, punky rock n' roll. The sound has a total DIY feel to it, which in my mind is a good thing - too much polish on music like this would water down the fun vibe that comes along with it. Slap this disc on at your next pool party (or snow shoveling party as it would have to be here right now), crack open the brews, and enjoy the rock that will flow from the speakers.
B- -Goz
Crógacht
Wacken Records
Celtic/pagan metal has become quite the rage of late, and German based SuidAkrA are one of the bands that has been at the forefront of the movement. They've been pumping out Celtic themed metal for 14 years now, and Crógacht is their latest offering. While the music is mainly melodic death metal in style, there are plenty of non-standard instruments used here - bagpipes, tin whistle and a banjo for example.
After the bagpipe laden intro, we get "Conlaoch", which is stocked full of staccato riffs, melodic guitar lines, and a catchy chorus with bagpipes and guitar playing in sync with each other perfectly. I really like how they do that - it is almost like a dual guitar lead, but in this case they use guitar and bagpipes together, and it comes out great. "Feats of War" marks the mid-point of the disc with mostly banjo backing the beautiful voice of guest vocalist Tina Stabel - a good break in the action. "Shattering Swords" brings the action back, and features some of the heaviest music on the entire disc, and a superb guitar solo as well - my pick for best track. The discs closer, "Baile's Strand", is also another outstanding piece. In this one, the vocals are the standout, making use of a choir and also some well done gang vocals.
I'm not typically a big fan of the Celtic/pagan/folk metal, but this disk by SuidAkrA is a really well done example of the style. The music is metal first, and the folk influences are added as a complement for the most part. Production on the disk is also superb, making it an easy listen. Highly recommended to fans of the style.
B+ -Goz
Vaalbara
Saw Her Ghost
Vaalbara is the Earth's first supercontinent, believed to have existed about 3.5 billion years ago. Fittingly, Vaalbara is also the first release from Michigan based Supercontinent. Comprised of members of Incisor, Idol and the Whip, and Black Dahlia Murder, Supercontinent's debut disc spawns 9 songs totaling over an hour of riff filled, mind-crushing sludge.
This is one of the finest collections of riffs I have heard in a long time. What makes them so good, you ask? Well, they are pretty much all catchy as hell, yet retain a heaviness that never lets up. The band utilizes three guitar players, so it is no wonder that the music is so damn heavy, but they also never seem to get in the way of each other, rather they synch up seamlessly to slay your ears with their down tuned, super distorted six-string slaughter. Pick a song, any song, and you are sure to please your ears with the sonic assault provided therein.
I'll pick a few examples, because I don't want to do a play-by-play of the whole disc, or write what would amount to a novel about this. "Earthrise" opens with a layered melodic riff that is just superb, with some lead parts thrown in for good measure. This is the riff that sticks in my head more than any other on this disc. Maybe because it is the first one, and therefore heard the most frequently, maybe because it is just that damn good. There is also a monstrous piece in the middle of the song that promises to crush you with it's heaviness. You'll know what I am talking about when it gets there. Midway through the disc, we get the brief number called "Rain Gives Rise". This is a quiet instrumental piece, with a bit of a jazzy feel to it, and a lot of synthesized sounds adding atmosphere - it is placed perfectly in the disc, giving a bit of a break from the massive heaviness that has been bombarding you thus far.
"Impact Winter" starts off with some atmospheric noise and clean guitar, and after a few minutes of that, brings the heavy in a BIG way. I'm talking supercontinent big with the heavy here. This song might be unsafe for pregnant women and people with heart conditions. "Epoch" is the closer, and it seems that the band wanted to go all out with this one - with numerous guitar leads sprouting up, allowing everyone to take the center stage at one point or another.
So, yeah, I really like this disc. It has more memorable riffs than anything I've heard since Dark Angel's Time Does Not Heal, and is heavy enough to break up a supercontinent. Production is spot on as well, with everything sounding pretty damn near perfect. This is one of the most impressive releases I have heard in a while. Unfortunately, the band has recently broken up, so I'll never get to see them live.
A+ -Goz
Bloodline
Candlelight
John and Donald Tardy have been making music together for what seems like forever. As the vocalist and drummer for Obituary, they are one of the pioneering death metal bands. What do they do when they want to make music that is different from Obituary? They start a side project, gather up some friends (both old and new), and churn out a groove heavy, riff-based debut called Bloodline.
The music is quite different from Obituary, but within the first 10 seconds of the opener, "Bring You Down", the familiar vocal stylings of John Tardy burst out and let you know who is anchoring this band. Joining the Tardy Brothers here are guitarists Ralph Santonella (currently also in Obituary), Jerry Tidwell (original Executioner guitarist), 19-year old shredder John Li (also in Order of Ennead), and Scott Johnson. Donald Tardy even steps out from the behind the kit to tackle the rhythm guitar here. With four highly talented guitar shredders, you can bet that there are a lot of guitar solos here, and you'd be right. Every song has at least one, with the first one coming a mere minute into the groove-laden opening track, with many more to follow.
The main musical theme here seems to be the groove, as each song is based around a fairly basic, groovy and heavy riff that carries much of the song and bridges between the many solos that sprout forth. The song here that stands out most to me is "I'm Alive" - the main riff is a killer, and the vocals are well done. Throw in some kickass guitar leads throughout the track, and you have the best song on the disc right there. After another ripping track, "Deep Down" (check the massively heavy breakdown about mid-way through), we get a halfway break in "Wired" - with an acoustic guitar plucking quietly while a muted electric guitar lead floats calmly in the background.
If you're looking for a new Obituary record here, keep waiting for it, as this isn't what you want. If you want some really catchy, groove-laden metal with tons of guitar shredding thrown in, then this Bloodline is a disc you want to check out.
B -Goz
Dead Harvest
Metal Blade
The history of This Ending may only date back to 2005, but the true history of the band goes back to 1991, when the same five metalheads from Sweden formed a band called A Canorous Quintet. That band broke up in 1999, and when they reformed in 2005, This Ending was the name they chose (well, after releasing a deme as The Plague). Dead Harvest is their latest effort, dishing out 10 songs (there are three extras on the limited version) of industrial feeling and slightly blackened melodic death metal.
"Trace of Sin" kicks things off, and right away you get the melodic death metal coming through, although there is a solid industrial feel as well. I don't know if I get this from the drum sound, the rapid stop-go guitar that opens this song, or a combination of the two, but the industrial feel always seems to be there on this disc. "Parasites" is up next, and it is my pick for best track on the disc. Heavy riffs, pounding drums, and the punishing vocals of Mårten Hansen make this track a standout. The vocals here bring the black metal feel out a bit, especially the raspy parts during the chorus. As we get further into the disc, the super clean and compressed feeling of the sound starts to get a bit overbearing to me. Everything starts to sound a bit too similar to me, but then along comes "Deathtrade", which brings me right back into the fold again with some interesting guitar work and catchy chorus.
While Dead Harvest is good, it drags a bit around the middle, which may cause some to turn it off out of bordom. Worth a listen if you liked the bands past efforts.
B- -Goz
Hels Vite
Regain
Sweden's Thyrifing return with a new vocalist and one less guitar player on their new release, Hels Vite. The Viking theme is still there, as is the grand sound that the band brings with it.
Epic and monumental are two words I can use to describe the songs here. Seven tracks go by in over 50 minutes, so the songs all have some length to them. In that time frame, you're going to hear all manner of slow to mid-paced riffs, lots of keyboards layered about to make the music as thick and encompassing as possible, and a wide array of voices from new vocalist Jens Rydén. The music is lush and surrounds you with sound at all times, and the multi-layered vocals add to that effect quite well.
Standout tracks for me are "Isolation" and "Från Stormens Öga". The former is a bit faster overall than most of the disc, but still has the same brooding feeling as the rest of the disc. The latter has an amazing main riff that carries throughout the song, and some really well done, almost choir like vocals.
Production on the disc is quite nice. Clean for the most part, but with enough roughness to keep the music feeling real. They certainly do cram a lot of stuff into the sound here, too. Fans of the band should like this, and fans of catchy, viking themed black-ish metal will like it as well.
B -Goz
Transylvania Baby
This album came with a black and white flyer that showed an adorable puppy with a gun being held to its head. The headline reads “If you don’t download this album we’ll shoot the dog.” I assure you the dog’s sacrifice is well worth preventing this album’s spread.
From the unintelligible, unlistenable vocals to the nauseating album cover (trust me, it’s pretty freakin’ awful), Transylvania Baby is the bottom of the barrel. It may even be under the barrel. I suggest keeping as safe a distance as you would from the…thing…on the album cover. Bleccch.
Click the link above to visit the bands site and download the album for free. You might just save a dog, but you'll sacrifice your eardrums in the process...the choice is yours.
F -Dan McDermott
Punctuated Equilibrium
Southern Lord
Scott "Wino" Weinrich's musical resume is a veritable yardstick for all things stoner rock/doom and has influenced countless scores of like-minded bands following in his footsteps since the late 70's. On his first-ever solo record he truly shows us why he's the king of stoner rock and a doom pioneer!
"Release Me" kicks off the disc with a sweet stoner riff and killer guitar licks and Wino's trademark vocals sounding as fresh as ever. Jean-Paul Gaster's (Clutch) drumming is a perfect fit to the vibe of the song and bassist Jon Blank (Rezin) lays down some heavy bass lines that add to the already punishing rocking that lies therein. "Punctuated Equilibrium" picks the pace up significantly in an almost thrash metal fashion (without the double-bass drums associated with that genre. "The Women In The Orange Pants" is an instrumental that continues in a similar fast-paced fashion with a breakdown that totally stands out as an example of what it takes to make a song kick fucking ass! Wino's solos are fresh sounding and makes me think if Billy Corgan hears this record he will seriously reconsider the lameness he's been up to lately and get back to making some fucking rocking records!
"Smilin Road" has a nice swinging riff that you could almost see a stripper pole dancing to, and creating a smiling road of faces. "Eyes Of The Flesh" probably has the doomiest riff on the whole album and a spacey vocal effect on his voice that only adds to it's already heady vibe. "Wild Blue Yonder", the longest track on the record is a psychedelic instrumental epic tale of rocking proportions that takes you on a mind trip only hacks can dream of (myself included!). With some phased out hazy solos and smoking drumming it would have been the perfect song to take a "break" to during a certain radio show Goz and I used to do at WXPL back in the day! "Secret Realm Devotion" fuzzes things out a bit before kicking into a smoking Wino tale that easily could have been on a Deep Purple album back in the 70's.
"Water Crane", the shortest track on the disc is a nice little trippy guitar piece that serves as an appropriate intro to an instrumental political song "Gods, Frauds, Neo-Cons And Demagogue" which rocks with a stoner fury unlike any other track and leads to "Silver Lining", Wino's view of the G.W. reign of terror and how severely the world has been damaged by it. It should also be said these last three tunes are definitely my favorite tracks on this disc.
Okay, before I wax poetic about how much you need to hear this album I'll stop myself and just say, GO FUCKING BUY IT ALREADY!!!
A -Matt Smith
Kingdom of Might
Metal Blade
Kingdom Of Might is the second disc from Ohio tech-metallers Woe Of Tyrants. Combining elements of thrash, death and power metal with technical guitar wizardry is what these guys do, and they do a good job with it as well.
From start to finish, you're going to be bombarded with massive amounts of heaviness and a shitload of technical guitar work. The opener, "Soli Deo Gloria", kicks things off with a good thrashy riff, then we get the first taste of the great guitar leads that we'll be getting plenty of for the next 40 minutes. The guitarists here (John Hehman and Matt Kincaid) can shred with the best of them, while also keeping plenty of heaviness with their thrash riffing - and bassist Adam Kohler keeps the pace with them during many of the lead parts as well. I'm not the biggest fan of typical shred type guitar work, but these guys integrate it into well written songs quite well, which makes it a lot easier to listen to. They put the riff and the tune first, and then add the shredding to it to beef things up. "Sons Of Thunder" is a 3-minute instrumental that is pretty much all shredding from beginning to end. The lame duck on the disc is the final track, "Golgotha". It starts off decent enough, but the final minute or so of it is all breakdown and bass drops (the only breakdown on the whole disc, too), which just drags the quality of the disc down. At least it is at the end, so you can just quit listening before it gets there.
This is a pretty impressive effort for a young band (average age is 21). Thankfully, they aren't hopping into the metalcore scene like so many other young bands are these days. What they are doing is taking elements from a wide variety of metal, adding their impressive technical tricks to them, and turning it into a good collection of music.
B- -Goz
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