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Runemagick
– On Funeral Wings (Aftermath Music/Eternal Dark Productions)
Nicklas Rudolfsson, who’s been running the Runemagick apocalypse
machine since it's 1990 inception, couldn’t give two shits about
me or my opinions, but I’m such a fan of this guy and all his many
projects (The Funeral Orchestra, Runemagick, et al). He’s one of
the true underrated metal geniuses, preferring to reside firmly in the
underground in relative obscurity. He’s like the Swedish-version
of Paul Chain without the weird baby-talk.
Suffice to say, Runemagick have never disappointed with their sometimes
atmospheric Autopsy/Unleashed-on-‘ludes take on heavy darkness.
There is something about every album that I find compelling, interesting
or just plain hypnotic. While not as unrelentingly crushing as their last
release, Darkness, Death, Doom, the dynamic change-up – and pure
visceral punch - in the material is more impressive. One of the best features
of Runemagick is the ability to put punch in their songs – it’s
the magic when guitar, bass and drum (sometimes accented with the ever-doomy
church bell) all hit their mark at the same time in a particularly slow
doomy passage for maximum impact as a precursor to a mid-tempo Old School
Swedish Death romp before coming together again to shake the bats out
of the belfry. The title track is a perfect example of the Runemagick
craft – menacing negative doom riffs, plodding passages and swingin’
back-in-the-day death metal breakdowns. “In A Darkened Tomb”
is sheer uptempo pure metal darkness, the epic “Wizard With the
Magick Runes” incorporates some of those unsettling atmospherics
familiar to fans of The Funeral Orchestra, deciphered in an Arabic scale
before the supah-heavy climatic ending.
I’m a sucker for the build-up.
Visit the Runemagick website at http://www.runemagick.se
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
In
Flames - Soundtrack to your Escape (2004 Nuclear Blast)
I'm not quite sure what these guys are trying to do, what demographic
they are pursuing or what style their going after. I mean it seems like
as each album is released they just get worse and worse. Set aside the
fact that they no longer know how to play their instruments, ignore the
choice of hairstyle that Anders Friden wears, ignore the fact that the
album lacks any real melodies or solos, the real mystery here is that
there are no good songs, not even any cheesy poppy catchy ones, the songwriting
just sucks, and Anders' voice is the absolute worse, I knew all this going
into this purchase, but still I had to buy it, and I have been listening
to this album non-stop for the last few days trying to pound it into my
brain hoping that I might "Get it" at some point, but each time
I listen the more I actually dislike it. The guitar tone they use on this
thing is worse than your average Nu-metal band, I mean I've heard better
riffs on the last 3 Doors Down album, everything has that annoying downtuned
chugga-chugga sound, that sound that Korn ditched 3 years ago. Bjorn and
Jesper are just going through the motions up there, they have to be able
to play better than this, can't they hear what they're doing, don't they
know that it sucks? The singing on this record is just awful, Anders still
growls and it sounds like the Anders of old, but when he tries to sing
clean it's just downright painful almost to the point where its all I
can do to keep myself from yanking the CD out and shattering it into a
million pieces "I have no business wasting my time listening to this
shit" but yet I continue to do so out of loyalty to a once great
band... When Anders sings clean he uses this totally gay psychedelic furs/duran
duran whiney voice, and he just sounds like a little bitch, this is supposed
to be metal for Christ's sake, not some cheesy 80's techno ballad. Anyways
this is a shitty album, with the worst songwriting that In Flames have
ever done. This album makes "Reroute to Remain" look like a
masterpiece. In Flames haven't sold out, they just suck, they work hard,
tour constantly and put out albums consistently, but they can't write
a good song and Anders just can't sing.... (Vance mccumberv@cornerstonenational.com)
Thorr’s
Hammer - Dommedagsnatt (Southern Lord Recordings)
Love ‘em or hate ‘em, there’s no denying the huge contribution
of the O’Malley/Anderson team to the Doom bloodline. One of them…and
usually both in some way or form have been/are responsible for not only
Thorr’s Hammer, but Goatsnake, Sunn 0))), Khanate, Burning Witch,
Teeth of the Lions Rule the Divine, Lotus Eaters and Probot…I’m
sure I’m missing a few… not to mention the Southern Lord label
which has come as close as we’ll ever get to making “doom”
a household idiom.
So it’s nice to take a trip back on memory lane to both Southern
Lord’s first release. Dommedagsnatt features the O’Malley/Anderson
doom team as well Buring Witch drummer Jamie Sykes bassist James Hale.
The real star here however is Norse beauty Runhild Gammalsaeter who looks
like a runway model with fangs.. Tall, slim and blonde with a voice that
alternates between alluring beauty and guttural belches, you have to wonder
what her childhood was like. Watching the bonus video included on the
disc, it’s hard to imagine such a demonic voice emanating from such
a natural beauty, which makes it all the more unsettling. Electric Wizard’s
“Devil’s Bride” comes to mind in terms of a case study.
The three studio songs that comprise Dommedagsnatt take the dISEMBOWELMENT/Thergothon
paradigm and give it a new twist. Gammalsaeter’s Norse poetry and
alternating vocal stylings paired with Sykes beating the shit out of his
kit slowly (check out the Gammalsaeter/Sykes outing on the end of the
title track) and the raw, bludgeoning crawl of Hale/O’Malley/Anderson,
make this an essential extreme doom classic. Keep in mind this would set
the template for a ton of copy cat bands to come, not to mention O’Malley
and Anderson’s own future projects. Thorr’s Hammer is the
precursor to the pure unsettling evil of Burning Witch and Khanate and
subsonic frequency manipulation and eclectic vocal collaborations of Sunn
0))). The band has had an indelible impact on extreme doom, much of which
goes unnoticed as the genre’s bloodlines blur with time.
Really, an essential release in doom history. (Chris Barnes/Hellride Music
hsp90277@yahoo.com; http://www.hellridemusic.com)
Various
Artists - High Volume: The Stoner Rock Collection (High Times Records)
Right here is the reason why I don’t smoke pot anymore – it
slows you down, sucks ambition right out the window. Here we are, at least
three years past the peak of ‘Stoner Rock’ and High Times
Records decides to push it’s largely hip hop-based output aside
for this rock n’ roll compilation. Where were they in '79 when the
dam began to burst? Did you check us out down at the local show? Were
you wearing denim, wearing leather? Wait a sec, different era. If it’s
not the pot, the Prozac will get ya.
Even though it’s Stoner Rock’s ‘classic rock’
period, this comp is living proof that this type of music still breathes
life and offers a tremendous amount of variety and sound. Gas Giant’s
vintage track is a textbook example of how the most creative sounds come
from foreign shores – “Too Stoned” is the Buddah Thai
of stoner rock; hits you hard every time you partake. Clutch clocks in
with the supah-groove of “Willie Nelson” (he only gets the
best weed, according to Neil.), Orange Goblin starts strong with a beautiful
heavy doom riff but quickly ruin the friggin’ thing by doing that
drunken way-too-uptempo thing they like to do nowadays. Shame.
Some of the best tracks are instrumentals – Suplecs “Cities
of the Dead”, the Formula’s “Hello to Oblivion”
(who??) and NOLA supergroup The Mystick Krewe of Clearlight are all top
notch outings. Why they gave these tracks to a comp and didn’t use
them for they selves, I dunno. High on Fire rules, they are the perfect
cross between Sabbath, Frost and Jesus Christ. Corrosion of Conformity’s
“It Is That Way” is a great reason to forget that America’s
Volume Dealer ever existed, nodding way back to Blind, Deliverance and
Wiseblood. Sounds like that Custer production, too. If I hadn’t
smoked pot in my youth, I’d have enough ambition to look up that
little fact.
High Volume… features two of the genre’s greatest talents
– John Garcia screaming his head off on the unreleased Unida track
“Left Us to Mold” (I take back that “Unida ‘nother
guitar player” comment) and Wino in the Hidden Hand track “Falconstone”.
Even though Garcia’s voice is buried in an annoying vocal effect,
there’s no doubt in my mind he’s one of the most unique, powerful
and grossly underrated vocalists in all of rock. As for Wino, even though
he lyrically tends to spend most of his time in conspiracy wacko land,
is a such reservoir of pure guitar-playing genius that it’s no wonder
there’s a black market for locks of his hair. The guy is unstoppable.
The one true head scratcher on here is this… You’ve got the
best of the best – Unida, COC, High on Fire, Nebula, etc…
whose choice was it to add Sea of Green?? What a let down to get rocked
to hell by High on Fire and then have to hear mediocrity incarnate? Of
all the choices out there… someone must’ve lost a poker bet.
Anyway – this release would have been more relevant back when the
‘00’s were still new, but what the heck. An excellent sampler
for those that get teary eyed thinking about stoner rock’s glory
days and those that missed it all together. Let's hope this is a sign
of a second wind in this scene. (Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Primal
Fear - Devil’s Ground (Nuclear Blast)
I’ve got to hand it to Primal Fear – they’ve managed
to create an entire career reinterpreting Defenders of the Faith over
and over. In their world, there was never a Turbo Lover or a Ram it Down
not to mention the catastrophes that occurred after Painkiller.
And I grudgingly will admit to you that I thoroughly enjoy Primal Fear
albums. OK, so Mat Sinner comes off like half a douchebag sometimes, but
the band can write a metal song like Tipton, et al never went into hibernation.
Sure, “Metal is Forever” and “In Metal” are goofy
‘metal brotherhood’ anthems but man, they sure packs a trad
metal punch and “Sea of Flames”, “Soulchaser”
and “Sacred Illusion” are unstoppable. Ralf Scheepers has
vintage Halford down pat, right down to the haircut. But I have to confess,
when that dude launches his pipes into the stratosphere behind that quality
Sinner-penned metal, it’s damn impressive. I can’t help it.
I tried to be jaded and aloof.
Funny, when I saw them live in Spain back in 2001, they did nothing for
me. I guess I was going through my “Kyuss rules, everything else
sucks stage.” Anyway, this is good. It’s like ’84 never
ended.
Visit the Primal Fear website at http://www.primalfear.com
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Anthrax
- Music of Mass Destruction (Sanctuary Music Group)
First off, let me say this is a helluva package (CD AND DVD) put together
by a helluva band that has left an indelible mark on metal history. If
you’re even a causal fan, run out and give the band some of your
hard earned sheckles. They’ve earned it.
A few things occurred to me as I listened/watched this thing:
1. Joey Belladonna doesn’t matter anymore.
2. Where’s Bush’s gay hat?
3. Sound of White Noise is one of the greatest metal albums of all time.
4. Scott Ian does look a lot like Bert of Bert and Ernie fame.
5. Stomp 442 continues to be criminally underrated, I don’t care
what you motherfuckers say.
6. They must have put a lot of dough into the DVD – 8 cameras, some
killer editing and a ton of bonus crap. Very cool.
7. I got chills during blistering versions of “Inside Out”,
“Caught in the Mosh”, “Room for One More” and
“Only”. You will too.
8. How come Frankie Bello quit again?
9. They’re all my age and have way more energy than I had 20 years
ago.
This is just a killer deal, from the packaging to the very Anthrax-ian
take on Federal copyright laws. There
really should be a Federally mandated “Don’t Be a Dick”
code, but it makes sense in this world of Napster-bred free music entitlement
bullshit. Don’t rip off their shit, they wouldn’t rip you
off.
Anyway, top notch in every aspect by a band that still very much matters.
Get it.
Visit the Anthrax website at http://www.anthrax.com
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Finntroll
- Nattfodd (Century Media Records)
As much as we’d like to think otherwise, buying music is usually
fraught with disappointment. Putting the cash down for the promise of
the big return – a collection of songs that will set off a series
of intricate mechanisms within the cerebrum that will bring you to that
inexplicable Nirvana-like place that only music can lead you to –
just doesn’t happen that often. Thus, with it’s inherent intermittent–reward
system, buying music is like gambling. Usually you ose your ass, but when
you hit big…. There’s nothing like it. But usually…
you lose your ass.
The marketing aspect of marketing heavy music is another problem. I’ve
pretty much ceased equating music with image, expecting the big payoff.
In my experience, it’s usually the other way around. Those musicians
that lay low, that don’t partake in brash marketing efforts seem
to defy the odds and really create magic. Those that lean heavily on image
and gimmicks – let’s use Cradle of Filth or Dimmu Borgir just
for sake of example – usually have a good reason to lean heavily
on image and gimmicks. Because, musically, they don’t have a lot
to offer. So image becomes the primary focus and they go on to base entire
careers off of marketing. They sell a shit load of albums, T-shirts, lighters,
backpacks, flashlights, mousepads and coffee mugs though. I call it the
KISS business model.
I had heard good things about Finntroll on the periphery based on a couple
of reviews and feedback from fans on various boards. Interesting, eclectic
mix of native Finnish folk music and heavy metal. Then I get the promo
with the pic of the Finntroll boys, dressed in Viking garb sitting at
a wooden table, huge medieval mugs in front of them, a dagger casually
stuck in the table. Uh oh. Then the one of them in a dilapidated house,
again in Viking garb, makeup and wild, ‘metal’ expressions
on their face. Uh oh. The kicker is the bio where it ends with “Let
the ice cold troll blood spill forth!”. Eeeeshhh.
I suppose good things can be said about combining Finnish polka with metal
music. I mean it’s certainly different. Unfortunately, it’s
just not very good. Some things forms of music weren’t really meant
to go together, especially when the production is so overblown, it makes
the last Dimmu Borgir sound like Al Jolsen circa ’35. Ultimately,
the inclusion of “Joik” and “Humppa” music indigenous
to the musical history of Finland in Finntroll’s bland ‘viking’
metal just comes off as another gimmick, a way to differentiate in a market
that’s becoming more and more crowded with these types of record
company revenue tools in an era of declining sales.
Seriously, I feel bad for the music-buying public these days. If I didn’t
get most of this stuff for fee (occupational hazard), I’d feel like
I was at a high-stakes table in a backroom with a gun to my head. Nowadays
you have to wade through an awful lot of shit to get the holy grail.
Visit the Finntroll website at http://www.finntroll.net
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Alabama
Thunderpussy - Fulton Hill (Relapse Records)
The first track off of Fulton Hill is predictive of the entire album.
Between the gentle backwoods strumming you get the sense something is
in the air. Whiffs of the coming storm are translated into urgent, tense
and amplified chord breaks that eventually evolve into a howling solo
and the ‘pert near hardcore’ of next track, “R.R.C.C.”.
The whole album has this kind of pace, culminating in the 13 minute Southern
Metal manifesto “Struggling for Balance”. Calm, shitstorm,
bigger shitstorm, calm, toasted metal epic so you don’t care anymore.
It’s because of this pacing that Fulton Hill will take awhile to
come to terms with most listeners – not every tune is a whiskey
and fistfight anthem and not every song contains the magic combo of chords,
percussion and vocal inflections. What does stand out are those trademark
Thin Lizzy-ish duel guitar leads, breaks and harmonies (they coulda really
dragged out that solo on “Wage Slave” for another five minutes
and I’d be a happy dude) and that Moonshine Metal ethic, somewhere
between good ol’ boy drunken shit talk and bullet belts. For all
it’s power, there is a lot to get out of this record.
Truth be told I’d buy Fulton Hill for three reasons alone –
“Three Stars”, “Three Stars” and “Three
Stars”. This diddy leapt right into my heart the second I heard
it, with it’s gleaming Skynyrd aura, female backups, and Rhoads
piano (or is that a Hammond? I can never tell the difference). “Alone
Again” is a close second. It’s fucking classic rock with massive
testicles.
Lastly, you might be wondering how new guy John Weills sounds on the mic.
He’s very good. He’s got three different voices as far as
I can tell – the first is – and I swear to God if I close
my eyes I hear an angry Danny Joe Brown with a chest cold. Don’t
get me wrong, he’s got a lot of power, but there’s that “phlemgy”
feel. On a couple, Weill is damn near Glenn Benton on (“R.R.C.C.”,
“Sociopath Shitlist”, “Infested”), and he almost
out Bons Jon Bon on “Alone Again”. He’s good, and seemingly,
damn versatile.
In closing, my advice on this record – don’t judge on first
listen. Give it three of four good spins before you make judgment. There’s
a lot here that may escape idle listens.
Visit the Alabama Thunderpussy website at http://www.alabamathunderpussy.com
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
UNHOLY
GHOST: TORRENTIAL REIGN
Holy shit!!! This is really impressive! In less than a year after their
formation Unholy Ghost has managed to write and record their debut Torrential
Reign. My initial thoughts were that it would sound a little rushed but
I was absolutely and completely wrong. Unholy Ghost consist of Pessimist
main man and guitarist Kelly McLauchlin along with drummer Aantar Lee
Coates, vocalist/bassist Paul Ouelette and guitarist Jerry Mortellaro
who all three are formerly of Florida based death metallers Diabolic.
Unholy Ghost has created a fierce and a relentlessly brutal album that
delicately balances between utter brutality and beautiful melodic harmonies.
Of course the similarities to Diabolic are striking but seriously I would
have found it kinda odd if they weren't. Regardless similarities or not
Torrential Reign is an unrelenting album that proves it's possible to
create savage and extreme death metal without compromising the dynamics
of the music. Right from the opener "The Calling of Sin" Unholy
Ghost makes it clear that they are a band that shouldn't be taken lightly.
They simply annihilate everything that comes within range of their dark
and sinister blend of black and death metal. Throughout the entire album
they show their incredible flair for composing. Each song has a diversity
and fierceness that I cannot recall having heard in quite a while. But
the common demeanour is the godlike leads that are scattered all over
the entire album. They really help to lift Torrential Reign to a monumental
level that most of the other death metal bands only can admire. The incredible
guitar work of Kelly McLauchlin and Jerry Mortellaro are screaming towards
the majestic divine. Most of the songs are extremely fast but instead
of straining the listener with endless blastbeats Unholy Ghost vary their
tempo so it never tends to sound the same. Drummer Aantar Lee Coates more
than ever before deserves his "Blastmaster" title. Paul Ouelette
pushes his vocal chords to the utmost, sounding as dynamic and evil as
ever. All this combined makes Torrential Reign to a flawless release.
Torrential Reign is an absolutely devastating death metal album that leaves
nothing whatsoever to be desired. Fans of Diabolic, Vital Remains or Brutality
should have no problems digesting this! Torrential Reign is definitely
the highlight so far in 2004. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)
Blut
Aus Nord - The Work That Tranforms God (Candlelight Records)
Plucked from near-obscurity by extreme metal behemoth Candlelight Records,
France’s Blut Aus Nord has done the near impossible… making
Black Metal interesting again.
We’ve seen the genre taken to cartoonish-like levels thanks to the
like of Dimmu Borgir and Cradle of Filth – all fluff and no filth.
More a commercial venture than a musicians serious about it’s music
or the cause behind it. Then there’s the polar opposite –
bands that are using the same two chords pioneered in Pure Fucking Armageddon,
where the word “Progression” holds equal footing with “Catholic”.
Blut Aus Nord, instead of simply meeting in the middle between tradition
and progression simply hang a sharp left down the Devil’s highway…
marrying truly disturbing ambience and frozen blast all into one discordant
project. This sucker is dark… a suffocating kind of dark that borders
on making this almost unpleasant. The unearthly howls permeating “Devilish
Essence” are unsettling, and the lurching, sickening guitar on “Destiny”
doesn’t exactly bring bright sunny days to mind.
But credit is due in that The Work… isn’t the same ol’
same ol’ – space and pacing is used exceptionally well, juxtaposing
soundscape with frostbitten rhythmic fury in equal measure. Its ambiance
is truly a case study on how texture within the a composition can a powerful
force within the realm of music. The overall effect is sort of like hallucinating
on mescaline while being buried alive.
It’s not a party, but artistically it's a unique and compelling
work.
Visit the Blut Aus Nord website at http://www.blutausnord.fr.st
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Act
of Gods: Stench of Centuries- Osmose 2/6
A thing that has bugged me for quite awhile is how Osmose Productions
is able to continue signing all those mediocre bands. With the exception
of a handful of bands the majority of the Osmose rooster seems very dull
which often results in standard or sub-standard releases. And to be totally
honest French death metallers Act of Gods does absolutely nothing to change
that impression.
The music is pretty standard death metal which leaves absolutely nothing
to the imagination. Most of the riffs sound like they could have been
dished leftovers from a Cannibal Corpse record. Most of the songs tend
to sound alike adding nothing positive whatsoever to the soundscape. However
the band does try to set them apart by incorporating some elements from
black and thrash metal in a half-hearted attempt to vary the music but
the result does not come across very convincing. They still sound like
a third rank clone of Cannibal Corpse and that's definitely not what the
scene needs.
After having heard Stench of Centuries over and over again it struck me
as still sounding the exact same as it did with the first listen. It did
not change; it just kept sounding the same making it a boring sub-standard
affair that I don't feel I justifiable can recommend anyone to check out.
Hopefully Act of Gods will succeed in adding some identity to the music
next time 'cause they have failed miserably with Stench of Centuries.
(Per/Supreme Bruality Zine http://www.supremebrutality.net/)
Eyes
of Fire: Ashes to Embers Century Media 5/6
First thing that came to mind when I pushed play and the debut full-length
album Ashes to Embers from Eyes of Fire sounded from the speakers were
Anathema. Eyes of Fire's music have more than a few things in common with
the aforementioned Anathema and in particular how Anathema sounded on
their Silent Enigma album.
But Ashes to Embers doesn't sound like an exact copy of The Silent Enigma
'cause Eyes of Fire combine their pulsating, melancholic and dreaming
music with elements of hardcore and even some nu-metal riffs a la System
of a Down. The more spins I gave Ashes to Embers the more it grew on me.
Somehow their music was a like a flower leaning towards the sun and slowly
unveiling its inner beauty. It's very clear that the musicians in this
band are not newcomers and both bassist/vocalist Matt Fischer and guitarist/vocalist
Dan Kaufmann do actually also have a past in the now defunct doom/death
band Mindrot who released two full-length album and three EP's through
Relapse records.
Ashes to Embers is a beautiful journey into the melancholic and despairing
emptiness. A journey I challenge you to take if you're willing to expand
your musical horizon a little and explore the enchanting musical universe
seen through eyes of fire. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)
Malevolent
Creation: Warkult Nuclear Blast 4/6
My expectations were sky high to the new Malevolent Creation release Warkult
still having fresh in mind their previous album The Will to Kill which
was a phenomenal combination of both brutality and catchiness. My first
impressions were that the new album didn't quite live up to it's predecessor
but now I'm not so sure anymore 'cause the more rotations I give Warkult
the better it becomes and it darn close to being equal to The Will to
Kill.
The opener "Dead March" does in a way remind of "Memorial
Arrangements" from their debut The Ten Commandments I guess it's
mainly due to the slow and spoken piece in the beginning of the song but
from there on there's absolutely nothing slow about the music. Malevolent
Creation doesn't really surprise in any way this time either. The band
continues to deliver their somewhat unique blend of old school death metal
with a few references to thrash metal like they've done for the past thirteen
years. And seriously this doesn't bother me the least 'cause why should
you begin to tamper with a well oiled machine that runs steady and smoothly
'cause that's exactly what Malevolent Creation does. Warkult is some sorta
concept album obviously dealing with war but the topic war isn't exactly
a new one within the framework of the band so there's really nothing surprising
here either.
Like the previous effort Warkult is produced and mixed by Kataklysm guitarist
Jean Francois Deganais and this has naturally resulted in an impressive
production that obviously isn't really any different from The Will to
Kill. All the material on the album is fairly diverse and memorable but
in my opinion songs like the opener "Dead March", "Supremacy
Through Annihilation", "Murder Reigns" and "Shock
and Awe" are the ones that stick the most out and therefore also
the best. The band have chosen to finish it all off with cover of "Jack
the Ripper" who was originally written by Australian thrashers Hobbs
Angel of Death.
Warkult may not surprise at all but it still lies in the better end of
the scale and there's no doubt that Malevolent Creation consist of competent
musicians and the album does also seem pretty flawless. If you like the
previous works from the band then I see no reason why not to purchase
Warkult 'cause it's far from being a bad release. (Per/Supreme Bruality
Zine http://www.supremebrutality.net/)
GRAVE:
Fiendish Regression 4/6
Lately there hasn't been much music that has caught my attention right
away and the new album Fiendish Regression from Swedish death metallers
Grave was no exception either. However it quickly began to grow and suddenly
I found myself more or less addicted to the musical escapades on the album.
Fiendish Regression is pretty much a straight continuation from where
Back From the Grave left off. So basically we're dealing with slightly
groovy and yet brutal old school death metal that people familiar with
the back catalogue of the band would recognize as being some kinda mixture
of their debut Into the Grave and their third album Soulless. The music
is very organic, catchy and varied without ever becoming too much. The
band has found a beautiful balance between the brutal and the mellower
and groovier parts. But no need to worry we are not talking Nickelback
mellow here and the music is still brutal as f**k but it's just not the
typical brutal endeavor from start to finish that so many bands often
tends to go for. All the songs on Fiendish Regression is strong and has
their own identity but if I should mention anyone that sticks out it would
probably be the slow opener "Last Journey" because of it's somewhat
Slayer-like inspired approach. But also the heavy and brutal "Breeder"
and the heavy and mid-paced "Trail by Fire" sticks out and last
but not least the fast and brutal closer "Heretic" which perfectly
brings Fiendish Regression to an end.
The album may not bring anything unheard but what it may lack when it
comes to this it certainly have in variation and I didn't even found myself
bored at any point while listening to Fiendish Regression. So if you like
your death metal varied to the utmost but still without it losing its
appeal then I wouldn't hesitate in purchasing this one 'cause Grave have
this time delivered their most diverse effort to date. (Per/Supreme Bruality
Zine http://www.supremebrutality.net/)
BLOODBATH:
Nightmares Made Flesh 4/6
If some one by any chance should have missed the news awhile back I'll
repeat that Swedish all-star death metal combo Bloodbath have revamped
their line-up. Gone is Opeth front man Mikael Åkerfeldt who has
been replaced by none other than Hypocrisy/Pain main man Peter Tägtgren.
Furthermore Dan Swanö has switched to guitar. Replacing him behind
the kit is Witchery/Satanic Slaughter drummer Martin "Axe" Axenrot.
So the line-up hasn't become any less impressive with the exit of Åkerfeldt.
At first I found Nightmares Made Flesh somewhat disappointing but I also
had the predecessor Resurrection Through Carnage fresh in mind but then
again it's also close to impossible to outdo such a flawless effort as
Resurrection Through Carnage. Obviously the band is aware of this 'cause
the new album doesn't sound like the aforementioned album even though
it still bears all the characteristic trademarks of Bloodbath. But to
people who have followed the band since the Breeding Death EP it shouldn't
comes as a surprise that the band once again have changed their sound
a little.
For those unfamiliar we're this time around dealing with old school Swedish
death metal combined with the brutality and technical edge of US death
metal opposite to the somewhat simplistic style that the band had on their
previous releases. The music seems far more technical this time and at
the same time the pace have also been quickened quite a bit compared to
the past material. The deep roaring growls from Tägtgren leaves absolutely
nothing to be desired proving that he's a worthy successor. Peter is sounding
as intimidating as ever even though his vocals aren't quite as deep as
the obscure growl from Åkerfeldt. The music is as usual very organic,
diverse and memorable but this time without having quite the same catchiness
and accessibility that Resurrection Through Carnage has. The production
this time around seems somewhat clearer and dry opposite to the ultra
thick and juicy sound that the band had on the previous record.
Resurrection Through Carnage is a darn hard album to beat and Bloodbath
doesn't quite succeed in doing so but somehow it seems like the band already
knew this. But this being said Nightmares Made Flesh is still far better
than most other releases so far this year. However here's a little advise;
"Don't expect to find Resurrection Through Carnage Part II like I
wrongfully did at first 'cause then Nightmares Made Flesh will most likely
disappoint". (Per/Supreme Bruality Zine http://www.supremebrutality.net/)
Forsaken
- Anima Mundi (Golden Lake Productions)
Lordy, the Maletese Fivesome have outdid themselves on Anima Mundi. There
was promise on there Iconoclast EP, but this is in another league. There
is some serious Doom-Prog going on here, a amalgam of Candlemass's From
the 13th Sun, Solitude Aeturnus' Downward Spiral with the bombast, flourish
and four-car garage production of any Blind Guardian album. It's doom
metal polished to a blinding, brilliant sheen.
Grant it, there is a chance that Anima Mundi might be a little too slick
for some of you, but that's a chance worth taking in the ears of Old Man
Barnes.
The production lends a gut-wrenching crunch to Sean Vukovik's negative
riff (especially on "Carpe Diem" and "All is Accomplished"
but also brings out the subtleness in the softer transitions. Mario Ellul's
keyboard work lends a Tony Banks-on-downers like proggy-flair to everything,
but not in a way that can be considered obnouxious ? this isn't Rhapsody.
The keys remain tasteful, and add a certain amount of depth and emotion
to the songs. The percussive team of Simeon Gatt and Albert Bell perform
with a certain air of authority (as should in any Doom recording) and
vocalist Leo Stivala has never sounded better. You though 'arry wrote
tongue twisters for Dickinson, try to sing this:
The oneness immemorial heals my rupture In the trial of opposites I meet
my sepulcher Sephiroth, daughter of the vampire sun I am one with the
forgone leviathan
I can't feel all that sorry for Stivala, I mean he helped co-write many
of the lyrics on Anima Mundi. What a sadist? hahahaha?.
This is quite a majestic and sweeping work from the band and certainly
will be one of the Doom Metal releases that all the heads will be discussing.
The scope of these songs is so technically challenging and varied ? not
to mention I have no idea how Stivala will remember all those lyrics -
I honestly have no idea how they'll pull this off live. That's what happens
when you set the bar so high with a recorded release. Everyone wonders
how you'll live up to the legacy live. I have faith in these guys though.
Nice work.
Visit the Forsaken website at http://www.cru2.net/forsaken/
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Exodus
- Tempo of the Damned (Nuclear Blast)
Even though I'm the last person on the planet to hear this and
you've read 5 zillion reviews of this thing, I still feel like I have
to weigh in. It's the obsessive-compulsive thing.
I really haven't read a bad review on this long-awaited, post-Baloff comeback
album. I can see why for the most part. Tempo of the Damned is the best
U.S. thrash metal album since Testament's The Gathering, to my ears, anyway.
I know Sweden is on the downward life cycle slope of a renewed interest
in thrash metal and frankly, there has been some good ones from the land
of the Constitutional monarchy. Where Exodus leaves 'em in the dust can
be explained in three parts: They have a vocalist that doesn't sound like
every other vocalist with a sore throat; they made at least two great
albums so you know they can do it again... hell, they helped originate
"Thrash" back in the day; and last but not least, they're all
off drugs now and very angry. It shows.
The two openers may be among the best two openers I've heard ever in thrash
- "Scar Spangled Banner" would get you jailed in most countries
(and just might happen here in the good ol' US if the FCC gets it's way)
for it's scathingly blatant criticism of a heavy handed U.S. Foreign policy.
Plus, it rocks. "War is My Shepherd" is a thrash classic, don't
let anyone tell you different - that thing scorches both musically and
lyrically in a way that most only dream. Speaking of which,Exodus have
no problem in the lyric department, they comes up with some of the most
biting and creative vocal lines I've heard. It would be a mistake to not
listen to the lyrics here. "Cruci-fucked"?!! That just entered
the pantheon of my personal vernacular.
Not everything is wonderful on Tempo... though. "Sealed with a Fist"
is a lyrically poignant take on spousal abuse but musically it's as flat
as Redondo Beach surf. Same with "Culling the Herd". Man, I'm
all for vigilantism in the face of a justice system with no teeth, but
I've had naps that are more exciting. That's OK though, because the first
two tracks, the title track and a reworking of "Impaler" (Keyrist!!
Can you get enough of that hyperspeed break??) make this a must buy for
any self-respecting metal head on this wacky planet of ours.
Visit the Exodus website at www.exodusattack.com
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Mithras
- Worlds Beyond The Veil (Candlelight Records)
I don’t know anything about Mithras outside of a Terrorizer
review I breezed through that basically heralded them as the Second Coming.
If I were a musician and I got a review like that, I’d quit figuring
that it’d be all downhill after that. After I supplied the writer
with top shelf hookers and rad tootskie.
Worlds Beyond The Veil is the work of Leon Macy (guitars/drums) and Rayner
Cross (vox/guitar) and is certainly the most interesting release I’ve
heard this year. I’m not even going to try to go into the lyrical
concept behind the album because I don’t have a clue what the fuck
they are on about. Something about heaven, evolution and telepathy. If
the plot line doesn’t read like an episode from Everybody Loves
Raymond, I’m lost.
Musically, man oh manoschevitz, this is something. Lush hypnotic space-synth
interludes lead into death metal ditties that’ll rip your head clean
off… then back to the space rock, repeat. This all comes to a head
with the 13 minute opus “Beyond the Eyes of Man” which has
a little of both. Unconventional to say the least, I can’t really
recall anything I can compare this to for a baseline. Trey Azagtoth and
Phil Sandoval on the Hawkwind tip? Dunno. Best I can do.
The overall sound is very different for a death metal release as well…
at times you get the distinct impression that Worlds Beyond the Veil was
recorded live at Royal Albert Hall -it’s huge - the guitars, drums
and bass have a hint of reverb, almost like the acoustic echo in a large
hall designed for a symphony. Definitely different and I dig it but if
your looking for Neil Kernon-like production, might wanna try the new
Deicide instead.
I can highly recommend this if you’re an open-minded sort. I know
that doesn’t come easy for the died-in-the-wool Death Metal fans
that want to hear Covenant over and over again. To you I say this.. try
it, you might like it. (Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Force
of Evil - Force of Evil (Diamond Records)
I've waffled more than John Kerry on this album. On paper, this thing
has capacity to smoke... Mercyful Fate guitarist Hank Shermann pulling
Michael Denner out of retirement to record a new album... I mean these
were two guys that had a big part in writing Melissa and Don't Break the
Oath (among others) for crissakes. That's some kinda street cred.
So, for the first listen I was underwhelmed. The second listen I thought
it was brilliant. The third listen I thought it was mostly brilliant but
flawed. As it plays in the background, the soundtrack to my typing, I've
settled on my final judgment: It's a damn good traditional metal album.
Not great, but good. There are indeed some tasty old school riffs on this
thing, and I gotta tell you, the Denner/Shermann solos are Godly. Add
some finely crafted epics ("Eye of the Storm", "Samhain"
and "Eternity") and fret-melters ("Hell on Earth",
"The Calling") and it's solid. Not great, but worth some of
your hard earned shekels.
What keeps me from enjoying this more is really my own damn fault, but
I can't help it. Vocalist Martin Steene (on borrow from Euro-metalers
Ironfire)mid-range sounds like gawdamn Jon Bon Jovi and I friggin CAN'T
STAND the man or his "music". Steene even claims that Bon Jovi
was the very first concert he ever attended and that the Bon man inspired
Mike to grow out his locks. Don't tell me that. That really doesn't help
matters. And Bret Michales inspired you to wear tight pants? I will give
credit to Steene in that when he gets wound up and lets out that high-pitched
metal roar, it's pretty damn impressive. Unfortunately for me, he spends
most of his time in Bon Jovi land. Essshh...
But look, not everyone is as hung up on vocals as I am and it doesn't
look like we're going to get a Mercyful Fate record anytime soon. So you
might wanna jump in.
Visit the Force of Evil website at www.forceofevil.com (Chris Barnes/Hellride
Music hsp90277@yahoo.com; http://www.hellridemusic.com)
Anata
- Under A Stone With No Inscription (Earache Records)
Who, in the world of death metal, end a particularly brutal barrage
of hypertechnical death metal with a trill?? A trill, I say. Hammer-on,
pull-off, end of song. Anata does and this is how "Shackled to Guilt"
ends it's time. Non-conventional ending to be sure, but then just about
everything regarding Anata defies at least some sort of convention.
Under A Stone With No Inscription arrives just as the death metal world
appeared to run short of ideas and fall into an endless cycle repeating
itself. Anata save the day, arriving with a calculator, an uncanny ability
to enslave tempo and warp it into weird, wonderful and awe-inspiring things
at very high speeds, and a belly full of aggro. The riffs created by this
band make your head spin - circular, angular in a way that would make
an Escher drawing like fingerpaint-time at preschool. Couple this with
a percussive powerhouse that is nothing short of jaw-dropping in it's
technicality (as in, can someone really do that without ProTools??) and
a raw, innate instinct to convey aggression within the framework of a
musical arrangement, and you got something pretty special. No wonder most
Death Metal bands gig in sweat pants. It's a fucking workout.
Still, being the pisser I hate myself for being, Under a Stone... isn't
perfect - the frantic tempo of the record left me feeling like I just
spent 45 minutes in the spin cycle of a giant Maytag once track 10, "Any
Kind of Magic or Miracle" ends. All that speed and multitude of calculus
riffs delivered at hairpin turns will turn you grey before your time.
The only time Anata slow down is in the midsection of the last, aforementioned
track. More attention to dynamics certainly couldn't hurt.
Honestly, aside from my bellyaching, Anata is taking this art form to
a new level. Nice work, fellas.
Visit the Anata website at www.anata.se.
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
THE
END - Within Dividia Genre: Noise/hardcore Label: Relapse Released: January
26th, 2004
This is to my knowledge the second full-length album from Canada's The
End and I must confess that I'm not familiar with their previous material
so I really can't tell in what way they've evolved and progressed since
their previous album Transfer, Trachea Reverberations From Point: False
Omniscient but what I do know is that this is definitely not my kinda
music The End plays. I'm having a really, really hard time dealing with
the screaming vocals that really seem to get under my skin and therefore
tends to ruin this album completely for me. The music is a strange mixture
of hardcore and noisy rock which I'm sure in its own way is appealing
to a lot of people and that's really cool but they certainly have turned
me off. When it comes to sounding a little different than the rest then
The End hasn't really anything to offer, I swear if I put on a CD with
December or The End I seriously could not tell the difference - that's
how close they sound. I'm sure it's probably just me who doesn't know
how to appreciate this kinda music but to me it's just a complete wall
of noise that would be more than useful if you have intentions about driving
your surroundings insane. Within Dividia is a release that of course probably
will please most of the fans of this genre. But if like you like me are
unfamiliar with this subgenre of metal then I wouldn't suggest you start
you exploration here. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)
KATAKLYSM:
SERENITY IN FIRE Nuclear Blast 5/6
I clearly remember when I bought my first Kataklysm album back
in '95; it was their debut full-length album "Sorcery" and frankly
I wasn't impressed at all, so I kinda lost interest and ignored them for
quite some time, but I kept hearing their name mentioned over and over
again so it sparked my curiosity once again and I decided to buy their
previous album "Shadows and Dust", and I was immediately blown
away so I went out right away and brought their two albums prior to "Shadows
and Dust" and they both possessed the same energy and vitality so
I was hooked.
Now Kataklysm is ready with the successor to the aforementioned "Shadow
and Dust" and the new album "Serenity in Fire" continues
almost exactly where "Shadows." left off so basically there's
really nothing new under the sun here. We're still dealing with high quality
and very diverse death metal with a few melodic and black metal elements
built in, but "Serenity in Fire" is also an album that despite
it heavy reliance on the now well-known formula that Kataklysm have been
building up over the course of their last three albums still manages to
sound very fresh and full of vitality. "Serenity in Fire" ranges
from being ultra-fast over to slower and very catchy mid-paced songs,
and prime examples of this are "The Resurrection" and "Blood
on the Swans" only to name two, but the album is actually perfectly
and equally divided between the fast and mid-paced part, proving this
is a really worked through effort. Some personal favourites are "The
Ambassador of Pain", "The Tragedy I Preach" and "Under
the Bleeding Sun", but all in all there's really not a single bad
song on "Serenity in Fire".
A small minus with the album is the over-exaggerated use of drum triggers,
which makes the drums seem very artificial and sterile, but all in all
this is a minor thing that in no way spoils the overall experience. If
you liked K ataklysm's previous works, then you can in no way go wrong
with "Serenity in Fire" which stays true all the way to what
we've come to expect from the Northern hyper blasters. (Per/Supreme Bruality
Zine http://www.supremebrutality.net/)
DEICIDE:
SCARS OF THE CRUCIFIX Earache 5/6
The last Deicide album "In Torment In Hell" wasn't
really anything special; it seemed kinda rushed and boring. The band also
stated that they weren't happy with it, but they were just so eager to
get out of Roadrunner's straightjacket that they rushed the whole thing.
I must confess that I tend to believe them 'cuz their new album and Earache
debut "Scars of the Crucifix" is a whole different story.
Of course "Scars of the Crucifix" is typical Deicide all the
way and does really not add that much new if anything to the already known
Deicide sound. Front man Glen Benton sounds as pissed as ever and all
the bible lovers out there should have plenty to take offence from with
titles such as "Mad at God", "Fuck Your God" and "Go
Now Your God is Dead". Somehow "Scars of the Crucifix"
sounds a lot fresher, more aggressive and brutal than some of their later
releases. It's like the split with Roadrunner and Glen Benton's collaboration
with Vital Remains have pumped renewed energy into the band. It's in no
way a new "Legion" but it might possibly be their best since
"Once upon the Cross" or even the aforementioned "Legion".
A thing that really sets it apart from most of the previous Deicide material
is that the leads seems a lot more dominant and almost haunting this time
around adding a lot of diversity to the sound.
My only complaint about "Scars of the Crucifix" is the length
of the album it doesn't even clock twenty-seven minutes but I guess I
should have been used to used to this by now since almost none of Deicide's
releases exceed thirty-five minutes. This is just me rambling 'cuz it
doesn't change the fact that "Scars of the Crucifix" is a great
release that proves that Deicide still have what it takes to create hellish
and truly blasphemous death metal. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)
Wolverine
- Cold Light of Monday (Earache/Elitist)
Maybe it's me, but prog-influenced bands seem get more interesting
the older I get. I guess some of that youthful, visceral rush of an aural
pummeling displaces a bit for more cerebral stuff as the metal fan matures.
I like this album quite a bit - a surprise because I actually put this
in my CD player by accident. I stuck it in a Decide promo cover by mistake.
Silly. I was thinking I was going to get an adrenaline fix by some wacko
with an inverted cross branded in his head and I get something completely
opposite. I get a brilliant, lush, techically-impressive concept album
about an abused young woman...
Wolverine remind me of somewhat of Dream Theater and Green Carnation,
allied with some of the more ethereal overtones and pure emotional impact
of the last two Anathema albums. Emotionally, it's not a party album.
It's an intense story of an abused young lady, the music rising and falling
from rushing climaxes to melancholic passages as we follow her story.
The musicianship is superb, as is the production - every instrument is
crystal clear in the mix, the whole package giving the listener an extreme
feeling of texture and space.
Of considerable note are the stunning vocals of Stefan Zell - truly a
find as he explores a huge range and delivers lyrics with palpable emotional
conviction. In short, the fucking guy rules.
You don't have to be a prog-head to dig this - but it does help to be
open-minded. Give it a spin if you get the chance, I really don't think
you'll be disappointed.
Visit the Wolverine website at www.wolverine-overdose.com
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Swarm of the Lotus - When White Becomes Black
(At A Loss Recordings)
Somebody hipped me to an MP3 of these guys a while back, heard
it and thought it was pretty impressive stuff - highly rhythmic pummeling
in the vein of Mastadon and Meatjack with an occasional burst of Sonic
Youth sound frequency exploration and Neurosis subtlety. Then I deleted
a bunch of files by mistake, SOTL being one of 'em and promptly forgot
about them. What a music fan I've turned out to be.
Thanks to the fine people at Earsplit PR, SOTL is back on my radar with
their first full length album, When White Becomes Black. It's the same
SOTL that I remember, although they sound a little more high-strung ,
a little more apt to rip off your face than say "pardon me".
The first four tracks are multi-textured forays into sonic pounding, drummer
Jon-John being especially compelling as he busts the fuck out of his set
but does it with such technical dexterity and aplomb that it's frightening.
Pete's shriek of largely party-pooper lyrics are highlighted by his and
fellow guitarist Bob's jagged, almost angry artrock guitar work. Everything
anchored down (almost) by the low-end of John the Bassist, used much less
as an instrument of rhythm as an instrument of pure, unadulterated impact.
The kind you feel in your ribcage.
The epitome of the SOTL experience occurs on 'From the Embers' and 'Seeing
Truth' - both songs that let the band breathe a bit, get in touch with
their subtle side by drenching the listener in some forgiving space after
the first four punishments. "Episode Infinity" gets high marks
too, for no other reason then I love hearing the drummer go ape-shit at
the end. Damn that was good.
There are only two things that keep When White Becomes Black a totally
satisfying listen: The first is the length of the record. At 51 minutes
and change, it gets kinda long to listen to this sort of music - this
is a 35 minuter, tops. The other is that I enjoy SOTL more when they aren't
simply intent on kicking my ass... when they explore a little bit, get
in touch with their subtle side and let the songs breathe is where they
shine. Admittedly, small nit-picky complaints but when you sit and listen
to music all day for a living, what the hell else are you going to do?
Other than that, a nicely done album that should leave Mastadon, Meatjack
and Nuerosis fans with a post-endorphin rush glow.
Visit the Swarm of the Lotus website at www.swarmofthelotus.com
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Herod
- For Whom the Gods Would Destroy (LifeForce Records
Old School metal is getting a second wind of sorts... not as
the main course so much as a main ingredient in a...erm... casserole of
metal stylings. Casserole. That may be the lamest metaphor I've ever come
up with but my email and internet access is down and I'm in a real pisser
of a mood. So it stays. Casserole.
There are a number of bands incorporating old school stylings into their
sounds, Tirivium comes to mind immediately as an excellent example of
how new and old can meet and even get along. Buffalo, NY's Herod lean
even harder on metal of yore for an interesting mix. Dammit if the opening
of "We Are Those People" didn't take me back to Delirious Nomad-era
Armored Saint, and "The End", "Winter's Bane" and
"Look Beyond" have more Killers-era Maiden-isms than Maiden
at this point.
The interesting kicker is that Herod incorporates all of this into a hardcore
salmagundi. Salmagundi. Another lame metaphor. Judah Nero lays down the
hardcore bark n' chant like a pro. Interesting. Breakdowns and solos,
not your typical classic metal OR hardcore fare. And truth be told, given
my classic metal background (I grew up on the stuff) the blending of the
two fucks with my frame of reference. It doesn't stick to the tried and
true and ultimately throws me for a loop. That's a good thing though.
It's like having a younger nephew with those ridiculous body piercings
and pants belted mid-ass. He looks like a miscreant but if you spend enough
time with him, you love him anyway.
And that's the deal with Herod. This kinda style of blending old and new
is still fresh enough where I'm not annoyed and actually enjoy the change
in dynamic. It helps that the band write some killer riffs, hooks and
have the guff to bust out actual SOLOS... something unheard of only a
year ago. The kids are raiding mom and dad's vinyl collections it seems,
and so far the results are pretty impressive.
So for you young 'uns, give it a whirl. Trust me it rocks way better than
Blink 182 ever could. And for you oldies, give the kids a chance. Try
it, you might like it.
Visit the Herod website at www.herod.cc
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
EXODUS:
TEMPO OF THE DAMNED Nuclear Blast 5/6
When Exodus released their last studio effort Force of Habit
in 1992 it quickly came to serve as a painful reminder that this was the
same band who in the 80's had released thrash metal classics such as Bonded
by Blood and Fabulous Disaster. The band also split up shortly after the
release of Force of Habit, but in '97 the band reformed with original
vocalist Paul Baloff and recorded the now-classic live album Another Lesson
in Violence. Being among the innovators of Bay Area thrash metal, it's
not undeserved that Exodus possesses a certain legendary status in the
metal community.
Now seven years later, the band still mourning the loss of Paul Baloff,
who passed away on February 2nd, 2002 after suffering a massive stroke,
have been rejoined by Baloff's replacement Steve "Zetro" Souza
and are ready to release their first studio album in almost 12 years on
the two year anniversary of Baloff's death.
Tempo of the Damned opens up with a typical aggressive up-tempo Exodus
track "Scar Spangled Banner" that sounds like something that
could have been straight of one their 80's releases with the typical Zetro
vocals and Gary Holt/Rick Hunolt riffs. "War is My Shepard"
is another aggressive up-tempo song that just as well could have been
on their earlier albums. "Blacklist" is a classic, catchy mid-tempo
Exodus tune with a great chorus and heavy pounding groovy riffs. "Shroud
of Urine" is one of the album's absolute highlights and features
the classic guitar attack from Gary Holt/Rick Hunolt, and likewise "Blacklist"
it has a very catchy chorus and bears the classic dual guitar trademark
of Holt and Hunolt. "Forward March" is more of the classic Exodus
fretwork and contains vocals that range from being typical Zetro vocals
over to something that borderline rapping (and NO, we' re not talking
nu-metal style here). "Culling the Herd" is more classic Exodus
extravaganza with a slight change in pace but still sounding typically
like Exodus. Next up are the two tracks "Sealed with a Fist"
and "Throwing Down" which was originally written by Wardance,
the ill-fated mid- '90's act formed by Gary Holt and drummer Tom Hunting.
Both tracks have been reworked and in my opinion it works out well even
though they stand out a little from the rest of the material but still
sounding like Exodus. "Impaler" is an old Exodus classic written
when Metallica's Kirk Hammett was still in the band; it was supposed to
have been on their debut "Bonded by Blood" but never made the
cut. So now Exodus has chosen to give it the proper recording it deserves.
It sounds really cool even though it doesn't possess the aggressive edge
the rest of the material has and therefore it stands alone. The final
track "Tempo of the Damned" is an aggressive experience that
doesn't sound like typical Exodus but none the less is a great ending.
Tempo of the Damned is an impressive comeback that proves that Exodus
still know how to create thrash metal the classic way. Exodus' long absence
from the studio has really done them well. With Tempo of the Damned they
have delivered an inspired and fresh effort that stays true to their pioneering
sound. Hopefully we'll be hearing a lot more from Exodus in the future.
(Per/Supreme Bruality Zine http://www.supremebrutality.net/)
CANNIBAL
CORPSE: THE WRETCHED SPAWN Metal Blade 5/6
I was staring out the window on a dull Sunday morning, trying
to come up with a great idea as to how I should start this review, but
my mind was completely blank, totally drained of logical thoughts. I'm
not sure if it was the nerves that were beginning to have an effect on
me since I had to talk to bassist Alex Webster later that day. But the
more I came to think about it, the more I realized that Cannibal Corpse
is a band the really doesn't need any introduction cuz' most people know
their name, no matter if they like the music or not. Cannibal Corpse is
simply an institution in death metal.
I must admit that the last couple of Cannibal Corpse CD's haven't had
much play time in my CD-player; not that they were bad in any way but
they just weren't that exciting compared to their earlier material such
as Tomb of the Mutilated and Eaten Back to Life. But The Wretched Spawn
is a whole different story. I might go as far to say that The Wretched
Spawn is possible their best album since the aforementioned Tomb of the
Mutilated.
The opener "Severed Head Stoning" is a good hint of what is
to come. It takes off in a fierce pace, bearing all the usual trademarks
of Cannibal Corpse, and from there on there is really no turning back.
Next up is "Psychotic Precision" and "Decency Defiled",
two equally great tracks both with catchy and simple choruses that quickly
get stuck in the head. Up next is "Frantic Disembowelment",
another fierce and brutal song that does what it's supposed to do: eliminate.
The title track is one of the slower tracks and it works as the perfect
link between the previous song and "Cyanide Assassin" which
is yet another malevolent attack. "Festering in the Crypt" is
a pretty slow song according to Cannibal Corpse standards but still a
gut-ripping tune. Next up is one of my personal favourites, "Nothing
Left to Mutilate", which of course is typical Cannibal Corpse with
a catchy riff that really sticks out. "Blunt Force Castration"
is yet another merciless assault of speed and precision. The last four
tracks tend to remain a little anonymous, but still this doesn't mean
they are boring in any way. They are just not quite as dominant as the
rest.
The Wretched Spawn never seems to become monotone or dull, and most of
the material is catchy and memorable due to the structure of the arrangements
that range from being ultra fast to mid-tempo parts and even slower ones
as well. The Wretched Spawn bears all the familiar trademarks of Cannibal
Corpse, so if you like any of their previous releases or if you're just
looking for some quality death metal, then don't hesitate in getting The
Wretched Spawn. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)
ANATA:
UNDER A STONE WITH NO INSCRIPTION Earache 4/6
Sweden's Anata is ready with their third full-length CD Under
a Stone with No Inscription. A CD that is full of free-thinking and experimental
elements but this without compromising their death metal sound and approach.
Under A Stone with No Inscription is a CD that's hard to categorize and
Anata can definitely not be accused of playing the typical brand of death
metal. The music is a strange compound of a wide range of influences from
both the American and Swedish scene all bonded together by dozens of weird
harmonies, breaks and hooks. At first it all sounds a little weird but
the further you dig down and investigate, the more compelling the music
gets. Just listen to the main riff in "Sewerages of the Mind"
and tell me it's not compelling! Under A Stone with No Inscription is
a CD that demands multiple listens before it can be really appreciated
properly due to the complexity and the technical approach of the songs.
With every listen you'll discover new and interesting things. Of course,
it's not all rosy and wonderful and there are a few annoying things here
and there, but they are minor things that doesn't do much to the overall
experience so I won't dig any deeper into those in this review.
Under A Stone with No Inscription is a CD that definitely won't appeal
to everyone, but if you're open-minded and looking for something a little
different than the usual, then you shouldn't hesitate with getting this
album. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)
HATESPHERE:
Something Old, Something New, Something Borrowed and Something Black 4/6
Something Old, Something New, Something Borrowed and Something
Black is the fitting title on the new seven track mini from Danish melodic
death/thrash metallers HateSphere. A mini CD that's made up, as the title
suggests, of something new, something borrowed and something old.
First up is the new track "Release the Pain" which is very cool
and sounds like typical HateSphere and is best described as aggressive
melodic death metal with some thrash elements. Next up are two cover songs
in the shape of the old Ozzy Osbourne classic "Bark at the Moon"
and the classic Anthrax song "Caught in a Mosh". HateSphere's
rendition is done with a perfect balance so they do sound like HateSphere
but still remaining true towards the original recording. Finally, there
are four live tracks recorded live at Voxhall in Aarhus, Denmark during
their European tour with The Haunted and Mastodon in 2003. The sound on
those four tracks is excellent and illustrates evidently what 'HateSphere
live' is all about.
Something Old. is a very good appetizer while we wait for a new full-length
release. Fans of Hatesphere or melodic death metal in general shouldn't
hesitate in getting this! (Per/Supreme Bruality Zine http://www.supremebrutality.net/)
Negative
Reaction/Ramesses - Split CD (PsycheDOOMelic Records)
I'm reminded of Negative Reaction every time I have to reactivate
the desktop on the computer. The same exclamation point in a triangle
symbol that says to me, "Warning! You're computer fucked up!!"
and is the precursor to a negative reaction of a completely personal sort.
We all know about Negative Reaction by now.... NY's principal trust in
old school sludgecore. The band always lulls me into a hypnotic sludge
stupor. I love 'em. I like Negative Reaction in that they don't fuck around
and pretend to be anything OTHER than sludgecore. There is a definite
lack of pretense hear, a sentiment that sticks even when the band bust
out the Native American flute for a spell on "NOD" - instead
of coming off like a too-clever add on, it's a nice juxtaposition to Ken's
wail-from-hell. It might be me, but I think that NOD may be the most intense
Negative Reaction track to date.
The big news on this split is that it's also the musical debut of Ramesses
- the new project of ex-Electric Wizard members Tim Bagshaw and Mark Greening.
It's not fair to compare 'em to Electric Wizard, but what in life is fair
when it comes down to it? Where the Wiz take things down a more psychedelic
path, Ramesses hang a severe right. It's much more straightforward pummeling,
more Venom-y and Frost-y then their previous employer. Tim moves from
bass to guitar, Mark on drums (and a nice turn on the Hammond at the beginning
of "Master (Your Demons)")while new guy Adam Richardson provides
bottom-end anchor and guttural bark. Is it good? Hell yeah! Is it the
second coming of Doom as we know it? .... nah. There are some other bands
doing this type of thing (Atlanta's excellent Tualatin come to mind) and
although these two Ramesses tracks provide a damn good deal of visceral
appeal, I need more to getter a better idea of how the band will place
in the long run. An earnest debut though, off to a good start. Nice work,
lads.
Purchase the Negative Reaction/Ramesses Split at the Hellride Music Superstore
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Probot
- S/T (Southern Lord Recordings)
First off, the Probot promotional disc contains a new form of
copyright software embedded in the disc making it difficult to play on
your computer. I found out it's also difficult to play on my car stereo
as well. A big thanks to all you douchebags who love to download music
you don't want to actually pay for. Fuckers. You've now stuck us with
half-ass technology.
For those not familiar with Probot, it's famed Foo Fighter/ex-Nirvana
drummer Dave Grohl's tribute to the metal gods he grew up on. Mighty nice
of Dave to tip his hat to the masters and to Greg Anderson of Southern
Lord Recordings to get this out to the public. It's been awhile and we've
all been waiting.
Two things that strike me right off the bat - Dave Grohl is a helluva
song writer and must be a helluva metal fan because he writes each song
according to the vocalist's style. For example, the magnificent "Centuries
of Sin" track featuring Cronos sounds like a lost Venom track. Same
with "Sweet Dreams" featuring Danish high-note hero King Diamond
(with some guitar help from one Kim Thayil... where you been, dude??!).
Same goes for the rest of the songs on the album, except for "Big
Sky" with Tom G. Warrior which we'll get to in a minute. . The second
thing I notice is a lack of guitar solos. I mean none, except if you count
Wino doing 12th fret bends for 10 minutes. I dunno if it's because Dave
can't solo or because... well, I dunno.
The one thing you should know about Probot is that it's well worth your
money, whatever you pay for it. If you are even a casual fan of metal,
you'll find at least one track that will stick in your memory like your
first love. For me, the Cronos, Kurt Brecht, Wino and Lee Dorrian tracks
are done exceptionally well, enough for me to play 'em over and over again
on constant and incessant shuffle for an entire afternoon. The Eric Wagner
track is also amazing, and it's about time that Mr. Wagner is recognized
for the true talent he is and not just another Howard Stern lookalike.
The only track that disappoints is the aforementioned Tom G. Warrior track
"Big Sky". What the hell happened here? It sounds like a Marylin
Manson outtake. Stinky.
The real disc and matching double vinyl offering will offer a bonus track.
I have no idea who it is, because it wasn't included in the promo. Someone
said it was Jack Black. That would bum me out in the worst way. How anticlimactic
would that be? All I need to say is "Shallow Hal". Go back to
hell where you belong. Hopefully these rumors are unfounded and we get
someone cool, like Dickinson, Bobby Halford, Ron Dio or someone of that
ilk.
Cool cover art and design by Voivod's Away too, for you detail junkies.
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Anathema
- A Natural DisasterAnathema - A Natural Disaster (Koch Entertainment)
"In a split second the foundations for peaceful fulfilling
life can be blasted away to the four corners of reality...almost as if
it were an act of a truly evil god.
It's succinct reflections like the above that draw me to Anathema. More
than once I've been blown away by the Cavanagh brother's ability to mesh
beautiful prose with everyday emotions and then put them to lush, hypnotic
and haunting music.
I know a lot of long time Anathema fans were thrown for a loop with 2002's
A Fine Day to Exit as the band introduced a whole new sound. Half cried
"Sell out!" while the other half embraced the bands change in
sound a true progression. I loved that damn album and continue to spin
it quite frequently. In a word, brilliant, and a huge step in defining
the band with it's own unique sound.
2003's follow-up, A Natural Disaster, continues where A Fine Day to Exit
left off, albeit with a bit more f ire in the belly. Nothing on this album
captures the urgency and beauty displayed in A Fine Day to Exit's "Pressure",
Release" or the title track, but A Natural Disaster comes damn close
and close enough not to disappoint. Again, Danny Cavanagh's ability to
write songs that highlight the Anathema hallmark of rich melodies and
hypnotic dynamics is what really drives this releas. Brother Vincent's
haunting emotive vocal delivery gives the whole affair palpable life that's
hard to come by in music alone.
With this release, the band revisit their heavier moments, albeit briefly,
with the midsection of amazing first track "Harmonium" and the
downright blasting (and surprising given the tone and mood of the other
songs) panic-inducer "Pulled Under at 2000 Metres A Second".
The band further throw convention to the wind by enlisting someone outside
the Cavanagh circle to sing the title track in the form of the prodigious
vocal talents of Lee Douglas (wife of drummer John). "Flying"
is not only catchy, but defines melancholy beauty as only Anathema can
do and further attention must definitely be given to the climatic instrumental
"Violence" which recalls Sonic Youth and Pink Floyd in both
intensity and trance-inducing capability.
Really, another incredible work from this band. In my ears, they have
absolutely succeeded in reinventing themselves.
Visit the Anathema website at www.anathema.ws
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
GORGASM:
MASTICATE TO DOMINATE Label: Unique Leader
Chicago's Gorgasm continue from where they left off with their
previous CD "Bleeding Profusely" and they haven't exactly slowed
down or made any compromises on their second full-length "Masticate
to Dominate". A CD that shows Gorgasm still know how to create savage
and brutal death metal which brings to mind bands like Suffocation and
Gorguts.
The arrangements and structures are based upon the classic formulas, making
much of it predictable. But nonetheless the CD is full of cool breaks,
fast grinding riffs, slower heavy parts and of course plenty of blast
beats making it a varied and deadly effort. The songs are kept fairly
short making them even more intense and brutal. "Masticate to Dominate"
is a lesson in pure and utter violence; a lesson that will not soon be
forgotten. Just listen to songs such as "Stitched Oral Asphyxia",
"Concubine of Despise" and "Deadfuck" and don't tell
me you're not convinced. The production is fairly clear, yet heavy and
brutally raw, accompanying the music perfectly.
"Masticate..." is among the better releases of 2003 and fans
of sickening and twisted death metal shouldn't pass on this one. (Per/Supreme
Bruality Zine http://www.supremebrutality.net/)
Gorerotted
- Only Tools and Corpses (Metal Blade)
I just read the lyrics to "Fuck Your Arse With Broken Glass".
I shouldn't have done that but the lyrics to "Zombie Graveyard Rape
Bonanza" had me in a horrified trance. I'm admitted puss when it
comes to gore. I can't even watch "ER" reruns.
I know you can't take song titles like "Hacked in the Back and Dumped
in a Sack" seriously and if "Her Gash I Did Slash" didn't
metal me like a mofo with that hellishly tight midsection and Hell-bred
guitar solo, I'd be tempted dismiss this thing altogether on the basis
of sick fuck lyrics alone. The fact is, Only Tools and Corpses is a death/grind
combo of the highest order - tighter than Nemo's butthole 20,000 leagues,
more grooves than a vinyl copy of Mozart's Requiem. The topper is a triple
vocal threat that alternately mimics an un-anesthetized tracheotomy, sudden
gas escaping a bloated corpse, and violent vomiting.
My advice, skip the lyrics and go right to the music because you can't
understand what the hell they're singing about anyway. Musically, more
high-speed twists and turns than an out-of-control rollercoaster. Very
cool.
Visit the Gorerotted website at www.deadagain.fsnet.co.uk
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Extol
- Synergy (2003 Century Media)
Haha, you can tell which label has the best distribution by these
last few reviews that I've done, I bought 5 new CDs this weekend and all
but one are Century Media. This is a Christian progressive death metal
band from Norway, and it's heavy on the Christian overtones, but that's
okay, because the music more than makes up for the shortcoming of their
choice in beliefs. The music is progressive and the dudes can play their
asses off, they use a mixture of clean and death growls, this is just
some good complex death metal with a pretty good variety of songs. This
is a pretty decent band with some decent skill, I really don't know who
else I could compare this too, maybe Farmakon as far as some of the strange
melodies and intricate riffs, there also seems to be some thrash elements
here and there. (Vance mccumberv@cornerstonenational.com)
Children
of Bodom - Hate crew deathroll (2003 Century Media)
You guys keep talking about how Opeth and Doom metal are boring,
well I think Children of Bodom is boring, if it wasn't for the far out
ripping solos I'd never listen to this band. I thought their last album
was better, this one is just too much of the same, Alexis' voice is better
that's for sure, but the songs all have that same identical formula and
frankly is just kind of tiresome. The band photos don't help for me, there's
just a little too much posing going on. This is a good record and I can
see how so many people like it, and it is metal, I guess I'm just into
different things right now and this just isn't doing the trick for me,
I'd rather listen to the new P.O.D. I know that sounds harsh. The good
thing is these guys will sell a lot of records and keep gaining popularity
whether I like them or not, and they are one of those bands that really
don't need to be reviewed in the first place because you pretty much know
what you're getting before you even open the CD case. (Vance mccumberv@cornerstonenational.com)
Into
Eternity - Dead or Dreaming (2003 Century Media)
This is one of those bands that can get lost under the radar
very easily if your not keeping an eye out for them, I stumbled upon this
by accident and then remember the list and decided to give it a spin.
The sticker on the front of the CD was touting this as being a mixture
of all forms of metal, progressive, death, doom and hardcore. I'll admit
the hardcore part kind of turned me off, I am getting really sick of the
crossover hardcore metal genre right now.
After hearing this a few times I think it's safe to say that this is mostly
a crossover hardcore metal band with some sparse Dream Theater like keyboards.
The riffs are nice the song structures are quite odd, the clean choruses
are cool and catchy, there are a million different vocal styles, but the
one that prevails is the hardcore-ish shout, that's the one that you hear
most and to me that's kind of a let down, the clean singing is very good,
but at times might seem out of place. These guys can really play, but
I think they need to settle on a genre and stick with it, I betting that
the band has one Hardcore Hatebreed fan, a Blind Guardian fan and a Cannibal
Corpse fan. It's just hard to pinpoint where this band fits in. It is
a very interesting and at times hard to follow album, that I think will
take several more spins to truly understand.
I'm glad I bought it, I just need some more time to let it sink in. (Vance
mccumberv@cornerstonenational.com)
Reverend
Bizarre - Harbinger of Metal (Spinefarm Records)
It may be a little cavalier of me to say this, but it's my belief
that Reverend Bizarre played a great part in ushering this new Doom Renaissance
with their 2002 masterpiece In the Rectory of the Bizarre Reverend. A
perfect synergy of occult-driven power, emotion and volume that has already
created a classic and inspired a multitude of bands to plug in and slow
down.
Obviously I wasn't the only one to think that the band was on to something
special, as they quickly were swept up from relative obscurity by Finland's
Spinefarm label, landed a spot in the high profile spots in the Tuska
festival at Helsinki (among others) and recorded an EP (albeit a 70 MINUTE
EP!).
Lightning strikes twice, the doom-laden wunderkinds have created another
epic - although this time the lyrics and music take a decidedly darker
turn, sucking the any and all light right out of the room. The band eschew
any trace of psychedelia and the popular "groove-laden" breakdown
that might lighten the mood, for the addition of "atmosphere":
various audio snippets, and occasional Hammond-ish keyboards and vocalist
Albert's distant wailing and gnashing of teeth to augment bass/percussion
trance-inducing jams. What a record.
"The Wandering Jew" is the instant standout - an epic length
tale of Christ's tortuous journey to Golgotha and what happens if you
happen to be amongst those in the crowd that spit in the Saviour's face
as he carries his deadly burden. The take is much different than anything
you've heard - Christ as Son of God or martyr for the lower class? Christ
as an occult figure, casting spells?? Whoa.
Albert's vocals are still the tested trademark of the band - they could
go country and you'd still recognize that clear yet ominous timbre, perhaps
the best built voice for doom metal since Ozzy picked up a microphone.
Another doom metal classic, you'll soon realize.
Visit the Reverend Bizarre website at www.reverend.shows.it
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Revelation
- Frozen Masque (Miskatonic Foundation)
I often associate places and times with the music I was listening to at
a particular moment. The first time I gave Frozen Masque a proper spin
was on a the way to a conference at UCLA. I remember the morning being
crystal clear and the music playing on my car stereo being incredibly
awe-inspiring. What leaped out at me was incredibly written songs, each
loaded with a multitude of not just one, but several amazing riffs, delicate
midsections and iron heavy passages - a multitude of dynamics. When the
band launched into a particularly intense moment toward the middle of
the title track "Frozen Masque" (Branagan, Cornelius and Hunter
in perfect harmony), I sat in the parking lot, playing that over at least
five times. I repeated a listening on the way home and I sat in the garage
playing the midsection of "Finished With You" and the entirety
of the immaculate "Little Faith" another multitude of times
(Jim Hunter's bass lines as that baby winds up). Experiences like that
I really treasure. The rare and perfect integration of music and mind.
For those of you that aren't hip, Revelation recorded the Frozen Masque
demo in late 1996, flush with success from the pivotalYet So Far album
and a subsequent tour with double doom legends Saint Vitus and Solitude
Aeturnus. Unfortunately, the album never came to be, but the demo made
the rounds within doom circles, garnering just and due praise.
The Captain Supreme of true metal and Doom, Richard Walker (Solstice,
Warning) saw fit to release Frozen Masque in conjunction with 1994's Mourning
Son demo and two live tracks, all in one package. The icing on the cake
is the comprehensive 12-page booklet with liner notes by drummer Steve
Branagan replete with lyrics and band photos (including the vintage mighty
mullets of singer/guitarist Dennis Cornelius and aforementioned drummer!).
An excellent package, and a worthy snapshot of the seminal Branagan/Cornelius/Hunter
songwriting team.
Also of note is the development of Cornelius as a vocalist between the
Mourning Son and Frozen Masque demos - the difference in chops and confidence
is striking. And then that signature guitar tone (listen to that solo
in "Eternal Search" for Gawd's sake!!!) - both voice and tone
he'd carry with him to his criminally overlooked OverSoul project, whose
Seven Days in November is also worthy of your attention.
If you're a fan of doom metal in any regard - or heavy music in general
- this is a must for your collection. (Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Destruction
- Metal Discharge (Nuclear Blast)
It actually took me a little while to warm up to Destruction's 2001 thrashterpiece
The Antichrist . Looking back, I can't really pin down what the initial
hesitation was. I mean, let's be honest, that fucker brung it. Hard. That
Germanic raw thrash aggression coupled with solid thrash rhythmic fury
and choruses that were actually CATCHY. How many times have I caught myself
singing "Nailed to the FUCKING cross!!" or "Bullets...Bullets
from HELL!!" while driving or wandering around the house?? Either
those tunes have sticking power or I'm retarded. Or both. From that standpoint,
their latest release Metal Discharge already had big shoes to fill.
And to a large part, those shoes remain unfilled. Metal Destruction comprises
two discs - the first is all new material and the second one is covers
and demos. When the cover/demo disc outshines the one with new, original
material, it's a little disconcerting.
Metal Discharge starts off strong all right, both the first neck-snapper,
"The Ravenous Beast" and the title track are absolutely stellar
Destruction compositions - fast, gritty, aggressive and catchy. The third
song, "Rippin' the Flesh" starts a decline (aside from the fine
guitar bridge in that aforementioned track) that will last until the last
two offerings on the disc "Made to Be Broken" and "Vendetta".
So what happened to those six middle tracks? They aren't horrible and
"horrible" is not an option with a band of this caliber - they're
just....boring. Standard issue thrash tunes devoid of any memorable riffs
or choruses. They'd be acceptable for a middle-of-the-road band, but these
are the Teutonic legends Destruction we have here! Maybe I'm being a bit
harsh... To their credit, Destruction have shit more top-shelf tunes in
their long career than most bands can even begin to hope to create at
their peak.
All is not lost, however. Disc 2 contains some absolutely stellar covers
of Maiden's "Killers" and Metallica's seminal "Whiplash"
as well as killer demos of "Bestial Invasion", "The Butcher
Strikes Back", "Nailed to the Cross", and the "Metal
Discharge" title track. Unnecessary, but good listening.
Unfortunately for the new material, 4 solid tunes out of 10 does not make
a great album and that's what we're left with. Not horrible, just not
living up to the legacy of this incredibly talented band. I'm disappointed,
but there's always next time.
Visit the Destruction website at www.destruction.de
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Doomsword - Let Battle Commence (SPV/Dragonheart)
There's a good reason Terrorizer magazine's Chris Chantler lauded
a "9/10" on Italian cult metalers Doomsword's latest release,
Let Battle Commence. The album is Heavy Metal at it's finest; an epic
piece recorded with abundant doses of true metal grit.
Doomsword have always been an anachronism in time, eschewing the current
ostentatious keyboard-laden Eurometal movement for something more authentic.
Something more related to Saxon than Rhapsody. "Battle Metal"
has always been the band's forte, conveying a strong sense of storytelling
and approach to lyrics as it does to it's dark brand of metal. Let Battle
Commence, the band has hit it's stride.
The band has a keen sense of "epic" when it comes to songwriting
- from vocalist/guitarist Deathmaster's sub-operatic delivery style, to
the sword n' steel clashing sound effects to the keen sense of dynamics
pioneered by early bands (and admitted Doomsword influences) such as Warlord,
Viking-era Bathory and Candlemass. The climatic speedy passages are always
tempered with slow, atmospheric flourishes, and vice-versa. Despite the
Metal bombast evidenced on Let Battle Commence, one walks away from the
whole experience convinced that Doomsword are all about the metal, any
evidence of pretension (thankfully) is kept to a minimum.
I agree with Chantler. What we have here may be a metal classic.
Visit the Doomsword website at www.truemetal.org/doomsword
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
The
Meads of Asphodel - The Excommunication of Christ (2003, Supernal Music)
Damn what a strange band, these guys are from England and play a very
unique form of black metal, this is black metal without all the frills
and fluff, it's almost like Medieval Black Metal, stuff that you could
imagine the crazy Knights and Gestures would play back in the old days,
you know if they even knew what metal was, The album art and photos are
almost ridiculous, like some leftover press clips from Monte Python's
holy grail. You go to their website and the guys are all dressed up as
Knights with shields displaying coat of arms and the whole works, it almost
looks like a joke, but then you hear the music and it just blows you away.
The dynamics of the songs and the excellent multi-faceted vocal delivery
is really cool, the old school traditional metal mixed with the folkish
black metal really works well together, there's nothing at all hokey about
this music, it's just some extremely well done black metal with lots of
interesting touches thrown in..
I've seen a lot of mixed reviews on this album, The Metal Observer gave
it a 10/10 and then Tartarean Desire gave it a 6/10. http://www.themeadsofasphodel.com/
(Vance mccumberv@cornerstonenational.com)
Moonspell
- The Antidote (2003, Century Media)
Some might say that Moonspell suck the high hard one, and others might
say they've lost their way with all the goth metal stuff they've been
releasing over the last couple of years. I only have one other Moonspell
CD "Darkness and Hope" and I too thought it sucked pretty hard.
This new one however is pretty damn cool, lots of growling and screaming,
there's also a copious amount of double-bass drumming, I'm very, very
surprised at this return to the old style, even though I don't really
know what that style was, all I know is that this is a solid metal album
with lots of aggression and creative song writing, there are times when
the vocals get all Italian Count Dracula-ish, you know when he uses that
gothic deep Type O voice, but I think it adds to the variety and overall
scope of the album. I think the best tune on the CD is "The SouthernDeathstyle"
which features some pretty cool death growls. This is a pretty good CD......
I couldn't be happier (Vance mccumberv@cornerstonenational.com)
Sun
of Nothing - ...And Voices, Words, Faces Complete the Dream (Blast Beat
Mailmurder/Damaged Productions)
The first track of Sun of Nothing's full length debut will weed
out the weak right away. "Thank You" is comprised of a good
13 minutes of frequency squall and drone. Hang in there though, and the
listener is rewarded with a truly intense amalgam of noise, grind, black
metal and oozing Sludgecore like you've never heard.
Athens, Greece is the true metal capital of the world, where Manowar fills
stadiums and classic metal is the staple in youth diet. The four members
comprising Sun of Nothing turn their collective backs on the popular in
favor of something completely aurally devastating, totally void of crowd-friendly
anthemic chants, melody, harmony and pyro guitar solos. Sun of Nothing
create one helluva dark piece of work whose pure visceral impact can only
be matched by U.S. contemporaries like Hellblock 6, Rwake, Noothgrush
and Mugwart.
Ilias Apostolakis' vocals are unnerving (and unintelligible) shrieks and
screams through a veil of scar tissue - even in songs like the Southern
groove-driven "Kick", Ilias's obtuse utterances darken what
could be a riff straight out of an ATP song with a breakdown worthy of
the song's title. It's a weird, unsettling combination. "Purge Reality
(The Revenge)" pits sludgecore riffs with black metal blastbeats
and speedcore breakdowns. "Diablo" starts with a menacing, acoustic
intro and just as suddenly as it begins breaks into riff that could be
right at home in Norway, circa '91 and a midsection that slows to a dead
crawl... all plodding bass riff and percussion before the whole cacophony
begins again, this time with a steady muted crunch that sounds as it were
played on steel cables.
"....And Voices" is steeped in anarchistic brilliance and DIY
ethic. All that is good in extreme music, compiled in 60 minutes.
Visit the Son of Nothing website at www.sunofnothing.com
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Tartharia
- A Secret Device (Crash Music)
Tartharia represents unifying spirit of the Northern countries,
half the members of Finnish descent, the other Russian in origin. On paper
it sound compelling. Both countries represent hot beds of extreme music,
genre breakers to be sure. Unfortunately, there isn't a whole lot here
that would satisfy that premise. Reality overrides theory once again.
This record isn't bad, per se... it's just not something I'd likely go
out and spend money on. A Secret Device takes run-of-the-mill black and
death elements and peppers the whole platter with the omnipresent Finnish
penchant for keyboard-driven atmospherics and supa-slick production. The
whole thing sounds like an angry Children of Bodom with ADD and less guitar
pyro.
This actually might perk more ears with a production job that was a little
more...necro... in scope. Impaled Nazarane/Children of Bodom producer
Anssi Kippo made this record sound crisper than a burnt toast, but to
these ears anyway, it sucked the life right out of the music. These guys
play brutally...you can hear the potential, yet the production makes 'em
sound like they left their left balls in the desk drawer somewhere. Drummer
Ville Huttunet might as well have been a drum machine given the enhancements
I hear and a anywhere else, Tahvo Kenonen's Banshee-in-vice-grip vocals
would have peeled paint. The dude gives it his all, but dammit if the
production and mix make it sound like he's fronting a band comprised of
well-oiled machines. Kinda disappointing from that standpoint.
The cover art is certainly different from the skulls, blood and blasphemy
we've come to expect in this type of music. I still haven't figured it
out. It's disturbing but I'm just not sure how. Anyway, much credit to
the band for doing something out of the ordinary packaging wise. Still
doesn't save the record, but nicely done nonetheless.
Visit the Crash Music INC website at www.crashmusicinc.com (Chris
Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
The
Frozen - Zero (Independent Release)
Heartache and alcohol. Throughout human history, the two seem to go together
like peanut butter and jelly. Austria's The Frozen not only were formed
by a common bond catalyzed by wretched suffering and booze, they put it
to music. Rock for the suffering soul. A great spin for when the female
species takes a mind to ripping your beating heart out. And working up
a good parting spit in the vacated cavity for good measure.
The Frozen harbor a truly remarkable sound, soulful and melodic borrowing
a bit from the vintage Gothic bands of yore (remember fellow Austrians
Jack Frost?) while still immersed in aggressiveness of hard rock. Tough
to categorize and tough to compare to anyone else out there. To these
ears at least, a good thing. Guitarist/vocalist Dennis Panholzer has a
somber croon somewhere between Glenn Danzig and Pete Steele. Actually,
Danzig and Type O Negative might be good touchstones for The Frozen's
sound. Add in a little Rumours -era Fleetwood Mac, and you'd be there.
That's right, Danzig, Type O Negative and Fleetwood Mac. Told you it was
different. Definitely molded from hard rock cast, but performed in a laid
back manner, infused with melody and a knack for the catchy.
I should also mention that this is an EP comprising four songs, the third
release in the band's history since it's formation in '98. I should have
mentioned that earlier, but it's getting late, I'm typing this after a
heavy meal and I'm feeling a little fuzzy in the head.
The only problem I have with this release is the cover. Looks like one
of the band members got the band logo tattooed on their chest and are
looking for anyway possible to show it off. What better way than to slap
it on the cover of their CD? Maybe a little self-indulgent and between
you, me and the lamp post, looks kinda.... erm... gay. Not that there
is anything wrong with that, but I'm not sure if that's the vibe the band
is looking for.
OK, I'm clearly rambling and it's time to end this review.... four solid
songs, check 'em out.
Visit The Frozen website at www.thefrozen.net
(Chris Barnes/Hellride Music hsp90277@yahoo.com;
http://www.hellridemusic.com)
Denata
- Art of the Insane (Arctic Music Group)
Frequent Hellride forum and review readers know that many of us denizens
of Hellride culture have a soft spot for good, ol' fashioned thrash metal.
Something about the mix of aggression and speed that satiates like no
other.
So it's with great pleasure that I get the chance to say a few words about
Denata's fourth release and third full length album - a no bullshit, low-to
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