tag:blogger.com,1999:blog-54662296507900267012024-03-21T02:41:15.238-07:00Leper Kolonyjeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.comBlogger56125tag:blogger.com,1999:blog-5466229650790026701.post-22274293705803299572012-06-14T22:09:00.001-07:002012-06-14T22:12:10.092-07:00Hypomanie - Calm Down, You Weren't Set on Fire<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFLEenmN_m79TgDhb6ZOV7wnh42yGFjOau7ZGPhFn6B3Ajb27q1lzYjhAej0_smkLjMhsZ6EizMuvI3gjula0QxVMIXYpzV4kVEpYWST_5Axpc4krKrnfuuiR_wefAhuUWqO-RBJOlakcT/s1600/hypomanie+-+calm+down.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFLEenmN_m79TgDhb6ZOV7wnh42yGFjOau7ZGPhFn6B3Ajb27q1lzYjhAej0_smkLjMhsZ6EizMuvI3gjula0QxVMIXYpzV4kVEpYWST_5Axpc4krKrnfuuiR_wefAhuUWqO-RBJOlakcT/s320/hypomanie+-+calm+down.jpg" width="320" /></a></div>
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The Netherlands has become a hotbed of boundary-pushing,
underground black metal in recent years, with bands like Urfaust, Gnaw Their
Tongues and Dodecahedron contributing great efforts to furthering the genre. Hypomanie
are one of the lesser bands on the scene, but they’re also participants in the
very new international niche of metalgazing. The more even divisions of
shoegaze and black metal heard on early Hypomanie releases has given way to an
instrumental form of shoegaze/post rock with only very minimal metal
influences. If this wasn’t clear on last year’s <i>A City in Mono</i> (which it
was), it will surely be on this year’s awkwardly titled <i>Calm Down, You Weren’t
Set on Fire</i>. Black metal percussion and some slightly extreme forms of
guitar distortion remained on 2011’s record. This new record strips away the distortion
(which created a black metal atmosphere) and almost all of the metal drumming,
with only two tracks featuring rather chilled-sounding blast beats. Even and generic portions of post rock and shoegaze are the main course. <span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: DaunPenh; mso-bidi-font-size: 18.0pt; mso-bidi-language: KHM; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span>This all
but exactly equals a complete border crossing of genres for Hypomanie.</div>
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I can see why Hypomanie traded off the black metal for a
more straight up shoegaze approach. The single member of the band, S, is simply
better at making arty-farty trend rock (which is sometimes good despite my derogatory
classification). There’s no question that on the fronts of technicality and
song-writing, Hypomanie’s last two releases are a vast improvement in terms of
quality. But, to put it bluntly, they’re boring. S has not taken into
consideration the interest of his earlier work caused by the as yet not fully
explored territory of this particular subgenre fusion. In the end, all this
comes off as is a lesser version of Godspeed, Mogwai, or even Isis. As a post
rock record, it’s pretty good. The textures are really very nice and the song
writing has moments of excellence. The only complaint I would make here is that
it’s a little static, sounding a little too similar to itself over the duration
of the album. </div>
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In short: I’m frankly disappointed with the musical
direction this band has taken. If <i>Calm Down</i> had been released ten years
ago, it would be an instant classic. But the times are changing fast and unfortunately
this now sounds regurgitated. <i>Sehnsucht</i>, although made with little finesse,
remains Hypomanie’s most important and interesting album, despite the actual
music on <i>Calm Down</i> being better.</div>
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Standout tracks: “Lullaby for Ian”, “Pale Blue”</div>
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<b>Score: 6.0</b></div>
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<a href="https://www.facebook.com/pages/Hypomanie/223353617702684" target="_blank">Facebook</a></div>
<div class="MsoNormal">
<a href="http://www.myspace.com/hypomanie" target="_blank">Listen</a></div>
<div class="MsoNormal">
<a href="http://www.valsesinistre.com/mailorder.php?p=YmVsc28=&id=MzA0" target="_blank">Buy</a></div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-74728082296809516952012-06-13T23:46:00.001-07:002012-06-13T23:46:21.476-07:00Major Kong - Doom for the Black Sun<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBKuqT39sZsDV7ASQHBneAsNKKRQqAMHUqWO7VY4vtpZ_k5P87vsF1c5Clu4bofJz-Qm9Ybik_n1V4DvdvrRfTlI7gsdyJQ_Qp3bXP8v5g-ocPRA6OvhX53IN2TdXZJDLakIiBfk4dFA1a/s1600/major+kong+-+doom+for+the+black+sun.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBKuqT39sZsDV7ASQHBneAsNKKRQqAMHUqWO7VY4vtpZ_k5P87vsF1c5Clu4bofJz-Qm9Ybik_n1V4DvdvrRfTlI7gsdyJQ_Qp3bXP8v5g-ocPRA6OvhX53IN2TdXZJDLakIiBfk4dFA1a/s320/major+kong+-+doom+for+the+black+sun.jpg" width="320" /></a></div>
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Today’s review is of the new record titled <i>Doom for the Black
Sun </i>by Major Kong, an instrumental doom/stoner act from Poland. It contains
exactly the same three members as another Polish band called Fifty Foot Woman -
Dominik Stachyra, Paweł Zmarlak, and Michał Skuła. Fifty Foot Woman was a sick
Kyuss worship band, but that project is on hold at the moment while the band members
concentrate on Major Kong. With the vocals neatly deleted, these three Poles
are taking a jammier, more psychedelic, and considerably slower approach. Kyuss
will always be present in these guys’ sound (I suspect), but Major Kong has
more in common with the likes of Sleep, Electric Wizard and Acid King than
anything else – the doomier side of stoner metal. </div>
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My general feeling about this album is that it’s good, but
it doesn’t stand out. The production is not as chunky as Fifty Foot Woman’s and
they haven’t managed to capture the groove of doom as well as they did with
more straight up stoner metal. The best moments are the psychedelic guitar solos.
“Primordial Gas Clouds”, my favorite song on <i>DftBS</i>, is one of the few
moments where MK manage to capture a truly deadly groove and the psych jamming
on lead and bass that rides on it is wicked. If the whole album upheld the
quality of this song, it would be a real winner (though to be honest that song
probably should’ve been a minute shorter). There are moments of awe scattered
throughout the rest of the album, but as a whole it carries on in the same way
for a little too long and breaks no ground on any terms. Movie samples are used
several times, but I didn’t think any of them were particularly apt or funny. Seriously
though, there’s more good than bad here. Kong have a straight-forward, honest
style: slow, heavy, rock music. And I like that. But I still want them to gear up Fifty Foot Woman for a second round.<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: DaunPenh; mso-bidi-font-size: 18.0pt; mso-bidi-language: KHM; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></div>
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In summary: Not going to enter the ledgers of legends, but a
very solid release that fans of the genre should certainly try.</div>
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<div class="MsoNormal">
Standout tracks: “Primordial Gas Clouds”, “Demolition Whale”</div>
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<br /></div>
<div class="MsoNormal">
<b>Score: 7.0</b></div>
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<div class="MsoNormal">
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<a href="http://www.myspace.com/majorkong666" target="_blank">Listen</a>
<div class="MsoNormal">
<a href="http://majorkong.bandcamp.com/album/doom-for-the-black-sun" target="_blank">Buy </a></div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-91080920869304482892012-06-13T01:44:00.000-07:002012-06-13T01:44:08.656-07:00Skin Like Iron & Nails<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKwp8NMEftcA3y6dpaoWjM3h5z4goQ2cV9qRvLb_ydCdfqyOdf7IwAC6kurX4PW210fT_M3kskIXsdFMR4duJEFdEoTbO79XB_d5qFZv4jn6tDh0g0q3xHlUbdsfZLByYVdEO0UjG8ueWk/s1600/skin+like+iron+&+nails.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKwp8NMEftcA3y6dpaoWjM3h5z4goQ2cV9qRvLb_ydCdfqyOdf7IwAC6kurX4PW210fT_M3kskIXsdFMR4duJEFdEoTbO79XB_d5qFZv4jn6tDh0g0q3xHlUbdsfZLByYVdEO0UjG8ueWk/s320/skin+like+iron+&+nails.jpg" width="320" /></a></div>
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Another free release here, this one I missed from back in
January. Skin Like Iron from San Francisco and Oxnard, California’s infamous
Nails unleash two scathing hardcore tracks each that can be <a href="http://www.decibelmagazine.com/featured/exclusive-nailsskin-like-iron-split-7/" target="_blank">streamed over at Decibel magazine</a>. This split was released as a limited only wax pressing of one
thousand copies (900 on black and 100 on blue) available only from the band. Skin
Like Iron feed angry hardcore modernism off of old school punk melodies,
combining new and old to successfully rock out. Nails are basically the most
metal hardcore band out there these days, so much so in fact that I’m dubious
as to whether Nails should be classified more as a metal or hardcore band
(though realistically percentages are drawn somewhere close to the middle). Not
that it really matters. Nails mean business - big, bad, pissed off business,
and if you have any ounce of real rock in your soul, you’d be a fool not to
thrash your neck and pump your fist to this. This split upholds the wicked
quality of all their previous releases, so you all have three more minutes of
adrenaline-charged, punked-out metal madness to muck about to. If you’re
remotely interested in any hardcore/metal groups and you don’t know Nails,
educate yourself immediately. Even if you’re not into hardcore (yet), there can
be no harm done in giving this a listen as it’s free and only nine minutes
long. I believe the 7"s are still available for purchase too. So get on it.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In short: Free split. Four songs. Sick hardcore.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Standout tracks: Nails kill it with “Annihilation”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Score: 9.0</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://www.facebook.com/skinlikeironsf" target="_blank">Skin Like Iron Facebook</a></div>
<div class="MsoNormal">
<a href="https://www.facebook.com/pages/Nails/173545712686679" target="_blank">Nails Facebook</a></div>
<div class="MsoNormal">
<a href="http://www.decibelmagazine.com/featured/exclusive-nailsskin-like-iron-split-7/" target="_blank">Listen</a></div>
<div class="MsoNormal">
<a href="http://www.allinmerch.com/product/NLSALBUM.html" target="_blank">Buy</a></div>
<div class="MsoNormal">
<br /></div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-76183736354714999282012-06-12T00:40:00.001-07:002012-06-12T00:44:19.212-07:00Spirit Descent - Seven Chapter In A Minor<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ_w-QgCrRdRM8hgBDJ0c5s9BPxza5EYBvRb1lhD0krIWvPK9zgTS9oMebQYWvydWvAmsDv4KBgDGxj0Qli_1GdR10qCc_A18hqf4hPNnzf0NevN8-QzhtSEDWt2AIazOtAbXkBCwHewvw/s1600/spirit+descent+-+seven+chapters+in+a+minor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ_w-QgCrRdRM8hgBDJ0c5s9BPxza5EYBvRb1lhD0krIWvPK9zgTS9oMebQYWvydWvAmsDv4KBgDGxj0Qli_1GdR10qCc_A18hqf4hPNnzf0NevN8-QzhtSEDWt2AIazOtAbXkBCwHewvw/s320/spirit+descent+-+seven+chapters+in+a+minor.jpg" width="320" /></a></div>
<br />
<div class="MsoNormal">
Word round the block is that Spirit Descent is an “epic”
doom metal band. It is true, I guess, that they make doom metal music with epic
qualities. But I’m not really sure that they should be coined as a symbolic
figure of this strain of doom. Since every man and his brother’s band are
making epic music these days there seems little value in even mentioning the
fact that a band is epic. Maybe we should start labeling bands when they are
not epic, at least so I’ve though ever since I started having cravings just to
hear a regular, four-minute rock song with a steady beat. Hyperbolic rant on
the genre classification war aside, it’s still an apt description; Spirit
Descent do indeed make epic doom metal.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Hailing from Germany, SD bring to the table a smooth blend
of traditional doom/heavy metal and the more recent, more extreme and modern
styles of doom that appeared later when influenced by death metal. There is
definite narrative in each composition here, and quite a lot of progression
over the course of the album, but always the debt to Sabbath is glaringly
clear. That’s one of the cool things about SD though: They make no pretenses
about being something new and shiny, but revel in going by the books and paying
great tribute to conventions of much-loved style. They are unashamed in their
old-fashioned ways. Jan Eichelbaum on vocals, in addition to his authentic
traditional heavy metal voice, occasionally garnishes the music with lengthy
death/doom roars. This modernizes the music a bit as it recalls the rampant
cross-breeding genres are committing these days. Nice, clean, new production
makes the vintage vibes heavier than they could manage back in the day, too.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I have to say, Spirit Descent have done a pretty damn good
job with these songs. I’m not usually too fond of more traditional metal styles,
but I sat through <i>Seven Chapter</i> a few times without even becoming
irritated by the singing, so that in itself says something. The riffage, it’s
true, is instantly enjoyable, and the sweet production brings those doomed
hooks out nice and fat and rock-heavy. Plus they write a better epic than most
of the riff-raff trying to feet their heads into storyteller’s caps these days.
If you favor this style of metal, I wouldn’t hesitate to suggest this album.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In conclusion: Classic metal, with a bigger, heavier, more
technologically up-to-date streak. No originality, but quality songs that keep
doom traditions alive.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Standout tracks: “Dawn of Mankind”, “The Tragedy of Captain
Scott”, “Sleeper”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Score: 7.5</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://www.facebook.com/spiritdescent" target="_blank">Facebook</a><br />
<a href="http://www.myspace.com/spiritdescent" target="_blank">Myspace</a></div>
<div class="MsoNormal">
<a href="http://spiritdescentdoom.com/" target="_blank">Official</a></div>
<div class="MsoNormal">
<a href="http://www.spiritdescent.bigcartel.com/" target="_blank">Buy</a></div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-73605250101070445342012-06-11T00:34:00.001-07:002012-06-11T00:34:52.883-07:00Edge of Sanity - Kur-Nu-Gi-A<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtozK9xW258ZJoKNhKKfdAzamag_M9FPeqpNFgOIrgkxDyiu8b2N1RT_7CV7U4EhSUVpVAPMSH-R1eX6IviX35p4lhaphSDlYp5V7I-agXVQs6mBLbvU_liAPY-pn2x9Clh3EhSxGYdc9N/s1600/edge+of+sanity+-+kur-nu-gi-a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtozK9xW258ZJoKNhKKfdAzamag_M9FPeqpNFgOIrgkxDyiu8b2N1RT_7CV7U4EhSUVpVAPMSH-R1eX6IviX35p4lhaphSDlYp5V7I-agXVQs6mBLbvU_liAPY-pn2x9Clh3EhSxGYdc9N/s320/edge+of+sanity+-+kur-nu-gi-a.jpg" width="320" /></a></div>
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Dan Swanö today is one of the best metal producers in
Europe, but things weren’t always so. Back in 1990, at the time when this demo
was released, Edge of Sanity were a ripe young death metal band, one of the
original Swedish first wave death metallers, along with Entombed and Dismember.
While Entombed would go on to pioneer the death’n’roll minigenre and Dismember
would hold true to their old school roots, EoS became the precursor to the more
accessible niche of melodic death metal. For those of you who don’t know,
however, EoS’s material was deeper and far more eclectic than most of the
things bands like Dark Tranquility or In Flames released which made the
Gothenburg scene popular. It all built up to a legendary point in 1996 when EoS
released <i>Crimson</i>, a single progressive/death metal song that ran for forty
minutes and established a place for itself immediately in the death metal halls
of fame. However, the “original sound of Edge of Sanity”, as Swanö himself puts
it, was a more typical old school style similar to Death or other seminal death
metal bands. The original demo release of <i>Kur-Nu-Gi-A </i>(the underworld of
ancient Babylon) had five tracks played in this style and a synth outro. This
picture disc release gives us these songs remastered plus two live tracks and a
rough version of “Maze of Existence” as bonus. The demo songs are pretty cool,
although certainly dated now and not really historical death metal moments. The
live tracks are nothing to speak of, really. I never heard the quality of the
original demo, but from what I can gather it was apparently not so great. I’m
not sure if the “Maze of Existence (roughmix)” is the original, unremastered
mix or what, but it sounds very similar to the new mix earlier on the disc. So
it’s unclear to me exactly how much better the sound is here than on the
original, despite the positive rumors I can provide.</div>
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<br /></div>
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In summary: <i>Kur-Nu-Gi-A</i> in itself is decent, and it’s
certainly nice to be able to listen to this part of EoS’s history for those who
weren’t around back in the day, and also for fans who will appreciate the
renewed production, but the extras are really unmentionable, and in the end
this is really not a very important re-release.</div>
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<br /></div>
<div class="MsoNormal">
Standout tracks: “Maze of Existence”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Score: 6.0</b></div>
<br />
<br />
<a href="http://www.youtube.com/results?search_query=edge+of+sanity+kur-nu-gi-a&oq=edge+of+sanity+kur-&aq=0&aqi=g1&aql=&gs_l=youtube.1.0.0.10007.12379.0.13652.19.12.0.7.7.1.129.1038.8j4.12.0...0.0._Hn9ldqLM4U" target="_blank">Listen</a><br />
<a href="http://blackmark.net/catalog/product_info.php?products_id=302" target="_blank">Buy</a>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-11209279362219441672012-06-10T00:20:00.003-07:002012-06-10T00:20:55.479-07:00Nadja - Excision<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk1DKtvscg9-gScf7Z5onTK1J9apWAiDUF4tV9Xybq6CkITJKQCeUVRSRtHBEx4BZAj7Hiu0rXwpM7wpo4_15wQmhsAWtzDk8HiVgpRh2XeJCWPJtor6f2c52lx6-wFboxrwWKKvrQk1L6/s1600/nadja+-+excision.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk1DKtvscg9-gScf7Z5onTK1J9apWAiDUF4tV9Xybq6CkITJKQCeUVRSRtHBEx4BZAj7Hiu0rXwpM7wpo4_15wQmhsAWtzDk8HiVgpRh2XeJCWPJtor6f2c52lx6-wFboxrwWKKvrQk1L6/s320/nadja+-+excision.jpg" width="320" /></a></div>
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As any follower knows, Nadja have an extremely high musical
output rate. But you couldn’t blame them for milking commercial teats as it’s
almost all been original music. Over God knows how many albums during the ten
years since their conception Nadja have released only three compilations and
four live albums – a drastically small percentage of their discography, with
the majority made from full-length albums. So it’s nice to see this platter of
previously limited vinyl-only releases “excised” and made available to a wider
audience. There’s a good chunk of listening to do here over two CDs with the
total run-time coming to two hours, thirty-four minutes, and forty-one seconds.
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<div class="MsoNormal">
<i>Excision</i> gives us a good cross-section of Nadja’s
broad array of doom/drone stylings. It opens with “Jornada del Muerto”, not the
strongest track on the album, but a crushingly heavy piece of glacial doom that
is as close to SunnO))) as Nadja have ever been. “Perichoresis” has a more
progressive approach, moving through stages of ambient, post-sludge drone and
noise. This song is truly epic and melancholy and is a pretty damn good example
of how powerful Nadja can be. “Spahn” provides a more stripped-back, deep space
excursion. “Kriplyana” is pure ambient drone, sharing more in common with the
likes of Gavin Bryars than doom metal. Swapping CDs “Autosomal (Version 2)”
builds up with ten minutes of snail-paced post-rock before a dream-like tide of
swirling distorted doom gushes forth, a tsunami in slow-motion. On “Kitsune (Fox
Drone)” we bathe in heavenly static; this track is trademark Nadja droning
bliss. “Autosomal (Version 3)” is more ambient drone, this time on the noisy,
psychedelic side, excellent for a twisted chillout. with “Clinging to the Edge
of the Sky” concludes with fifteen minutes of peaceful post rock.</div>
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<br /></div>
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There are no outstanding criticisms to make; it’s overly
long and the songs don’t join together at the seams naturally, but that’s to be
expected from this kind of compilation. Standalone, each song is pretty strong
but I think this is really meant for fans only, specifically ones who missed
out on the limited edition original pressings of this music. If you want to be
introduced to Nadja, I’d recommend starting somewhere a little more spectacular
like <i>Corrasion</i>, or <i>Skin Turns to Glass</i>. <i>Excision</i> is still
a quality buy if you find it cheap or something, though.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In short: It’s not an essential Nadja album, but for the fan
who wants to delve deeper into their massive body of work, <i>Excision</i> is a
worthwhile way to relax in style for a while.</div>
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<br /></div>
<div class="MsoNormal">
Standout tracks: “Perichoresis”, “Autosomal (Version 3)”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Score: 7.5</b></div>
<br />
<br />
<a href="https://www.facebook.com/LuvNadja" target="_blank">Facebook</a><br />
<a href="http://www.youtube.com/watch?v=VXmx1y1okn8" target="_blank">Listen</a><br />
<a href="http://importantrecords.com/imprec/imprec298cd" target="_blank">Buy</a>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-66964107078574045372012-06-09T08:18:00.000-07:002012-06-09T08:18:04.271-07:00Opvs Leviathan - I:O:I<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT3ufzk_ncHBj2ANpqZphwlG0Tr7MfFReXiedKom7iY2nl99SBNDOznhEIkQ9fSIv025TTZZTl4_VFZvoX_lioSMhuPhoFiszAnB7JbG-_8BiiXsbjMwXfn8Qn2gxkvsJLWNjBPen7JBQY/s1600/opvs+leviathan+-+ioi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT3ufzk_ncHBj2ANpqZphwlG0Tr7MfFReXiedKom7iY2nl99SBNDOznhEIkQ9fSIv025TTZZTl4_VFZvoX_lioSMhuPhoFiszAnB7JbG-_8BiiXsbjMwXfn8Qn2gxkvsJLWNjBPen7JBQY/s320/opvs+leviathan+-+ioi.jpg" width="320" /></a></div>
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<div class="MsoNormal">
Doing net research on Opvs Leviathan yielded little. All I
could manage to gather was that the main guy behind it has been on the
Colombian metal scene since 1992 but has only managed to make four releases – this
full-length, one demo and two splits across three different projects. I can’t
even remember the last time I listened to any Colombian metal, let alone which
band it would have been, so this one was another random grab to check out
something from the scene over there these days. I’m not sure why Opvs Leviathan
hasn’t released anything in so long, but I hope it’s not because they spent
years piecing together a masterwork that I’m about to slag off.</div>
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<br /></div>
<div class="MsoNormal">
Opvs Leviathan play epic black metal, but it’s nothing that’s
gonna tear you away from Wolves in the Throne Room very quickly (if ever). This
band relies on little or no atmosphere, just stereotypical song structures and
retro keyboards. Simple, generic, riffing which spans melodic black metal and
folk does a decent job of supporting songs with an average length of seven minutes,
although some transitions are handled with embarrassing clumsiness. What tears
Opvs Leviathan apart is the dreadful lack of cohesion between the different
instruments. The lead is simply awful, it’s the worst part, almost never
getting on a level with the other instruments. Every time it comes in you just
have to cringe at the blatantly obvious musical blunders being made. It sounds
like his guitar isn’t even properly tuned. The noises used by the keyboards
sound out of place and low budget. The bass holds things up with its clear
tone, but my god it’s a ploddingly boring passage made though. The drums are
undoubtedly the best thing: pretty high up in the mix with a nice chunky tone,
they manage to make this barely listenable. This is all a bit of a shame really
for example if we listen to a song like “Submerge’s in the Waters of Kaos”. It’s
a catchy track that seems to merge and harmonize actually really well, which on
a different album would have been probably damn effective. It’s evidence that
OL are not without talent, but unfortunately something went horribly wrong in
the piecing together of this talent. At the rate that Opvs release albums we’ll
all be dead by the time they create a mature piece of music. Parts of <i>I:O:I </i><span style="mso-spacerun: yes;"> </span>make me really want to like Opvs Leviathan,
but in the end the ambiguity that light threw on my view of the music pissed me
off even further. I was not won over.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Bottom line: Epic black metal with a majority of sadly
failing songs, <i>I:O:I </i>has a very awkward delivery but succeeds in some
brief moments.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Standout tracks: “Submerge’s in the Waters of Kaos”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Score: 4.0</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.opvsleviathan.com/" target="_blank">Official site</a></div>
<div class="MsoNormal">
Buy </div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-634105600634849992012-06-07T21:17:00.001-07:002012-06-09T01:56:13.140-07:00Dark Elite - Enter the Void EP<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqoqGZoOoymJ01o62q5wPC7VAjb6MF2QDAeRAzaNKf14hpuvhsQq9zj0WSt7ftC8kNOVwGQgPokNOjtp8mgjxrYh8wA7QsHFybzCBv23r9Mnv_PbdbIq62q2G1R3FahlgPCp_IwRyD1jf0/s1600/dark+elite+-+enter+the+void.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqoqGZoOoymJ01o62q5wPC7VAjb6MF2QDAeRAzaNKf14hpuvhsQq9zj0WSt7ftC8kNOVwGQgPokNOjtp8mgjxrYh8wA7QsHFybzCBv23r9Mnv_PbdbIq62q2G1R3FahlgPCp_IwRyD1jf0/s1600/dark+elite+-+enter+the+void.jpg" /></a></div>
<br />
<div class="MsoNormal">
I’ll be honest. The only reason I downloaded this EP was
because it shares the title with what is probably my favorite movie of recent
years, <i>Enter the Void</i>. The movie is an absolutely unprecedented, almost
fully first person, psychedelic epic; unquestionably the most <i>immersive</i>
celluloid trip man has ever made (check out the details <a href="http://www.imdb.com/title/tt1191111/" target="_blank"><b>here</b></a>). But it has
absolutely nothing to do with black metal. It remains unknown to me whether or
not the band was influenced by the film (or even knows about it) but there are
certainly no direct musical links. There is however four pretty cool black
metal songs that, going in with absolutely no expectations, I did enjoy. It’s
pretty standard stuff – black metal with the minimal thrash/death influences –
but the riffs are good and I liked the eerie note it finished on, reminded me
of Blut Aus Nord. The thing I like best about it though is the vocals. They
have a feeling both mechanical and bestially organic, similar to groups like
Red Harvest, and they are pretty evil. The band has smartly published this
(their first release) for free download at their website, so download away
and check it out! It’s not a bad little first shot at things, definitely opens
room for expansion.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In short: Decent black Finnish black metal that is well
worth the price (free). Not exactly industrial BM, but it has an industrial
kind of vibe and is definitely recommended to industrial BM fans.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Standout tracks: “Sic Itur As Astra”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Score: 7.0<br />
<br />
<br />
<a href="http://www.dark-elite.net/" target="_blank">Promotional Download</a></div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-18117065373266206352012-06-07T01:05:00.001-07:002012-06-07T01:05:38.103-07:00Kreator - Phantom Antichrist<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxfVX2rxX865TxxU4MqWn1UsxhcXSHlj3AxMKdZ2mAE-VY9ztjEeINNjZt3BQ9OIciG0Yp6hz-H7RsCKNwJvpMhq8P09HgN5U7mYv8R_H4-BQyf33PTKaGObgWwCOwl3_TBgab5Xhe0n5z/s1600/kreator+-+phantom+antichrist.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxfVX2rxX865TxxU4MqWn1UsxhcXSHlj3AxMKdZ2mAE-VY9ztjEeINNjZt3BQ9OIciG0Yp6hz-H7RsCKNwJvpMhq8P09HgN5U7mYv8R_H4-BQyf33PTKaGObgWwCOwl3_TBgab5Xhe0n5z/s320/kreator+-+phantom+antichrist.jpg" width="320" /></a></div>
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Thrash metal formed the perfect gateway for your average
thirteen-year-old Led Zeppelin fan to enter extreme music. Largely thanks to a
band called Metallica, this popular threshold has endured for decades. I was
one who travelled such a path in my youth, and yet while peeling back the
obscure layers of the genre I discovered that there were greater heights being
achieved in thrash than the big M’s conversionary milestones of fandom. After
Slayer, Kreator were one of the first bands I discovered in my blossoming
metalheadism, and as most know they were instrumental in influencing the
musical ideals of many headbangers before and after me. And they’re still
Kreating with twenty-seven years and thirteen LPs under their belts. Kreator
for the most part have had a successful metal career, following a typical
pattern seen in many earlier benchmark bands: A strong set of first albums followed
by a number of weak albums during which time diehard fans burned their T-shirts
and cried into their mother’s laps. After this weak point the pattern splits
into three different paths:</div>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Death. Either literal death of a band member or
the permanent disbanding of the group for some other reason.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Shit comeback. The band attempts to make a
comeback and fails miserably, inciting criticism and hatred upon themselves.</div>
<div class="MsoListParagraphCxSpLast" style="margin-left: .75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
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</span></span></span>Rad comeback. The band returns to something akin
to their former style and are welcomed back into the metal community.</div>
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With <i>Violent Revolution</i> in 2001 Kreator fell into the
third category, and they’ve been marching strong ever since. Some people had
their quibbles with <i>Hordes of Darkness</i>, but I’ve very much enjoyed the
remade Kreator over the past ten years (although being generally open to
musical change and progression I must admit that the only Kreator album I didn’t
enjoy was <i>Endorama</i>). Every album has basically continued in the vein of <i>Violent
Revolution</i>, experimenting with slightly different shades of their new style
of thrash, and <i>Phantom Antichrist</i> is a stalwart installment in the
series.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The past is irreversible. Kreator will never truly regain
what happened on their first five albums. They and no one will ever regain
their youth. <i>Phantom Antichrist</i> is not as wild and ruthless as <i>Terrible
Certainty</i>. Mille’s vocals and riffing no longer really hold the mad rage
they once did. In fact the vocals are one of the only things I don’t like about
Kreator these days. I find them slightly annoying for some reason. But anyway, <i>Phantom
Antichrist</i> holds essentially to Kreator’s thrash basis, but these songs are
slightly more anthemic in a trad metal way, if mainly only by way of
atmospheric qualities. There are many moments you can happily sing along to on <i>PA</i>
(“We are legion united in hate!”). Overall it’s quite a melodic thrash record,
but this doesn’t seem to be detracting the interest of the fanbase. Practice
makes perfect they say, and it really shows through in these songs. Each one is
masterfully balanced and counterbalanced, simple, effective pieces of
straight-up thrash metal. No bullshit, just good thrash. All instruments work
together with admirable comfort, resulting in a triumphantly energetic performance
destined to raise horns in the air. It’s great how Kreator have not lost any of
their tightness over the years, evidenced by the bands popularity with both
older and younger generations of metalheads. </div>
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<br /></div>
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There is no question about it, Kreator are <i>solid</i>. Few
bands release as many good albums as this one does. An arch of classic records
overshadowing a strong return to style creates an applause-worthy legacy. If I
have deducted any points from <i>PA</i>’s score it is only for my minute
aversion to the vocals and also because it doesn’t hold the scathing anger that
made us fall in love with Kreator back in the day. Despite the undoubtedly more
mature songwriting you will find here, they live in a shadow like any band who
has put in this many hard years. But the important thing is just how much this
album proves Kreator’s unshakeable solidarity.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In short: Old thrash and new combined with deft hands.
Legends continuing the legend. A record anyone interested in thrash will be
listening to this year.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Standout tracks: “Phantom Antichrist”, “Civilization
Collapse”, “Until Our Paths Cross Again”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Score: 8.5</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-3799798496208760132012-06-05T21:49:00.001-07:002012-06-05T21:49:55.658-07:00Mordax - Violence Fraud Treachery<div class="separator" style="clear: both; text-align: center;">
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The new Danish thrash band Mordax’s debut full-length, <i>Violence
Fraud Treachery</i>, came unannounced to me and it wasn’t an unpleasant little surprise.
It is a breed of thrash metal and melodic death remarkably similar to benchmark
group The Haunted, but it perhaps pays a bit more homage to Metallica than that
band, taking the song “Contrapasso” as an example. Mordax rely on catchy thrash
breakdowns; old school riffs with a more clinical modern edge, and present a
pleasingly easy-to-listen-to set of numbers based on this principle. Indeed we’re
given little else apart from a few well-played acoustic segments. Dan Swano is
producing (suitably) so the sounds are all tight as hell. I would criticize the
vocals for being the kind of standard crap heard in melodeath and metalcore
these days, but one has to admit the riffing is pretty badboy for most of the
album. The remainder of the album is made of cast-away riffs, though in Mordax’s
case, these are relatively few. The rest of the metal world however is a
different story. I don’t know if record companies put pressure on bands to
create albums of greater length, but I really feel that many bands of certain
styles (namely thrash, death, and black metal) should not be worried about
length or how epic their albums are, but instead strip them back to only the
most vehement riffing and concentrate what metal is really about: raw, dark,
powerful intensity. There is often no need for filler or second-rate material.
There is often no need for your album to blast on for a full hour. Shoot short
and fast but shoot to kill. And *cough* Mordax are not an exemplary culprit of
this, so let’s conclude the review…</div>
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<br /></div>
<div class="MsoNormal">
Mordax sound young and fresh and they sound like they’re
enjoying themselves very importantly, yet it remains to be seen whether or not
they will climb the ranks and actually break any ground in the future. They do
however seem to be very skilled musicians with a real talent for writing heavy
thrash riffs, so I hope the best for their future. I suspect they will make a
name for themselves, because <i>VFT</i> is just a very, very listenable
forty-five minute chunk out of your day.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In summary: Mordax present a slightly generic yet effective
and extremely accessible thrash/melodeath combo. Recommended for fans of The
Haunted, Black Breath etc.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Standout tracks: “Silhouette of God”, “Treachery”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Score: 7.0</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-23278656091969731612012-06-04T07:59:00.004-07:002012-06-04T08:06:23.611-07:00Napalm Death - Utilitarian<div class="separator" style="clear: both; text-align: center;">
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<br />
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Napalm Death’s
fourteenth LP <i>Utilitarian</i> is probably the record that many fans were
waiting for. <i>Utilitarian</i> is a grindcore record through and through. For
album after album Napalm Death played death metal with little or no punk
elements. They were making good records, yes, but everyone was still asking:
“Where did the grind go?” Well, it’s back.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Utilitarian </i>plays faster and more furious than any ND
album of late, and it does it with the best song-writing the band has achieved
recently too. Don’t expect <i>Scum</i>, but expect an extremely heavy grind
attack played by some very experienced old boys. Vocals are spot on, showing
one of the widest ranges of different types of screams in any metal band around
these days. The madness of oldschool Napalm Death is of course gone, with the
savagery of the early days traded for a more level-headed, serious delivery
that they have achieved over the course of their death metal work. The raw
production is also of course gone as metal is a big business now and all that.
But even the most crystalline production could’t hide the harsh edge of these
riffs. Structure and song-writing is immaculate. <i>Utilitarian </i>should be
textbook on how to write a grind album well. It all works perfectly and never
becomes boring or repetitive. In fact, like on all my favorite grind records, there
is a commendable amount of variation. <i>Utilitarian</i> sports thrashy Nasum
breakdowns, doomish segways and choral vocals. This is probably my third or
fourth favorite ND album now. There is nothing more to say, except perhaps that
the cover is classic Napalm! You know what to expect now. Get it if you haven’t
already.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In short: Napalm Death fuse elements of their past albums
with their early sound and decades of experience to bring one of the best
albums to the table. Perhaps what it would be like if Nasum had played <i>Scum</i>.</div>
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<br /></div>
<div class="MsoNormal">
Standout tracks: “The Wolf I Feed”, “Collision Course”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Score: 9.0</div>
</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-21486412629787798332012-06-03T20:57:00.000-07:002012-06-03T20:57:45.938-07:00Doombringer - Sevenfold Pestilence EP<div class="separator" style="clear: both; text-align: center;">
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Supposedly the child of those behind two other Polish bands –
the legendary Bestial Raids who have given us some of the most ruthless war
metal of recent years, and the reputable occult black metal act Cultes des
Ghoules – Doombringer brings to the table a bite-sized portion of grim,
ritualistic death metal. While not always fully hitting the mark over the brief
span of the two 6 minute songs offered here, there are enough morbid pleasures
to keep you happy while listening. But what lets this release down bigtime is
that there’s just nothing said or done here. There was no <i>time</i> to say or
do anything! For some bands, or some records, it works putting out releases
that are only ten minutes long, but not for Doombringer. By the time you start
to get accustomed to the band’s style the record is over and you are left with
no climax and a bunch of ideas that never really seemed to fully develp.
Doombringer really need to get their act together and release a full-length
album, is basically what my only complaint boils down to. What is here is very
good death metal that, while holding no musical qualities seems to embody the
dark energy of black – so, not really your everyday, run-of-the-mill death
bollocks but pretty cool underground stuff. Such material needs to be fully
panned out and given more room to breathe, as the potential is here already. We
have here musicians from two prominent acts in the Polish underground with a
number of demo releases over the past five years showing they <i>can</i> do it,
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<br /></div>
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In short: Good, ever-so-slightly blackened death metal
music, but way too short! This band needs more substantial releases.</div>
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<br /></div>
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Standout track: “Seven Evil Spirits”</div>
<div class="MsoNormal">
<br /></div>
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Score: 6.5</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-48394425699764285052012-06-03T19:58:00.001-07:002012-06-03T19:58:21.546-07:00Aborted - Global Flatline<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMITkODAiVvuYZGTY67ZDBcEowvDnp2oHrzIv3z7tcOMsAmpAKN5RyqKDV2XAnp0HsqbEW-7cYZTrH0t7w13_2cNRi8gLg9z1KpwSkcG7Yd1zSINXzLlg_YuShZdlUUI0M31agHcN-GI-T/s1600/aborted+-+global+flatline.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMITkODAiVvuYZGTY67ZDBcEowvDnp2oHrzIv3z7tcOMsAmpAKN5RyqKDV2XAnp0HsqbEW-7cYZTrH0t7w13_2cNRi8gLg9z1KpwSkcG7Yd1zSINXzLlg_YuShZdlUUI0M31agHcN-GI-T/s320/aborted+-+global+flatline.jpg" width="320" /></a></div>
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Another act we see revamped in 2012 is Aborted. These
Belgian death metallers didn’t do so well in the years after 2003’s wicked <i>Goremageddon</i>,
being accused of abusing -core breakdowns and losing the edge of their filthy
brutality. With the release of <i>Global Flatline</i> Aborted have changed not
only half their lineup but their entire game all over again, going at once
backwards and forwards simultaneously in their musical evolution. This is
closer to Aborted’s original brutal death metal sound than the past three
albums in terms of sheer catchy nastiness, but it is also unexpectedly manages
to push the band’s music forward in the quarters of technicality, brutality,
and production.</div>
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<br /></div>
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<i>Global Flatline</i> is the fastest, heaviest thing
Aborted have ever made. It is so highly-charged that it bursts forth with the
intensity of an ejaculation. And yet with so many notes crammed so brutally
into forty-three minutes (fifty-one if you have the bonus version) it is
absolutely incredible how precise and cleanly the album has been produced.
Every crunching guitar tone comes through clear as day, the diverse vocal
shrieking and bellowing is executed with attention to detail and is so crystalline
you can sometimes even understand what the words are without reading the lyrics.
Fifteen songs with the two bonus tracks, and only the introductory one is
filler, but Aborted keep it solid and don’t drop the baton with any weak songs.
Between the thrashy madness seen of “Of Scabs and Boils” and the frantic death
metal stabbings of “The Kallinger Theory” the listener is absorbed by memorable
riffing that’s been executed with incredible dexterity and clarity. Keeping a
lot of listeners’ attention has always been a problem for brutal death metal
because you have to be an extremely skilled musician to pull it off in an
interesting way and then successfully produce the typical onslaught of sounds
found in such an album, and <i>Global Flatline</i> is practically the perfect
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Gore bands are not something I’m usually interested in, but
Aborted have once again managed to cross that threshold for me and given me a
great album; modernized, yet still flexing Aborted’s original strength: catchiness
combined with brutality. Though different, this still comes in second rank from
their breakthrough <i>Goremageddon</i>, but it’s a close call. <i>Global
Flatline</i> is a big release for the band that will definitely take their
music in a more popular direction.</div>
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<br /></div>
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In summary: Excellent brutal death metal for people who don’t
like death metal. Extremely accessible yet unforgiving.</div>
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<br /></div>
<div class="MsoNormal">
Standout tracks: “Of Scabs and Boils”, “The Kallinger Theory”,
“Our Father, Who Art of Feces”, “Grime”</div>
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<br /></div>
<div class="MsoNormal">
Score: 8.5</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-27672148710975630772012-06-01T16:05:00.002-07:002012-06-01T16:05:32.064-07:00Formloff - Spyhorelandet<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmvDv0eoe_rktJTU0NiWNOPIjRWKaLzCBvtSMIBH8vHXTp7qpQmcRLWIMT6dg7LoXcLajY07uh88uloZOy3KDnYB8NKimYNCVO-yRx6-fAOmXJ0ekMxo0dcgz0GubS0P6Y2yHXeh9KsioH/s1600/formloff+-+spyhorelandet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmvDv0eoe_rktJTU0NiWNOPIjRWKaLzCBvtSMIBH8vHXTp7qpQmcRLWIMT6dg7LoXcLajY07uh88uloZOy3KDnYB8NKimYNCVO-yRx6-fAOmXJ0ekMxo0dcgz0GubS0P6Y2yHXeh9KsioH/s320/formloff+-+spyhorelandet.jpg" width="320" /></a></div>
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<br />
<div class="MsoNormal">
Six years after an absolutely shocking debut album sees
Formloff return a different band. It hits you when you see the cover art
immediately, how very grim it looks compared to the gaudy motor stage show
cover of the debut. They even have a trve black metal logo now! In fact, if it
wasn’t for the cover art I never would have gone anywhere near this album after
being so offended by the first one. The band probably deserves a new name in
all honesty. 2006’s <i>Adjo Silo</i> saw this two-piece add vocoders of the infamous
sort <i>and</i> asylum escapee-cum-indie rocker vocals (a terrifically heinous
pair of things to have near each other) to songs that were basically cheap
Solefald rip-offs, resulting in an all-around, generally insulting failure.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>But now that Formloff
has realized that Skywalker was a douche they’ve crossed over to the dark side
like all the other cool people, making one of the only possible moves they
could have made in order to recover their stained dignity. For a band credited
as part of the black metal scene (even if it’s in the avant-garde quarter), the
new addition of actual musical components of black metal on <i>Spyhorelandet</i>
helps to not piss me off instantly. We have blastbeats aplenty and certain grim
quality for the majority of the listening, actually. Only two things really
remain from the debut: One, a sensibility to create progressive and/or
experimental music, and two, the accordion keyboard passages, which work in the
colder climate of this sophomore release. Keyboards and synthesizers in general
are much more subtle on this record. Gone are the crooning Norwegian pop
artiste regurgitations of yore. There are very few clean vocals on <i>Spyhorelandet</i>
and they are honest efforts. Formloff are still experimenting, or perhaps this
release is where they’ve actually begun. Musical styles such as indie,
progressive and jazz creep their way in without crossing any lines. There is also
plenty of pace and time signature changes to keep things interesting as well. But
it really all boils down to black metal in the end (thankfully). I myself, in
spite of myself, found myself really enjoying every one of the songs on this
album, some more than others but overall they are polished, atmospheric, and
interesting. There is a lot of great really cold BM riffing on this album too –
who would’ve known they had it in them? Apparently, however, this was the style
of their earlier demo material.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I’ve got to give the band credit, it’s pretty impressive how
they manage to make us forget all those bouncing, happy melodies on <i>Adjo</i>
<i>Silo</i> and provide a work of quality black metal that actually sports
bleakness and frost. Traditional black metal overrides and integrates the band’s
experimental tendencies in a far smoother way than anyone was ever expecting.
This is certainly the most surprising album I’ve listened to so far this year,
the distance in quality being one of the greatest I’ve seen between two consecutively
released records. I encourage the band to stick with it now that they’ve got it
right. I encourage metalheads to listen to this album and give Formloff a
second chance because <i>Spyhorelandet</i> shows they deserve it.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In short: Well-played “avant-garde” black metal that still has
its spirit close to the core of true black metal. Not for fans of their first
album.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Standout tracks: “Det Dritet Som Renner Ut I Ua”, “Drokkne I
Ei Flo Ta Åske”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Score: 8.5</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-89856444498936100142012-05-29T21:25:00.000-07:002012-06-01T16:06:43.378-07:00Manierisme - Everyone Has Two Sides<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy6hGlr_gFkjTryamI6CpNEYMO12-K5F0RAJ4fzRHcoG0cdx8Xeq-mXUODxkYk7auQdqcoazDRj5oqLhZ_uricqdQzpsPGzRZTyg9HTnOqlzFPl0s6nXUyJlWrn6LvTaQxsseYJA85PgLS/s1600/manierisme+-+everyone+has+two+sides.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy6hGlr_gFkjTryamI6CpNEYMO12-K5F0RAJ4fzRHcoG0cdx8Xeq-mXUODxkYk7auQdqcoazDRj5oqLhZ_uricqdQzpsPGzRZTyg9HTnOqlzFPl0s6nXUyJlWrn6LvTaQxsseYJA85PgLS/s1600/manierisme+-+everyone+has+two+sides.jpg" /></a></div>
<br />
<div class="MsoNormal">
This one-man black metal project from Japan named itself
after a period of rebellious and intellectual European art, but
frankly this is about as intellectual as checking your petrol tank with a
cigarette lighter, and if this is a rebellion I imagine it would be crushed
quickly and silently by higher forces (not that it would inspire any rebels in
the first place). This is raw black metal of the very obscure sort. Note how
obscure is a neutral word with no positive or negative connotations and allow
me to add plenty of negative ones. It’s basically the most tedious piece of
brainmelting monotony I’ve heard in a long time. Classical influences are clear
here, but the riffs remind me personally of symphonic music from a ‘30s or ‘40s
melodrama (a very cheesy one) forced through a black metal filter far too
quickly; not exactly a grim formula. I’m all up for genre fusion and
experimentation, and even ungrimness, but it needs to be interesting. This is
just so boring! Whining melodies which sound almost all exactly the same plod
on through cacophonic production, oblivious to the listener’s excruciating
boredom. Jekyll does some blurted out burps into the microphone for vocals. And
that’s the way it rolls from start to end. But OH WAIT, I forgot! <i>Everyone
Has Two Sides</i> gets some variation at one point when it decides to break out
a cover of the James Bond melody. Seriously? That’s the break you give me to
your incessant monotone record? What a joke. I’m giving some points to this
only because I’ve unfortunately heard worse music in my life.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In conclusion: No.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Standout tracks: Not available as every song on this record
is irritatingly similar.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Score: 2.5</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-71475874018694097712012-05-28T17:46:00.001-07:002012-05-28T17:46:26.570-07:00Middle Eastern Metal - Part 2<!--[if gte mso 9]><xml>
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Saudi Arabia, while generally known for its vast oil (money)
supplies and the iconic holy city of Mecca, these days has a potentious metal
scene despite the still strict Islamic cultural and social impositions of the country’s
government. The past ten years or so has seen changes in Saudi Arabia though,
and while still a far cry from the explosive European and American lack of
censorship, it is currently freer of artistic expression than it’s ever been,
opening paths tentatively into cultural diversity and even gender equality. In
2003, a piece in the Guardian on metal in Islamic countries reported that
“Saudis aren’t really into rock and heavy metal”, but today if we look up SA on
Metal Archives we are given a list of a fully twelve bands all playing extreme
metal, mostly black and death related projects, while a number of other metal
and rock related bands can be found through other avenues of the internet. Two
of these groups who’ve recently been producing music are Creative Waste, SA’s
only grindcore band, and Al-Namrood, who mix traditional elements of Middle
Eastern music with symphonic black metal.<br style="mso-special-character: line-break;" />
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<b><span style="font-size: large;">Creative Waste - Slaves</span></b></div>
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Creative Waste are a self-stated Nasum worship band from the
Eastern province of Saudi Arabia. It’s good to see the nice open nature of
their attitude though, as clearly their music <i>does</i> hold many debts to
Nasum, the only real difference between the bands being the song structure
which in the case of the Middle Eastern band often tends to be a bit longer
like a traditional death metal song. Originality aside, Creative Waste are a
musical wrecking ball. <i>Slaves to Conformity </i>displays three young
musicians who have considerable skill with their instruments and a knack for
dropping catchy grind hooks that ranks with the best of them. Ten songs run a
solid thirty minutes, with guest drum work from Kevin Talley (current Six Feet
Under drummer who’s known for his work with the likes of Dying Fetus and Misery
Index). Every song holds consistently to the bar of the attention-grabbing
opener “Divide and Conquer”, and blessed with crisp and crunchy production from
beginning to end the album is a very listenable affair (at least to grindcore
appreciators) that shows no concentrated weak spots or moments of
disappointment. <span style="mso-spacerun: yes;"> </span>The Orwellian cover art
is classic grind/punk social commentary of the dark and unforgiving sort. While
Saudi Arabia appears to be allowing more musical freedom than in the past, it
must be noted that it is still difficult for bands to play live or acquire
non-digital foreign musical goods, and of course on top of that the Saudi
metalhead has to deal with aged political traditions of repression and
oppression that apply to all citizens of the country. I hope that this makes
the country a susceptible spot to the sways of a traditionally rebellious and
notoriously political subgenre like grindcore, especially with the Internet
sweeping globalization broadly across the planet’s most far out corners like it
is these days. To me it doesn’t matter how many notes Creative Waste took from
the books of Nasum, in fact personally I fucking love Nasum worship bands,
especially if they know what they are doing. <i>Slaves to Conformity</i> is a
ferocious little album and a kicking start to a scene I hope this band manages
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In summary: If you like Nasum, you will like Creative Waste.
A very solid slab of grindcore, and a band I can’t wait to see further releases
from.</div>
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Standouts: “Kingdom of Fear”, “Slaves to Conformity”,
“Cradle to Grave” and others</div>
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<br /></div>
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Score: 8.5</div>
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<br /></div>
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<b><span style="font-size: large;">Al-Namrood – Kitab Al-Awthan</span></b></div>
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Black metal is everywhere these days, as any fool can see,
and all forms of this once obscure musical style are being experimented with at
rapid rates. Saudi Arabia is no exception. All of Al-Namrood’s music is about
ancient Arabian history, and incorporates folk elements into their brand of
symphonic black metal, using real Middle Eastern scales. The album opens with a
symphonic introduction that, if you’ve never listened to Al-Namrood before,
sets half the tone of the entire album. These symphonics – almost always in
Middle Eastern modes – are strangely unsettling, like back when you first
listened to black metal and it was still weird and alien and creepy in the way
only obscure amateur shit can be. They are also invasive and sometimes grating
against the other half of the album’s tone – raw Middle Eastern folk black
metal with an incredible guitar tone, rocking mid-paced riffage and great
vocals. Everything otherwise of the keyboards has a very organic tone, so the
keyboards might put a few people off this one because when they come in they
attach a synthetic kind of tackiness and weirdness to the music. This crudeness
is weirdly effective sometimes, however, and I have to say it’s one of the only
ways I could discredit the album. Riffs are perfectly fused amalgamations of
folk and black metal, similar to Melechesh if they weren’t a thrash band, so when
this is combined with those odd, finger-pounding keyboards (this dude plays the
piano like he’s playing Street Fighter) and you can expect a pretty exotic
sounding metal album. This is the best thing about Al-Namrood, really – they make
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In summary: An atmospheric cross of Middle Eastern and
metallic sounds, <i>Kitab Al-Awthan</i> offers a different sound to most metal
you will hear, and despite the sometimes clunky and irritating keyboards, an
interesting and worthy listen.</div>
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Standout tracks: “Al Quam, Hakem Al Huroob”, “Bani La'em”</div>
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Score: 7.5</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-11206103259280910052012-05-24T23:38:00.003-07:002012-05-24T23:38:30.618-07:00The Wretched End - Inroads<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguFsg2c5l_qGpdtcNswH2lEu2-OLqDi5UO1u0oCiTu_wxI5qCDRKUL5Jty5-YWSXxk0udech-7Sueqi9v1Q83lDBZ0xJBvfxDrGyxkt56ZFD_72Hm5zVYqaVao9HypH_sr-E-i9i7kyqpX/s1600/The-Wretched-End-Inroads.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguFsg2c5l_qGpdtcNswH2lEu2-OLqDi5UO1u0oCiTu_wxI5qCDRKUL5Jty5-YWSXxk0udech-7Sueqi9v1Q83lDBZ0xJBvfxDrGyxkt56ZFD_72Hm5zVYqaVao9HypH_sr-E-i9i7kyqpX/s320/The-Wretched-End-Inroads.jpg" width="320" /></a></div>
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Samoth is back with his newest project The Wretched End’s
sophomore album, and it strikes up in pretty much exactly the same way as the
first one: A charging, mechanical, modern black/thrash/death blast. Expect
clean, crisp, blade-like riffs, firmly rooted in thrash and death metal while
black and industrial hover around the pulsating, double-kick-driven core. <i>Inroads</i>
is a marked improvement from 2010’s <i>Ominous</i>, sporting a darker, more
mature grip on this unholy trinity of metallic styles. From beginning to end, <i>Inroads</i>
crushes and stomps robotically – juggernautically (!) - over the listener.
Cosmo’s vocals are competent and evil, mixed with perfect clarity into the band’s
refined, organized sound. Across the board, it sounds a bit like a blacker,
more apocalyptic version of The Haunted; the edge of TWE’s knife is sharper and
colder. This coldness allows only one completely linear emotion to escape:
Anger. Expect no diversity here, and don’t expect that the band will be
disappointed when you find none. While definitely not the focus, diversity is
not <i>Inroads</i>’problem either. Certainly, originality is lacking as well,
but that’s not what I disliked about the album either, but rather the
consistency. While most of the time tightly coiled riffwhips unleash themselves
with more-than-ample ferocity and know-how to suffice, the album is
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not being quite either dark or pounding enough to keep the atmosphere intact (as
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it is perhaps this hit-and-miss nature combined with unoriginality that really
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punishing sound from beginning to end could be improved with an increase in
black, atmospheric segments (maybe a <i>little </i>bit more diversity would
help). Only on the odd track such as “Deathtopian Society” do TWE succeed in
staying up from beginning to end. Bottomline, I think TWE need more thought and
revision applied to song structure in order to achieve a piece of work that is
no less relentless (this would detract from the nature of the band) but has a
more potent atmosphere. I would still recommend this album to anyone who likes
dark, modern thrash, as it is a skillfully conceived and undeniably vicious
work.</div>
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<br /></div>
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In summary: Thrashing death metal with evil black metal
sensibilities, <i>Inroads</i> manages to create an album that is very enjoyable
and yet somehow not quite fulfilling.</div>
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<br /></div>
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Standout tracks: “Deathtopian Society”, “Hunger”</div>
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<br /></div>
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Score: 7.0</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-19491642807079240702012-05-23T16:20:00.000-07:002012-05-23T16:20:49.924-07:00Yayla - Sathimasal<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNh1yXd0w6nbRy9ehuVKsiTVSa7L4WeDuEbYjtRo86GXYljOew5cz-hA-JkrvXp_VODLxhVnSlPyBBZSkhtWj8j1F22HxFkbOVV7-7yIHc98yrHk_ysU-R9ZHy1l7arIHumUn-5lrdxM0j/s1600/yayla+sathimasal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNh1yXd0w6nbRy9ehuVKsiTVSa7L4WeDuEbYjtRo86GXYljOew5cz-hA-JkrvXp_VODLxhVnSlPyBBZSkhtWj8j1F22HxFkbOVV7-7yIHc98yrHk_ysU-R9ZHy1l7arIHumUn-5lrdxM0j/s320/yayla+sathimasal.jpg" width="320" /></a></div>
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Yayla’s <i>Sathimasal</i> is my introduction to the Turkish
metal scene, and I’d have to say a pretty damn good one. Hypnotic is the word
that’s being used about this band and it’s the right one. Being one man with a
low budget, Yayla presents repetitive black metal in a structure similar to
Abyssic Hate – long, simple, repetitive riffs that intend to draw you
vortex-like into their sounds – but with the outer aesthetic of Paysage d’Hiver
– lo-fi guitar tones sat with ghostly, ambient keyboards. Yayla, however,
delves into much more indecipherable territory than both of these bands, at
times being difficult to comprehend through the blare of static that shrouds
the interwoven layers of the music. This is not necessarily a bad thing. The
white noise serves somehow to fuse the very sounds of each instrument together.
The production is actually very nice, raw yet filled with rich layers. Drums
sit right back. In fact mostly all you can hear of them is a metallic, artificial
pounding of a snare drum. This is a classic blacknoise beat that totally
inverts the way drums are used to create rock (?) music, so I’m giving it the
thumbs up. The incantatory vocals sit slightly away from the foreground, and
they are pretty awesome. Dark whispers curdle forth from the yawning caverns
opened by Yayla’s dense atmosphere. Vocal use is actually quite sparing, which
puts emphasis on the repetitive riffing and ambient sections. Opening and
closing tracks are completely instrumental. </div>
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<br /></div>
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“Fordreame Wonderlore” is a powerful opener, too - dark,
insistent, and brimming with feeling. This is followed by the trio of songs
which use Emir’s grim-ass vocals entitled “Emperor”, “Harvester” and “Conjurer”.
“Emperor” is my least favorite track on this record, as some riffing I found to
be not in keeping enough with the grim atmosphere, but it’s a long song and it
still has moments of dark beauty. The other two tracks juggle entrancing black
metal and dark ambient brilliantly. The final song, a thirteen-minute
instrumental entitled “Will to Walk Paths to No Temple”, is an epic journey
into dark emotions, like staring inwards to your soul and when you’re there and
finally see it, only the bleak sadness of the world is there. Of course in that
sadness is reflected the beauty of life. </div>
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<i>Sathimasal</i> is a work that’s being praised for its
relentless dark nature, and I suppose that’s one way of looking at it, but I
found it to be a heartfelt trance-like voyage into some very murky waters that
are not always easy to appreciate. I recommend listening to this album several
times if you want to properly appreciate it, as there is more depth to the
music than initially meets the eye. It’s music that requires patience and I
admire that in a band. Not everything should always be laid out accessibly for
us the immediately indulge in. </div>
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Conclusion: <i>Sathimasal</i> is an excellent example of how
bedroom black metal can be done with taste and substance, and proof that you
don’t necessarily need loads of money to make excellent music. Highly
recommended.</div>
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<br /></div>
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Standout tracks: “Foredreame Wonderlore”, “Conjurer,
Prophetillars Will Follow”, “Will to Walk Paths to No Temple”</div>
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Score: 8.5</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-33826633787312515182012-05-18T02:07:00.001-07:002012-05-18T02:07:16.127-07:00Woods of Ypres - Woods 5: Grey Skies & Electric Lights<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU7-7QCVdRCwxYzzXHXplMys-FEnu5-FixA1mpV2EvXRFGaxbDNgSDe0X1I2ulTSm1dpMF9SD3w0XNTsUNIMaecwg2svOSALutV-mpaTQVwdYRj8wreZjSu1aRh651sbVukOX7Hm3KY5Xi/s1600/woy_v_new_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU7-7QCVdRCwxYzzXHXplMys-FEnu5-FixA1mpV2EvXRFGaxbDNgSDe0X1I2ulTSm1dpMF9SD3w0XNTsUNIMaecwg2svOSALutV-mpaTQVwdYRj8wreZjSu1aRh651sbVukOX7Hm3KY5Xi/s320/woy_v_new_cover.jpg" width="320" /></a></div>
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<br />
<div class="MsoNormal">
Music is the imprint of man’s soul into sound. Bands
resemble the lives of human beings. The older we get, the more we mellow out
(one can’t abuse oneself forever), and often we will have a resurgence of
energy in or just past our middle age. While Woods of Ypres have always been
melancholy, this is their most soul-filled and reflective album yet.
Unfortunately it looks like Woods of Ypres is a band that will never have the
opportunity for that nostalgic return to the more energetic excitements of
youth that many bands experience, as lead singer and guitarist, and mastermind
of the band, David Gold regrettably passed away in a car accident four days
before Christmas last year. Yes, another legend has gone, but not soon enough
to miss leaving behind a heroic legacy of records the last of which had been
recorded, but not yet released at the time of his death. This record is <i>Woods
5: Grey Skies & Electric Lights</i>, and it is going down in history, and
not simply because people worship the dead, as according to David they should
not, but because this is a masterpiece of metal and a profound realization of
style and emotion. For the listener, David’s death only serves as a cruel irony
when we hear the brilliance of this perfectly composed work that is about death
itself, life, and society. </div>
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<br /></div>
<div class="MsoNormal">
As inferred earlier, Woods have largely traded much of their
extreme metal aggression in favor of their softer gothic rock/metal sound, an
element which had also been there for a long time. But where Type O Negative
give us the sexually charged, sensual tones of this style, Woods of Ypres give
us passionate solemnity, thoughtful reflection, and serious philosophies. Pigeonholes
and comparisons aside, though, what we have here is music of the utmost quality
in terms of musicianship, song-writing and lyrical craftsmanship. I personally
am not a huge appreciator of metal lyrics in general; in general they are not
what attract me to the genre. I find combining two art forms (poetry and song)
together in this way is a difficult thing to do, especially in a genre as
gloriously over the top as metal. I preferred to place emphasis on the music
itself. That was, until I listened to <i>Woods 5</i>. The lyrics on this album
are beautiful, intelligent and cut to the core of so many problems that the
soul faces in the modern world. Gold’s voice enunciates the wonderful poetry
with great clarity in all forms of his voice, making it impossible to ignore
and inevitable to sing along with. </div>
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<br /></div>
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There is no real weak point on the album. From beginning to
end, <i>Woods 5</i> shines brilliantly and radiates a various maturely captured
shades of melancholy. There is nothing depressing about this masterpiece,
however, instead it is the perfect reflection, a tool to organize and sort your
emotions and thoughts, and thus a highly useful and important piece of art. Woods
make perfect transitions between gothic, doom and black metal, allowing a
series of shattering climaxes to develop over the course of the hour-long
runtime. It has often been said that it is more difficult to write a good
simple song than a good complex one. Another possible way of viewing this is
that simple songs rely on more complex emotions - things people find extremely
hard to control, let alone fuse successfully with music and poetry. Like all
the greats of rock music before them (in my opinion), Woods of Ypres have
mastered the deceptive craft of simplicity – the artistic vehicle of true
passion.</div>
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<br /></div>
<div class="MsoNormal">
It took me a long time to review this album, and while I
haven’t said anything particularly profound about it, I needed to know that the
power of the music was genuine and held at least some longevity. I was also
aware of the way that recently deceased artists inspire sympathy in people and
not always because of the quality of their work, and I didn’t want to let bias
inflect my opinion. As I saw how the album was affecting me more increasingly
with every listen, I thought it was too good to rush into and worship, too good
not to consider thoughtfully before praising. After many listens, I believe I
know it well enough to confirm that <i>Woods 5</i> is the real deal – a living,
human thing and an album that will be remembered for decades to come as a
classic.</div>
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In summary: If you like your metal endowed with great beauty
and feeling, this is a must. If you like it when your metal has something to
say about the concrete world rather than venturing into the escapist realms
that the genre is so heavily based upon, this is a must. For me personally, it’s
the best album I’ve heard this year so far. A work of sublime craftsmanship; an
album for rainy days and hard times; a cure for suffering; a vital medicine for
the modern age.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Standout tracks: “Death is not an Exit”, “Adora Vivos”, “Silver”,
“Career Suicide” and all the others</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Score: 10.0</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-964128976947031542012-05-16T00:05:00.000-07:002012-05-16T00:05:12.769-07:00Mortification - Scribe of the Pentateuch EP<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4aYewOmNMNB9jfq1SreNbqelyn_rQmymY243bKq_maqa3Le48HavXNKrrTQs4MUskgFeDF0sU3_I9IdN1ipUhyphenhyphenDLAAlLBeWa1Kdly_CkauxgYLdqqREdzi5Gq4OWyHwvADnO7mTtMvESf/s1600/mortification.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4aYewOmNMNB9jfq1SreNbqelyn_rQmymY243bKq_maqa3Le48HavXNKrrTQs4MUskgFeDF0sU3_I9IdN1ipUhyphenhyphenDLAAlLBeWa1Kdly_CkauxgYLdqqREdzi5Gq4OWyHwvADnO7mTtMvESf/s320/mortification.jpg" width="320" /></a></div>
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<br />
<div class="MsoNormal">
Mortification is a band that will divide metalheads purely
based on their ideology alone. They are, yes, one of those <i>Christian</i>
metal bands, one of those that go against the grain and use an art form that is
aesthetically and traditionally prone to blasphemy for worship. In fact these
Aussies are one of the more well-known light forces (Light Force was actually
the previous name of Mortification) , having churned out a steady flow of
records since 1991, and they’re still going at it. They’ve experimented with
marginally different variations of metal (as we shall see here), but generally
kept to a death/thrash core. Now, personally I couldn’t be fucked what your
ideologies are, but I do care about your music. While Mortification have made
many moves that disappointed me over the course of their long career, none of
them were to do with Christianity (or at least not directly). I still think <i>Scrolls
of the Megilloth</i> is a classic slab of Aussie metal – a dirty, little death
metal record with plenty of fury and a depraved, surprisingly evil tone that
seemed contradictory to their lyrical content. Twenty years down the track, I
stand in a different place, however.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The latest Mortification EP, <i>Scribe of the Pentateuch</i>,
has much of the musical content we loved on early Mortification – namely their dirty,
thrashy, Morbid Angel-esque death riffs – but there are strong touches of
traditional doom or heavy metal on tracks such as “Scribe of the Pentateuch”
and “In Garland Hall”. This genre move itself is not the mistake, but rather
the execution of the entire mini-album is where failure lies. The vocals sound
adolescent and poorly rehearsed, both clean and harsh, as if they are being
pushed thoughtlessly into the microphone by an unfounded sense of
self-assurance. The riffs whether they be death, thrash or heavy metal are
clumsy and carelessly written, rehashing the boring mistakes of many bands from
three different sub-genres, and of the musicians themselves. One actually
wonders why Mortification has continued down the path of metal long since their
musical freshness and vigour has been depleted. Once-present speed and monstrosity
has not been reclaimed on this stale-sounding record. <span style="mso-spacerun: yes;"> </span>On the other hand, the attitude and philosophy
of the music seems to be still very much alive, and I think these days this is
Mortification’s primary driving force. As much as I might claim to be
indifferent to ideologies, I suspect the Bible-bashing nature of this band is
hindering their musical progression and quality, taking precedence over the
music itself. Throw on top some mind-numbingly shit cover art (are they really
suggesting robotic alien construction vehicles penned the books of Moses?) ,
and you have a pretty unsatisfactory little excursion all around. I will give
some meager points due to a moment on the song “Weapons of Mass Salvation” in
which some genuine atmosphere is brought about by dark riffing and rare vocal
quality.</div>
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<br /></div>
<div class="MsoNormal">
In summary: <i>Scribe of the Pentateuch</i> feels rushed and
uncared-for, a battered vehicle carrying Christian sentiments which has been
wearing down for years. Avoid this one.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Standout tracks: “Weapons of Mass Salvation”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Score: 4.0</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com1tag:blogger.com,1999:blog-5466229650790026701.post-43511571583681418602012-05-13T21:48:00.004-07:002012-05-13T21:48:23.482-07:00Leiru - Ex Nihilo EP<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3MclpClZBHaIrMyn14Kqdz-iN52mwwr00j8g-yj_hUjpalW7uw3BMqdUufuWCft2IB5xEFiipBYdKS_sAbfIIDp7yzzVAarI6JpqsGz2_RPcNW-Tsegwc2rCPmFQCvGAa-gdZEuoKK0Ou/s1600/acov_tid172519.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3MclpClZBHaIrMyn14Kqdz-iN52mwwr00j8g-yj_hUjpalW7uw3BMqdUufuWCft2IB5xEFiipBYdKS_sAbfIIDp7yzzVAarI6JpqsGz2_RPcNW-Tsegwc2rCPmFQCvGAa-gdZEuoKK0Ou/s320/acov_tid172519.jpg" width="213" /></a></div>
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Leiru are a Hungarian band playing raw black metal. My
interest was piqued initially by the strange and somewhat ridiculous cover art
of this tape. Portraying a Picasso-esque topless woman smoking a cigarette
while sitting in a chair, this is hardly your regular black metal imagery.
Inside the music is considerably more conventional, although by no means
destined for mainstream or probably even widespread underground consumption,
although this is probably due to amateurish quality rather than daring ideas.
Certainly, no sounds on this EP relate to the poorly executed fartsy-ness
adorning the cover. There is very little information available about Leiru,
although reading their Facebook page leads one to believe they are a pretty
standard bedroom black metal project trying to do something with noisy, lo-fi
sounds in order to gain wider recognition. Apparently the former one man
project has acquired a real drummer for this release, casting off the machine
used in his previous demos, none of which I have heard. </div>
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The quality of Leiru’s music is debatable. The songs are not
written with a complete lack of skill, but they are also not written with a great
amount of substance either. Riffage is not wholly dissatisfactory black metal standard,
and the drummer, while clearly not of a professional level, does seem to
understand basic rhythmic principles that are often used to effect in metal.
The sound itself is fairly harsh, but the overall atmosphere of the music has a
kind of positive feeling commonly seen in folk metal. This is largely brought
on by the clean vocals which in my opinion are a real mistake when combined
with such raw guitar tones. The last song “Nova” is an instrumental rehearsal
and is by the far the rawest and best, although there is a very distasteful
solo that features one the most irritating squeals of a guitar tone I’ve heard
in a long time. No interesting experimentation happening here as I was hoping
for, just some very harsh yet average melodic BM, unfocused music made for
abstract personal reasons.</div>
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In short: A band that will probably never make it, and one
that you will probably never listen to, Leiru aren’t disgustingly awful, yet
there’s no way I could call them good. Have a laugh at the cover art and move
on.</div>
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<br /></div>
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Standout tracks: None</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Score: 4.5</div>
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<br /></div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-15322747685335903812012-05-11T06:46:00.001-07:002012-05-11T06:46:28.606-07:00Radio Moscow & Earthless & Premonition 13<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSYQOq4u0yR6_shRoMPUs6ycY_Yz5p1TSSM2cWulXyB-gf5TpwVv_sReUfYffvNdPaqaOnr9309nphyphenhyphenyPh_GLWHcfh7DnNEZVHS-zFAFts-Dd729bjv0b8YEONH9KkZqNfqbNF1CTiL4l2/s1600/9b847548.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSYQOq4u0yR6_shRoMPUs6ycY_Yz5p1TSSM2cWulXyB-gf5TpwVv_sReUfYffvNdPaqaOnr9309nphyphenhyphenyPh_GLWHcfh7DnNEZVHS-zFAFts-Dd729bjv0b8YEONH9KkZqNfqbNF1CTiL4l2/s320/9b847548.jpg" width="320" /></a></div>
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Volcom are known for their surf/skate/snowboard gear, but
they also have a record label! Every year Volcom Entertainment Vinyl Club
releases six limited edition records from various artists, usually stoner,
psychedelic or punk rock. One from this year’s vinyls features Scott “Wino”
Weinrich of Saint Vitus fame on it, as well as the awe-inspiring Earthless, so
I decided to review it.</div>
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Earthless is not frigid black metal or punishing grindcore
or swamp beast sludge, it’s not even metal at all – in short it’s are not the
kind of music this blog is dedicated to. But damn! does this band gets me, and
damn are they heavy. Although I’ve been known to love it, psych jamming is
something in my opinion that is often done wrong, sometimes based on misguided
heroic ideals, or more often than not falling into the ether of dudes getting
high and playing together in the drummer’s mother’s garage, dreaming of money
and fans, imagining the groupies and the outstretched arms, lost in a world of
fantasy and love, one of the fatal consequences of reality that can happen when
beauty and stupidity meet. But Earthless, no. Earthless does not fall victim to
these pathetic weaknesses. Earthless think about one thing: How to rock the
fuck out. This epic twenty-minute track is on the run, and it gets faster and
faster. From the beginning the lead is improvising solos, and man, this guy (Isaiah
Mitchell) is totally ripping it. Build up and break down and rock solidly til
the very end. This is the concept here – deadly, as you can see. Epic fucking
psych jams that hit home – BLAM!</div>
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Wino is a legend, as any true metalhead knows, and one of
his newest projects, Premonition 13, contributes a fourteen-minute instrumental
to the split. Quality psyched-out stoner jams roll along smoothly and solos
glide calm and cool over the surface. Split into two segments each is
satisfying, and falls closer to psychedelic rock than Wino’s trademark doom or
stoner sound (though both are certainly integrated). This man has been rocking
for years and it shows through in everything he does these days. “Noche Oscura”,
the featured song, is yet another piece of evidence of his quality songwriting
and musicianship, a fine piece of light metal to chill back to.</div>
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Radio Moscow finish it with the most retro vibes on the
album, playing two tracks of Jimmy-esque psychedelic rock. This is not a band I’m
familiar with, and personally it’s not my style, but these tracks are still
pretty cool ‘70s emulations with on-the-mark musicianship. The first track is
the only song on here with vocals, and apart from the production it could be
straight off of a Zeppelin or Cream album. The second track is instrumental and
I prefer this one as it finishes with some pretty trippy Middle Eastern
sounding string instrument accompanied by lots of crazy drumming and wacky
effects. However, it still sounds like music the music of an era gone stagnant and is my least favorite of the bunch.</div>
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In short: Psychedelic fans will love this. Although there’s
really only a morsel of metal in here, it is truly a rocking collaboration. The
vinyl is limited to only 1500 copies, so get it while you can!</div>
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<div class="MsoNormal">
Standout tracks: Earthless take the medal here hands down!</div>
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Score: 8.0</div>
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<br /></div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-38757295036655303252012-05-08T23:05:00.000-07:002012-05-11T06:34:00.790-07:00Kownloon Walled City & Thou<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQMyKDuwOY19asBJTK-Zlafb63qsM5PAhouRpRoqruZCgob6KsmamDjqVwUWsqDFBMGpbGTtRh1yw2QcglgQx6rXnRl7-1S4q-4nMuKCuHmls5dKAjby2k_t_JoXNASKzhRre245MFtSJ/s1600/336068.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQMyKDuwOY19asBJTK-Zlafb63qsM5PAhouRpRoqruZCgob6KsmamDjqVwUWsqDFBMGpbGTtRh1yw2QcglgQx6rXnRl7-1S4q-4nMuKCuHmls5dKAjby2k_t_JoXNASKzhRre245MFtSJ/s320/336068.jpg" width="320" /></a></div>
<br />
<div class="MsoNormal">
This split is the first in a series that is the first
project from new record label Hell Comes Home. The series is called Hell Comes
Home Volume 1 and it will feature twelve splits, twenty-four songs and
twenty-four sludge/doom bands from all over the world, including Thou, Fistula,
and Rabbits. Sounds great, doesn’t it? Check out the website at www.hellcomeshome.com. So it all
kicks off with a pair of covers, Kowloon Walled City take on Low’s “July”, and
Thou’s efforts into Soundgarden’s “4<sup>th</sup> of July”. Songs
coincidentally chosen? I think not – but that doesn’t mean it doesn’t work, as
this is a tasty little morsel of alternative rock-tinged sludge metal.</div>
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<div class="MsoNormal">
Kowloon Walled City is a sludge, or post-sludge, band from
San Francisco named after one of the seediest triad districts Hong Kong ever
saw, now demolished almost twenty years ago. The band released a pretty damn
sweet little debut three years ago, <i>Gambling on the Richter Scale</i>, music
that can only be called crushing and dense. This cover shows the band’s softer
side, being slower, simpler and also having exchanged the aggressive
hardcore-esque vocals of the band members for some nice indie-esque vocals from
Big Sir singer and songwriter Lisa Papineau. The original song is a beautiful
piece of slowcore with amazing harmonies, and this is the basically the
distorted version. KWC have done a pretty good job here, although I personally
would’ve done it differently. Although it was definitely a good idea to get
Papineau in on vocals, it feels like little of the original KWC remains. Some
harsh vocals layered over the clean female vocals near the end perhaps would’ve
been the cream on the cake? But this is still enjoyable listening.</div>
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Thou have become legends of doom metal in recent years,
putting out release after release of quality sludged-out doom. It is a pure
pleasure to hear them cover Soundgarden, and turn “4<sup>th</sup> of July’s”
classic riff into a dragging doom beast. Thou have achieved what Kowloon Walled
City didn’t <i>quite</i>, in that they have successfully kept true to the
spirit of the original track whilst injecting their own flavor into it. The
guitar tone and pace is just what you want to hear from Thou and the dual
clean/harsh vocals really bring some proper metal into the track. Wicked.</div>
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<div class="MsoNormal">
In short: A great little split that I highly recommend buying
on vinyl, or even better subscribing to the whole Hell Comes Home boxset, as I
suspect it’s going to be a wonderful collection. Also each “7 comes with truly
stunning artwork from Kuba Sukolski.</div>
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Standout tracks: I like the Thou song best</div>
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<div class="MsoNormal">
Score: 8.5</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-33675984951882523532012-05-08T05:44:00.000-07:002012-05-08T05:44:37.349-07:00Pyramids & Horseback - A Throne Without a King<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilIYdC45dxtUbBebp9gFQfunSELPCAsQM1_qvQMLqNk7rFP6LfXL31T3f1ela7b7oA3sQH0F0FqqYbniZcUGChv8b_LLT9gAsVnUAeux1oECTNS7RoiujjeuU4Fb2zTZtekMem3osQSiKT/s1600/folder.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilIYdC45dxtUbBebp9gFQfunSELPCAsQM1_qvQMLqNk7rFP6LfXL31T3f1ela7b7oA3sQH0F0FqqYbniZcUGChv8b_LLT9gAsVnUAeux1oECTNS7RoiujjeuU4Fb2zTZtekMem3osQSiKT/s320/folder.jpg" width="320" /></a></div>
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<br />
<div class="MsoNormal">
Pyramids and Horseback have been at the forefront of the
whole experimental metal-infused post rock scene for the last few years. Both
bands are known for creating records that sound very different to their
previous material and also for flirting with ambience. Earlier this year
Relapse released a collaboration of these two bands called <i>A Throne Without
a King</i>, and it mostly takes the Pyramid side of things, there being far
more ambient noise here than rock music. The album follows the structure of
having one song done by each group individually and then a very long four-part
song made by the bands collaboratively.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Despite obvious black metal influences on Pyramids
self-titled debut, they have since notably set themselves even further outside
the conventional metal scene, often times outside the scene altogether. They’re
music is something that will be shunned by your more typical (or even slightly
explorative) metalheads, so if you are one and you made it this far through the
review already, know that you can safely spend your money and time elsewhere.
In fact, if you’re looking for metal at all, this is not really the place to
find it. The Pyramids track that begins the album, “Phaedra’s Love”, starts off
with a really crazy off-kilter drumbeat, and the effects hint at Pyramids
previous dabbling in blissfully noisy soft-edged black metal, but this is <i>immediately</i>
taken away from us. In less than thirty seconds it just fades right out into
nowhere (ambience) leaving you feeling a bit robbed. It returns again around
the two minute mark and is once again stolen from us in less than half a
minute. We then have two minutes of quiet ambient buildups and lonesome piano
notes before we are given a taste of the chaotic drums and thick wall of noise
that, let’s be honest, is probably what most of us want to hear. Pyramids are
really not treading water here, although they are taking risks. Make no
mistake, this is for fans of avant-garde and experimental noise. The sounds are
lush in typical Pyramids style though, and on repeated listens once you know
what to expect from the song, it is actually very interesting. So if you are
open to this kind of music, it is quite enjoyable, although not on par with the
group’s earlier music.</div>
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<br /></div>
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Horseback display their lo-fi side again here, and the first
half of their track “Thee Cult of Henry Flynt” is rocking black metal.
Horseback have always distorted the hell out of their high-pitched vocal
shrieks, and they’ve always had great anthemic rhythms too, and I’ve always
loved it, and this song is no exception. Horseback’s music has for some reason
got a very positive, exciting atmosphere, despite their harsher elements. <span style="mso-spacerun: yes;"> </span>Keeping in tune with the album, however, it
dwindles into long minutes of ambience before giving a few solemn guitar chords
and shrieks near the end. A stronger song than Pyramids, but once again not the
best that this band has ever released.</div>
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<br /></div>
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Now we enter the focal point of the album, the epic ambient
piece named after the album’s title. The first part wastes itself at the
beginning with pointless ambience eventually interrupted by some outbursts of harsh
noise, and then it gets into some dark, very distorted vocals. They sound very
inhuman and quite atmospheric, bit of an Event Horizon quality to them. I would’ve
had these throughout the whole length of the track. Six and a half minutes of
crackling noise begin part two, then we are gladly given some beautiful vocals
before the song breaks down into even more abrasive static. This track is long
and difficult to sit through. The drones continue throughout the second two
parts of the album, and we are given more static in all sorts of different
forms and some very slow melodies on the third part, which I can safely call
beautiful. This is a difficult piece of work to get into, but it does have its
merits if you make the effort, as there is a lot of variation in the noises
concocted here, some of them ugly, some of them lovely. It is nothing short of
a noise epic.</div>
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<br /></div>
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Overall, <i>ATWaK</i> is a pretty good slice of experimental
metal/post/ambient/noise, but for some reason I suspect I will not be giving it
relistens in later years. I think the main problem with the album is that it
frequently switches from rich sounds, whether they are noisy, metallic or
blissful, to more elusive, abstract ones. This allows for continuity problems
to arise and means that many listeners may have concentration problems, as it
causes one to be unsure at any one point in time what they are actually
listening to. This, along with the quality production, also happens to be one
of the strong points of the album, as more inquisitive listeners will take
interest in the unconventional emissions heard here from beginning to end. I
get the impression the album was made for people with a bit of patience about
them anyway.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In short: Difficult to become immersed in on the first
listen, but ultimately rewarding, this is a genre-defying epic way out on the
experimental side of things.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Standout tracks: <span style="mso-spacerun: yes;"> </span>”Thee Cult of Henry Flynt”, “A Throne Without
a Kind pt 3”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Score: 7.5</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com0tag:blogger.com,1999:blog-5466229650790026701.post-5420928498315456182012-05-04T01:08:00.001-07:002012-05-04T01:08:17.493-07:00Plague Widow - Plague Widow EP<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCqbLYmMYq7Sp9pizh2qotHkUlR-NaURL4yPYKbfMPeqo4aMYh8matHfR1SkdsAE08v0ZLqZStES_t5PVP08m4Eh_oj67O4HxBA_ZcVYX4ERmJt3K8ais4sJtaMSZp5FOVXhte5O3ntioc/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCqbLYmMYq7Sp9pizh2qotHkUlR-NaURL4yPYKbfMPeqo4aMYh8matHfR1SkdsAE08v0ZLqZStES_t5PVP08m4Eh_oj67O4HxBA_ZcVYX4ERmJt3K8ais4sJtaMSZp5FOVXhte5O3ntioc/s320/cover.jpg" width="320" /></a></div>
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Plague Widow are a brand new band out of Sacramento,
California, playing a particularly brutal and dark style of deathgrind. Their
first EP is self-titled and I have to say well titled, as the first thing I
noticed about Plague Widow was their awesome name. <i>Plague Widow</i> runs for
fifteen minutes, comprising of nine songs. It is fast and technical, loaded
with morbidly frantic unconventional death metal riffs which bring to mind the
likes of Gorguts, Portal and even Cryptopsy. With these bands as influences it
should be clear that PW’s approach is no thoughtless bombardment, but a
carefully coiled whip unleashed with competency and intelligence. Of these
fifteen short minutes, five belong to the intro and outro and are nothing but
bleak, minimal noise buildups. Also there are two tracks interspersed between the
metal both named “Abyss”, which provide some very creepy speech samples. These
run for about another minute or so. The samples are well chosen and effective,
but all together this brings the actual metal time down to a mere nine minutes.
Now, a lot of the time I might say that the ambient intro/outro thing is boring
these days, but I feel they work well on this EP because they seems to compress
and condense the short but sharp intensity of the vicious deathgrind between them.
The last two tracks before the outro are definitely the highlight here,
featuring demented death metal breakdowns and black metal blasting. At first I
thought the band were nothing really too special, and to be truthful it’s sometimes
difficult for me to appreciate death metal these days because of the steadfast
repetition it is usually confined to, but after giving PW a few shots I discovered
a very effective little record with a bit more than just a callous exterior.</div>
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In short: Hear ye! Hear ye all lovers of death metal: Plague
Widow is here.</div>
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Standout tracks: “Assimilated Subconscious”, “Operating the
Segmental Apparatus”</div>
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Score: 8.0</div>jeevutlaorhttp://www.blogger.com/profile/02162156898149073602noreply@blogger.com1