Part II will finish the October releases, as there's not much on
the plate for November. The second week of November might be bare, but I
cannot be sure as there are still a few good releases set for the
month. I will have them as they are available.
MACHINAE SUPREMACY
Rise Of A Digital Nation
Spinefarm Records
If
this is your first time hearing MACHINAE SUPREMACY's unique brand of
SID metal, then this disc is certainly a good place to start out. Right
off the heels of the band's wonderful 2010 release, "A View From The End
Of The World" they continue to further evolve their sound and the
result is breathtaking. The SID effects still exist and on opener "All
Of My Angels" the SID is the very first thing that you'll hear when
playing the disc. But not only that, "All Of My Angels" is the best
opening track that I've heard from the band in their entire career. The
chorus is extremely powerful on this one, and that's what I expect from
the band. "Laser Speed Force 4:06" is another great track, incorporating
plenty of SID and bringing back the wonderful solos that these guys are
known for. "Transgenic" sees the band with a slower, but stronger
approach. It's got a strong emotional sense to it, in the same way that
"Persona" did from the band's last effort; as well as a powerful guitar
solo. Though songs like "Pieces 4:16" might make you wonder why a band
is taking the bleeps and bloops of video game music and mixing them in
with their version of metal, I'm sure if you'll give the disc a full
chance, there's going to be at least one or two tracks on the disc that
you find appealing. Though there is a bit of dubstep in "Battlecry" and
I'm left wondering why, the strongest song on the disc comes shortly
after that and makes me forget all about the dubstep blasphemy
completely. The song I'm referring to is called "99" and I've probably
listened to it over a dozen times with the intention of many more. But
there's a reason for that, and that reason is simple. This is the exact
kind of material that I would have expected the band to deliver, with
some of the most powerful choruses and melodies in heavy music today.
With this new album Machinae Supremacy have proven that they still reign
supreme, and that video game music does have it's place in the heavy
metal genre. If you should finish this journey wanting more, I urge you
to check out the band's back catalogue for even more fantastic SID
metal.
Also check out this site, for five full album downloads from the band, on their own server. You're welcome.
http://machinaesupremacy.com/downloads/
E. May
9/10
Trillion Red - Trillion Red - Metaphere (PR2012)
- To be honest, I dreaded reviewing this one. But that's not because
it's a bad album, because this one man project is quite strong. It's
just very hard to put this atmosphere into words, and one listen alone
is not enough to justify it. So as I always do, I will be listening to
this once again, while I review it. Maybe I can make heads or tails of
it this time. Trillion Red is the solo project of Patrick Brown, and
it's definitely a type of avant-garde experiment that plays with
elements of post metal and atmospheres. The disc does contain vocals and
Patrick's voice is more of a lighthearted whisper, when it's not a calm
yell. Additionally it's not uncommon to hear piano pieces amongst the
electronics that are fiddled with on this disc. But there are two
extremes to the album, and while some use slight guitar meanderings and
atmospheric effects to achieve the experience, so do others use brash
guitar and drum battles in the vein of bands like Minsk, Neurosis, Cult
Of Luna and many other post metal Stalwarts. This album truly is an
"experience" in the very sense of the word. That's what Patrick intended
and that's what I'm hearing. So if you're willing to take a journey;
this will enable you to do just that. The promo information tells me "to
close your eyes and let your ears tell the story" and that would be
best. These eleven tracks have a tale to tell for sure, and they bring a
much dirtier edge to avant-garde metal.
(11 Tracks, 59:00)
9/10
Blood Of The Sun - Burning On The Wings Of Desire (PR 2012)
- These proggy rock n' roll bluesters have certainly had their share of
lineup changes. If I explained just how many times this band has
changed hands over the past number of years, it would take far too long
and be unimportant. Just know that the current incarnation of the band
includes John O'Daniel and Rusty Burns from Point blank and Tony Reed of
Stone Axe and Mos Generator. Of course, I have no fucking clue who any
of those bands are; and you probably don't either. Nonetheless, what I'm
greeted with is something that I think older ears will appreciate more -
but I think that younger ears should also be paying attention here.
There is some real "old gold" in this album that most people just
weren't around to hear. This album has some definite soul to it,
something you don't hear much in rock anymore, and it's got some damned
good keyboards. Yes, these sound very much like gospel keyboards, but
that adds to the power of these guys. And if it ain't quite Jesus,
there's certainly something here that these gentlemen have unearthed. On
just about each and every song, all the way from "Let It Roll 4:12"
right down to the closer, "Good And Evil 7:34" I'm hearing some
downright explosions of guitar and keyboard, and this is where the band
fucking shines. And though it's not the schoolyard idea of thrash, "Rock
Your Station 4:39" certainly has a punchier feel that you just might
bang your head to. But don't expect death or black anything on this
disc, I'd liken the riffs more to Clutch or what influenced them, and
the vocals I can't place at the moment, but I'm sure that they're coming
from a source that may have come before my time. This is mature music,
no doubt about it - but that doesn't mean that it's not good. These guys
won't win over the deathier of us, or the black metal hordes, but they
damn sure have something and I'm gonna give it to them. There's not much
soul in metal these days, and maybe that's because the genre is
supposed to be soulless, apparently. Nonetheless, it doesn't hurt to get
in there and really blow people away with 70's prog, southern soul and
some meaty guitar licks (in addition to some killer solo work.) This is
great drinking music, and it's also good driving music. Just don't do
both while jamming it out, unless you're a fucking idiot.
I've
only got one qualm on this one, and that's "Brings Me Down 4:24." This
track just didn't do anything for me, and it felt a little out of
element for the rest of the album. It's also the only thing that stops
me from giving this a ten. Of course, l the vocals aren't necessarily
amazing either - but it's the atmosphere that really sells me on this
one. If you're going to take metal to church, you'd better do it right
or you're gonna piss a lot of people off. And that's just what these
guys did.
Definitely a recommend for those who love southern
prog rock/metal. Some reviewers like to get technical about this shit,
but as for me - I was listening to the disc while working on the job and
this almost had me jamming out in the stock room. I was afraid my boss
was going to walk in and see me dancing around and strumming the air
guitar. But I felt it, and hopefully you will too.
Highlights: Everything but "Brings Me Down." (10 Tracks, 38:00)
9/10
Skrog - The Global Elite (PR2012)
- Skrog is an industrial metal project from former Skull Fuckers
Incorporated (which is probably a twist on NIN's "Star Fuckers
Incorporated") member, Jay Reiter. He also worked in Descendants Of
Cain, and managed several bands in Wisconsin. The project originally
began in 1998, but was put on hold because of these other musical
endeavors. But fast forward to 2012, with the Skrog album "The Global
Elite."
Now there is much I want to address about this album,
and I will get to the music in a moment. First of all, this album
addresses some definite irregularities in our current society,
specifically those related to the Elite, The Illuminati, The pre-NWO,
excetra. While not a Bible man by any means, (as I even believe that
they had a hand in that) this album certainly speaks of a tyrannical
control by an oppressive elite, and it's one of the first metal albums
that I've ever heard to address the concept of MK Ultra mind control
with "MK Ultra 4:15." I'm sure that those of you who have been to my
other blog know that I frequent these topics quite a bit and strongly
believe that the rich elite do want to control our food, water, air,
money and more. And why would this be, exactly? Because they're greedy
bastards and they don't know any better but to want MORE. One is
supposed to live within one's means, but not everyone has enlightened
themselves to that point yet, and it is why our planet suffers.
But
onto the music now. The metal that Skrog plays is very much in the
style of Ministry. Some have said that Devin Townsend moments are here,
but I consider them very few, and would liken this heavily to the nature
of the now defunct Texan industrial powerhouse. Even the vocals mimic
Al Jourgensen, and were he not dissuaded (Relapse was off the ball and
didn't seem to mention any of these things, like the conspiratorial
nature in the Bush trilogy.) by some unknown means, he would have
covered these topics. One in particular I feel is necessary, is the
symbolism in the media (covered by vigilantcitizen.com) like Kanye West
and his odd decision to wear a pair of pants that had Baphomet heads,
and the word "METAL" on them. Yes. Look it up on the internet. Type in
"Kanye West Metal" in a google search engine. Now what's this R&B
pop star dude want with fucking metal? I was going to "like" him and
then spam the fuck out of his facebook, asking him when "his metal
record" was coming out, as well as asking the dude if he was going to
scream and growl on it. Could've sworn that guy was a Christian... and
even if he was into metal, not too many Christian guys are into having
Baphomet heads on them. but then there was Ke$ha wit a big inverted
black metal pentagram on her dress. Because you know how much she
fucking loves Satan. I think it's all publicity, but it's pretty fucked
up at any rate and if we make fun of it, they'll hopefully quit it and
go back to playing horrible music...
Unlike this guy, who can
actually put out some worthy industrial metal. This disc is a beast that
thrashes, while the "mad scientist" screams and growls throughout, with
emotional rage. He really believes in these words, and it shows. Though
"Revelation" seems a bit thin, and "MK Ultra" has a strong chorus and a
sort of disillusioned nature to it, I really feel that "Submit 5:36" is
one of the strongest tracks on here. The disc is crushing until 32
minutes in, where he decides he wants to do something a little
different. Not that this is a bad decision, but the Super Metroid
influence of "The Hunter 10:12" might take some listeners aback. And yes
Jay, that's the latter area of Brinstar (the red area as I've called
it) right before you get into the tube that can be broken later in the
game which leads into Maridia, (any chance you'll do the music there? It
always had a dreadful aquatic nature) and then you keep going through
to get to Norfair.
But what's cool about the track, "The Hunter
10:12" is that it's the first time I've heard that theme for Brinstar
(the oriental natured one) done with instruments other than SNES synth
and done right. There was a smile on my face from ear to ear. It even
got heavier towards the end, and that's one thing I love - metal video
game tunes. There's even a solo here, but you'll find that one of them
appears on most of these tracks. Jay isn't afraid to play a solo on
these tracks and they all seem to work, more often than not. They're
also not always the sort of rock and roll-esque solo you'd expect. As
for the disc's closer, "The Hunted 4:14" it's a short track that leaves
us with what I truly believe... an elite that is even more paranoid than
they think that we are. Not to mention the fact that Samus Aran might
be hunting the bastards down, as it incorporates the Metroid theme.
So
if you wanted a Ministry fueled romp through the destruction of our
world and the assault on Zebes at the same fucking time, then you're
getting what you ask for right here. I really hope that Jay will
continue this kind of work, I find it to be awesome and informative at
the same time. I never thought someone would cater to both my
conspiratorial sense and video game metal at the same time. I'm
speechless. But in all honesty, it still needs some work in areas and
with more time, could be further developed. I also don't think it's
entirely appropriate to mix the video game material in with the
conspiracy themed album, as it kind of makes the listener scratch their
head. There's also a song on here about the undead, "Dark Metamorphosis
4:43" but it was solid at best and didn't really match the theme of the
disc; so I didn't exactly put much stock into it.
At any rate,
it's a pretty damned good effort. Well worth it for industrial metal
fans like myself, and much better than some of the Russian industrial
stuff I've been trying to get into. But maybe I'll hit gold there,
sometime! Hopefully on the next disc he'll talk about Monarch mind
control and sex-kitten imagery. "Hello Kitty" is a big factor in this. I
can't even believe the kids never ask. Maybe because the image is
perceived as "cute" and it blocks the mind's comprehension of that
concept. Eh... just look it up.
(Interview Coming Soon!)
Highlights: The Revelation,
Military Industrial Complex, Submit, End Of The World (As You Know It),
The Hunter, The Hunted (8 Tracks, 47:00)
7.5/10
Cradle Of Filth - The Manticore And Other Horrors (2012 DX Edition)
- If there's anyone out there who knows a thing or two about Cradle and
still gives a shit about these guys, it's me. I praised their
orchestral disc earlier this year, and despite the fact that I heard
from another reviewer in Germany that he thought "the record was awful"
I'm gonna have to bow to the altar of the Manticore. This is exactly the
shit that I wanted to hear from Cradle. It's got layers upon layers of
melodies, Dani's barks mix in well with the style of this disc whether
he's speaking in a more poetic tone, a growl or a shriek; the guy is on
his A game, as is the rest of the band. This is a disc that you can tell
was influenced by grand works like Midian and that shows in tracks like
the Arabian influence of "Manticore 5:53" and the epic "Death, The
Great Adventure 6:18" which is essential for the album. Don't even look
at the standard version of this album, because this track should've been
on it from the get-go. Their decision not to include this masterpiece
is like Midian without "Tearing The Veil From Grace." Orchestras,
gothic atmospheres and the whole classic style of Cradle is certainly
here, just with more of a thrashy nature. But it doesn't stay that way,
as each of these songs is apt to change tempo without warning, yet still
flow cohesively. This is due to the fact that real work was put into
the album.
Most of Cradle's work is essentially gothic poetry
put to music, and that's why some people just don't get it. It's about
giving the poems themselves an atmosphere, and I've personally been
under the assumption that Dani is an excellent poet; some of his poetry
appears in The Gospel Of Filth and it's quite thick. I guarantee that he
know far bigger words than you, regardless how much you hate his
vocals.
But kidding aside, other than the weaker "Frost On Her
Pillow 4:12" (Why did they make a video for that track, instead of "The
Abhorrent 5:53"?) and "Siding With The Titans 5:17" which didn't work
for me, (for some odd reason, I just wasn't feeling it) the disc is
definitely worth checking out.
Now I know that some of you are
still hoping for the older gothic work, but this stuff definitely seems
to still capture that atmosphere for me and it does so with a punkier
and thrashier nature. Though there are few solos on the disc, there are
so many wonderful melodies and riff combinations that just work - they
work like a band that's found their right chemistry. Not to mention the
drumming, which is most definitely fast, furious, and bloodthirsty.
But
hey, what do I know? I even liked some of the tracks on Thornography,
like "I Am The Thorn." Those Maiden solos worked, don't deny it.
Bonus Tracks:
Nightmare
Of An Ether Drinker 4:32 - I don't see why this track was taken off the
standard version of the album, there was nothing resembling a b-side
about it. As a mater of fact, it's quite a strong track and features the
thrashy gothic nature of the rest of the album, I also like the effects
on this one - they help to enhance the feeling of the disc, not to
mention the double bass kicks and everything else that's going on with
this disc. There's also a female vocal on this one, but you won't hear
it anywhere else on the album. Dani's in top form here as well... so
what the fuck?
Death, The Great Adventure 6:18 - Now this is
what makes me want to take the head big shot CEO of Nuclear Blast
records and hang his or her head on my mantle. Well, I don't actually
have a mantle - but it would be fun to spit on, if I put it on top of my
television. The deluxe edition has this track as the actual last track
on the disc. Which makes sense, because the standard edition ends with
"Succumb To This 4:34" which is alright, but not something of an epic
closer. I feel that the Cradle fan would be duped to buy the disc that
does not contain this track, because I believe that without a doubt;
this track was the original intended closer for the album. Of course,
affording that orchestra was not necessarily easy; so that's why the
band jumped ship from their old label and jumped on the Nuclear Blast
label. And that being said, NB thought that the real closer of the album
was too fucking good to be on the standard version of the disc. The
track starts out with the sort of gothic atmosphere we'd expect, and
rolls right into great riffing. Old Cradle is seriously being channeled
here, but not only that; there are several tempos that make their way in
this journey, including some particularly interesting ones around the
2:20 mark. It really is a track that contains many great ideas, and is
the true climax of the album. Again, I shake my head and wonder why an
intended closer (at the end of this track is a piano piece which flows
right into the outro, "Sinfonia 3:24." The standard version of the album
does not contain this transition) was not included on all versions of
this album... but aren't these the same guys that cut off a solo from
Testament's new album?
Yeah. I think they are. You know, I don't
mean to talk shit about a major label, but these guys are really
horrible people to cut both a solo from Testament, and the closer from a
Cradle album. Damned money hungry bastards!
At any rate, I
advise you to check out only the Deluxe edition of this album. If you
can't find it anywhere else; then do what you must... buy at least buy a
t-shirt or go see the band live. Of course, I'd certainly give up a toe
to see them, but they'll never play a show in these parts. Certainly
one of the best Cradle albums in the band's long history. They certainly
haven't lost their craft just yet.
(13 Tracks, 62:00 - Only buy the deluxe!)
9/10
Wintersun - Time I (2012)
- Eight years later... this is what we get (well, one half of what we
get) from epic metal mastermind, Jari Maenpaa. Now there are four
gentlemen in the band other than just the one, but I'm trying to figure
out exactly what it was that the other gentlemen do, exactly. There's
about ten thousand effects going on in this disc, he seemed to be
wondering just how fucking epic he could make it. And therein, lies the
problem. The disc is too epic, if such a thing can be said - and no,
this is certainly not good. The last fucking thing that you want to hear
from someone is everything but metal. Yes, there's certainly some metal
packed within this 42 minutes of pomp, but it sounds like Jari and crew
got lost in the middle of some massive parade and are trying to play
their instruments in the hopes that they'll find their way out of it.
However, this doesn't actually happen and we're left with an unsatisfied
feeling that 14 and 12 minute metal epics like "Sons Of Winter And
Stars 14:03" and "Time 12:16" barely manage to fill. The atmospheres on
this disc are so fucking thick that you can barely hear the band as a
metal band. I think they wanted to play epic metal, instead of what was
it? Black metal? No. Not this time. Despite the fact that you might hear
about 25 minutes of actual metal on this disc, I just think that
there's too much going on here. Compare this with the old disc, and
you'll immediately see what the problem with this one was. It's like
everyone else says; "It's not that it's a bad disc, it just doesn't
really do anything." If this disc were a child's toy, I would like it to
a some overblown contraption with so many buttons and appendages that
the kid wouldn't know what to do with it. "What does Wintersun Man do,
little Johnny?" It fails. That's what it does. It does so much, that it
doesn't achieve much of anything. I also think that the band shed too
many black metal elements, and this new sound just doesn't work for me. I
have no idea what they're trying to be, but I hope that they hurry up
and figure it out, because the world doesn't want to have to wait
another eight years for a band who still has no idea what they're going
for. To end this review, I'll just say that if you like your music
incredibly overblown, (and some of these melodies are a little weak if
you haven't noticed) then check out this album. I've got nothing more
to say for it, other than the fact that Jari might want to stick to
creating movie soundtracks, not metal records.
Highlights: Sons Of Winter And Stars, Time (5 tracks, 42:00)
6/10
Neurosis - Honor Found In Decay (2012)
- To be honest, I think this is the first Neurosis album that I've ever
reviewed. But there's a reason for that. Given To The Rising came out
in 2007, and I wasn't sure if we'd hear anything from the band for
awhile. It's also very tough to sit down and really review a disc like
this, because there is so much to a single Neurosis album, that it's
very hard to pin down. For the most part, I can say that the guys have
decided to take more stripped down and rough approach. The melodies are
still there amidst sludgy guitar riffs, but you're also going to have
your share of effects that the band claims, are even played on the live
shows. Neurosis wanted the band's sound to echo what you'd get if you
heard them live, and everything is mapped down to a "T" so to speak. One
thing is for sure though, and that's this is no one trick pony. This
album certainly sounds like Neurosis, but it also doesn't. It sounds
like yet another welcome evolution for the band, this one slightly
dirtier; especially with Scott Kelley's haggard tone on this one. As one
might expect, atmospheres are invoked and that's the main purpose for
the work, according to the band. I would certainly sense invocation of
energy being the main idea behind this and other such albums, each one
of them invoking another energy.
This particular energy seems
them almost moved directly from the post metal category, and into the
sludge/doom category almost completely. Some people might not like this
change, and the vocals sound just a bit different then I'm used to, but I
can't help that say I'm enraptured by the atmospheres. This album
literally sounds like more than just music... there's something a little
more flowing through this hour and I'm sure that if you're in the right
state of mind, you'll understand it. Maybe even more than understand
it, perhaps. This was meant to be listened to in a dark room with the
smell of smoke and incense pervading throughout. It really has that sort
of ritualistic feel that sounds ancient, like these guys called
something inherently primal into themselves, perhaps the anger of our
ancient ancestors perhaps; those who don't understand why we've done
what we've done to our world, the world that once was theirs.
Whatever
the case, this is not an easily grasped album. It's the direct opposite
of pop music and it nowhere near blatant. It is the exact opposite of
everything that is stood for in modern music today. It is not catchy and
full of strong choruses. It does not have a verse/chorus format, and it
does not stick to genre stereotypes. If this is post metal, it barely
resembles it and that is a good thing. These gentlemen didn't just come
together to make music, they came together to share their blood, their
bonds, their spirits... this is truly Neurosis. Furthermore, trying to
discern whether or not one track is better than another kills the
cohesiveness of the work, so I won't dare pull out any highlights.
There's a reason that these guys just don't make a record every couple
years or so, and that's because they work and they don't believe in
going into the studio to release just anything. If these guys get
together, it's going to be fucking magic, occult laden magic, and it's
going to be fucking deep. It's going to be so fucking deep, that you're
not going to get it unless you just sit down, shut the fuck up, and
listen. As a matter of fact, make sure that this shit is IN your ears.
Not IN your speakers. You need to feel the music vibrate your eardrums,
sending the signals into your brain and awakening your mind. Let it
cleanse all that gunk and garbage from the media, the effects of MK
Ultra and sensory overload that we get on a daily basis. Yes, the music
of Neurosis will cleanse that bullshit from you, if you sit down and let
it do so. That's why I'm giving this powerful medicine a perfect score.
Just close your eyes, and feel the music... every fucking bit of it. It
will HEAL you.
(7 Tracks, 60:00)
10/10
Yakuza - Beyul (2012)
- Let us continue the journey, shall we? I firmly believe that
Neurosis's Honor Found In Decay and Yakuza's Beyul should be picked up
together in all honesty. Though the bands are slightly different in some
aspects, they are still quite similar. Yakuza's last disc was slightly
lighter, one of my favorite discs of that year for sure; but even when
they do crank up the heavy, they still manage to include the right sense
of frequency. There are also some moments on the disc like "On The Last
Day 5:50, Fire Temple And Beyond 9:55" as well as one closer, "Lotus
Array 6:32" that evoke the same moments of clarity that one will attain
with Neurosis. While unpacking boxes, I really felt this disc. It had me
entranced to the point where I didn't even notice that I was working.
Which is kind of interesting, because I use a box cutter for hours and
have not cut myself, no matter how entranced I've been. It's like my
body is on auto-pilot or something, the music driving me into realms I
cannot even describe.
This is most certainly post-metal at it's
finest, with some otherworldly elements and several non-metal
instruments that help to provide the atmosphere of the disc, along with
some fantastic drumming that really helps to enhance the atmosphere just
as well as the howling that we hear from the frontman. We also get a
barrage of different and interesting riffs that in any other
circumstance wouldn't work well together. This is no way a disc that was
thrown together, and if it was, then these guys are fucking something.
Of course, listening to this disc one can already tell just that - these
gentlemen are masters of their craft and I can't imagine another band
doing something like this, especially the way that these guys have done
it. The jump in tempo might be the major clincher, perhaps the mind is
fascinated with the subtle jumps in speed and atmosphere, the whole
thing giving off a truly ritualistic sense.
Whatever the case,
this disc is truly remarkable. Reviews haven't been exactly wonderful
for it, but I can't give it anything less than solid. It's certainly
powerful and I could probably listen to it about ten or twelve times in a
row without noticing that the time had passed. It really does
physically pick you up and entrance you, and I cannot really say the
same about other genres of metal, or music in general (except perhaps,
some forms of darkwave/ethereal music.) I feel as if it has me in a haze
already, where I felt absolutely nothing yet continued to write this
review. There was a time where I would listen to this type of music
while writing novels, but I haven't done it sense. Perhaps I should try
it again and see what comes out...
(7 Tracks, 38:00)
8/10
Shining - Redefining Darkness (2012)
- Alright. Just so you all know from the beginning. I'm about to
approach this album and proclaim highly unto it quoting the immortal
words of Doug Bradley: "I will tear your soul apart!"
This is by
far the most god-awful excuse for black metal that I've ever heard.
Redefining Darkness, huh? More like rolling a piece of shit around in
the ashes from someone's burned down house in the east coast storm, and
then calling it evil. No, folks. It's really that bad. As much as I love
Shining, this was a disappointment. Granted, I loved the disc for the
first couple of minutes and then at the 1:42 mark of the first track,
"Du Mitt Konstverk 7:43" I slowly no longer care. I just want to go up
to these guys and say, "Great. You can do rock and roll guitar solos,
flamenco and acoustic work. But like so many other metal genres, you're
able to mix it all together with forgettable riffs." Then we have, "The
Ghastly Silence 7:20." And yes, it's ghastly alright. It's ghastly
boring. Am I supposed to be banging my head, or am I supposed to be
mesmerized? Nope. I'm falling asleep instead.
I guess I can say
that "Han Som Hatar Manniskan 6:50" is one of the album's saving graces,
but I still feel that some of the riffs are weak in the vein of current
Satyricon. But I like when Satyricon use these riffs, and I don't like
when Shining do. Alas, we have another bit of black-groove with "Hail
Darkness Hail! 7:08" and this one also works... well, for a while. For
one, we don't want to hear you slow down and start picking your
acoustic. Save that crap for another band, and give us this "darkness"
you promised. This sounds more like "Redefining Slumber" than
"Redefining Darkness." And I don't care if you can pick flamenco guitar
either. It's not original, and it's getting boring. I really think I
know why Shining quit numbering their albums, and that's because this
one shouldn't be part of the canon. When Shining VIII comes out, it
might actually be worth a damn!
But I'm not finished yet with
this shitstorm of failure, because next we have some ridiculous piano
piece that does nothing more than put me to sleep. I don't even think
that Dracula would've used it in one of his many castles.
Yet
I'm still not finished. The icing on the cake is something you would
expect to be a black metal powerhouse of amazement, but instead "For The
God Below" might even manage to put Lucifer himself, to sleep. Imagine a
very slow ballad, with heavy guitars and drums ONLY during the solo
portion. The solo portions are good, but they don't go with the song at
all.
It ends on a heavy note, and it begins on a heavy note.
But all that stuff in the middle... well, it kind of just gets in the
way. Better luck next time. This is my vote for one 2012's biggest
disappointments.
Highlights: Du Mitt Konstverk, Han Som Hatar Manniskan (6 Tracks, 41:00)
2/10
Dethklok - The Dethalbum III (2012)
- As the majority of you already know, I have a big problem with
Brendan Small's supposed "death metal" vocals. They come off as corny as
possible, and I can understand that this works for the metal parody
show, "Metalocalypse" but this does not work, and should not work if
you're actually trying to make a name for yourself in the annals of
metal. Though some have erroneously included this band, (partly because
of former Death and SYL drummer, Gene Hoglan) in those annals; one
should further review the material we're being offered here before
raising your blood bespeckled goblets to Dethklok. By the way, the
band's real name was going to be Death Clock, but there was some sort of
band already out there with that name, apparently. Really? Have you
heard of them, because I sure haven't. Regardless of all this
gibber-jabber, the new Dethklok record does show some (but few) moments
of greatness. "Crush The Industry 5:29" for example is a powerhouse of a
track, and it actually blew me away. Gene's drumming kills on this one
and there's a portion (4:25) where the it is bitter furious and Small's
vocals actually seem to bleed through into it, and he does show that he
does have some harsh vocal range. Of course, the melodies on this disc
are just as killer as the melodies on the other two albums, but there
are indeed some filler tracks. One of the disc's biggest disappointments
was "Impeach God 3:34" which I and many other people had their hopes
on. There was no reason why a song about people impeaching a God like
they do a president should've come out so bad, but it did. I really
think that the tempo change is what really killed it, and I also think
that Small's vocals weren't quite as good as they were on the show
version of the song (some of this album sounds too thrown together) and
what the fuck kind of solo do you call that? It doesn't even go with the
song. "The Galaxy" starts out majestic as hell, but then it just gets
kind of weak; and I only really found redemption in "The Hammer 4:28."
But I really think his vocals ruin the fuck out of it and I would
personally like to find an instrumental version of the song, so that I
could put my own vocals on the track; showing him what real death metal
is supposed to sound like. This song is amazing, and he ruined it for
me. So if I can save it with my own vocals and re-release it to the
world, then I will. You've been warned, Brendan Small. Of course there
are so many of these songs that he's butchered and I would love to
"fix."
But this is the problem with the Dethalbum III. It sounds
good musically, and Small is an amazing guitarist. But he cannot do
clean, nor death metal vocals. Though his guitar skills have gotten
better, let's just be honest and admit that this guy can't sing, scream,
growl, scowl, or gurgle his way out of a fucking paper bag. When I
listen to this album, I hear something that sounds unfinished; something
that should've never left the studio in this condition. It really
sounds like the guy had a cold, or just really didn't care. It's almost
as if they're just putting something out to appease the fans. It doesn't
matter whether they play with djent "Starved 4:57" go for a full on
brutal death approach, "Killstardo Abominate 2:31" or try some prog,
"Skyhunter 4:08." I wish they'd just bug George Fisher to throw some
vocals on this thing. Wouldn't take the guy long and it would've killed,
especially with the awesome melodies, solos, and killer drum work.
There's no denying that. It's the only thing that saved this disc from
desolation.
No matter how fucking good the band sounds, the
vocals sound parody. And on a real musical album, you shouldn't want
this. Especially if you're trying to sound like a real death metal band.
Remember, Gene gave up some sessions in Testament to go play with these
guys. But they say that it's a big thing, "Because it's TV!" Give me a
fucking break. Gene, there are twelve thousand bands that need your
talent right now. But this isn't one of them.
Fuck it. I'm through trashing this.
Highlights: Crush The Industry, The Galaxy, Killstardo Abominate, Skyhunter, The Hammer (12 Tracks, 51:00)
5/10
Galneryus - Angel Of Salvation (2012)
- Out of all the year's surprises, this one was one of the biggest by
far, for me. It went under the radar, as I thought it would - nobody
gives a shit about fantastic neoclassical Japanese power metal, and
these guys are the fucking kings of that genre. They already cemented
themselves with their debut, and had several high and low points which
led up to "Rebirth", "Reincarnation", and "Phoenix Rising" and now
they've finally come to that point of awesomeness... Angel Of Salvation.
Now there aren't many angels that I'd put my salvation in, but this one
is by far worthy of that privilege. This metal angel is one of the best
records I've heard from the genre, and from the band's lengthy
discography. It's even on par with their most heralded release, 2003's
"The Flag Of Punishment."
From it's epic intro, "Reach To The
Sky 2:30" all of the way through it's magnificent title track, "Angel Of
Salvation 14:42" and right into it's final act, "Longing 4:53" one
quickly becomes under the assumption that this succeeded where it seems
even Wintersun could not this time; as it mixed thunderous and
wonderfully melodic metal with gargantuan atmospheres. Though the
frontman's vocals are a little more lighthearted then you might like,
one simply cannot deny the influence that this band has gotten from such
bands like Dragonforce, but one might even say that Dragonforce picked
up their style from these guys. After all, those guys released three or
four albums, and Galneryus has released countless works and have been
doing great metal for over a decade now. Not to mention the fact that
these guys love their fucking keyboards and can play the shit out of
them, incorporating them seamlessly with the guitar acrobatics which
will have you strumming a fucking air-guitar in a heartbeat.
The
drums are powerful, the vocals soar, and the melodies are just as I've
already noted - amazing. They've also got one of the best love songs
I've heard in metal, "Temptation Through The Night 6:11" which is not
afraid to mix some prog elements in, just like several of the other
tracks on this impressive album. And by the way, there are plenty of
neoclassical guitar elements here, and you will be instantly familiar
with them, especially on the incredible title track of this disc.
"Angel" is unforgettable, a monument to the band's legacy and shows why
they're highly respected in Japan. I'm hoping that these guys will also
get some respect here in the states, where power metal has gone stale.
Overseas,
that is not the case. Even if you feel like you're listening to anime
themes, just give it a try. Please! I'm telling you that these guys are
certainly something special and they've proved it once again. I didn't
think they could one-up Phoenix Rising, and they have. There's even a
live DVD of these guys now, so you have NO EXCUSE not to check out these
guys in action.
Absolutely fantastic. One of the best, if not THE BEST power metal album of the year.
Highlights: All (10 Tracks, 64:00)
10/10
The 69 Eyes - X (2012)
- Those who've heard of Finns The 69 Eyes already know what to expect.
It's basically gothic metal with black eyeliner and you can compare it
to HIM. So yes, it could be lumped into the odd love metal category, but
it works. "Love Runs Away 4:23" has a few heavy licks and a good
chorus, "Tonight 3:44" mixes the electronics and thick guitar riffs
together in a vein that we've obviously heard before, but I've no real
qualms with it other than that. Then we've got "Black 4:38" which has a
sort of Type O Negative feeling, and that certainly can't be a bad
thing. I might also say the same thing about "If You Love Me The Morning
After." Though it's slower, it really captures the sense of a Type O
ballad, and that's what makes it a winner for me.
"Red 3:46"
however is pretty fucking bland though, sounding more like a filler with
a catchy chorus that doesn't make me cry. Fortunately, that Type O vibe
crawls back up with "I Love The Darkness In You 3:19" of course, I'm
sure that Peter could've killed it, where this guy sounds like a punk.
"Borderline 3:54" sounds like an evil Elvis backed to acoustics, but it
doesn't work for me. Then we've got "I'm Ready 4:11" which is actually a
good song, and the rock melodies play well to it's strengths. This
should be a single, if it's not. Again, I wish he would go a little
deeper in the vocal range, but at least he tries. By the way, a female
vocalists backs him up in this one and her vocals do compliment his
tone. Again, solid track - should be a single. Next, we have "I Know
What You Did Last Summer 5:05" a song based on a franchise that they
hopefully won't try to bring back. Though I don't really like the song
all that much, I like his vocal approach on this one and I guess it's
decent enough. The disc's closer is what really sucks though, and I'll
be brutally honest about that. He sings this really sullen ballad called
"When Love Comes To An End 3:50" and despite the fact that acoustics
and effects are good, I just don't really care. As far as lovelorn
ballads go, I think I'll take Woods Of Ypres' "Move On!(The Woman Will
Always Leave The Man)" and leave this guy to his own tears.
While
not a terrible album, I think I've heard much better from these guys.
But if you really need some good goth metal (as I haven't really heard
too much of it this year) I guess you can check it out.
Highlights: Love Runs Away, Tonight, Black, I Love The Darkness In You, I'm Ready (10 Tracks, 41:00)
5/10
Wizard Smoke - The Tickler EP (2012)
- While I'm not sure whether or not this EP from black/stoner doomers
Wizard Smoke is free, like it's predecessor release; it's still well
worth checking out. "Christian Cross" starts out a little groovier than
you might expect, but it's also got the same raw scowl that you'd
expect. The band slows down and leaves room for the atmosphere that
you'd expect for a 10 minute track, and there's even a nice solo to be
found within the muck. As for "Old Snake 9:13" you might be surprised to
hear that the scowl has been replaced with a vocal that sounds much
more natural for the music. This is unlike anything we've heard from the
band before, but I can certainly say that it was only a matter of time.
There are still some scowls here, but it's a definite change; so be
prepared. Also the band incorporates some keys and another guitar solo
that actually plays out the EP.
What else do you want? It's two
long tracks and it's worth checking out. The black metal fans who like
it now probably like it because it's being mixed with southern groove
and stoner doom, and they probably like those genres anyway. The people
who just like stoner doom are probably going to like this disc too. It
should make both parties happy, so go check it out!
(2 Tracks, 19:00)
7/10
