Notice To All Bands/Labels/PR

If you don't hear a reply to the email you send me with your material, do not panic! I download everything that I get in my inbox and go through it as I have the time and like to have the reviews up ASAP!

I just don't have the time to respond to every email. But when we update, be sure to check back. Keep in mind that I cannot and will not lie about whatever music you send me though, I want to be as truthful as possible with these reviews. Take note on the Amaranthe review.

Due to a slight mishap, the reviews that I was supposed to post today will be posted tomorrow. Yes, there are band requests and PR in there. Don't think that I've forgotten about you guys at AFM Records! I'd also like to get a new spotlight with Savage Annihilation up either tomorrow or Saturday. It's been long overdue and those guys really deserve it!

- The Fallen Alchemist

Week 75 (March 24th, 2013)

Deathcult - The Test Of Time (PR2013) - Deathcult is an old school death metal band that caught my attention from the very first listen. There's a bit of black metal influence in here too, but for the most part I would certainly consider this to be a fantastic take on old school death metal, just as morbid as it should be. The disc gallops in with "The Forms Of Things Unknown 3:46" which is a great way to get acquainted with the band, and continues on with the groove/thrash of "The Test Of Time 5:15", and "Born To Lose 4:38" which strikes me as an odd topic from the rest of the lyrics, as it's about professional wrestlers and how they destroy their bodies with steroids (which I don't mind so much in IFBB) and by beating up each other in the ring. I'm also going to have to point out "Hail The Antichrist 5:30" and there's a reason why this is important. As of March 23rd, people panicked because Obama was going to roll out the RFID chips as part of Obamacare and some say that would make him the antichrist. Well, just before hearing that I listened to this song and read the lyrics, which include "soon you will learn of his omnipotence - soon you will learn why he was chosen" and when I put those words on our current president, I have to say that it makes me want to go downstairs and personally tell the devil that his choice for antichrist sucks. Really, that's him? That's the Mabus? That sucks. But then I look at the world and see how much things just all around suck and see people getting fucked over and it makes sense. Even the antichrist was a fucking disappointment.

Thankfully, this album sure as hell isn't. This blackened death hybrid goes down smooth and burns the stomach like a strong shot of whiskey. People have said this and that about it, but to hell with them. I like it. I think people check out my reviews here because they aren't as "professional" and just feature my true thoughts on a disc, without having to reference 80 million other bands in comparison. It's black, it's thrash, it's death and it's got a gritty production that makes all of these tracks sound great during virtually any task. Washing the dishes? Taking the kids to the sitter? Driving grandma to the supermarket? This is 35 minutes of music that will make the time fly by. Working in a construction area? The other gentlemen will whistle with glee in just a few minutes after this album is inserted into the company boombox.

I see a lot of reviewers out there who seem to be "disheartened" and pretty much consider reviewing discs a chore. But as a person that loves listening to music for the sake of music, even when he's not reviewing music - I feel incredibly privileged to be able to hear new albums all of the time from bands across the globe. I always get a surge of excitement when new materials are sent to my inbox, especially when I like the bands. Deathcult are just another one of those bands that I've heavily enjoyed (and I've listened to this one more than once) so if you're a reviewer and you're getting tired of hearing music that you like, because it sounds too much like other bands that you like; you should probably quit reviewing music. Sure I've heard this thing before from bands like Midnight, but I like it - so fuck you. I think that says it pretty much.

If you like black/death thrash that's catchy and pulls no punches, check out Deathcult. You'll be glad you did.

Highlights: All (8 Tracks, 35:00)

9/10



Freedom's Reign - Freedom's Reign (PR2013) - Freedom's Reign play a version of classic heavy metal influenced by bands that I probably can't recall, but I'm certainly hearing elements of stoner doom and classic rock, backed with clean vocals that sound pleasing enough to the ear. The production on the album is also pretty strong, I'm able to discern the instruments well and it seems to match the nature of the recording. I believe that one of the major highlights for me on this one was the opener, "Ritual 4:58" but the others seemed to have faded into the dust. These guys really incorporated one hell of a jam session on that one, the kind of prog-jam that can take you up in the sky with it's majesty.

Hmm... That's odd. The next track on this one sounds like a completely different band. Yes, "Shadows Of A Doubt 4:43" sounds more like a power/thrash band but I will say that the chorus is very strong, quite catchy and there's some nice elements utilized in the song as well as an awesome guitar solo. That's two for two thus far. "Brother 3:57" continues along the same lines, but it's got some melody portions and a different riff structure that separates it from the latter track. "Believe 3:53" has the same sort of thrash (odd that they start with stoner/doom and now seem to playing some Brainstorm or Chinchilla style power/thrash.) These two are the only low points so far, however. But they're not really "that low."

That's when "Up From Down 5:36" picks back up with the doom influences and I'm glad to hear them, because they come back with a real winner of a track. When I'm reminded of good Sabbath, something is being done right here. That chorus is done so well that I'm actually reminded of Ozzy and I've always loved his vocal work in Sabbath. "To Be 4:32" actually sounds like a little bit of grunge/hard rock but I like the vocal approach here. Hold on a second... this song is quite familiar to me. If I'm not mistaken, it's a Nirvana cover. Hence the grunge. Even though I like the original, (Arkansas radio played it quite a bit in my younger years and probably still does) I think this is a strong metal cover of a grunge classic.

"No Excuses 5:49" comes in next, sounding like a hard rock meets thrash. But I like it. It's a strong track that's got a powerfully catchy chorus. "Long Way 6:10" is also a powerful track - a bit rocky, but damn. You'd be an idiot to deny that chorus. Yeah, this is one I could see myself playing quite a bit. Just one of those songs that really sticks with you. Finally, we've got "Looking Around 7:13" which is the longest track on the album and sounds a bit ominous. But again, I really like it. There's definitely the Sabbath touch here too, but it works. I think I could recommend this album to anyone who's into rock and metal really. Not much on the extreme, but they're not that kind of band and I'm more than happy with the package presented here.

I know next to nothing about these guys, other than the fact that I really like them and wouldn't mind hearing more from them, so I hope that they can continue making great music. I urge fans of rock, power/thrash and doom to check these guys out, because they really have a lot to offer with this one. I could talk more about the disc, but I'd rather let your ears do the talking for me.

Highlights: Ritual, Shadows Of A Doubt, Up From Down, To Be, No Excuses, Long Way, Looking Away (9 Tracks, 46:00)

10/10



Logic Of Denial - Atonement (PR2013) - These Italian death metallers unfortunately put out a sophomore release that was so bland and by the numbers that I felt myself becoming more bored by the minute. Yes, they cite Nile, Behemoth and Hate Eternal as comparisons and while I do certainly hear those bands, the group seems to go about 900 bpm and doesn't slow down for even one second, making almost all of the tracks sound like one big mess of unchained brutality. It hits hard, fast and heavy but does little more. I've also wondered why the band wrote such short tracks. Most of them are about the length of an American pop tune, which seem to insult my intelligence as a fan of music that I would consider more along the lines of classical thunder than musical junk food.

The drums bash and bash and bash some more, the riffs are heavy as hell (if you can hear them over the drums that bash and bash and bash some more) and the vocals are your normal gravel. About the only thing I heard on this disc were the drums and a handful of melodies. I wanted to hear more from this band, but they just didn't have anything else to offer me other than the only standout track, the closer "Despondency 4:42." It had a bit of an Egyptian flair to the melody and the drums sounded just right, not blasting all over the fucking place. Which makes me wonder, "why in the hell is this on the end?" Even the vocal approach is different, and I would have liked the whole disc if it was filled with the magnificence of this closer.

It's almost as if I'm hearing two bands. That's how different this closer track is. Well, given the choice I'd much rather prefer Band B instead of Band A. Band A put me to sleep and Band B woke me up. If this is what they're going for on their third opus, I'll definitely be throwing that one some high marks. This is what I want to hear from my death metal. Not just a bunch of blasting. Nearly anyone can put that kind of band together. But when you take the time to write the riff melodies and show people that you can fucking play the guitar, that's when they'll take notice. I did.

But time will tell the future of this disc. I'm going to give it an extra .5 for the closer track, but I would certainly consider it a mediocre album. It's brutal, but the finale leaves me expecting so much more from these guys. But I still that think the new Suffocation (Pinnacle Of Bedlam) and Wormed album (Exodromos) have spoiled me a bit as far as brutality goes. Still, worth checking out if you want a quick beating with a melodic end.

Highlights: Despondency (11 Tracks, 41:00)

5.5/10



Ara - The Blessed Sleep (PR2013) - Four piece technical death metal band Ara doesn't offer much with their debut The Blessed Sleep at only 21 minutes of music, but they definitely have more going for them in term of structure and form than the act I previously reviewed, Logic Of Denial. Adam Bunjy's sludge vocal and classic gore growls go in tune with the weirdness of the guitars (which my PR info is not clear about) who are either played by Jerry Hauppa or Erik Stenglein - but whoever is playing these unconventional riffs, they certainly are a fan of early Cynic and Atheist. Ten million tempo changes a minute can also be found on this album with varying vocal antics and drums that seem to travel just as much as every other instrument. If straight-forward is more your bag, then check out the Logic Of Denial; but I like shit to sound as weird as possible most of the time (believe me, some of the shit I've been listening to lately is quite bizarre) and these guys seem to excel in both weirdness and bashing me over the goddamned head. I'll also mention that there are some guitar solos on this one and they're of reasonable length managing to work well with the cacophony of sounds that one will experience with this sludge-influenced brand of technical . death. However it does seem to be all over the place and some might not get it, as to be expected. Nevertheless, this weirdness is coupled with bludgeoning brutality and is sure to rip your head off.

Again, it's not a long release but I'd still recommend that fans of technical death metal pick up this oddity. I really think the use of sludge vocals adds something new to the pot, along with the melodies that just whip about at every turn. Perhaps this is the soundtrack to madness in a way, a trip through the most deranged parts of the psyche of a mass murderer or a some other sort of psychopath. But that's for you to decide...

(5 Tracks, 21:00)

7/10



Slaughterday - Cosmic Horror (PR2013) - Released only on tape, this two man death metal demo released something right out of Lovecraftian myth that will certainly get your head banging, but it's also got the right amount of grim atmosphere that follows in line with the subject material. This is a 19 minute tape folks, so don't expect the world. But it's still worth checking out. "Abyss Of Nameless Fear 4:19" comes in fierce and throws in a nice solo. It's definitely the kind of stuff I'd recommend to fans of Grave, Unleashed, Bloodbath, early Hypocrisy, Vader, Entombed, Deicide - you know, the whole gamut of classic death. "Cosmic Horror 3:57" comes in with a great solo and some fine drum work that erupts into another fine death metal track. "Crawling In Secrecy 5:21" comes in next, proving to me that these guys can do know wrong and this is a great fucking demo. Please, SIGN THESE GUYS! I WANT TO FUCKING HEAR MORE OF THIS!

Now that that's out of the way, I'll talk about the last track "Cult Of The Dreaming Dead 5:56" which is slower that the others at first, but I like the grueling dread pouring from it. When it erupts, it erupts with the same ferocity and the vocals just hit right on the mark, with the guitar melodies dead on. Definitely reminds me of Revolting and those guys are fucking great, so that's a good thing.

Whoops. There's a small error on my part and I'll remedy it real quick:

The track order is as such:

Side A

Abyss Of Nameless Fear - 4:19
Cult Of Dreaming Dead - 5:56

Side B

Crawling In Secrecy - 5:21
Cosmic Horror - 3:57

For those of you who remember tapes. I do, so I guess I'm old. But what the hell. Regardless of what order these tracks are in, this demo kills. It's nothing new, but it doesn't need to be. It'd the kind of classic death metal I like and it's good enough to promote to people who also like that kind of classic death metal before all the technicality and such. (Even though there are of course bands in that realm I like too.) I have no idea when and how this will be released, but since it's on tape you'll just have to do some digging and dust off your tape player. Hopefully these guys will be signed, so that I can as emphasized in the all caps, "hear more of this shit."

(4 Tracks, 19:00)

10/10



Wandersword - Waiting For War (PR2013) - Well, I've got some Viking metal straight from Russia that is aimed at fans of bands like Amon Amarth, Ensiferum, Amorphis, Children Of Bodom, Wintersun, Hypocrisy and Finntroll. Coming in at just one minute under forty, the disc certainly gives us the sort of folk/melodic death metal experience we would expect from this kind of metal. The riffs come off with great wonder, I'm especially enjoying them right at the opener "The Valiant Viking 5:33" and can hear the Ensiferum breathing in the rhythms. The drums do a decent enough job, but I'll admit that I'd like to hear them a little better in the mix. The guitars are also sort of in the background on this one, with the vocals being too overbearing in the master. I'm turning my volume up just to test this for myself.

Though the mix is unbalanced, I would be a fool to tell you that these melodies are something to just throw away, because they aren't. Whether it be the leads, the orchestrations, the synths or the acoustics, this thing is bursting at the seams with great melody throughout each and every one of these tracks. "Peaceful Guard 3:57" marks a good display of that, yet I also found much heavier material in "Strange Ship's Tail 3:55" which comes off in the vein of Swedish death metal like At The Gates. There's also the deathcore-influenced "Masters Of The World 5:53" and the oddness of "Northern Gates 4:41" which sounds like black metal in some portions, djent in others and then is filled with lots of light atmosphere. What a weird but interesting concoction. The disc is topped off with "Russia 4:15" which is a bit of a fantastical death/.thrasher in that it mixes beautiful synths with blasting drums, making me now add the fact that the drummer I once heard in the background has now become more apparent later in the album.

Waiting For War is certainly comprised of a large mix of styles and I'm glad that not every song sounded like "The Valiant Viking 5:33" because I really thought that was what I was in for with this one. Not that the song is bad, but re-treading the same ground can grow on one's nerves. Rather I am treated to many different facets of the band on this album, proving to me that they've got much more to offer than even this forty minute piece displays and perhaps we'll hear it in the future. There are some songs where Andrey's Anikin's vocal inflection doesn't work for me, but others when it very much does. I would certainly say that his scowls are much better than his growls. I've been doing harsh vocals since 2005, so I would assume I know a bit about them. Yet clean are also heard in various parts of this record and for the most part, I've had no problem with them. Musically, it's a fine piece of work and I'd recommend it to fans of those bands and then some. Again, some might not understand or get the Russian approach to Viking metal that is displayed here, but I can't deny the musicianship and the musicianship is there.

However, the band also recorded an EP in 2008 with an Avril Lavigne's "Complicated" and being the pop metal nut that I am, I will be hunting that bastard down. (I still play the living heck out of Any Given Day's "Diamonds" cover - it sounds like it would if KSE did it with an added solo.)

But I digress, as this is not about me - it's about the wonder of Wandersword. The album will release on the 16th of April and will be available here in the US as well as worldwide, so definitely go check it out if you want to hear several different shades of Viking metal that isn't by any means grey and is full of fire and bludgeoning fury as much as it is melody and atmosphere. It's the music of true artists who have their own interpretations for each and every song. I have to respect that and I hope that you will too.

Highlights: The Valiant Viking, Strange Ship's Tail, Peaceful Guard, Northern Gates (9 Tracks, 39:00)

8/10



Dead Awaken - Where Hope Turns Dripping Red (PR2013) - Dead Awaken are a three-piece death metal band with a great deal to offer, in all actuality. When I first heard "Carnivore 3:12" I didn't expect much, but when I got to "Deutsches Afrika Corpse 3:59" and heard that intro piece, I was pretty fucking stunned. The drums are absolutely killer there, the riffs pounding, and the gravel right in you fucking face. That's a death metal song folks, there are no substitutes. Then when I got to the slower brood of "Rocket Symphony 5:16" and the death/groove nature of "Mudhell 3:35" I was convinced that Dead Awaken is a band I want to keep my eye on. There are always those bands that come out of nowhere, who nobody would really give a shit about because they didn't ever think to give them a shot, but in reality they're one of the best death metal bands you've never fucking heard.

When a band's got a good drummer, you can tell - and I really fucking like this guy's playing on the kit. He really makes the band what it is, and I'm just goddamned amazed. As far lyrics go, they can start reading off names and phone numbers and I'd fucking like it. At the end of the day, it all comes down to "man, I had a shitty day at work. I need a band that'll make me want to fucking bang my head and unwind." And that's just it. I want to go into the fridge, pull out a cold one, pop off the top on that sucker and bang my head a bit. There's many bands you can do that to, but these guys are just fucking made for it.

As far as influences go - Cannibal, Immolation, Dying Fetus, Suffocation exc. I mean, you can hear it in the music. I'm hearing a lot of Cannibal just in "Venom Of The Population 5:46" and sure I've heard that shit before, but it sounds good; so why knock it? Plus, I'll say it again - this guy REALLY KILLS on the kit.

Though it might be a couple minutes over thirty, it's something you can go back and listen to repeatedly. It's good drinking music and it's good for driving - but not both, you fucking nutcase! I'm not really sure which PR label told me to check these guys out, but thank fuck that they did. I'm more than happy to promote death metal that I'll sit down and enjoy on my own time.

Highlights: Deutsches Afrika Corpse, Rocket Symphony, Mudhell, Manic Destructive, Envy The Dead, Venom Of The Population, State Of Corrosion (9 Tracks, 34:00)

10/10



Birth AD - I Blame You (PR2013) - If you remember my old review for this album when the band were unsigned, but they are now on Dark Descent/Unspeakable Axe Records.

Since absolutely nothing has changed in regards to this new release (and I have personally verified that) I will do a Grim Tower first and repost my original review for this album in order to properly cover it:

A product of crossover thrash from Candlelight Records artists, Averse Sefira. It was also produced by thrash guru Alex Perialas who is responsible for producing albums from Testament, Overkill, Anthrax, Nuclear Assault and others. It also features guest appearances from Sakis Tolis of Rotting Christ (How the hell did that happen?) and Bill Taylor of Immolation. Now that I've got all that out of the way, I'll talk about the album. The disc is exactly as you'd expect for something like this, with pummeling drums, thrash riffs and punk vocals. Though I liked the lyrical content of the album, and thought that it was good musically, I guess I didn't care for the vocals and that turned me off the entire album. I know that punk is generally performed like this, but I want someone to sound a little more menacing (like the old Gallows vocalist) and less like a comedy. But then again, we can go back to 90's era GWAR and that's got almost the same vibe. Perhaps I just prefer Brockie's sick humor to what this guy's trying to do, and it just doesn't sell to me. Which is entirely alright, as I don't expect to like everything that's thrown at me. However, I do think that this band has potential and if they've been selling as well as they have before, then there's no reason why they should be signed to a label and promoted. This thrash/punk could start another metal revolution in the same way that retro-thrash occurred, but this is certainly not a rehash of anything, and it certainly has some meat. I've never cared for short songs really, it makes me think of a song one time I heard on a radio show where some fellow made a metal song called "I don't want to go to work" and that was the entire fucking song. He yelled, "I don't want to go to work" about three or four times and that was it. I'm getting that feeling here especially with "Failed State 1:20" (Try adding some more lyrics, guys?) but at any rate, I do agree with most of the lyrical material here like in "Short Bus 2:06", "I Blame You 2:04", "Kill Everybody 3:43", "No Jobs 1:49", definitely "Equal Opportunity 1:34" and "Popular War 2:34" which I was listening to while on the john. The song compared war to football and I thought it genius. So it's not terrible, but I couldn't listen to it five or six times in mad ecstasy.

But for fans of punk and thrash, this is definitely worth checking out. It's much better than the fake thrash of Lazarus A.D.

(18 Tracks, 37:00)

7/10

Heaving Earth - Redemption Ablaze (2013 Free EP) - Yes, this is free. So what are you waiting for? But for those of you who are still here, this two track EP from death metallers Heaving Earth is just as you'd expect. It gets right to the point, offering death metal with punishing melodies, bashing drums and demonic vocals. The disc contains two tracks, "I Am Nothing 5:52" and "Into The Depths Of Abomination 6:03." Those who've read my review of the band's last album, Diabolic Prophecies (2010) already should know by now that I was quite impressed by them and I would certainly say that I still am.

"I Am Nothing" is a thundering beast of a track, filled with slight bits of technicality and grime, it's definitely got an eerie sense about it and the latter melodies of the track pepper the performance just a bit as it envelops into a small solo. The chorus seems to be the strong point here and they reiterate the chorus quite a bit, finally leading out into an unexpected groove. "Into The Depths Of Abomination" is altogether different, with some uneasy leads and a crushing brutality that seems to emanate throughout the entire track up until the solo portion when the gallops come in and the vocals fall in line, getting rather grimy to go along with the slower but no less unwelcoming tempo of the track. It's a good show and a great sample of what these gentlemen will bring to us in the future.

I definitely think that in the world of metal music, the musicianship is coming up. I see that trend continuing, because the above-ground music is so terrible as of late, that people become absolutely enamored with anything in the underground and seek to become better and better at performing it themselves. I do think that we're about to enter a new golden age of metal music, as the genre continues to get pushed back underground where it once thrived and created several scenes that we are all familiar with today. But you will not find this gold in acts like the Black Veil Brides or whoever the hell this is on the cover of my Outburn magazine (Motionless In White) you will find it in bands like Heaving Earth and Chaos Inception. Both of these on Lavadome Recordings, which I have to say - puts out some good shit.

Though the album is only 11 minutes long, it's definitely a good sampler for what the band has to offer and I daresay that it looks to be even better than the Diabolic Prophecies disc, which I believe I gave a 666 rating to earlier in my reviewing stint. Here's some other info I'll mention for this one:

Band's FB page:

http://www.facebook.com/heavingearth

"Redemption Ablaze" EP-CD version comes free with any order made at Lavadome store. Until the supplies last. (While supplies last)

http://store.lavadome.org
http://facebook.com/lavadome

You can also get the EP on split tape with Aussie death metal band Altars - http://altarsdeath.bandcamp.com - from Nihilistic Holocaust.

So there you have it. Two tracks of great death metal that come free with any Lavadome purchase. I wouldn't recommend this shit if I didn't like it folks and that's the fucking honest truth. These guys kicked ass in 2010, they're still kicking ass today. They'll probably kick ass tomorrow.

Just go get the disc already. It's on the house!

(Two Tracks, 11:00)

8/10



Anthrax - Anthems EP (2013) - You know what? I'm indifferent here. I mean, did anyone really want this? More or less, it's just a holdover until the next Anthrax album that's actually going to be written for Joey Belladonna. And you know that metalheads fucking want that one. I'm not saying it's gonna be fucking Among The Living, but I'm hoping they'll come back with something that really stands out more than Worship Music which I was not fond of. Especially with the opener "Earth Is On Hell" which made no logical sense.

But as for this record, it's got six cover tracks from Rush, ACDC, Thin Lizzy, Cheap Trick, Journey and Boston. Bands that are hardly metal and more along the lines of classic rock. I think they did the Rush cover of "Anthem 4:38" well enough and "TNT 3:37" sounds good, but I still prefer the original ACDC and Six Feet Under versions. Boston's "Smokin' 4:20" however really did something for me, so I'll mention that one too. But to be honest, it wouldn't have mattered whether or not Joey or John (Bush) was on the vocal end, because the performances come off just about the same.

As for originals, there are two versions of "Crawl 5:00." If it was part of the original disc, I deleted it because I didn't care for it (as with most of that album) but the version that I've heard on this album sounds much different and I'd actually recommend it. If this is a new song offering, it's sure as hell no Among The Living and I will say with all certainty that John would've killed this goddamned song, it was almost written as something I'd expect to hear on White Noise, Vol. 8, or We've Come For You All which even though a lot of people didn't like, I have to say that I really did. Thought there's a little man in me that years to hear John on this fucking track, Joey does a good enough job on it to suffice. The extra version of the track at the end of the disc includes orchestration and still manages to succeed. I think it's a killer track at any rate and it sounds like the new Anthrax is shaping up to be a good disc.

Since it's not known whether or not we're getting a new Anthrax release this year, (but we are getting a new Slayer even though Lombardo got the boot!) this one will have to hold you over until it arrives. it's a good way to get the classics out to the youth who wouldn't normally hear them on toxic radio. You hear me kids? Listen to your daddy's music - it's what people made when mainstream music was still good and worth a shit.

If this helps some kid to discover Journey or Rush or even ACDC (for the love of God I'm getting old!) I'm all for it, Anthrax. I'm gonna be honest, I didn't know much about Sabbath until Iced Earth's Tribute To The Gods but am ever thankful for that one as it helped me to discover these classics. Hopefully, lightning strikes twice. I do think the album cover is kind of questionable though. The whole "devil horns" upside down pentagram seems kind of funny coming from guys who are for the most part, proud Jews. I remember VH1's "Metal and Matzo" special years ago. But if you consider it just a "symbol of metal" then I guess that's okay.

Get it or don't, I don't care. But not recommended in all actuality. Crawl's good however, so just listen to that track on youtube.

Highlights: Anthem, Smokin, Crawl, Crawl (Remix) (8 Tracks, 33:44)

7/10



Adrenaline Mob - Coverta EP (2013) - So what in the hell is this? It's another thrown together band composed of people that had nowhere to go after their bands departed, like the guitarist of Evanescence and the bassist from Disturbed (You know, that guy they used for like two albums and didn't consider to be a real member of the band.) And guess what else? This is ANOTHER EP of covers released around the same time as Anthrax's EP. There are also eight tracks here and it's the same length as the Anthrax EP.

Except that this album is composed of eight covers, not just six. Also, "Stand Up And Shout 3:35" and "The Mob Rules 3:18" are covered here bringing more Metal to this album of no-names than what Anthrax released. I mean, it's not a great leap; there's still plenty of rock covers on here - they do a good job with Heart's "Barracuda 4:13" (but I've always liked the riff melodies on "Magic Man" myself more) but only manage to do decent covers of "Break On Through 3:01", and "The Lemon Song 6:49." They also did a great job of "Romeo Delight 5:08" but as for the closer "Mob Rules 3:18" I'm still more partial to the Sabbath version. Even though I've heard some of these tracks before, I couldn't tell you the original artists and don't have that info in front of me right now.

The songs are played with more of a thrash quality, the guitar melodies are strong and the solos electrifying. While I don't remember who the vocalist is, he's killer on the mic and did Dio perfectly, seeming to be able to hold his own on damn near all of these tracks. It's tough to say, but I think that musically, this one's a lot heavier than Anthrax's straight forward cover job on "Anthems."

I recommend that you check this one out. Despite that these are all throwaways, they all got together and put out some decent fucking music. It'll actually make a good cover EP purchase to buy along with Anthems. If you out them both together, you've got almost a full cover album of songs that were influential to rock and metal music with new interpretations.

Highlights: Stand Up And Shout, Romeo Delight, Barracuda, The Mob Rules (8 Tracks, 34:00)

8/10



Amaranthe - The Nexus (Deluxe Edition 2013) - I don't like to promote crap. I'll say it again. I don't like to promote watered down false metal like the kind you'll find from Amaranthe. From looking at the cover, it seems awfully colorful, kind of like the kind of material that might sit in Hot Topic along with Black Veil Brides, Butcher Babies, Periphery and Motionless In White. Oddly enough, neither Revolver nor Decibel has covered this disc, but I'm expecting a review to show up in my next issue of Outburn. At any rate, this is 100% watered down electronic/symphonic pop metal that sounds like Soilwork got into a fight with Evanescence and took a cue from the barrage of Russian electro-metal acts like Xe-None and some of the others that might feature guest appearances from Nookie of The Sl0t. I could also compare it to Deadlock, but without even fifteen percent of their ambition. The disc starts up warmly enough with "Afterlife 3:15" making me assume that this might not be so bad, but then there's "Invincible 3:11" which plays along the same route and sooner than later all of the songs seem to emanate the same raucous nonsense of female vocal choruses amidst "yeah we have harsh vocals so we're metal" weak growls and the same old boring Swe-death riffs with amplified melody that makes the whole damned package seem to be nothing more than "cute."

You heard me. The Nexus is a "cute metal" album. Perhaps that's what we should call this watered down metal genre, maybe even "candy metal" because it reminds me of bubblegum pop and candy canes. Even when you look at the album cover, it just all seems so goddamned sweet and puts off just as much sour as a piece of warhead candy. The longest song on this is 4:01 and it's tantamount to musical brainwash, there's even a nice little triangle in the background; letting you know who's responsible for this mess (if you can't see an agenda being pushed here, you're blind - it's now become so fucking blatantly obvious.) Fucking Illuminati bastards and their candy metal. Well, I was always told that too much sugar can rot your teeth and this is like eating a whole bag of Halloween candy the day after you get it. Sure, there are some worthwhile solos but even the best solo in the fucking world cannot save this album from mediocrity.

There will be fans of this music sure - I know people that will eat this up and want more. It's also a good gateway drug for your girlfriend that can't believe that Pepsi might actually use her lyrics in the next Carly Rae Jepsen musical massacre. Listening to this album makes me think that Kim Jong Un dropping a nice big nuclear turd on this planet might do a whole lot of good. This is exactly the kind of material I advise you all to stay away from and with good reason. If you're listening to this, you might as well be listening to whatever brainwashing garbage is on the radio right now. You might as well be "rocking the club like it's dynamite."

Fuck that song and fuck that group. Whoever it is. I don't even know, but I know the song because it spread like cancer - just like this. It's fucking musical diabetes and I don't recommend any human being even get close to this trash. You know what? I haven't reviewed the new Lordi album yet, but having listened to it and not having cared all that much for it - I recommend that you go listen to that album instead of this. At least those guys know they're a joke. These people think they're serious.

The thing is - this entire fucking album was processed. None of this has any spark of originality and even though there are two bonus tracks, these acoustics don't make things any better. This is a standard twelve track album with a standard forty minutes of music, each one coming in at around three or four minutes. It's as fucking cardboard as you can possibly get. Instead of calling it "alternative metal", they should call it "pop metal." Because that's what it is.

Don't give me crap and call it metal. Especially when I see that nice big fucking triangle and the A in the center making an eye at the top. If this is the kind of crap the Illuminati promote than maybe it's time to start my own super secret society... I'll call it, T.P.W.A.G.A.F.A.A.M. or "The People Who Actually Give A Fuck About Artistic Media."

Highlights: That's a joke, right? (14 Tracks, 48:00)

2/10 (Because of an attempt at melodeath structure and some memorable solos of reasonable length, still very cookie-cutter.)



Finntroll - Blodsvept (EP 2013) - Alright, What the hell is this? Yeah, I know that there's a release of the actual album on GetMetal and every other site of that nature, but I happened by this earlier in the month and figured I'd check it out. First of all, the band were idiots to name this EP the same title as their new LP and confuse the living hell out of me. Secondly, the band proves here that they're never going to one up Nattfodd. It just isn't going to fucking happen.

For those of you who haven't heard of these Finnish "hummpa metal" titans, they mix Finish folk with black metal elements and used to sing about how much they wanted to kill Jesus and destroy churches. The translated lyrics say that much - but now they have decided to "calm down" in a sense and sing more about Odin and friends the same way that damn near every other pagan band does on this planet.

"Blodsvept 4:31" sounds like you'd expect it to, with a mix of folk and black thrash. There's also some acoustic. The next track is "När Jättar Marschera 4:09" and plays along a little different path. I really like the folk and symphonic parts in this one and it reminds me that there's still a bit of hope left in these guys to make something really great. Of course, I'll put that to the test when I get the album. Included on the album are two live tracks. One is "Nattfodd 4:58" from the band's Wacken show back in 2006. Then there is the classic "Det Iskalla Trollblodet 5:01" which both come off as well as live songs can, I guess. It just feels good to hear "Nattfodd" again.

As a rare exclusive, there is a cover of the Pet Shop Boys "Can You Forgive Her 4:22" and to be honest, it's quite good. They put their own take on the track and it's interesting to hear these guys sing in English. I personally think it's one of the best songs that the band has ever done (but question what happened in the first verse of the song.)

The last track on the disc is absolute junk. It's the title track from the band's RIvfader demo, which used to be available in it's entirety on the band's website before they got famous, (or whatever you want to call it) but it still may be available. I don't know, haven't been on that site in many years. At any rate, this version of the song is ripped right off the fucking demo with no mastering and I've heard Rivfader a thousand times before back in my "hardcore pagan" days. It sounds just the same as it always did. Hearing something this fucking old with no mastering really makes you think how far we've come with technology these days.

It's just a small EP teaser for an album that's already out. Well, at least online. You probably aren't going to listen to it anyway. So this was a complete waste of time.

(6 Tracks, 27:00)

4/10



Saxon - Sacrifice (2013) - For me, I don't think it's going to get any better than "Mists Of Avalon, Valley Of The Kings" or "Ministry Of Fools." I love all of these songs to death and hope to one day do a proper death metal cover of "Ministry Of Fools." It's actually a life goal, believe it or not. Regardless of all that, Saxon's newest release (and I believe their twentieth) shows the band just as strong as they were back in the early days, with classics like "Made In Belfast 4:34", "Waking The Steel 4:24" and the closest they'll come to they mythology tracks, "Guardians Of The Tomb 4:34." There's even an ode to the road here, in the NASCAR friendly "Warriors Of The Road 3:34."

I only sensed one fuck up on the album, in the form of "Night Of The Wolf 4:20." I just don't think the song was very strong and wanted to like it more than I did. Saxon is one of my favorite traditional heavy metal bands of all time, ever since finding that Unleash The Beast (1997) album in what doubled as a both a DVD rental and pawn shop of sorts and seeing as the lyrical content dealt with lycanthropy, I thought they'd nail it. So that was a disappointment. Oddly enough, the album ends with "Standing In A Queue 3:36" which is a traditional rocker about standing in a fucking queue. They literally wrote a song about having to stand in a fucking queue. That's like me writing a song about having to wait in a doctor's office.

Despite the fact that this is one of Saxon's shorter albums, it's surprisingly strong and there's little filler. After twenty years, they prove that they can still do it and that says a lot. Apparently, there's a second disc that comes with the deluxe or limited version of this album and it includes some acoustics and re-recordings of old tracks. But I don't have that one, so you'll have to check it out yourself. As far as I'm concerned, the first disc is worth checking out just by itself.

...And these guys always make world history fun.

(10 Tracks, 39:00)

9/10

More To Come Later In The Week!

Review Scoring System (March 21st, 2013)

I thought you all might like to know how I come up with my review scores. This has been done before in the past, but now that The Grim Tower is worldwide, I had better explain my scoring system. In the past, I reviewed from between 1 and 5 with a 666 rating being awesome and 777 being divine or godlike. I was probably the only reviewer who ever did that and you'll see those in "Backtracking" where I moved everything from the original forum that I did my reviews to here on The Grim Tower.

Now I grade out of 10, like everyone else. Except those who don't grade albums at all.

10 - Great - You must check this out, if not own it.

9 - Good - Didn't reinvent the wheel, but still strong enough to check out.

8 - Passes inspection - This is my SOLID tag and it usually adorns most of my reviews. It's more or less a solid album that anyone in the particular genre could enjoy. Not monumental, but still worth checking out.

7 - Decent - Couple flaws, but nothing too terrible. Not bad.

6 - Alright - There's usually a couple of tracks here I'll like, but it's not that great.

5 - Mediocre - Nothing unique here, but still classified as doing something. The musician/s put time and effort on the recording, but it doesn't really stand out from the rest of the flood of metal discs.

4 - Less Than Mediocre - For a disc to get this, it's got to be something that just rubs me the wrong way or comes off as processed garbage. If you're playing less than what everyone else is playing, it's time for a new game plan.

3 - Flawed - If you've gotten a 3 from me, it's not because I hate you. It's because the album offered damn near nothing. Not even one or two tracks. If it's less than cookie cutter garbage, I really don't know what to tell you.

2 - Poor - A disc with this score usually is accompanied with a cringe. What the hell did you do? For a man who's listened to and accepted several types of music that he normally wouldn't, just to give the band a shot; something must be really wrong here for me to have to give you this score. Thankfully, I don't usually give this one out.

1 - Garbage - I know that it hurts to have your work treated as garbage, it's a feeling I know all too well. But I'd liken it to constructive criticism and realize that I give this rating to very few bands and usually those bands are not trying at all.

0 - Unlistenable - Though I have given this out before, it's because the album didn't qualify as music. I really don't know what it was, but it wasn't music. If you know what it is, then please enlighten me on the subject.

Band Requests (March 19th, 2013)

Pulsar Colony - Equilibrium Zone (2013 Band Request) - The third album from Arkansas' own Pulsar Colony is finally upon us, and this time it is the result of a joint effort between Charles Sabo, the original mastermind of the project as well as the mastermind of the one-man psychedelic black metal band Palantir. These two individuals who are strongly creative in their own right finally got together to create an album that shows promise, but also shows that stronger material will surely come with time. "Sky Pollution 3:02" opens the disc with an effect that recalls the chanting of monks as "Escaping The Tombs Of Stupidity 7:17" sounds very much in the classic vein of Pulsar Colony, except this time with a professional kit in the background courtesy of Palantir. He also helped with some of the keyboard effects and such that you'll hear on this record, giving it the same esoteric and somewhat trippy sense.

"Philosophy Of Death 5:49" starts next, assuring us that the clean we heard from the band's sophomore effort is nowhere to be found, fusing the trippy elements of Pulsar with Palantir's much blacker style. Palantir certainly handles the drums well enough, doing a hell of a lot more than the blast of most black metal acts and instead giving us several different percussion compositions as well as using the toms and some shakers for a slight tribal nature. One other thing that I will mention about this album is that it is a very slow-paced disc, with very little emphasis on thrash elements though some might occur in a few areas spread throughout the release. Title track "Equilibirum Zone 7:08" is one of these tracks that seems to kick up the pace just a little and it couldn't have come a moment too soon after the much slower tracks that opened the release. Again, it feels refreshing to hear an actual kit this time around and it really feels like a full band now. Experimentation and structure is what these guys inhibit with each track, like a sort of sporadity that I could only match to being thrown through several portals in the blackness of space. I do not think the bag-pipe effect worked well for the track, but the latter effects give it a sort of royal and majestic quality.

"Starlight 3:42" comes in next, reminding me of Bal Sagoth's "Hatheg-Kla" a bit - but then I hear a sort of sound that reminds me of the classic Genesis sound font in areas and makes me think I'm listening to the soundtrack of a classic Genesis science-fiction themed game. "Tearing Down The Frost Giants 11:56" is definitely one of the high water marks of the album. Most people who'll come to these guys for their black metal element will be happy with this punchier and yet still incredibly extraterrestrial track that only Pulsar Colony could accomplish. Later into the track, things seem to get even more spaced-out and make me think that the music these gentlemen have channeled might have literally been stolen from another planet. The atmospheres here are certainly wondrous, invoking the feeling of space travel - I can actually see the stars and structures of far off alien worlds flying by at light speed when I close my eyes for a few minutes and absorb the track. This one would do well in a live setting and still begs the question as to why these guys are not signed.

The next track "To Wear The Mask, To Face The Mockery 7:37" comes in and things still have not slowed down, making this one Pulsar's fiercer albums. While there are still hints of atmosphere, black metal still manages to pierce through making this a great combination of acts like Isis and Mayhem. Fans of Krallice and other such spatial black metal acts might also find something to like here, albeit it's not driven by melody in so much as atmosphere. The disc's final track "Perpetual Cynicism 8:17" adds Indian elements to the sound, as well as the whizzing of keyboards that seem to turn the entire experience into something of a trance. But this is what these two gentlemen do best and it's certainly worthy enough of a musical effort to be heard throughout the entire world. As I've listened to this album, I've noticed that the music doesn't seem to sit still, with each song giving off a metaphysical and otherworldly presence that very few bands can provide; especially in the element of black metal. Again, this isn't just music - it's a journey. As the only clean vocals on the disc are heard, it sounds as if Charles is communicating to us from Saturn instead of Earth. The disc ends with a light and trippy outro piece that leads the disc out just as oddly as it came in.

If you want your metal to sound like it didn't come from planet Earth, Pulsar Colony is going to be your best bet. Still one of the best black metal bands out there that no one's really heard about yet, it is still my opinion that as soon as these guys break out, they will have a powerful underground following in so much as several other unique black metal acts have done with experimentation and uniquity. Though the first two tracks on the disc were much slower paced and didn't offer the fury of the latter half of the album, everything that stems from the title track seems to be a sign of what future albums might bring. Or not. It truly depends on these musicians who have concocted the musical equivalent of a Lovecraftian being with this latest release. One of the more interesting albums of the year, but I am convinced that even greater things are still to come.

The release is available and fully streamed at the Pulsar Colony bandcamp page: http://pulsarcolony.bandcamp.com

Highlights: Equilibrium Zone, Starlight, Tearing Down The Frost Giants, To Wear The Mask To Face The Mockery, Perpetual Cynicism (8 Tracks, 54:00)

9/10



Ravenlands - The Frozen Tears Of Angels Pt.1 (2013 Band Request) - Ravenlands is a symphonic/gothic metal band that offers a formula quite similar to Theatre Of Tragedy, Nightwish, Sirenia or earlier Lacuna Coil among several others. The quality of the release isn't amazing, but as soon as the intro finishes and "Mother Gaia 5:51" starts you can definitely discern everything enough to be able to hear the frontwoman's vocals that certainly do remind me quite a bit of Tarja a little. She certainly has a recognizable voice and it's pleasing to the ear. The kit in the back actually does thunder in some sections and there are some heavy riffs in addition to the atmospheres that you'll hear spread about the disc. In a way, it makes me think that I'm listening to something along the lines of Angels Fall First, the debut Nightwish album.

Title track "The Frozen Tears Of Angels 5:41" shows definite promise, mixing the beauty of her vocals along with more passionate drum and guitar that certainly invoke the metal sense of the band. It's tough to hear, so I hope that maybe someone will pick them up and help to get this professionally produced. I can say the same with "Cloudy Nights Of Sorrow 4:26." You can tell what the influences in the band are and absorb the atmosphere of this disc immediately. Though I haven't been keeping up with the gothic-metal genre lately because there are too many bands in it starting to sound like carbon copies, (but this is true for most metal and several other non-musical things these days) these guys (and gal) do offer a sound worth checking out, even though this in many ways does sound very much like a demo of analog quality.

The disc ends out with a cover of The Eurhythmics' "Sweet Dreams (Are Made Of This 4:35" which has me curious as to whether or not the Eurhythmics had anything else to offer in the 80s', since only everyone knows just that particular song. I think I'm going to try to hunt that material down and see for myself. As for the track, I would certainly say it's a strong cover - true to the original and the guitar sounds decent enough along with the symphonics which are perfect and the vocals that really seem to pop out of the rest of the mix. Again, I'd like to hear it in better production and am curious as to why the guitars and drums on this album sound so rough in the mix. It is a good icing on the cake, however and I'd expect to hear some great things from this band just so long as they don't get too famous and give us fodder.

Worth checking out for fans of gothic metal and the bands I previously named. Definite promise here, just want to hear these guys (and gal) with a bit more sheen and polish.

The disc is available on the band's bandcamp page: http://ravenlandsband.bandcamp.com

Highlights: Mother Gaia, The Frozen Tears Of Angels, Cloudy Nights Of Sorrow, Sweet Dreams (Are Made Of This) (7 Tracks, 32:00)

7/10



Torii - Out Of Time (2013 Band Request) - Torii is an instrumental doom/sludge act with elements of black metal that sounds unfinished. I actually thought about putting some vocals on these tracks and sending them back to him to see what he thought. Sure, the atmosphere is there in very much the same way as Pulsar Colony but when you hear just the opener, "Shadow Of The Mountain 6:00" it's hard to take it without a vocal element. "Endless Glacier 4:15" pounds in the same fashion offering some wonderful melodies amidst it's sullen nature and a really interesting solo - still, I was thinking of a damn chorus when I was listening to it.

There's a bit more groove to "Inexorable 4:59" but I'll insert the same thing I've said with the last two tracks and addendum the fact that as I was listening to this one, I was actually throwing my own vocal lines on it. Torii's music is great, but I just don't think it works as an atmospheric piece - there's so much room for vocal influence throughout most of the disc. If he doesn't want me to put any vocals on it, he should at least find somebody that will work with him. It just seems like wordless emotions - the songs seem to carry such an emotional torrent of sadness and anger that should also be expressed through the vocal instrument.

"Out Of Time 4:16" however works with drone that seems more fitting to the sort of atmosphere he wanted to achieve. Very much in the vein of Pelican (a band who's music I've always used for vocal practice) it follows a jagged and haunting melody throughout the ashen sands of a devastated post-apocalypse. "The Great Hall At Dawn 2:47" follows this with a rain-filled acoustic that seems to be comprised of the very darkest of days.

More metallic elements come back into place with the death metal laden "Stone Of Sorrow 4:55" which could use some gravel along with it's punishing grooves. Slight acoustics also accompany the metal which comes back with a vengeance. The final track on the disc at first sounds rather melancholy compared to the others, but eventually reaches up into heavier territory while keeping the melodies intact.

Torii's Out Of Time is a great release for fans of melancholy instrumental bands like Pelican and several others that I can't name due to sinus pains and sheer forgetfulness on my part. But I think the release could definitely use that vocal element that would make it stand out in the first place. it's not the kind of music that works as instrumental to be honest, you can hear that something is missing. As far instrumental music is concerned, it should have a certain vibe and quality to it that would not allow for vocals. I have heard several instrumental projects and have noticed this quality in them. Not all of them, but some bands definitely elicit the "I wouldn't dare put any vocals on this" mentality. But this is nothing against Torii. He is an accomplished musician with only the best of ahead of him.

You can find the release on Torii's bandcamp page: http://torii.bandcamp.com/

(7 Tracks, 32:00)

8/10



A Thousand Shall Fall - In The Shadow Of The Mighty (2013 Band Request) - This band seems to mix elements of death, black and core metal to create something that I could only describe as modern metal. "Mourning Son 3:59" starts the album out with a little bit of melodic death and black as well as some core that is followed by a short solo and backed with a scowler that sometimes has his core moments. "Weaver 6:20" is the longest track on this disc, bashing around with the At The Gates meets metalcore approach that we've heard before from bands like Skeletonwitch but I do like the chorus here and it seems to go well with the guitar melody. There's a slight bit of instrument play and then the song changes tempo for a moment as it goes back into the chorus. This one seems like it would be fun to play. "Nights Of Gethsamane 4:28" comes next with a bit of atmosphere and scowl to open and then gets into a slightly slower-paced version of the band's style. One thing can certainly be said about the vocalist here and that thing is that he's certainly good at what he does. This is coming from a vocalist, so I know what I'm talking about. Despite the slight core influences he edged in the beginning, I'm not hearing that in the other songs and am thankful for it. The disc ends with "The Wretched 3:44" and it also follows the same formula, but again the scowls from the frontman certainly work well with the music and it bashes just right. Most of these riffs you've heard before, but I will say that these guys are a band I wouldn't mind checking out live.

The disc is only 4 tracks but if you're curious you can get it from the band's bandcamp page: http://athousandshallfall.bandcamp.com

(4 Tracks, 18:00)

6/10



The Odious - Joint Ventures (2012 Band Request) - The Odious is a progressive/technical/deathcore band that uses slight experimentation from also right here in the USA. Though you can immediately draw comparisons to prog-core bands like Between The Buried And Me and Periphery, I'm here to tell you that I like these guys a whole lot more than current era BTBAM and more than I'll ever care for Periphery. Musically, comparisons can be made to bands such as Animals As Leaders but there are fierce vocals here which I can describe as being on the same level as Skeletonwitch with the core sensibilities intact. The lyrics came with this album as upon reading them all, I'm kind of puzzled admittedly and would like to interview these gentlemen to find out just when in the hell some of these songs are about.

Without a doubt, the music is sporadic but it is also performed with a certain degree of skill and apt to oddities that in most instances help the variety of tracks displayed here. Older heads who might feel that this band is just rattling off a bunch of dumb shit that makes no sense might be surprised to find that the lyrical nature of this band is quite interning and I would consider them to be astute in a sense. The first track after the Alice In Chains meets prog intro "Nuchal Chord 1:58" that whizzed and whammed and blammed and everything in between was actually called "Ancestral Perplexities 7:46" an interesting observation of human and Martian similarities. Something I've always pondered on and part of a concept that I had planned to write a novel on, except far broader than Mars. The next track "The Gynecic Curse 3:42" which is much more in the vein of proggier deathcore (with the addition of a hardcore style vocal) is about a whore.

There's also a lighter (almost) instrumental piece called "Mer/ka/ba 5:09" which has to do with either Kabbalah or chakras (I can't remember which) that has a rock solo featured in it that sounds like a blast from the past, making the band's list of influences even larger. That is followed by "Fail Science! 1:49" which features slight electronic influence adding even more to the mix.

I don't want to spoil all of the album's grandeur though, but will tell you that it's composed of a variety of topics leaving me completely stonefaced with the disc's title track, unless it is a metaphor for something. At any rate, you can hear the influence of Mike Patton's legacy in this band as well, as I'm even apt to thinking that the clean vocal approach has his clear inspiration. You'll also hear bits of djent here and there - but don't call The Odious djent, because they have so much more to offer than "djent band x" which puts an ill taste in my mouth because just that term reminds me of Megaman X. Nevertheless, you'll going to get some memorable riffs and melodies here in addition to the prog and tech and djent and other such oddities that exist on this album.

The Odious does in many ways sound like the variety of progressive deathcore bands that you've heard before - but they have much more to offer than many bands that are easier to choke down and are more marketable. I was actually quite impressed with not only the musical factor of this disc, but with the lyrical content as well. I would certainly recommend those who are a bit bored with most djent, technical, and prog deathcore bands to check them out. Before, I was only under the belief that Rings of Saturn and The Faceless were the standouts of this genre, but The Odious certainly sets themselves apart from the clones here and hopefully they will continue to do that with future releases.

The disc is available on The Odious' bandcamp page. It's a "Name Your Own Price" so check it out: http://theodious.com/

(11 Tracks, 55:00)

8.5/10


Note to all bands: If you see your material reviewed and want to link others to where they might find it, you are free to leave links in the comment section. Most of the stuff I get is from a cacophony of sources, so I don't know what is a bandcamp and whatnot. Also, I cannot email each and every label/band personally, so please keep checking back to the site and know that everything you've given me I will review!

SPOTLIGHT: SUPURATION (French Prog. Death Metal)

SUPURATION

Country of origin: France
Location: Wallers, Nord-Pas-de-Calais
Status: Active
Formed in: 1990

Genre: Death/Doom Metal
Lyrical themes: Death, Abstract Themes
Current label: Listenable Records
Years active: 1989-1990 (as Etsicroxe), 1990-present, 1995-present (as S.U.P.)

MEMBERS

Thierry Berger: Drums (1990-1995) See also: S.U.P., ex-Etsicroxe
Fabrice Loez: Guitars (1990-1995) See also: S.U.P., ex-Etsicroxe
Ludovic Loez: Guitars, Vocals (1990-1995) See also: S.U.P., ex-M.Pheral, ex-Etsicroxe, ex-Carnival in Coal, ex-Krhoma Death, ex-Putrid Offal
Frédéric Fievez: Bass (1997-present) See also: S.U.P., ex-Forlorn Emotion

THE INTERVIEW (WITH LUDOVIC LOEZ (GUITARS/VOCALS)

1. I'm sure that I can speak for many who have never heard of your band or it's legacy that has lasted for a little over thirty years now. Could you share with us some brief history about your band, where it began and how you got to where you are today? I'm also curious about the split between Supuration which seems more towards death metal judging by the release titles; and S.U.P. which seems to be more in the vein of progressive or experimental metal.

Well, we started the band in early 90's, we were quite young at that time, quickly we recorded a rehearsal called official rehearsal 90 in june 90 and a mxi cd called « sultry obsession »(october90) , ( reissued on x treemmusic spain last year). In august 1991, we recorded a promotape in order to find a label ( with these songs several 7 'eps had been out throughout usa, germany, mexico). We were into death metal but with some different influences like industrial music or sometimes new wave. During september 1992 we recorded our first real album called « the cube » (reincarnate records), we had a really good response with it, « the cube » had been realised in february 1993. We didn't want to realease a second album of SUPURATION, so we recorded a maxi cd called « still in the sphere » (pias france 1994). After several rehearsals, our music changed and wasn't so into a death style, so SUPURATION became SPHERICAL UNIT PROVIDED with its first album « ANOMALY » (pias 1995), and then « TRANSFER » (maxi cd remixes and acoustic versions from the « ANOMALY » songs). 1997, we found a new label and we recorded « ROOM SEVEN » (h records97), a reissue of « the cube » (under the name of S.U.P...in 1998), « CHRONOPHOBIA » (1999), « ANOMALY2000 » ( re recording of the album and reissue of the first version 2000), « ANGELUS » (2002). And during autumn 2002 we decided to record a prequel of the album « THE CUBE » which would be « INCUBATION » (february2003). All of our albums are telling stories ( as far as S.U.P albums are concerned), but with SUPURATION, at that time we decided that it would be nice to make a trilogy with the story « THE CUBE », we thought about a third album for 2013...During that time we recorded « IMAGO » (2005) and « HEGEMONY » (2008) several dvds, bootlegs etc...We've been working slowly on « CUBE 3 » and we succeed in put it out 20 years after the first volume « THE CUBE » in february 2013. The split between the two projects is quite simple, we didn't want to create a « cube 2 » too fast after the first one, we took our time, and at that time we really wanted to make another kind of music , colder , darker and experimental, so we created S.U.P.

1a. What does Supuration mean and what does S.U.P. stand for? Who came up with these titles?

SUPURATION was a title of the song on the first CARCASS album, it was written with two « p », we decided to write it with only one « p », because at that time a polish grind core band was called « suppuration »as far as S.U.P is concerned it's more enigmatic, we kept the root « sup » to remind SUPURATION, but the concept is quite different, i mean it's more « open minded » .

3. Now that Cube 3 has seen an overseas release, is there any chance of your earlier albums getting reissued? The material on Cube 3 is stellar and I'd certainly like to see the older material getting reissued, so I could see what led to this release.

We hope so, I heard that a whole packaging including the three volumes of the trilogy would be out before the end of the year. Of course we will reissue the whole story....

4. Let's discuss Cube 3. Where did you record it, how long did it take and what was the process of the recording like? Did you run into any issues, or did it all go quite well? What was your aim for the disc and do you believe you've done what you set out to do with Cube 3?

First we rehearsed, recorded demos and when we were ready we recorded the drums in a studio in summer 2011 . The process of recording is simple, I usually record all instruments and the vocals, (for all of our albums since the begining), My brother wrote the lyrics for SUPURATION because he wrote the prequel « INCUBATION » and as far as the lyrics are concerned i'm more into S.U.P albums. All guitars , bass and voices are recording at home. Then we found a new record company (listenable records) and we 've been waiting for february 2013, in accord with the record company, to put « CUBE 3 » out.

5. I'm a sci-fi buff and a novelist who has used more than a few elements of the genre in my books and short stories. Can you talk to me a little about the Cube mythos and how it lead up into this third piece of the saga? Are there any underlying messages or ideas hidden within these albums that you would like to express?

« THE CUBE » is dealing with the strange and enigmatic journey of a tormented soul which is finally reincarnated in « CUBE 3 ». On the album « INCUBATION » which is the story before « THE CUBE » we have the reasons of the suicide of a young girl, on « THE CUBE » we have the travel of its soul throughout strange places and geometric forms, trapped in a crystal cube, then a sphere enter the cube to catch the soul in order to be reincarnated , a second chance in a way, and the soul is reincarnated in « CUBE 3 » in outer space , in the future, and the young boy is educated by machines and robots. In each of these albums we find cubes and spheres (« incubation » with the room of the young girl which is a square and her pregnant body, in « the cube » with amazing crystal cubes and spheres , judges of her soul, in « cube 3 » with the spaceship and the machines and robots inside which are in cubic and spheric forms. In a way the whole trilogy is dealing with the fact that a soul nerver dies, anyway, that's not the case for our trilogy, at the end of « CUBE 3 » we don't know what is happening to the soul of the main character....

6. What do you believe in? Are you religious, spiritual or neither? Is there a certain life after death, or are we just destined to the ground? What are some things in the realm of belief that you have a qualm with?

We're not into religion, we don't know if there's a life after death, we're just telling stories throughout our albums, S.U.P albums are more into science fiction or fantastic stories.

7. Do you believe in the existence of extra-terrestrial life? If so, do you think that we'll ever make contact? Or might they already be here?

I do believe in ET life, i think that we are in contact since the very beginning of human kind.

8. How is Cube 3 different from your other material? What would you consider an inspiration to the sound of Cube 3?

SUPURATION has is own style , I mean, in each of the album of the trilogy, you can hear some parts of riffs or lyrics which remind another album of the trilogy, each album is linked to the other. « CUBE3 » is a little bit different because it's more into science fiction, « INCUBATION » is more into psychology and « THE CUBE » into metaphysic.

9. What bands would you accredit to being influences of Supuration and S.U.P? What was it that kindled your interest in making music?

I would say for SUPURATION, we've been influenced during the early 90's by bands like CARCASS, PESTILENCE , VOIVOD, ENTOMBED, BOLTTHROWER, PINK FLOYD...and for S.U.P i would say, the same bands including THE SISTERS OF MERCY, DEPECHE MODE, industrial musics

10. The nature of Cube 3 seems to deal with technology. What are your feelings on technology as it is today, and do you think we should be careful about how it progresses? Are there things that we just shouldn't be doing right now?

We need technology, it's progression is sometimes dangerous....it depends...It's fine when you can replace an arm or a leg of a person, I think computers are dangerous and robots will be....

11. Let's talk tech. What kinds of guitars, drums, pedals and other types of equipment do you use? What brands do you prefer, if any?

I have an American warlock BC rich and a fender bass amp 60w, my brother fabrice uses GIBSON SG guitars with a 2x50w peavy pre amp, Frederic uses a LTD bass in line , all detuned in B and thierry the drummer uses a PREMIER drums, pearl pedals and PAISTE cymbals. We like our equipment, it's simple, we also have some BOSS pedals for delays, chorus, hushes...

12. I've heard talk of "mesmerizing shows" in regards to touring. What are your stage shows like and what bands have you had an opportunity to perform with? Have you ever gotten the chance to meet any of your personal idols? If so, what was that like? Lastly, what is one of the funniest things that you've had happen while on tour?

We've been touring with SUPURATION with CARCASS , SUFFOCATION, BENEDICTION, CANNIBAL CORPSE, LOUDBLAST, and with S.U.P with ANATHEMA, CORONER, THE GATHERING....It was nice to discuss with the guys from CARCASS or the guys from CORONER... The funniest thing???The tour with SUFFOCATION is a great souvenir, really professional and funny things too numerous....

13. Finally, where do you see mankind in the next few years? More importantly, do you see mankind at all in the next few years? What do you think of society right now? Are we heading to our demise, or to some sort of glorious new age?

I think changes will arrive but mankind will stay right down here for a long long moment ...thanks to technology (…) I don't think about a demise, I'd prefer a glorious new age....As far as the society is concerned that depends, we are too much in a « consummation way of living » that sucks...

Thanks a lot for the interview !!!

Cheers,

LUDOVIC LOEZ for SUPURATION/S.U.P

March 2013

Thanks so much gentlemen, for your answers. I feel as if I've missed an entire legacy of great music and will try to hear as much of it as I can in the future. I had no idea an act like yours ever existed and hope that you will receive the praise that you deserve for such an interesting and unique approach towards death metal. The very best of luck to you in the future. Horns!

Week 74.5 (March 12th, 2013)

Voodoo Circle - More Than One Way Home (PR2013) - Voodoo circle are a classic/hard rock band from Germany with definite potential. In their native, they are considered to be the very "epitome of quality in the Classic Hard Rock Genre." The album booms at the very beginning with the opener "Graveyard City" with it's extremely catchy melodies and vocal hooks that might end up getting stuck in your head for days. Influences abound in this band, citing everyone from Foreigner to The Scorpions and Blue Oyster Cult among progressive groups like Pink Floyd and Yes. Many of these influences came slightly before my time, so it's hard to place them exactly; but I can certainly hear the amalgamation of these influences in Alex Beyrodt's (Silent Force, Sinner, Primal Fear) rich guitar soundscapes replete with magnificent solos, David Readman's impressive vocal work and Jimmy Kresic's keyboard antics that have the potential to make this band even larger of an act than they already are. The band has a video for the strong ballad "Cry For Love" which is available on their official Youtube account, so check that out. Though this is the only band I've ever heard write a song for a woman named "Alissa 4:40" they pronounce it as "Alisa" and I'll have nothing to do with it; citing a bad personal breakup as the response. But I can't take that out on Voodoo Circle and I will certainly give them the benefit of the doubt here, because this is great classic/hard rock that is not to be missed on any level. The special edition release features even more rock goodness in the form of extra bonus tracks that I wasn't given the privilege to hear, so grab that version on the 26th of March and tell me how they are!

(12 Tracks, 54:00)

9/10



Botanist - IV Mandragora (2013) - It is uncertain to me what exactly Botanist mastermind Otrebor was up to this time, but Mandragora is a huge leap from the territory of his last album which was more of a melodic drone/doom combo with black metal vocals. That album I thought was passable; but certainly not my thing - hence I decided to give the man another chance and decided to check out this final chapter of the plant people saga which would be far better material for a novel than a musical album quite frankly; I can certainly say that I would rather read about this than listen to it. The plant human idea is quite intriguing and definitely original.

However, I could not absorb even one of these tracks into my body through the act of photosynthesis. Otrebor was simply tapping into the electronic black metal side, which is a complete turn around from what I heard just one year ago. Though it wasn't my cup of tea, I could at least make it through that album; while this one sounds rushed and incomprehensible. While the disc has the same erratic feel of the last album, I have no idea why in the hell Otrebor decided to release this album with an electronic filter used on his vocals in some instances which just rubs me 900 different ways of wrong.

The album is filled with uncommon riff ideas, odd melodies and a sort of trance-vibe, but the speed of the drums and the vocal approach make this just seem a little weird for my taste. Perhaps too weird, and I usually like weird shit. I just don't like the use of programmed drums here and the riffs stay in the same style for so long that it becomes annoying, almost robotic. It's quite comparable to the music of a far-distant future - the very thing that generations to come will enjoy, long after I'm dead. Maybe this is what black metal will sound like in the year 4052, but I don't think it will catch on well for the year 2013.

Mandragora is not a long release, but it was a pain to listen to. I just don't think that I was ready for it, like it was a level above me; from a conscious plane that I have not had the honor of ascending to yet. But I will say that the final track on the album, "Rhyncholaelia Glauca 9:40" might be worth checking out and provides a great sense of closure to the saga.

If you like your black metal weird and robotic, this one's for you.

Highlights: To Amass An Army, Rhyncholaelia Glauca (7 Tracks, 32:00)

5/10



Helloween - Straight Out Of Hell (Limited Edition 2013) - Helloween is back and if you think I'd actually forget them this time, then you're wrong. Coming on the heels of an already fantastic release in the form of Seven Sinners, I don't think that the band has sounded better in years and cite this new release as further proof for that claim. The album opens with the soon to be classic "Nabataea 7:03" and introduces us to "Far From The Stars 4:44" which sounds just in parts just like the most classic era of power metal with slight modern influence. The band personally seems to highlight "Burning Sun 5:35" as they feature a special "Hammond Version 5:34" on this special edition that I have. But as for the song, it's got quite a bit of structure mixing orchestral elements that remind of Blind Guardian and neoclassical guitar antics that go duet with proggy keyboards and introduce us to a fantastic solo all in the same song, reminding me why it is that I love power metal in the first place.

We also get the ballad "Hold Me In Your Arms 5:12" which at first I thought was going to be a snoozefest, but I guess I'm getting older and found myself really captivated by the chorus portion. The only problem I have with the track, is that a small solo should have accentuated the final repetition of the chorus before the final verse of the song. Yes, there was orchestration; but guitar crept up a little during the track and would have really hammered this. In many Japanese power metal ballads or even J-rock songs, you will hear the guitar solos accentuating that final chorus and it really does the song well.

I'm also rather upset with "Wanna Be God 2:02." It has a sort of sports anthem feel to it, like with Queen's "We Will Rock You" but comes off as nothing more than an intro. Even at that length, it seems like an intro to the album's title track; but that never happens. As a matter of fact, the album's title track "Straight Of Hell 4:35" sounds like it came off another album entirely. I'm really confused as to the layout of the album, since some of these songs sound like they were recorded at varying production values and it makes the whole trip a bit awkward. Nevertheless, "Straight Out Of Hell" is a powerful title track that shows the band's resilience after all these years.

I'll also have to point out probably one of the band's most vulgar tunes in their history, "Asshole 4:11." I'm a little curious as to why this electronic power thrasher got included but the fact that the band actually uses enough foul words on this one to warrant the "Parental Advisory" here in the states, using the words "asshole" "motherfucker" and "shit" in the chorus. Nevertheless, it's one of my favorite Helloween tracks in the band's history as it's catchy and useful in describing certain people in one's life.

The last track I'll discuss here will be another one of my favorites, and they seemed to have gone all out on this one with the use of gothic organs and church bells. That envelops into power metal and brings us a great argument against modern religion in the form of "Church Breaks Down 6:09." It deals with religion suppressing knowledge, which is in reality a terrible disservice to the whole of mankind. Not getting too deep into the subject, I believe that the story of the garden of Eden was written down by the wealthy who thought that the attainment of knowledge was not something that the rest of should have. Ill-educated people are easy to manipulate and by equating the attainment of knowledge with the "enemy of mankind" in the form of a serpent, (which in ancient cultures is actually a symbol of wisdom) it makes them fear the unknown which is exactly what these men in power would like. None of these men want to see a slave rebel from the false comforts of media and combat their forces of control, so these religious standards are put into place to keep individuals silent and obedient. In a word... "asleep." However, I have nothing against the entirety of the Bible, nor any other religious text; citing that there are moral and philosophical values to be found.

All in all, Helloween's newest opus shows that they are still capable of making great power metal. But I scratch my head at some of these tracks, wondering if something went wrong somewhere along the recording, because some of this should have been scrapped. The album offers 14 songs in it's retail version and seems awful cluttered with varying production values and different ideas just sprinkled all over the damned place. Maybe they want to make this their final opus and just give us everything that they had, but I really don't think we needed it all. Still a solid release with plenty to offer for even the most adamant of power metal fans.

Highlights: Nabataea, Far From The Stars, Burning Sun, Hold Me In Your Arms, Straight Out Of Hell, Asshole, Church Breaks Down, Another Shot Of Life
(15 Tracks, 71:00)

8/10



The Fall Of Every Season - Amends (2013) - I never got the chance to review the last album from TFOAS, From Below; but would consider it mandatory listening for fans of death/doom that is not only sorrowful, but beautiful in many regards. This formula is continued with the band's new release, Amends which offers us the greatness of "Sole Passenger 11:44" which not only gives us the very best of depression laden riffs and vocal gravel that echo the lyrics (much in the vein of Rapture and Swallow The Sun) with extreme emotional prowess; but also tickles the ears with soft melodies backed with calming clean vocals. Soft acoustic passages pop up in "The Mammoth 13:26" as well in the instrumental, "The Portrayal 2:22" and also start up the ethereal melodies of "Aurelia 11:37" so nothing has really changed in regards to the band's style. There are no keyboards, as they only utilize the riffs and fantastic drum work to illustrate the atmospheres that they seem to excel so well at. A good way to describe this album is to look at the album's Asian inspired cover art, in all honesty. Not only is it some of the more interesting of cover art pieces that I've seen, but the colors and sense of waves illustrate the album's nature as being both a massive tsunami and calming stream where may dance the sprites and fairies of another realm.

There's nothing really new here and it's very much in the vein of From Below. These gentlemen opted not to reinvent the wheel and have crated an overwhelming bipolarity of soundscapes that not only highlight the dreariest of death metal, but also the most beautiful elements of post or even shoegaze in some respects. It is not a disc that constantly bashes, nor do the drums thunder with great revelry. Rather, the disc relies on it's slow soundscapes and succeeds with each one of these five tracks. Yes, even the instrumental piece "The Portrayal" is worth hearing as it is simply one part of the journey that well encompasses it's playing time of just a few minutes shy of an hour. A time that will be well remembered.

(5 Tracks, 53:00)

10/10



The Phantom Carriage - Falls (2013) - The new album from Black/Hardcore experimentalists The Phantom Carriage is finally upon us and this is no short release like 2011's New Thing. A full forty minutes of playing time with several long experiments in sporadity are displayed here, but it still will not be enough to convert the kvlt black metal hordes to hardcore. Though I like the progressive melodies on "Today We Stand 5:30" the clean vocals don't seem to work for me and the approach is slightly more one of hardcore than black metal. Yet again, there are moments of sludge that also pepper the disc in addition to the blast beats that the band does utilize in their mission to mix fully these two unlikely genres. But these hardcore shouts might have sealed their fate, it would certainly depend on the metal fan who's willing to ignore these light-toned vocal shouts that could "buzz-kill" and "bree" the album for them.

"Dreamers Will Never Stop Dreaming 7:35" adds a little bit of atmosphere to the disc, amidst the sporadity and use of the odd vocal approach that sounds like a :black metal growl" instead of a "black metal scowl." Lights begin to illuminate the track however, as melodic guitar soundscapes make us believe that all is well until a hardcore assault begins.

But it's not until the closer, "Gods, Devils, Us 7:25" that I start hearing something more than the formula of black metal infused hardcore with frantic screams and slight does of melody and drone. Even if it's just an amp reverb with a few acoustic licks - it's still more than the band has brought in 16 minutes of playtime. I'm not quite sure what the band was thinking here, but it's just too much of the same sporadity for me - like if someone threw the same black and grey paint splatters on every piece of canvas. Sure, it's an experiment; but it all just sounds bland. I expected much more from this one.

Maybe this could get hardcore fans into black metal, but I don't think it can get black metal fans into hardcore. I want to like this one, especially after how much promise New Thing brought to the table.

Alas, I fear that I've expected too much.

(8 Tracks, 40:00)

7/10



The Project Hate MCMXCIX - The Cadaverous Retaliation Agenda (2012) - Because a legendary interview still sits up in the air, (it's done, I'm just waiting on clearance and will release it here if New Noise decides not to use it) I had also held off reviewing this album. Some of you bought it. I did and got the instrumentals which I would also recommend in addition to the original album and they're worth the 15 Euros that the band is charging for the release. However, Judas Iscariot apparently leaked it, having gotten up out of his grave just to get onto a computer to buy the disc so that he could put it online as he walked back into his grave and fell lifeless, back to death. So whether or not you got the original version of the disc, or the one that was leaked by a man who became reanimated, (would that make him a zombie?) I'm sure that most of you already have this disc by now.

Paid for by the fans and not the fiends, TPH's new disc is monumental. I won't even lie and I know that Lord K himself will be reading this, but I thought the band's last album was absolutely awful and filled to the brim with too much female vocal. I also felt that the band's last female vocalist was taking over the band, turning them into some kind of death metal version of Nightwish. Introduced to this act by a friend years ago and having loved When We Are Done Your Flesh Will Be Ours, Hate Dominate Congregate Eliminate and Armageddon March Eternal; I have continued to check out the band's releases hoping for the same greatness to return. There were glimpses in In Hora Morits Nostrae and The Lustrate Process; but things were becoming far too much of the same and I wasn't the only one who noticed. The same friend I ran into a few days before buying the release sent me a text saying "they really need to change their style." And he'd be right, because things were getting stale and that's what I equate the failure of that album on, not just the act of piracy; as they have claimed. I think that fact that someone like me, who used to listen to these guys religiously would have anything bad to say about them in a review should be a sign to change things up a little...

And that's just what they did. I've given this album a perfect score as well; and that's out of no sort of ass kissing - I would have definitely let you know if this was a piece of shit, regardless if any of the band members were reading it or not. Perhaps I've lightened up in later years; but anything that's a six or lower is nothing worth checking out in my opinion and if it's lower than four, it's absolute garbage; taking a cue from Metal Storm.

Thankfully, The Cadaverous Retaliation Agenda is the band's best work in years. Perhaps after all that repetition, Lord K decided that it was time to do something different and that's exactly what he's done here along with many special guests. This was an album that was recorded in many different areas with the band never actually physically being in the same studio - but I think the fact that everyone had their ability to breathe helped things. First of all, the band's new female vocalist Ruby Roque recorded all of her vocals in Libson Portugal, and Jorgen Sandstrom recorded his growls in Stockholm, while Lord K recorded his guitars in Ostansjo and the band's drummer Dirk Verbeuren recorded his drums in a separate studio as well as Peter Dolving and Tobben Gustafsson recorded vocals and acoustic guitars respectively. Lars Johansson, Magnus Soderman and Danny Tunker and Petter S. Freed also recorded their solo/s in separate areas, making this whole thing a real testament to the power of technology and the way that we make music as human beings. I would personally love to record vocals in this fashion for any acts that'll have my venom.

TCRA consists of six main tracks, with the very shortest being the finale "Welcome To The Judas Agenda" at just one second over nine minutes. The other The other six tracks are short instrumental interludes that tie the songs together.

The first track "DCLXI 0:42" is a short orchestral instrumental that opens "I Feed You The Flesh of Your Poisonous Christ 14:58" which at first might sound like the same sort of bass lines we've heard a bazillion times now, but that's when it transforms. First of all, I'm glad to hear that the electronics are back in the mix and at full force. That is what made me really separate the band from other death metal bands that were out there at the time. Obviously The Monolith Deathcult and The Amenta might have found influences here as well as acts like The Berserker; but it's good to see Lord K utilizing what made the band so great in the first place. But not only that - huge solos like this one encompass the record along with transformative structural changes that help it to sound monumental. There's a middle eastern section towards the end of the track that really surprised me and showed me that the band does have much more to offer, despite their long tenure.

The next instrumental I will discuss, "DCLXII 1:13" because it's in reality a great electronic piece mixing some nice effects along with foreboding piano work that goes into "We Watch In Silence As The Earth Turns To Blood 10:36." It begins with a female vocal and envelops into furious death metal, featuring Ruby's vocal much more than the other track so far, but not being afraid to include some more electronic influence and atmosphere (notice the guitar work in the background around the 2:30 mark) and that's when the guitar solo kicks in, just as breathtaking as the last one. Electronic laden metal backed with Ruby's vocals takes over after another death metal onslaught and then is followed up with another guitar solo. Yes, another guitar solo. If one great solo wasn't enough already. I really like the guitar riffs at this point in the song where a chorus is repeated by Ruby (the first time it's a little rough in the mix but the second time it comes out better) as a death metal portion comes back in and the chorus is once again repeated.

An electronic piece "DCLXII 1:05" that sounds like it might be used in a futurist racing game comes next, but it feels good here - I like it. I think I'd actually like to hear a disc that fully mixes the electronics and the death metal together in a way that we've never heard from the band; but it's uncertain whether or not that will happen. "Conquering The Throne Of The Cadaverous 13:55" comes in with both a female vocal and death growl as we're beaten senseless with bass riffs that will later encapsulate Ruby's vocals and Jorgen's growls. A slight mid-era Ulver-esque soundscape then plays for a while (but I wish longer) when the guitars come screaming back into the mix. There's some great guitar work in the background during Jorgen's vocals here A duet ensues for a while as the electronic fuzz opens for Jorgen's vocals and crushing bass lines. A solo eventually comes into the mix and slaughters when it does - these are tremendous folks - then Dirk's drumming comes in and blasts away all further expectations - look how it flows with the guitar work! Song slows as bass lines creep and the death growls come back as a light symphonic piece plays (again almost like Ulver) a little further on, an acoustic plays for a while as the bass lines pummel again (in the back there's an electronic piece) that opens up for some mind-blowing solo work later in the album. There's an interesting duet piece short after with some interesting vocal techniques by Ruby that get chopped up in line with the electronic sense of the band. A new riff structure opens up Jorgen's growl fest and then blasting drums continue while Ruby belts out some strong vocal lines as the song cools down to make way for some electronics and riffery that leads into some unique melodies and some oddities that I can't explain in words. It sounds like a submarine in the background!

The next track "DCLXIV 1:08" features an electrified sound clip mixed in with some great electronic work that would do well on a disc by itself. If Lord K ever gets tired of metal, I'll definitely buy an electronic album from him! When the metal resumes, "The Great Retaliation Is Upon Them 11:57" opens up with a solo and features some oozy electronics that sound like Ruby and some sort of slime monster are fighting for vocal time. Jorgen comes back into the mix as aliens abduct Ruby (you can hear the beeping from the ship's controls) and then Jorgen jumps in as the song winds down and the bass sounds like the buzzes of a damaged computer terminal that one of the band members accidentally fried while trying to save Ruby from the aliens. Jorgen comes in and belts out rough gravel as the riffs decorate Dirk's awesome drumming while Ruby belts out another verse and returns to Jorgen and a new riff structure that leans into another great solo. Eletronics and horns (was that a belch?) open up the next portion of the song as I hear some other odd effects. There's a nice riff melody here about 5:10 into the song and Ruby comes back in as she jumps through a portal. Jorgen comes back in with even more gravel as another awesome riff melody at 6:40 comes in along with another at 6:50 that opens up for another phenomenal solo and Jorgen's demonic growl as Dirk blasts the drums and Ruby manages to belt through it, even though things get unbearable at points. It sounds like the whole track is about ready to explode at this point, but things slow down with bass riffs Things warm up as Jorgen comes back in and another fucking solo plays after that. Wow. Electronics come in and you can still hear Ruby on the other side of the portal, calling out from an alternate dimension. Bass riffs continue as Jorgen belts out more death metal and I'm sure the more that I say this, the happier that most of you will be. Ruby sticks her head out of the portal and is able to belt out another line as Jorgen lets loose a powerful growl that goes into a solo. Yeah, another solo that goes into a fierce drum workout and ends with a furious vocal line.

The next instrumental "DCLXV 1:12" sounds like a murmur with some blasphemy and the background orchestration for an apocalyptic film. This goes into the catchy riff melodies of "Carving Out The Tongues Which Speak Of Salvation 11:15" which has Jorgen's vocals at the forefront until Ruby comes in, but she may be overzealous with this one. Orchestration is also used here as well as what sounds like the opening of the portal that Ruby was trapped in, as it comes out and encapsulates the entire band. You can hear the sound of the portal as they find themselves in some sort of future world where the sounds of damaged robots beg for salvation but cannot find it. Ruby's vocals continue as Jorgen comes in and I like the effect she uses on this duet. A light acoustic plays for a while with a little bit of electronic influence that almost sounds a little flamenco. This is when the horns are heard and the guitar riffs warm up the rest of the track as a solo comes in as drums highlight Ruby's vocals, bringing the guitar back into the mix shortly afterwards. Jorgen comes back in to do what he does best as the song quiets, save for a few bass riffs that escalate into a new portion where death metal is the standpoint. Orchestration can now be heard as violins accompany Ruby's vocals. Guitars come back into the mix as ruby vocalizes once again, leading into something that sounds like it's about to thrash like Slayer. Well, it does just this with a guitar solo portion that certainly wakes up the track a bit and Dirk's drumming emphasizes that of course. Things slow down a bit as bass riffs and some light drumming finish what is bound to be the last part of the song. When it finally comes, a choir accentuates Jorgen's vocals and then Ruby comes back in, but just a little overzealous.

"DCLXVI 1:30" comes in so damn fast that you don't even know the last song has ended. It literally sounds like part of that track and if this is all taken to be one piece; then it is. Nevertheless, it is the last instrumental backed with orchestration and more distorted sound clips that sound like they're floating in space as they repeat endlessly into the final track, "Welcome To The Judas Agenda 9:10." this track features no vocals of any kind, but features seven solos - at least one from every guest. Tour-De-Force is the word here, folks. It starts out light, just as the last Tour-De-Force I explored (see Oceans Of Slumber review) and features some light electronics as Lars comes in with the first solo piece that just sounds breathtaking. Drums blast heavily as Danny's solo comes in and then Petter's only contribution to the album. A march is heard as the solo continues and explodes again making this definitely one of the best metal tracks in the history of all mankind. A spacecraft comes down as the drums thunder in a black metal sense as Lars's next solo comes in. Orchestration builds as Magnus's solo is heard next. On odd sort of riff structure comes next (I'm not sure if this is a solo, but if it is, we'll give it to Danny Tunker) and then there would be one solo portion left, which would have to be Lars' last solo which thunders for a few seconds and then fades out with the end of the disc.

...And there you have it! TCRA in a nutshell.

When you order TCRA directly from the band, you have the option of getting the disc in whatever format you could possibly want (even FLAC and .ISO) as well as the option to download and print out your own booklet or poster in several various formats. Yes, the instrumental cut of the album is also available and is definitely worth listening to. Some might even think it's better.

Nevertheless, TCRA is a monster of a release that shouldn't be missed. Since the band will never tour again for the entirety of the history of mankind and then some; the only place you'll be able to hear these songs is from this album. It also means that in 2013 they plan to start work on another album, which they hope will be even better than this. I see ways that that could be possible, but I also see ways that might make that really fucking hard. As I said, I'd personally like to hear a greater mix of electronics and death metal, something in the death metal vein of bands like Velvet Acid Christ and KMFDM. Some of you might not feel the same way though, and we all have our dream of what "the perfect album" from "band x" might sound like. Nevertheless, the band knocked it out of the park with this latest opus and I'm sure if they eventually decide to make it a physical form (the labels have certainly been talking to these guys, but Lord K is still reluctant) it will sell a great deal of copies.

As far as production value on the thing goes, it's top notch - the best that modern technology can offer. Not everything is mixed perfectly, but from experience I can tell you that nothing ever is mixed perfectly. I would rather pull out each hair on my head individually than have to mix. It's never good enough for me. Never! Even the shit I've mixed is not mixed good enough.

Psychotics aside, definitely grab TCRA and support the band. I guess if you're hardcore religious you may not like the album, but chances are that you're not going to be here at the Tower to begin with. You'll be in the Church.

TCRA is a monument for 2012 that might have skipped your radars. Go get it!

Highlights: All (12 Tracks, 78:00)

10/10