Cosmic Funeral - Godless War To Eternity EP (BAND REQUEST 2012)
- One day I opened my inbox to find a wonderful link to this disc, by
some guys making black metal from out of all places... Ankara, Turkey.
What? Turkish black metal? Are you serious?
But
I give everyone their fair shot, and a proper listen before I make my
deliberation. So I grabbed this EP and immediately began to listen to
it. Cosmic Funeral is a five man symphonic black metal band, and in all
honesty; they've got serious promise. Now, don't judge them on the
little intro piece, it's not amazing. It's the music we want to hear.
The
disc really begins with "Doomsday 3:58" which is a completely
blistering way to open the album, complete with some interesting
atmospheric interludes. The band's frontman, Murat is a truly formidable
beast, bringing the full sprit of black metal aggression ten
thousand-fold into his scowls. When this guy screams, it sounds like he
is literally pissed. But that's what you want in this sort of music. You
want aggression, and he's a perfect package of sheer hatred.
But
that's not to mean that the rest of the album isn't just a bunch of
blast beast and riffs. While those certainly exist, and in full force;
as Onur is a beast behind the kit - there are also some great orchestral
passages that we can thank Ali for. This guy definitely has been
studying his Emperor and Cradle, because this is only some of the best
orchestration that I've heard in black metal music. It's not an
expensive keyboard, but his skills make a very professional attempt.
The
four main songs on this disc total in at about 18:00, but it's
definitely black metal that's worth listening to. The quality is great,
the instruments audible, the vocals fierce, and among the best I've
heard from the genre, and the melodies used in these songs (the title
track, Godless War To Eternity 5:06 especially) are definitely catchy.
The band also uses some sound clips on this title track that add to the
feeling of war, as well as some great atmospheres that sound like a sort
of war march.
Though some of the songs don't have the same sort
of quality as the others, and this sounds like a mix of different
material in the band's lifecycle, the effort is conveyed well enough.
These guys have what it takes to be a worthy symphonic black metal band.
A lot of synth black tends to turn people off, but it's bands like this
one and others that have since turned me onto the genre.
Despite
all the synths, this has the black metal nature at heart. It's full of
wrath and malice, just as you would expect the music to be.
A band with a great deal of promise, well worth checking out.
http://cosmicfuneral.bandcamp.com/
Highlights: Doomsday, Negligence Of Centuries, Godless War To Eternity, Serenade To Fallen (5 Tracks, 20:00)
8/10
Waylander - Kindred Spirits (PR2012)
- Ireland's folk metal beast, Waylander have had their fair share of
troubles in trying to find the perfect lineup for the band. As such,
they've gone through an insurmountable number of musicians, and may not
even resemble the same band that you knew on Century Media records, for
which they released two albums.
As a matter of fact, the band
already did a staggering amount of touring for their third album, and
finally started working on this disc in 2011. Since the third one came
out in 2008, it's been four years since the band's had a new album and I
still remember when their last one came out. It was a much different
time then, and it's most certainly a much different time now.
Nonetheless,
the band's sound has not changed. They still sound in everyway like a
blackened folk metal act, and this disc is more metal than ever before.
You'll still hear your flutes and traditional instruments, but you're
also going to hear the pounding of the drums and the thrashing of the
guitars. The band's current vocalist has a great sort of bark that
sounds both harsh and ancient, like the sort of thing I would expect for
a deep ritual in which man's most primal shouts erupt.
Being
such, this album is still very rooted in Celtic belief, and I would
certainly consider it a very ritualistic offering to Celtic deities, of
that there is little doubt. But despite all of this, you're going to
hear some awesomely catchy tracks like the opener "Echoes Of The Sidhe
6:11" , and epics like "Erdath 7:30" which contains a ballad portion, a
thrash portion, and something akin to slow death/doom. Yes, this is
certainly one of the most extreme folk metal discs that I've heard in a
very long time.
Every song on this disc has it's own tempo, so
they are easily separated and don't end up sounding the same. But
they've all got that same Celtic spirit due to the guitar melodies and
flutes which really help to strengthen the nature of the album.
I
will definitely liken this disc to the blackest Primordial and
Cruachan. (But without the female vocalist) Yes, it's that heavy. There
are pure black metal parts of this disc that sound impeccable, there is
black/thrash here that is some of the best I've heard in a while, and
even if you don't like flutes - it's going to be very hard not to at
least appreciate the sheer attention to detail that the band have put
into this album. This wasn't just a bunch of thrown together songs, this
is a well structured monster of a disc that I could really consider
timeless in the annals of Celtic folk metal.
It's really that
good, and much more than I would've ever thought. As a matter of fact,
I'm going to make this disc my personal favorite folk metal disc of the
year. I don't hear much folk metal, but that's because I haven't heard
anything really great from it in quite a number of years... but each and
every track on this disc is truly marvelous, a sight to behold.
As
for the production, I think it's perfect. It reminds me of only the
greatest slightly raw and primitive sounding folk metal discs, like the
current Cruachan and Primordial. You will be able to hear everything,
but still get that raw sense that you just can't get from the
over-produced stuff. This kind of music needs to be raw at least a bit,
to keep that animalistic nature intact.
Folk fans must grab this
disc, I consider it an absolute must. Even though there is a short
little instrumental (which I thought was good, but some may not feel the
same) called "Grave Of Giants 2:16" that breaks up the heaviness for a
few minutes, the band gets right back into the swing of things with the
next song.
This disc is full of musical surprises, I was
literally flabbergasted from beginning to end. Despite the fact that my
MP3 player plays almost every track out of order on my digital albums,
(it plays them alphabetically) track order didn't matter. Each and every
track amazed me, and that's rare. If it's not catchy, it was brilliant.
If it wasn't brilliant, it was perfectly primal.
Waylander are
not a band to simply pass by, and if you've overlooked them; now is a
good chance to check them out, since there's a slight metal drought
period before the September/October floods.
I guarantee that you
will find something of merit on this album, and this is coming from a
man who really used to listen to a lot of folk metal. Forget that
Eluveitie shit, and go listen to some real folk metal!
Highlights: The Whole Disc (9 Tracks, 54:00)
10/10
Zonaria - Arrival Of The Red Sun (PR2012)
- This five piece, which consists of four Swedes and apparently a
ghost, (my promo material tells me that this band is a five-piece, but
there are only four members in the two band photos that I have) are
definitely one of the best Swedish death metal bands that I've heard in a
long time... but maybe that's because they sound a hell of a lot like
one of the best bands in the history of the genre, Hypocrisy.
Trust
me, you'll notice the similarities instantly; almost thinking that the
guys decided to capitalize off the sound of Hypocrisy. These guys have
as much in common with Hypocrisy as Hate have in common with Behemoth.
Yes, so we've established that they're a sound-alike.
But are
they just as good? Well, yes. If you were looking for a disc to hold you
off until the next Hypocrisy album, this is going to be a damned good
placeholder. My friend and I are having a little bit of a non-monetary
bet as to whether or not this disc will sound better or worse than the
forthcoming Hypocrisy (2013).
Everything you could expect from
Hypocrisy, you can expect here. The thundering drums, the unruly guitars
and the scathing vocals. The vocals are very high in the mix, but
that's a good thing, as the vocals on this disc do matter, and they're a
big part of the disc. Just the same as Hypocrisy did.
Yeah, I'm
not fooling anyone by saying that this is Hypocrisy II. But damn it,
folks - not just anyone can fucking be those guys. You can get a bunch
of guys together and say you're gonna sound like Iron Maiden, but if you
can't capture that same spirit, you're just a knock-off. This is more
like a great tribute, perhaps the usurpers to take the throne after
Hypocrisy calls it quits and everyone weeps.
The melodies are
just as good as anything from Hypocrisy, and you'll get some great
guitar solos, that added atmosphere that makes things sound epic, and
the songs just come off with a sort of power. Is there a bad song on
this disc? I really can't be sure. I really consider this one better
than some stuff I've heard from Hypocrisy - not everything on Virus
killed, but just about every song on this disc killed.
Obviously,
fans of Hypocrisy who want to hear another album from them but just
can't wait, should pick this up. Especially if their new disc for some
reason, pulls a Morbid Angel or Dimmu Borgir. Because it could happen,
and just in case it does; you'll have the Hypocrisy that could've been.
Definitely
worth checking out for fans of Hypocrisy and other Swedish death metal
bands in the same vein as Hypocrisy. At least these guys do it right and
have a lot to offer. I'm giving this an 8/10, because maybe next time
there might be some more originality, but damn; I really needed to hear
some new Hypocrisy. These guys filled the void. Hear that, Peter?
Highlights: Everything sounds just like Hypocrisy. I like Hypocrisy, therefore I like everything on the disc. (10 Tracks, 40:00)
8/10
Obscenity - Atrophied In Anguish (PR2012)
- These German dudes have been at it for 23 years now, and I don't
expect them to slow down anytime soon. This slab of death metal is among
some of the best I've heard this year, and that's saying something.
Sascha blasts on the kit, Jeff (From Tampa, FL) uses the most "unholy"
of growls, (kind of what Cryptopsy should have done - review to come in
week 62) and Hendrik and Christoph definitely provide some good, dark
leads to make the music as deadly as possible.
This disc is a
fucking beast. But not just any beast, I consider it like a Manticore,
Chimera, Minotaur and fucking Cerberus all rolled into one. This is that
quintessential disc that you play when you want someone to hear what
death metal is, like when you look it up in the dictionary, this is what
you'll find. This is that brutal, melodic, and searing disc that you'll
find just echoing the spirit of great death metal with each and every
track. Whether it's "All You Can Kill 3:32", "From Heroic To Depraved
3:33", or "Diary Of A Scapegoat 3:23" you can always expect the same
thing.
But in this case, that's a good thing. These guys didn't
go crazy with xylophones or clean vocals or female moans. This is 100%
fucking death metal, and these words should be emblazoned on a sticker
that adorns the disc, just so the listener will know that they are
getting a true death metal disc, not some deathcore or over technical
intelligent piece. This doesn't require brain cells, it requires brains,
like the musical equivalent of a zombie having risen from it's grave.
But let's also go ahead and give it an axe. A great big, battleaxe.
Yeah, that's my representation of the album.
Even
though you wouldn't expect it, there is riff variety on the disc and
not all of the songs sound exactly the same. But they're all still the
same style of death metal, so don't fret and think that I've led you
astray. But don't expect ridiculous guitar antics, because this isn't a
guitar album; it's a death metal album.
You might feel that
you've already heard this sort of thing before, even though it does mix
brutality with slight bits of unconventionality and some technicality. I
won't argue with you that's it's any different then what you've already
heard before, but I will recommend that you definitely check this disc
out for a great representation of what can be achieved with the Cannibal
Corpse formula, and what Cannibal Corpse even failed to achieve with
Torture.
Yes, this is better than the new Cannibal Corpse. I recommend it to fans of real death metal, everywhere.
Highlights: All (10 Tracks, 37:00)
10/10
Suture - Skeletal Vortex (PR2012)
- These dudes from Louisiana have been through nine kinds of hell,
literally. First, Shawn Broussard left the band during the recording of
this band in order to form his own band, and then he lost his life in a
motorcycle accident just a month later. A few months before this disc
was released, Jayson Ramsey (Vocals, Drums) decided to leave the band in
order to pursue his love of Arts at the Art Institute Of Colorado.
The
band was left dormant for many years, until the year 2012. Perhaps
these guys believed that it really was going to be the end the of the
world, and felt that they needed to get at least one more slab of death
metal out before the shit went down. Nonetheless, the band re-recorded
2005's Skeletal Vortex and also remixed it. Their next mission is to
re-record Carnivorous Urge To Kill, the band's original debut album.
But I don't have that disc to review, I've got Skeletal Vortex. So you'll just have to wait.
Skeletal
Vortex, besides being an awesome album title; is a great and
interesting slab of technical, progressive (and slightly experimental)
brutal death metal. It is composed of 10 songs, all of various lengths
with the closer track, "Chaossuary" coming close to 11:00 of music (and
some silence.)
First of all, it's very interesting and unique to
me that the drummer does both the vocals and manages to terrorize the
kit while he's doing those vocals. I'd like to see these guys live,
because I've never heard of a drummer also doing vocals at the same
time, and figure that it might be an interesting experience. They're not
very far from where I'm from, (the next state over, in fact - these
guys are from Louisiana) so I might just get that chance.
This
album is pummeling, it's not a happy sounding disc, and there's no real
beautiful melodies or anything of that nature. This is very much death
metal, and it's definitely technical - but more focused on sheer
brutality than anything else. Normally bands who focus on brutality more
than anything else have a tendency to rub me the wrong way, but these
guys manage to do everything so well, that I find myself certainly
intrigued.
The drum work on this album is spectacular, and if
anything else, you can certainly tell that this is a drummer's band. The
technical riffs that Jason plays only help to fuel the beating that's
being dolled out on the drums. Bass duties are held by Bruno, and he
definitely adds the meat where needed.
This is a bludgeoning
album, something you could play while watching a gore film in the
background; yet it is also well thought out and meticulously calculated.
Every note and every tap of the drum seems in sync. There are about a
dozen tempo changes and sometimes it veers into abstract and
unconventional territory. I've also noticed that the disc seems to work
as a whole, and there really aren't tracks that are better or worse than
others.
But this might be a downfall for some, because it is
very much the same formula throughout. If you really love technical
death metal, these guys bring out a very good plate of the stuff. But
it's not the best nor the worst that I've heard from the genre. There is
a lot of potential in this band, and I'm glad that they got back
together.
This disc has a lot to offer for fans of both brutal
and technical death metal It's definitely worth a listen at least. I
especially enjoyed the eerie melody that ends the album...
(10 Tracks, 45:00)
8/10
Mortal Infinity - District Destruction (PR2012)
- Mortal Infinity are a German five-piece that doesn't pull any punches
with their sound. You can definitely hear their influences in the music
too. These guys are all wearing band shirts in their photos with these
bands: Exodus, Sodom, Testament, Motorhead, and Iced Earth.
I
definitely hear these influences in their music, but most of all what
I'm hearing is Exodus. Marc has a hell of a Bark, and I'd certainly
consider it one of the best parts of the band. It almost reminds me of
Exodus's old frontman, but just a little more grimy. Which is a good
thing.
The drumming is held down by Mathias who definitely knows
his thrash chops, and every song has a great solo, thanks to Sebastian
and Thomas. These two each share lead and rhythm duties bringing about
some great melodies, but still maintain the spirit of thrash. The songs
are definitely structured and there's quite a few riff changes on the
album. They didn't exactly make a straightforward thrash album, but they
did make a thrash album.
Sometimes death metal growls come in
and things start to pound on the kit - this goes from thrash to
death/thrash in seconds. But that's a good thing, because one gets tired
of the same two formulas of each. The bass thrashes left and right, the
whole recording is full of venom and malice - thrash metal doesn't get
much heavier than this (while still staying thrash metal.)
Sure,
Mortal Infinity didn't make the best thrash album that you'll ever hear,
but they certainly made a good one. These guys definitely have skill,
talent and the drive to create a good thrash record, and that's what
counts. With many attempts at corporate thrash, by the media, it's good
to see that there are still bands like these guys who know how to make
worthwhile thrash, and do.
Every track on this album is
recommended, as each one of them offers something different. You might
have your favorites, but you'd be lying to yourself if you didn't think
that over half of these damned tracks weren't some of the best thrash
you've heard in a while, at least. Now I know that Destruction is set to
release a new one this year, but until then you should give this album a
try. There's 38:00 of great thrash here that keeps on giving throughout
each and every track. Though some might compare it to the new Exodus,
that in itself should be taken as a compliment. The production quality
however, is much rawer than the latest Exodus disc and most certainly
the latest Anthrax. But I feel that many of you will like that thinner
quality.
I've heard much worse from thrash this year, but I have
yet to hear anything better than this one. (As far as I remember.) Not
even Testament could do it for me this year. If you're still looking for
a fucking thrashgasm, these guys will certainly help you with that.
Again, it's not the best thrash you'll ever hear, but it definitely
combines the old school thrash with some modern techniques. There's even
the classic background shouts!
What else can I say? It's thrash.
(9 Tracks, 40:00)
8/10
Gorephilia - Embodiment Of Death (PR2012)
- Thinking this was gonna be another one of those slam death metal
bands, I wasn't so sure about it. But as soon as I listened to the disc,
all of that changed. I found myself heavily impressed by these death
metal stalwarts, and found myself continuing to come back to the album.
The
disc is brutal death metal, just the way you'd expect it to sound. The
man behind the kit's a behemoth, the guitarists are spitting out only
the best of brutality and the frontman's got the growl of a stone golem
who's been trapped in the abyss for centuries. There's a couple of solos
pulled off on the disc as well, and they're very much in the
traditional fashion of death metal solos.
Just like most of the
death metal I've reviewed this week, this is completely free of
lighthearted moments. As a matter of fact, there are parts of the disc
that contain slow, brooding structures that add the hideousness of the
whole experience. This is the kind of death metal that makes you think
of the very abyss of searing evil, and with track names like, "Exist To
Suffer 5:17, Saints Without Souls 4:44, Pantheon In Flames 4:32 and
closer "Vision Of Hell 6:42" is the perfect music for pain and
suffering.
The entire disc has a morbidly melancholy feel, one
that elicits desolation and despair. But that's what we want from our
death metal. Hence that's why it's called death metal. Even some of the
solos just sound downright vile. For an album titled Embodiment Of
Death, this is exactly what you should expect. Gorephilia have a talent
in making things sound truly fucking evil, and I've yet to hear many
bands that really convey this sort of darkness in their music, rather
than in just the cookie-cutter lyrics of most death metal.
I've
heard a lot of death metal, and it's really tough to find something that
really leaves a mark like these guys do. I definitely recommend this
album to all fans of only the blackest, darkest, and most fucking brutal
death metal there is. While you will hear some melodies, they aren't
fucking pretty. So don't fear that this incredibly diabolic experience
will be shattered by clean vocals, and light melodies. If want those,
check out the new Faceless disc.
But as for this foul creature, it's most certainly the embodiment of death. Looking for the sounds of hell? Look no further.
Highlights: All (8 Tracks, 37:00)
10/10
Eye Of Solitude - Sui Cadere (PR2012)
-The frontman of this band, Daniel Neagoe is also in several other
bands. In particular, he's the vocalist for Unfathomable Reunion and the
frontman for Colossus and The Departure. So this English gent is no
stranger to metal, by any means.
This latest project is a very
depressing death/doom band by the name of Eyes Of Solitude. But for
those unaware, this is not the band's debut album; it is their sophomore
effort, gladly taken under the wing of Kaotoxin Records. According to
the press release, it is a kind of symphonic funeral doom - but I'm
hearing more death metal vocals than anything else, and I doubt that
I'll hear much else, as you see this album was very difficult for me to
get into and I'm not even sure if I was completely able to finish it.
For
the most part though, you will get the kind of atmosphere that you'd
get from bands like Saturnus, Swallow The Sun, early My Dying Bride,
October Tide, early Anathema, and many others.
The melodies on
the disc are one of it's strong points, and we've got to thank Indee
Rehal-Sagoo for those, as the guy really does have a sort of "shredding
quality" to them. Daniel reaches down into the very depths of his throat
to expel the most dredging bellows that funeral doom can offer, and
these coupled with the varied and hypnotic sounds and atmospheres
offered on the disc are certainly going to delight (or maybe in this
case, depress) quite a few fans of the genre.
Unfortunately, I
couldn't get into it to save my life. I love doom metal, and funeral
doom, but perhaps this disc was far too slow and droning for my tastes.
While I respect the band's interesting use of atmospheres and
symphonics, it was very hard to hear much of the atmosphere on this
disc. I'm sure there will be those of you who consider this to be the
greatest doom album since The Mourning Never Came, but as for me - I'll
stick with that one, and most songs from Rapture, Daylight Dies and
November's Doom.
If you're into slow doom metal with lots of
atmosphere, light symphonics and impressive leads, then definitely check
this album out. But as much as I wanted to like this disc, I just found
myself bored by the whole thing. As far as I'm concerned, there's
better doom out there. You see, it's very hard for me to get into metal
that's too slow - but there are a plethora of bands I like who do
perform slower, more melancholy metal. Perhaps it's something in my
brainwaves...
But if it sounds good to you, check it out. Don't let me hold you back.
(10 Tracks, 73:00)
6/10
The Faceless - Autotheism (2012)
- From the beginning, this band has already gotten tons of comparisons
to bands like Between The Buried and Me and Last Chance To Reason. Those
are both deathcore bands, but with shivering teeth, I say that they are
both "good deathcore" bands. Yes, the potential exists for deathcore to
be good. Take these guys for example.
The first time I heard
about the Faceless, it was because they were playing in the vehicle of
one of the members of Fear The Aftermath; who had been giving me a ride
back to my place of residence at the time. Normally deathcore does
little for me, but these guys actually sparked up my interest. But this
was at the time of their 2008 release, Planetary Duality (which I've
also done a review for, just after this one - you're welcome) and the
band has matured greatly since then.
As a matter of fact,
Autotheism is a different beast altogether, and I'm not even sure if you
would be right in calling it a beast. Let's think of it more as some
very talented, psychotic clown murderer of sorts; maybe like the movie
version of Stephen King's IT.
The disc blazes as you would
expect it to, but it's also laden with clean vocals, prog jam sessions,
guitar jizzery and female vocal duets (Emacipate 7:20). You'll also hear
saxophone and demented circus music, while the singer belts out "God is
dead!"
This album is certainly technical, but it's just as
technical as it is progressive. The band took a little from Arcturus,
Opeth, Ihsahn, Devin Townsend and Nietzsche as they worked meticulously
on this interesting concept release. While I believe that "Create 3:44"
is probably one of the most boring and radio friendly songs that the
band has ever written, (the vocals even sound like they've got a sort of
southern drawl) all of the other tracks seem to make up for it.
The
first three songs are parts of a trilogy called "Autotheist Movement"
and together they make up 17:00 of the album. Then after that, they give
a shout out to Devin Townsend with the track "Accelerated Evolution
4:39." (Accelerated Evolution was the Devin Townsend Band's 2005
release, and one of my personal favorites.) Not only that, the frontman
definitely tries to sound almost equal to Devin Townsend, and so much
that some people on youtube are calling this a "Deconstruction
knock-off."
Even if it is stealing, there's no doubt that
they've stolen from the best. Almost every track on the disc not only
shines, but manages to sound much different from the others. This is
really splendid shit, and I know that BTBAM's new one is set to also
come out this year, so there's definitely going to be some competition
for them this time around.
Decibel is calling "The Eidolon
Reality 3:46" a prog metal masterpiece, but I'm more apt to call it a
prog-death masterpiece, (since there's a lot of death here, whether you
want to call it core or actual death.) and the slower doom influenced
"Ten Billion Years 5:54" has a gravel and prog sense to it that will
make people question why they exactly called these guys "core" in the
first place.
Not to mention the solos. Oh yes, the fucking solos
on this one are immense, absolutely astounding. These are the things
that dreams are made of. If one is to die and ascend into another world,
the music there has better be as good as the fucking solos on this
record. The drumming is also well calculated, as the man behind the kit
does a great job keeping the entire thing epic - and it is. It is truly
fucking epic. This is definitely up for one of the year's best albums,
despite the slow opener.
Yes, even one slow opener doesn't
manage to tarnish this record, with a great instrumental "Hail Science
0:53" and it's sister track, "Hymn Of Sanity 1:34." The instrumental
contains some great atmosphere from the drummer, and some samples from
Mr. Science himself, Steven Hawking.
The disc closes with "In
Solitude 6:27" which is really just a little more icing to the already
iced cake - it really wouldn't have mattered if it were there or not, as
the band's already gone above, beyond, between, and through the call of
duty. But I will say that the clean and death metal duet on that track
certainly does add some uniqueness, as well as some of these wonderfully
spacey riffs, and solos that could've been performed on a neutron star.
Sometimes it actually sounds like this album was actually
recorded in space. But I doubt that, unless they're hiding something...
If
you want a truly memorable release that you'll keep coming back to, for
several years or more, then check... no. Don't just check this album
out, make it a part of your own personal album. Buy it just to show
people that this album was made. Play it for your friends and neighbors,
and may they also play it for their friends and neighbors, and yea; we
shall all bow to the throne of the faceless autotheist.
The disc
is only 40:00 long, but they've completed their task in 30:00 of that.
That task being to one-up Planetary Duality, but not by making it
heavier, as PD did that job well enough - they made their sound much
broader, and expanded their horizons.
Definitely well played, gentlemen. You've made a masterpiece. Now take it on the road, preferably to my neck of the woods!
Highlights: All but the first track, "Create." (9 Tracks, 40:00)
10/10
The Faceless - Planetary Duality (2008)
- Now that brings us back to the band's earlier disc. This album shows
us an inkling of what was to become, but is still worth hearing for
those of you who wanted more tech-death and didn't find it on the new
disc.
The quality of the disc is really just as good as the last
one, and you'll still hear your Cynic influence and your tech death
explosions, but moreso than on the last disc. There also aren't as much
clean vocals. This disc is a whole nine minutes shorter than the new
one, but it definitely has just as much of a punch. While there are
breakdowns to break up the tech death that overtakes most of this album
(and slight moments of thrash and prog) these breakdowns sometimes also
have guitar solos during them.
If a clean vocal is used here, it
was put through a voice changer and sounds robotic, or alien if you
will. There's even an instrumental "Shape Shifters 0:43" on this disc
that is just as good as "Hail Science" in the fact that it presents an
eerie but interesting atmosphere, which explodes right into "Coldly
Calculated Design 3:40."
I would not expect the same thing as
Autotheism here, because this is clearly a different kind of beast, but
unlike Autotheism being a clown, this is certainly still a beast. It's
still got wonderful guitar solos that sound just as good as the ones on
Autothiesm, but you're not going to hear them quite as frequent. This is
definitely more on the brutal side of things, so be ready for that.
Though
it's not like they aren't experimenting. There's a little bit of piano
on "Xenochrist 5:01" and some definite prog moments that you wouldn't
expect from too many other bands of this type. I just wish the other
vocals hadn't been synthesized through a voice changer, because it's
tough to hear them and it doesn't work all that well.
There's
also two very odd songs on the disc, and I'm wondering what their
purpose is. These songs look like something I'd find on a good old'
"Satan Death Metal" record, as they're called "Sons Of Belial 4:46" and
"Legions Of The Serpent 4:27." Not only that, but the latter song is
slower paced with a traditional style "gravel" growl and there's a
bloodcurtling scream on the background vocals. Of course, there's also
some clean vocals and prog that might kill this deathfest for you, so
sorry about that. This does sound like a tribute to death metal by
something that might see itself as more evolved?
As for the
former track, it begins with tech and prog leading up into acoustic. But
for two seconds before the death growls come in and the riffs switch
from classical inspiration to death metal inspiration. Then there's this
part with weird circus music and piano that breaks in, and leaves back
into metal just as soon as it came.
The disc ends with the title
track, which has been split into two parts. From the sample, it deals
with malicious aliens. The first part is an interesting instrumental
"Hideous Revelation 1:34", and that goes right into the second part, "A
Prophecy's Fruition." It's one of the only other songs with some clean
vocals. You can tell from these tracks that they were definitely going
to do more clean singing, and that's what birthed the band's current
album.
All in all, it's good record. Is it a great one? Well,
there's a lot of things on this disc that seem to go throughout the
whole of it. It really seems like deathcore with a few frills, and
that's what I'd have called it back then. Obviously, the band has moved
away from this, but here they were concerned with nothing but playing
this stuff. It's definitely got it's hits and misses, and I wouldn't
call it a masterpiece. But that's just me, because I'm sure there's
tech-death heads that think this is one of the best albums out for the
genre.
I'm also sure that there's people who hate Autotheism and
love this stuff. But that's fucking okay- to each his own, and all that.
Though as for me, I'll definitely consider it a solid 8.
Check it out if you're curious, or want to hear something still in the same vein, but much heavier than Autotheism.
Highlights:
Shape Shifters, Xenochrist, Sons Of Belial, Legions Of The Serpent, A
Hideous Revelation, A Prophecy's Fruition (9 Tracks, 31:00)
8/10
Grave - Endless Procession Of Souls (2012)
- Oh, Grave. How the mighty have fallen into obscurity. Once they were
one of the forefathers of Swedish death metal, and now they are churning
out less then respectable "death metal by the numbers."
You
people have no idea how much I anticipated this. I said, to myself,
"There's a new Grave coming out. I'm going to have to grab that one,
it's going to be good." Well, I was wrong, in the same way that I was
wrong with the latest album from Testament.
At it's main core,
it's still death metal. The band didn't pull a Cryptopsy and start
creating metalcore, nor did they make an industrial death metal massacre
like Morbid Angel did. The only real problem with this album, is that
it sounds like 100% run of the mill death metal that we've all heard
before, time and time again. All of the death metal albums that I have
reviewed before this one, are much better than this one. The Faceless
isn't even considered to be death metal, but they've got these guys
beaten.
Don't get me wrong, there are a hand full of good riffs,
and I do like the closer "Epos 7:44" quite a bit. But everything really
sounds the same throughout. The riffs barely change tone and it all just
sounds like one long re-gurgitation of the same song. The vocals are
decent, but they could be much better too. That Gorephilia disc I
reviewed had much better vocals than this one, which sounds like an
angry old man. Which is probably who's on the vocals.
By the
way, there's only goddamned solos on the entire disc. Yes, two goddamned
solos. Now some bands can get away with this, but it just seems that
they were lazy enough with this release as it was. It's literally like
they pushed a button on a riff machine and tried to see how many
different combinations of the same riffs they could create to fill up a
45:00 album. As for drumming, well... it's as good as any other death
metal drumming I guess. But the guy's no beast, he just plays by the
numbers. Just like everything else.
Yeah, I'm pissed alright.
Unleashed pulled this bullshit in 2010, and then in 2012 they got the
record straight and made a worthy death metal disc. These guys should
have gotten that same memo, especially considering how much I respected
them. At least "Epos" was thought though and it seems to be the only
real track of merit on this disc. But that still isn't saying much.
If
you want cookie-cutter death metal with a lame growl and the same
combinations of riffs that lead up to an only "better than mediocre"
lengthy and multi-structured closer, then go grab this disc.
Or better yet, don't waste your money. What a disappointment.
(10 Tracks, 45:00)
6/10
Korpiklanni - Manala/Underworld (2012 Dual Language Edition)
- Korpiklaani's at it again, and those of you who stuck by me in the
days when I was only on NWAMETAL know that I've pretty much covered
their material in it's many incarnations of folk. But this disc is
actually quite different. Don't be alarmed, because it's still folk
metal - but it's not quite as joyous as usual and includes some hints of
death metal, doom and thrash that we haven't seen and heard from this
band since I believe their third disc, when they started playing around a
little with their music.
Since there are two versions of this
disc, (One in English and one in Finnish) I'll have to point out which
version of the track is superior. Of course, this is all matter of
opinion, so you might like it better in the native, or just in English.
The
disc begins with "Kunnia/Honor 3:25" and I like both versions of the
track, but surprisingly this folky thrasher sounds just as good in
English as it does in Finnish. It's trademark is a strong chorus and
nice chant. "Tuonelan Tuvilla/Huts Of The Underworld 3:10" is also a
darker track, but still has the folk you'd expect. Though there is an
English version, the accent is so thick that this doesn't matter.
"Rauta/The Steel 3:06" is decent, but it's just really weak. They tried
to experiment with it, but that flopped and made a rather boring track.
"Ruumiinmultaa/Soil
Of The Corpse 3:37" is a little more groovy and folkier, but it has
some harsh vocals on it, which I didn't expect. "Petoeläimen
Kuola/Predator's Saliva 3:15" is actually a very thrashy track and it
plays around with death metal. There are even some growls on the track.
The English vocals sound like they came from a different vocalist. IMHO,
that guy should've done the whole English version of this disc, because
I can actually understand him.
"Synkkä/Dismal 5:25" is a
sorrowful ballad. The English version is just as thick as the original,
so it doesn't matter what version you listen to. This has a lot of sad
violin and pagan drum, so expect that. "Ievan Polkka/Ieva's Polka 3:08"
is definitely a polka metal track, no doubt about that. Not much else to
say here. Next we have "Husky-Sledge 1:49" which is just an
instrumental. It gets a little bluesy on the violin near the end though,
didn't expect that. "Dolorous 3:05" is next, it's a full length song,
but another instrumental. Weird how they followed up an instrumental
with another, much longer instrumental.
It's almost over, folks.
"Uni/Dream 3:49" comes in with it's folk thrash. Again, both versions
contain a thick accent, so it doesn't matter which version you listen
to. It's decent, but nothing new. The English disc ends with "Off To The
Hunt 5:35", which is "Metsälle 5:40" in the original Finnish. The track
starts out with a calm instrumental and then sounds like a traditional
song of the hunt.
Oddly enough, the original comes with a song
not found on the English version. But this song (with a translation I'm
currently lost on) is a doom track. Yes, it's something altogether
different from the band and already makes the original version of the
album superior.
This track is called, "Sumussa Hämärän Aamun
6:19" and it might be a cover, because those riffs don't sound like
theirs. It's much darker than most of the material these guys do, but
still has some victorious moments. I think it's one of the best songs
the band has done, also do to the fact that it has such a heavy to light
factor and strong chorus.
So that's it, folks. Korpiklaani's new
album is full of Odin-fueled songs to the hunt, and possibly Odin's
trip to the underworld. Because he can do that, after all. The disc is
full of hits and misses, but folk fans will find much to like here,
despite the extremely thick accent of the vocalist. Again, the gentleman
who performed on "Predator's Saliva" should have done the entire
English album, even though the English version of "Kunnia" (Honor)
fucking kills. This is probably my favorite song off the disc, reminding
me heavily of their 2007 album, Tervaskanto.
It's thrashier,
sure - but it's still folk and polka-laden. These guys make a few nods
to heavier music, but mostly stick to folk. However, it might be the
heaviest that this band will get and I'm sure that there will be fans of
folk that like it. Some songs here are just awful, but others are
great. Though I don't have many highlights, there are some songs on here
that weren't exactly terrible, but I wouldn't call them highlights
either. They were just so/so. Just like the disc.
Highlights:
Kunnia/Honor, Tuonelan Tuvilla/At The Huts Of The Underworld,
Petoeläimen Kuola/Predator's Saliva, Dolorous, Sumussa Hämärän Aamun (12 Tracks (FIN) 46:00, 11 Tracks (ENG) 40:00)
6/10
Om - Advaitic Songs (2012)
- This disc automatically starts out with something that's definitely
not like metal, and the best way that I can describe this opener, "Addis
5:32" is by comparing it heavily to the Dead Can Dance that I reviewed
last week. One could say with firm certainty that the band decided that
they would simply rip-off DCD and enjoy every bit of it. But this is a
good rip-off, as awful as that might sound; and let's be honest - Om
isn't the first and won't be the last band to rip them off. DCD paved
trails with their music and still manage to influence bands that are
light years away from their multifaceted version of darkwave.
The
band does return back to it's style of stoner/doom with the next track,
"State Of Non-Return 6:05" even bringing back the meaty guitars. The
dark croon is spoken in a ritualistic fashion, bringing to mind ancient
rituals in dusty old temples. Not to mention the use of violins to
further enhance the atmosphere and the band's overall musical palette.
"Gethsemane
10:25" comes next, sounding like a sort of atmospheric rock fronted by
the most well known singer of Pink Floyd, Roger Waters. "Sinai 10:19"
comes right in after that, in all of it's esoteric instrumental glory.
This might be an album for meditation at times, as the music tends to
quite and focus the mind.
The final track is "Haqq Al-Yinn 11:24"
which certainly reminds me of darkwave more than anything else. This is
the kind of music that pagan/ritualistic bands play, and the lyrics
themselves seem in the same vein. This music is not just music, it's
definite ritual, through and through. Magick of some various sort is
being worked on this disc, that I can tell - but I have yet to dig
through the album and figure out what kind of incantations these are.
I
don't sense anything overly harmful, and for the most part the messages
come forth in the music ten-thousandfold. If you're just hearing music
on this disc, I encourage you to open up your eyes and realize that this
is much more than just a musical album.
As I've said, it's a
ritual. But as to what, I have no idea. Unlike Toby Driver's last disc
which I found to be somewhat unnerving in the energy sense, (remember
that sounds are waves of energy and can affect and alter brainwave and
energy patterns within one's self) this disc I found to be relaxing,
calm and overly powerful. True desire and intention were let loose for
43:00 and if you are willing and open to these rituals of a positive
energy space, then I do recommend that you check out this disc.
It's
not for everyone, but I'm certain that there will be those who seek to
delve further into it's words and symbols. Be very careful with this,
for the occult is not a play-thing; it is an educator and an opener of
the thin veil of mundane illusion.
Of course, getting high as a
kite and putting this one could also be beneficial and calming to one's
spirit. The atmospheres here are unparalleled for astral travel, I'd
reckon.
One last thing. This isn't a metal album per se; so those
looking for heavier doom influence will want to look elsewhere. It's a
great release, but nothing that a metal fan would wholly enjoy, due to
the lack of real metal.
Yet this album is heavy in a very other sense. You'll know when you hear it.
(5 Tracks, 43:00)
8/10 (In regards to metal)
10/10 (In regards to ritualistic atmosphere)
Icarus Witch - Rise (2012)
- At first, I was not sure what to think of this new album by power
metal veterans, Icarus Witch. But as I kept listening to it, I found
many comparisons to bands like Avantasia, Brainstorm, Dream Evil, Edguy,
Firewind, Tad Morose, Evergrey, Helloween and Nocturnal Rites among
others.
The melodies are very predictable, the drumming isn't
furious and there's not a lot of thrash to this power. But there are
several memorable choruses and some really great solos on this one.
Songs like "The End 4:35", "Coming Of The Storm 3:10", "Tragedy 5:32"
and "Pray 2:56" remind just why it is that I still like power metal.
These guys are certainly one of the best in the genre right now,
crafting the same kind of catchy material that their forefathers did,
and it gets stuck in my head just the same.
It isn't a perfect
album though, as some of the songs are just a little weak for me.
"Nothing Is Forever 4:10" is a forgettable ballad, and the only merit on
"In The Dark 4:28" are the leads. It's not that great of a song
otherwise. The last song "Last Call For Living 3:19" reminds me a little
of Priest, but doesn't hit quite as hard as they would have done it.
There's also an instrumental called "Asylum Harbor 0:31" which is really
a throwaway track that opens up "Coming Of The Storm. This could have
just been added to the track instead of showcasing it as a separate
track.
The prog experimentation on this disc definitely helps it
to stand out among the pack, but I don't know how much that will matter.
There have already been a lot of good power metal releases this year,
and I think that this one might get buried underneath them. But if you
are actually one of those people who is still looking for power metal
amongst all of the extreme bands that we've got nowadays; you should
find something to suit your palette here. At least for a while.
Great
power metal that I'd recommend to fans of the genre. Not as heavy as
you might like, but it's definitely catchy and well produced. The metal
equivalent of pop, but still worth checking out.
Highlights: The
End, (We Are) The New Revolution, Coming Of The Storm, Tragedy, Say
When, Break The Cycle, Pray (12 Tracks, 45:00)
8/10
Unsane - Wreck (2012)
- I wasn't quite sure how this jazzy sludgecore was going to sound at
first, but I'm glad that I decided to check it out. The band is
definitely heavy, sounding at times like a Primus on Steroids. The
vocalist has a very fierce spoken vocal that envelops into a scream.
The
disc is very dirty, it's the kind of thing that's been covered in
grease and grime because it's been sitting in the tar of a leftover oil
spill for many years, so you'd have to imagine that the music sounds
rather oil-black and filthy. But that doesn't mean that this disc lacks
in it's rock and roll style guitar solos, because it's definitely got
some great shredding moments.
You're also going to hear some
great melodies too, even though you might not expect it. The disc has a
very raw sense about it, even though it's produced much better than
you'd expect a disc of this nature to be. This raw sense helps to really
bring a sense of realism to the album; in other words, this is music
that you can really FEEL.
Again, this is definitely due to the
vocalist. His emotion on the mic is unparalleled and I have no idea what
they'd sound like without him there. It really feels like Unsane is his
vehicle for getting out frustration, and sometimes that can be more
therapeutic for a person than talking to some half-wit therapist.
Every
song carries the same vibe, but is altogether different from the
others. This is a good thing, because the disc is cohesive, but not all
of the songs are the same. One could say, "well the vocal style never
changes" and you'd be right, but I don't know if I'd like to hear this
guy just sing or speak, no matter what the rest of the band is doing.
This
is 41:00 of punk-fueled anger set to the background of melodic post
metal, with thrashy sludge. If you're looking for something other than
this, you'll have to look elsewhere. The band certainly does a great job
with each and every one of these tracks, and I recommend this one to
all fans of dirty, grimy music.
It's sick, it's rotten, it's
absolute garbage. But it's great fucking garbage. This is the kind of
music you can play to the background image of child prostitution,
deserted homes that banks cashed in on, global devastation, bloody,
gory, sickly warfare between nations for oil, just the same oil as this
album manifests.
Pure grime, real feeling. Doesn't get much more
dirty than this. I don't think they'll top it, and I furthermore don't
think that they care to.
(10 Tracks, 41:00)
10/10
Disaffected - Rebirth (2012)
- Now, here's something you don't hear everyday. Disaffected makes some
rather bizarre death metal, consisting of a thousand different time
signatures and tempos. They also experiment, at times sounding like ten
different bands, yet they are still able to keep their sound. I can't
honestly tell you much about this album, and that's because I've only
heard it once.
Yes, you probably have to listen to this thing
two, three, four, five or twenty different times to really absorb the
material. But I just don't have enough time to do that as a reviewer.
The intro to the disc "Mankwala 1:49" makes it sound like some sort of
darkwave ritual album; but as soon as the death metal starts playing,
you'll then come to the realization that it's not.
The band
doesn't play brutal death metal, I would liken it to an extremely
tech/progressive/experimental death effort with hints of goth and
there's even a female vocal sometimes. The songs are quite long,
especially in the beginning, where most of them stretch closer to 10:00,
then the normal radio single (which is only 3:30).
If you
scroll through these songs, you find that each time you scroll, there's
something different going on. That can either be a good or bad thing,
depending on the person. While I like the idea of this extreme
avantgarde, it can get just a little overbearing and it's tough to focus
on when you're listening to it during the day to day work basis.
Perhaps this is supposed to be listened to in a dark and silent room for
the 66:00 of it's length. I'm not sure.
But it's not as badly
cramped as it could've been. Trust me, as there are no flutes, wood
blocks, or little metal triangles going "ping!" But you can tell that
this is the kind of band that might actually decide to one day do that.
"It is not good enough, we must have little metal triangles going ping!"
Joking aside, these guys really made one heck of a disc. I
could've have done it, and you probably couldn't have either. The drum
work is fantastic, the guitars love their prog, and the vocalist is
somewhere between black and death metal. I also like the fact that the
bring in the gothic organs and sometimes use the robot voice sample. It
sounds much better than the Faceless did when they used it on Planetary
Duality, but that's because these guys have a higher production value.
The
band also excels in creating interesting and otherworldly atmospheres.
Sometimes the vocals will even take a deep croon and really add to the
gloom and despair. Yes, there are a myriad of things going on, like it's
all some sort of big play - but it's done right. All of the tinkering
done on this album helps to enhance the mood.
it's definitely
death metal for intelligent people, and not just people who listen to
technical stuff and think they're smart. You might need to be even more
bright to understand this darkness. But let me tell you that it is
certainly worth it. This is a dark album, it is a dreary disc - there
are no happy melodies. But there are some great solos and the guy shreds
his ass off on them. It's really hard not to recommend "Dreaming III (A
Nightmare) 9:07" as it just sounds like the unnamed standout of the
album. I'll also have to recommend "Hypnotic Prophecy 8:04" because that
song also showcases a lot of this band's elements.
I consider
these guys almost like an evolved Graveworm, in way. Whether you want to
believe it or not, I just hear so many elements of goth here, but
evolved and made into what they should sound like in 2012, this dystopic
future world that we live in. One interesting thing about this album,
is it's ear candy. You're going to hear a tidbit of something unique in
each and every song, something that is unlike what you heard on the
previous one.
Now how many bands actually do that these days?
Though
the overall technical riffing might get on your nerves after a while,
it's the little Egyptian influence of "The Rebirth Of... 6:12" that help
to break up the monotony. One more thing. This guy should never speak,
as he sounds like he's talking through his nose - like the super nerd
that the guy probably is. A good example of this is the first part of
"1460 Steps To Divine 4:57."
Nope, that's not a voice changer.
The guy thought he could get by with it. But let me tell you something,
with the sheer amount of talent that this band has, I'll have to
overlook it. Not to mention the nice little lounge at the end of the
album. What a great way to end such a bleak thing, really.
Of
course, for their next album, (if you gentlemen in Disaffected are
actually reading this review) they should find a way to try to mix these
elements of happiness together with the elements of despair, in a way
creating the human condition, the constant duality of pleasure and pain.
Nevertheless, if you're looking for something unique;
definitely check out this album. Because that's what it is... some form
of experimental death/goth/electronic/avant-garde/prog/technical and
whatever else you can find. Pick up this metal scavenger hunt today!
Highlights:
Everything but "Miracle Dance 2:09" (boring piano interlude) and
"Evilution Within 7:05" (just a little weaker than the rest) (11 Tracks,
66:00)
9/10
Philm - Harmonic (2012)
- This odd experimental side project from Dave Lombardo of Slayer, is
for the most part, very experimental. Some tracks are atmospheric, some
sound a little jazzy, some are just little instrumentals, and then some
sound like the sort of heavy that one would discern from hard rock, or
modern metal like the Deftones. There's even a few songs that remind me a
little of a punkier Killing Joke.
I'm not sure who the vocalist
is, but he certainly has quite a scream on him, one that he's not
afraid to belt out through some of the songs. The guy has a
distinctively British punk sound, and immediately makes this leaps and
bounds from Slayer. Add the menagerie of atmospheric passages and prog,
and you're walking right out the door of thrash metal.
But don't
turn away from this just yet, because there are still some moments when
this thrashes - and being a drummer's band; the drums are showcased
heavily and perform well above the standards that you would expect this
album to live up to, this being the legendary Dave Lombardo.
At
many times, one gets the feeling that this is the kind of disc where
anything went, and that is both a good and bad thing. It's good, because
so many different sides are shown on this album, and it's apt to change
it's tune in mere matter of seconds. But there are occasional parts of
the disc where one must scratch their head and wonder what was going on.
For a very experimental hard rock disc with tinges of metal at it's
core, I'm sure that it's not going to appeal to most fans of the heavy
hitting thrash that Slayer does.
But that's not to say that it's
terrible. It's certainly unique and marketable in an industry where
clones and copycats seem to make up a great majority of signed bands. Of
course, one can also come to the conclusion of "fuck you, they ripped
off Killing Joke on most of this album!" and that's definitely true in
some aspects.
The base riffs and melodies are a little simplistic
at times, but well structured and wonderfully unstable. For instance,
"Way Down 5:43" with it's progressive and slightly jazzy vibe,
(reminding me of Pink Floyd in some areas) comes right after a song that
sounds more like a tribute to Deftones, "Area 3:52." Then the band just
throws in an atmospheric instrumental that happens to have not only the
title track, "Harmonic 3:13" but some impressive melodies and trippy
landscapes that lead right up into the 70's prog of another instrumental
called "Exuberance 7:25." Later on throughout the track, you'll hear a
screaming guitar solo - probably something right out of Slayer, but with
proggy drums in the background. And all of this happens smack dab in
the middle of the album.
Yes, it's that kind of record. Get ready
to get under the influence of herbs before checking this one out. They
might enhance the experience for you. LSD would probably also be a good
choice, as some of these songs sound like drug trips. Yet you should
also be aware that the Killing Joke influence will come straight back at
you in a hurry, so don't think that this is a chill out album.
Therein
lies the disc's fatal flaw. This sounds like two albums mixed together.
You've got the high energy tracks mixed in with the chilled out
instrumentals, and it almost ruins the mood. In a way, it gives the disc
a sort of sporadic ADD - but it can be unnerving to ruin the mood of
such a great atmosphere like "Exuberance" with the much heavier,
scream-laden "Sex Amp 5:06" and "Held In Light 3:30."
Then after
you get finished with the second round of heaviness, the light prog
comes back with "Killion 3:35" and that flows into "Mezzanine 3:22"
which goes into the heaviness again (but no longer scream-laden) with
"Mild 4:20" which is exactly that, ending with an unexpected atmosphere
that changes the whole vibe of the song completely. The disc ends on a
heavy note, with "Meditation 4:11" a song that should've been the last
track on this modern era Killing Joke tribute.
I'm sorry that I
had to explain this disc, but there's really no other way to do it. This
is a multi-faceted creature, something that goes from heavy to light
and from day to night without a moments notice. It's the very image of
sporadity, so don't be upset if you find that the music just can't stay
in one spot.
Fans of Dave Lombardo's drumming will find much to
like here, surprisingly. The man's skills are showcased beautifully - as
is his previously unknown love for Killing Joke. This is actually worth
a shot, and at most it's a change from the genres we're used to -
death, thrash, black, and doom. Check it out, but certainly TRY before
you BUY.
Highlights: Vitriolize, Area, Way Down, Harmonic, Exuberance, Amoniac, Dome, Killion, Mezzanine (15 Tracks, 62:00)
7/10
Sleeping Peonies - Slowly Disappearing EP (2012)
- This 19:00 EP from black metal shoegaze group Sleeping Peonies is
different, but it's not that great either. Sure, what he does with the
guitars is alright, but I'm sensing some very bad drum programming, and I
can't hear the damned vocals at all. I wanted to like this disc, but
I'm afraid that clean guitar melodies can't save it for me.
There
is a little merit in the opener, "A Timid Eyelash Flutter 2:02",
"Slowly Disappearing 2:51", and "Blowing Out Candles 1:34" showing that
the guy does have some talent and perhaps he'll get better over time -
this is a good idea and I hope that he'll further develop it; but he
needs more practice to fine-tune his skills. I'm sure the mastermind
behind Neurotech didn't just wakeup one morning and become good at what
he does, but with time, he created several great pieces of music.
This
is a work in progress. I'm not sure if the guy's selling it or what,
but if you're interested, I'm sure that simple search could help you
find it.
http://sleepingpeonies.bandcamp.com/
Highlights: A Timid Eyelash Flutter, Slowly Disappearing, Blowing Out Candles (6 Tracks, 19:00)
4/10
Torture Killer - I Chose Death EP (2012)
- Torture Killer wasn't really a band that I dug into until Chris
Barnes jumped on a few of their albums. But a few was all that he did,
and after those two discs had passed, the band found another vocalist.
This
three track EP showcases some great death metal though, very much in
the old school horror/death metal nature of the Revolting album (Rogga,
you might want to check this out!) I reviewed, among other bands of that
ilk.
Just like on the material with Chris Barnes, Torture
Killer is still set on being a groove/death band with horror themed
melodies. Take the first track for example, "All Will End In Terror
4:30." It's very much in the style of groove death, with a gravelly
vocalist that unleashes a few bloodcurdling screams, and features some
definite horror themed melodies.
Then we've got "Succumb To Dark
4:15" which marries the groove with a little bit of brutality and
speed. Then there's some prog interjections which this band is also
somewhat known for. But don't call them prog death, this is more of an
act to break the monotony and it works before bringing the hammer right
back down.
Finally, we have the eerie title track, "I Chose
Death 5:47" which sounds like the stuff of nightmares and reminds me why
I like death metal so much in the first place. Those opening riffs
alone tell me that death metal is still going strong in 2012. Almost
twenty years later, and the genre is still bringing horror, groove, and
brutality just as hard and fierce as it was in the early 90's.
Even
though this disc is only 14:00 long, it's worth listening to. All of
these songs are good songs. They've all got potential, and with material
this fucking good coming out of the Torture Killer camp; I'm definitely
ready for another full length from these guys. Nothing is wrong with
this EP, other that the fact that it's just an EP.
Quit fucking teasing me and release a full length album already.
Highlights: All (3 Tracks, 14:00)
10/10
Attika 7 - Blood Of My Enemies (2012)
- Don't let the title fool you, guys. This isn't even one tenth of an
industrial metal band. It's just a project from former Biohazard
frontman, Evan Seinfeld. It also features Static-X bassist, Tony Campos.
I have no fucking clue what Revolver is saying about industrial on this
disc, because I'm not hearing any. Maybe a few atmospheres and stuff,
some effects if you'll listen close - but for the most part, this is
like hard rock/modern metal. You can pick it up with the new Fozzy and
get the same feeling out of both of them. This is the kind of stuff for
people who like heavy music, but not metal.
It's very catchy
radio-friendly groove-metal and I'm sure that there are people out there
who will accept it. But I think that true metal fans and fans of
Biohazard might scratch their heads on this one. Yes, there's some solos
on the disc, but this is about as re-tread modern metal/hard rock as
you can get. Most of the riffs are merely variations, the drumming is
pretty boring, but I guess that some people might find this the perfect
music to play during a round of Call Of Duty or Battlefield or World Of
Tanks or something. It's actually the kind of music I would expect to
see playing in the intro to one of those games. (Not Linkin Park, which
got used for the new Medal of Honor, I believe.)
This is about
as heavy as Rob Zombie, Disturbed, Godsmack, and many others in that
vein. I could mention and pull out certain tracks, but why? The only
thing I found that didn't sound just like everything else is, "The Hard
Cold Truth 1:23" a spoken word piece that is worth checking out.
But
everything else is just kinda by the numbers. You could play this on
the radio and people would like it on modern rock stations. It's very
watered down, but I know it's going to sell, because it's so fucking
catchy.
It'll also get used in WWE. Yeah. Just has that kind of
vibe. Listen to this shit and tell me I'm wrong, folks. One of these
tracks is going to be either a wrestler entrance or a theme to an event.
Not awful, but nothing at all new. Would you believe me if I
told you that the new album from Chris Jericho's band, Fozzy has more to
offer than this? Well, it's true. And he's a wrestler. Which makes this
album sound even worse.
(13 Tracks, 48:00)
5/10
Fozzy - Sin & Bones (2012)
- Don't even give me any shit about this one. I was just as surprised
as you would be. Yes, this is Chris Jericho's band. Yes, I said that
their last disc was horrible. Yes, they've had yet to do anything even
remotely metal. But I definitely found myself a little intrigued by some
of the material on here.
No, it's not because they decided to
use a few more riffs and some more drum technique here and there. No,
it's not because I thought the duet between him and the chick was
beautiful on album opener, "Spider In My Mouth 4:47" or I thought it was
cool that they used a breakdown in that song, because that's "totally
metal."
Nope, it's not because I thought "Sandpaper (Feat. M.
Shadows) 3:13" is a great song because M. Shadows is so hot and has a
great voice. What the fuck do I look like, some kind of goddamned giddy
heavy metal girl or something?
And then you say, "Well, if not for the super sexiness of M. Shadows; what else could you possibly like about this album?"
Alright,
then what if I told you about "Blood Happens 4:07" which is an
interesting song with some stolen Dethklok riffs and light growls. It
also has an interesting solo and it's much heavier than anything on
their last album. So there's one thing.
It's definitely not
"Inside My Head 4:02" because that song is boring radio rock, despite
the so/so solo. However, "Sin and Bones 3:36" has some good riffs and a
decent chorus. it's catchy as fuck, I won't even lie. The solo there is
also good. It was worth naming the disc after this track, because it's a
definite standout. Yes, it's the metal equivalent to pop, but damn it,
it's fucking catchy!
"A Passed Life 6:55" is a softer song, but
it's got some structure. I didn't expect anything like this, reminds me a
little of Maiden in some areas. Also contains some prog melodies I
didn't expect. It's a sign of maturation if nothing else.
I
could do without "She's My Addiction 3:22" which is a country rock love
song thing? What the fuck? Then there's the slower paced "Shrine Forever
5:45" with riffs that steal right from the playbook of Zakk Wylde. It's
not a bad song, and it's got some definite structure and shows signs of
musical maturation quite like "A Passed Life."
But one of my
favorite songs on this disc is the Ozzy influenced, "Dark Passenger
4:23." It's catchy and I do like the lyrics. His voice does reach for
Ozzy's tone and he hits it a few times. There's a little breakdown
piece, so "oh yeah, it's metal." But I will say that there's a hell of a
solo on this track. There's definitely a pretty damn decent axe-man in
the band, if he were allowed to play for more than a minute. Make that
more than 30 seconds...
But wait? What's this at the end?
Apparently, there's a 11:34 minute epic called "Storm The Beaches." It's
about WWII. A couple of decent riffs, the song kicks into gear well,
reminding me a little bit of bands like Brainstorm, but with a less
seasoned vocalist. Believe it or not, there's actually a real guitar
solo on this track, some interesting atmospheres and effects, along with
some good melodies. This is probably the best song that Fozzy has ever
released in their career, and they should be proud of it. This is more
layered and structured than the usual radio rock fans of this band would
ever get the privilege to hear.
Believe it. There's an a second
full solo on this song, and plenty of riff transitions. Yes. This song
actually makes me think that Fozzy has potential. I guess I'm going to
have to start climbing up a very tall and steep mountain, so that I can
jump right off in disbelief of the world. But yes, this is probably the
best song that Chris Jericho has ever done with a band, and I can't even
believe that this is a song on their album.
I think metal fans
are going to be in for an unexpected treat when they hear this disc, as
much as I was. Especially with this album's incredible closer. Yes, I
said incredible closer. That's not in parenthesis to sound sarcastic.
It's up to you if you want to buy it, Jericho's already a billion dollar
"wrestling superhero" but I definitely recommend that you all listen to
"Storm The Beaches." Perhaps this is a sign of what's to come?
...And probably of the coming apocalypse as well.
Highlights: Sin And Bones, A Passed Life, Shine Forever, Dark Passenger, Storm The Beaches (10 Tracks, 51:00)
6/10
Neurotech - Unconditional (Feat. Tanja Ravjen)
- I'm glad this new single is free, because it makes me want to claw my
eyes out. This is what happens when you become popular and start trying
to sell out. At first, it's a great electronic piece with a slight EBM
vocal, and a scowl. Then we've got this chick singing the chorus. Yeah,
it'll be popular in goth clubs and all that - but please don't make the
second EP or next release like this. There's enough groups already doing
this.
It's alright, but I don't like it as much as the stuff he
does by himself. It's catchy, but it's nothing of merit. Could this be
the end of the Neurotech I knew?
(1 Track, 3:47)
3/10
La Coka Nostra - Masters Of The Dark Arts (2012)
- I'm not real familiar with these guys, but Vinne Paz guests on their
disc and the lyrics have a death/horrorcore tint to them. Oh, Ill Bill's
in this group too.
The disc opens with "My Universe Ft. Vinnie
Paz 4:00" which is a good way to open up the disc. But most of the songs
on this disc really aren't that memorable. "Creed Of The Greedier 3:43"
is satirical track about being greedy like the elite, and "The Story
Goes On 3:34" has a good beat to back it up, like they chopped the music
they use for epic movie trailers, I think it's a group called Nine
Steps From Hell. Which is a weird name for a group that makes all the
music for Hollywood trailers.
"Snow Beach Feat. Thirstin Howl
III 4:01" loops a guitar riff as a beat, and it does work well for the
song. It shows that the band does like and uses metal as an influence in
their music, of course this guy's accent is so thick that I can hardly
hear his damn rhymes. "The Eyes Of Santa Muerte feat. Sick Jacksen 4:31"
has a Latin feel to it and there is some guitar influence. The rhymes
are definitely good, and Sick Jacksen sounds fucking great.
"Murder
World 2:45" of course, is going to be good - has a very Jedi Mind
Tricks kind of beat, got to like the fucking chorus here, talking about
murdering someone again in the afterlife. Then Ill Bill just goes right
into the verse right after the fucking chorus as if it wasn't even
there. The guy's always had a good flow, even since his debut. "Coka
Kings feat. Vinnie Paz 3:48" has a good beat using an chopped organ, but
the chorus was also chopped up, and that fucks up the chorus to me. Of
course, Vinnie's on this one and he manages to save the track.
Of
course, there's "Malverde Market 3:11" which incorporates a funeral
hymn into the beat and features real samples from newscasts about the
Malverde massacre, something that I didn't even know what going on.
Pretty sick shit they're talking about here. The disc closes with the
title track, which starts out with an epic intro and doesn't fail to
deliver. It's short, but ends out the album, and there's even a few
anti-illuminati lyrics here. Not too shabby, guys.
All in all,
it's a solid album. There's plenty of hits and misses - but if you get
anything out of a record with these guys, get the fucking messages.
Yeah, they talk about killing folks, but there's a lot of purposeful
tongue and cheek shit that you have to read between the lines to
understand. These discs are more about rhymes, and they definitely have
some great ones on here. At any rate, it's much better than the World
Star Illuminati mind control slave bitches (c)rap that you'll hear on
the radio. While you're checking out that shit, do yourself a favor and
google search "MK Ultra." You're welcome.
My Universe, Creed Of
The Greedier, Electronic Funeral, The Story Goes On, Snow Beach, The
Eyes Of Santa Muerte, Murder World, Coka Kings, Malverde Market, Masters
Of The Dark Arts (14 Tracks, 50:00)
8/10
