Violent,
raw, and visceral black metal. From the very first track, the title
track, 'The
Arts of Destruction' is
set to non-stop aggression and blazing speed, a furious blend of
black metal and thrash, and while this combination is far from
anything new, Desaster manage to make something fresh out of it.
Despite
the stance of raw aggression the band takes on this album, there are
moments in the chaos of actual brilliance and, dare I say,
catchiness, and these are more than just brief moments, but whole
songs that stick in your head! Many of the riffs on here (notably
“Lacerate with Hands of Doom”) are surprisingly hook-laden and
mind-blowingly well-played for a black metal band that seemed, at
first, to put unfiltered extremity as their number one priority.
The band has found
a real knack for balance, between brutal force and semi-melodic
riffing, meaning that you still take the beating one would expect
from a black/thrash album, but it also leaves you with many things,
melodies, hook-filled riffs, that can be remembered later. It isn’t
the norm lately to have a black metal album with such attention to
structure and composition, and it’s very refreshing to see the
amount of diversity as well, from slower, heavy breaks in tracks,
“Phantom Funeral,” to a strong hardcore punk influence in “Queens
of Sodomy.” We even get treated to the occasional solo!
Overall,
this is a black/thrash album that isn’t afraid to expand into other
territories to make their music more interesting, an album that can
actually stick with you after you’ve finished listening to it, and,
while far from the likes of many experimental black metal acts today,
the amount of versatility on this album is refreshing, while not at
all compromising the raw aggression of the band’s sound in any way.
Job well done, and quite the enjoyable listen.
[7,5]
(Andrew
Oliver)
(Can't find any of the new songs on You Tube, but Hell - 'Metalized Blood' is always a great choice! Disagree? You're on the wrong site then.
Andrew managed to beat me at my own game with this review, one just can't compete with the youth,hah. Awesome album but I've been expecting nothing less from the Total Desasters - this gets 9 out of 10 from me! - Vladimir ED)
Canadian
thrashers Mortillery have finally released their debut album since
forming in 2009, and man, is it something else. This is most
definitely, without a single hint of doubt, the most authentic thrash
throwback I’ve heard from a band formed after thrash metal’s
heyday in the 80s.
From
the killer riffs, to the ripping solos, and maniacal vocals sung by
one extremely talented woman, Mortillery easily dominates their
competition with the raw and dynamic energy that was seen on the
debut albums of Thrash’s
Big Four
in the 80s, and brings me right back to the time when I was first
discovering these great thrash albums, and gives me the same
excitement.
One
thing that really separates Mortillery from the rest of the crop is
their vocalist, Cara. She often sings in a very clear, soaring vocal
style comparable to Crystal Viper’s Marta Gabriel, but she also
manages to belt out some hellishly violent screams, and some raw
black metal-esque rasp (think early Bathory, Toxic Holocaust), seen
very clearly on “Countless Suicides” and the title track.
'Murder
Death Kill'
is an album that belongs on the same shelf with 'Kill
Em All',
'Killing
Is My Business',
and 'Fistful
of Metal'.
A modern day Thrash metal classic in true, pure form, Mortillery have
given me what few Thrash albums can, which is the rekindling of that
old feeling when thrash metal was still wonderful and new to me, and
that is something absolutely priceless that should not be overlooked
by anyone. Give this one a listen.
[9]
Hailing
from Osaka, Japan, Blaze comes out with a debut album that is
brimming with flash and style, showcasing a style that melds a 70’s
hard rock/pre-metal style with that of early heavy music, but what
good is flash if not accompanied by substance? Well, I’m pleased to
inform you that Blaze has an abundance of substance on this
self-titled debut in terms of musicianship, composition, and melody.
As
far as the band’s sound is concerned, there’s a strong Scorpions
influence here in the clear, soaring vocal melodies in both the
verses and choruses, which is shown excellently in the track
“Answer,” as well as some very prevalent hard rock influences in
the vein of Blue Oyster Cult and Deep Purple that just skirt the edge
of the metal boundary line (see “Heart of Gold”). We also get a
little early Judas Priest in some of the more driving rhythms found
on the album.
The
songwriting and composition here is superb in capturing the spirit of
this great music. Not being contented with just being another
throwback band, Blaze seems to have really submerged themselves in
the spirit of this music, rather than just trying to rehash and
recreate something that’s already been done. The riffs are catchy
and well-constructed, the choruses are sky-high, and the solos
oftentimes have as much (or more) anthem-esque qualities than the
vocals themselves, and are played with great skill and placement, a
true statement for every solo on the album, though some of my
favorites are in “Heart of Gold,” “The Night Speaks,” and
“Night Walker.”
Not
overly ground breaking stylistically, but what it may lack in
innovation, 'Blaze'
more than makes up for in spirit, composition, and sincerity in its
music, a fun, uplifting album from start to finish, without a single
weak moment. This one comes highly recommended. [8.5]
'Canadian metal, just obey...' - long before Fenriz' salute to the
country's infamous metal legacy, Canada has already had its reputation sorted
as fertile soil for producing some of the most awesome metal on the
planet. Andrew Oliver believes that Calgary-based STINGER
may be the next contenders to the throne and had a pleasant chat with
band's founder, Shaddy Elsaghir.
First
off, tell us about the history of the band. I’m aware that there
have been various line-up changes as well as the release of your
debut album. Tell us about it!
STINGER
had its first few jams at a place I had in late 2010, one thing led
to another and it became a lean mean metal machine. 'Manic Depressor'
came out June 2011, we worked our ass off to get that album out
there, and it was pretty successful.
In
a time where generic Death core and various Nu Metal and Screamo
bands are becoming more and more prevalent and popular in the metal
scene, what keeps you steadfast in playing this great, classic metal
music? Why was it that you decided to play this music in the first
place?
Y'know
I always wondered why its seemed like rock music has taken a downturn
since the early 90s, I didn't know what the fuck radcore prog math
metal or whatever the fuck that shit is called till I was 17 y'know,
when I first heard it I was just like whaaa? I can't relate, at all
and by then I was already caught up in discovering classic shit. Our
music itself isn't necessarily simple, but some people over
complicate shit, my band should always be associated with having a
good time and hearing tunes that make you feel like a badass, not
shit that is gonna connect with your World of Warcraft
account. Its just the best kinda music out there, I love it all, but
classic rock n roll n heavy metal is as real as it gets.
Speaking
of your musical style, let’s talk about the direction behind your
debut album, 'Manic Depressor'. How did it come to be written and
recorded, and could talk about the recording process?
Kirill
Telichev, a Calgary local did it, he's a good friend of mine and in
all honesty I have no need to search for another producer, he is
easily the best in the city and the best quality I've heard from any touring
bands from USA or Canada. The album was more or less split up from
the early STINGER recordings, songs written with the first line-up,
and then songs written with the 2nd line up, between about 4 months
apart, we were gonna record an EP and it snowballed into a full on
album, the new songs when Mike came in the band elevated our game, we
started getting bigger gigs with better bands and it upped the bar
for all of us. 'Manic Depressor', '12 Years', 'Dream Revolver',
'Lucid Screams', you can hear a definite evolution in those songs and
a more complex mature songwriting.
Shaddy Elsaghir of STINGER
What
really made me fall in love with 'Manic Depressor' was the attention
to composition. Even more so than the stunning technicality and
musicality, you guys really showcased your stunning ability as
songwriters, something that is starting to become less and less
important to many bands today. How does Stinger’s songwriting
process work? Who writes the music and how?
Thanks
dude, I just wanna be the jackass who claims to write everything now
just to piss some people off!! hahaha. Honestly 'Manic Depressor' was
so fuckin organic, the writing was mainly between Mike and I, some
songs I'd write 90% of them, some songs he would write 90%, some
songs it'd be a collaboration down to the fuckin core, I'd bring in a
riff, he'd bring in the pre-chorus, I'd bring in the chorus
etc, and we split up a lot of lyrics as well. I am most proud of the
collaborations, although the title track is my favorite and that one
was not.
How
has the general reception of 'Manic Depressor' been? Are you
satisfied with how it turned out?
Y'know
man so far so good so what? Haha just kidding, its been great, thanks
to people like you and other badasses I've never physically met
responding with such enthusiasm thrills me, I wanna do it again and
again. The fans have been great, across Canada the crowds were pretty
enthusiastic for 4 grease bags playing IRON MAIDEN licks.
What
has STINGER been up to currently as far as live shows, possible
tours, and writing new material?
The
2nd album is being written right now, possibly a song or 2 to be
released around February! Release the album, tour, come home and do
it again,haha.
Musical
influence is very important in helping to define a band’s sound.
What are some albums that have been particularly influential on you
and your style?
For
'Manic...' it would have to be GUNS N' ROSES meets MAIDEN, 2 bands
who probably should not meet in the middle haha, throw in some
Portnoy-esque drums and you'd get STINGER.
What
has the band’s strategy been as far as the distribution and
marketing of your debut album?
Y'know
were up on iTunes, YouTube, Facebook, we haven't been entirely
lazy nor entirely proactive in that front. We've got digital download
available on CD Baby as well, were pretty much there if you
look for us(search STINGER 'Manic Depressor'). We're still gonna
continue pushing the first album but line-up changes really put a
kind of bad taste in my mouth, I still love the tunes on that record,
we'll still play 'em and it still can be pushed further, but I would
rather record something twice as good now with the current line-up.
We'll see how much further it can go, it is overall a cool record,
I'm sure anyone can enjoy at least a song or 2.
I
realize that STINGER is no stranger to the live stage, but are there
any plans of going outside the Canadian border anytime soon?
Y'know
man if I could tour the US and Europe I'd be happy, we're working on
it, we'd love to play to THAT kind of audience cause it’s like
man-up or gtfo, thats where it’s at. Canada is our training grounds
and we're thankful we have a country where we could express ourselves
and get a good response, but the US and Europe, definitely the next
stop.
Despite
various trials and tribulations, struggles, and line-up changes,
STINGER seems to be still going strong. What are your plans for the
future?
Domination!!
Kill all the Katy Perry Kesha Friday night motherfuckers, I really
would not mind just scaring the shit outta those kind of people and
melting their faces off mid shred!!
Any
last words?
KILL
THE KING.
You can read Andrew's review of 'Manic Depressor'here.
Making a
definitive shift from their wild and sloppy (though promising) crossover influences on the band’s previous demos, Sweden’s video
game-obsessed crossover Thrash three-piece, Nuclear Torment, has
refined their music and moved toward a much more definitive thrash
metal sound, which isn’t to say they still haven’t retained that
old recklessness, rather, the band has skimmed the excess mess off
the top of their barrel, bringing to light the promising technicality
of their thrash influence which, before now, had been muddled by the
overwhelmingly sloppy hardcore punk influence, which really,
considering the high amount of promise the band displayed in the
rawness of these early demos, wouldn’t be at all detrimental to
their style and sound if Nuclear Torment didn’t sound so much
better as a thrash metal band.
Of
course, this isn’t to say the band has dropped these influences
completely. Far from it, in fact. Structurally, we can still see the
band’s great crossover leanings in the short bursts of aggression
and energy that are the tracks on this EP, as well as the use of
violent and rhythmic vocal deliveries on “Bruce, the Grave Robbing
Brown Bear,” and much of the raw and primitive punk-infused riffing
in the beginning of “Sniper Zombie Rape Abortion.”
The
title track is where we get the most straight-forward thrash on the
album, with its longer song length and it’s abandoning of any
punk-ish hook, as well as the abundant mid-paced thrash riffs that
dominate the song (think Hyade’s 'The
Roots of Thrash').
The lyrical content of this track is also worth mentioning,
considering I myself am a collector of older video games, their
lyrics, mentioning the NES, Powerglove, and Zapper, were a funny and
pleasant surprise in the context of a thrash song.
Overall,
this is a very interesting thrash release in that it shows the very
obvious evolution of a band’s sound, creating high-energy thrash metal with all those nice crossover elements weaved in. While not
overly ground-breaking or inventive, this three-track debut release
ought to provide more than enough pleasure for any fan of thrash or crossover.
A passionate homage to 'The Father of Death Metal', by Andrew Oliver.
Everyone
has at least one real defining moment in their life. One instance
that comes out of nowhere and, whether it be subtle and cause gradual
change, or abrupt in its delivery unto oneself, helps shape who you
are for years to come, help makes you who you are. One moment that
hits you from out of sight and makes you change gears completely,
open your eyes, and assess your situation in a whole new light.
Now,
let me start by saying that when I was young, my exposure to music
was limited to boring singer-songwriters, your James Taylors and John
Denvers, etc. And, even being as young and impressionable as all
children are, this music bored and annoyed me, therefore, leaving me
to dismiss all music altogether as being frustratingly simple, and
plain. In my house, it was all acoustic, all the time.
Then
it happened. Out of the blue and completely unexpected as all of
these moments tend to be. I was eleven years old at the time, and
staying at my cousin’s house while my parents were away. My cousin
always had some sort of program on his television playing music, but
I never really paid any attention to it when I was over there, and my
distaste for music had not yet changed, but on that day, my cousin
actually made a point to call me into the room and show me what was
on the T.V. What I saw was none other than Chuck Schuldiner himself,
playing a live show with Death, shredding a solo on his sleek, sharp
B.C. Rich Stealth. It was like nothing I had ever seen. A guitarist
playing notes so high and so fast, and on an electric guitar that was
slick and sexy, not some big hunk of hollow wood.
That
moment, something clicked in my head. I wanted to do what this guy
was doing. Playing this incredible fast music, so loud and distorted,
and have it enjoyed by huge crowds of people while I did it. It was
an epiphany, a revelation. I was to be a heavy metal guitarist. And
it was all thanks to this man, whose name and identity, at the time,
was unknown to me. So I went home, and got my hands on as much metal
music as I could. CDs by Metal Church, Nuclear Assault, and Flotsam
and Jetsam soon graced the shelves in my room. I had found a music
that inspired and liberated me, and it was all thanks to that one
video of Chuck playing his solo.
Eventually,
and to no real surprise, I found out about the legendary Death metal
band, and who Chuck Schuldiner was, the visceral lead guitarist and
vocalist behind the first real Death metal band, the man who inspired
me to take up guitar and join a band, both of which are activities
that I am very active in to this day.
It’s
true, in a very indirect way, Chuck Schuldiner changed the way my
life was headed, but my life story is not what I’m aiming to write
here, so I’ll expound upon myself no further. December 13 was the
tenth anniversary of Chuck’s untimely death due to brain cancer,
which he fought through violently to the bitter end, always
continuing to write and play music for his fans, and for himself, but
what I want to accomplish with this article is not to write yet
another sad story about the death of Chuck Schuldiner, but rather, to
focus on how great he was while he was still here. How important he
was as a musician, as a vocalsist, a guitarist, and as a person as
well.
When
Chuck formed Death, I’m sure he had no idea the influence he would
have on Heavy metal, and really, on music as a whole, by inventing,
unknowingly, one of the most infamous forms of music around still to
this day. Many people, including myself, consider Death to be the
first Death metal band. Some may say Possessed came first, but I
disagree, and find them more on the Black/Thrash side of metal, but
Death was the real deal as far as Death metal was concerned.
Spear-headed by the young and talented Chuck, he created a debut
album, Scream Bloody Gore, that was raw and visceral, taking
influence from the early works of Metallica, Anvil, and Motorhead,
and taking it ten steps further in the speed and aggression
departments. It was like Thrash, but faster, like Black metal, but
more raw (at the time), and with Chuck’s guttural growls,
down-tuned riffs, and frantic, speedy solos, it was like nothing
before it.
Chuck
had come from humble beginnings, taking these classic metal
influences that he so loved, and wanting to add his own chapter to
the book, with his own music, and in the process, created something
entirely new and innovative, but of course, this music labeled Death
metal, a label Chuck himself never liked, a name like Death, and
campy, gory lyrics, the music, and the band themselves, were met with
obvious scorn by those who didn’t listen, and didn’t understand
what the band was trying to accomplish.
“I
consider the name to definitely be just a name,” Chuck commented on
the band name during an interview in 1991, shortly after the release
of Human. “I wanted a name to describe the music. An extreme
name for extreme music.” While he held this belief firm, he still
garnered many stereotypes to the Heavy metal genre, but did his best
to smash just as many or more than he attracted and created.
Chuck
was a damn good musician and songwriter, as we all know, but he was
just as good a person. He tried constantly to show the public that
just because you’re a heavy metal musician, it does not also make
you some Satan-worshipping delinquent who wants to kill babies and
burn down churches (unless you’re a Black metal musician in Norway,
that is). He was always trying to make people see deeper than just
the name, to try and make people see that judging based on aesthetics
is not the way to go.
“I’m
a very positive person,” he said in an interview with MTV. “Towards
life, towards friendship, towards love, towards, you know, all
certain things that we’re made up as, as being human.”
It
was always important to Chuck to believe music, not rumors (his own
words, there), and tried to clear up the ever-popular negative
connotations associated with his the type of music he played. His
music, extreme as it was, was a positive outlet, a way for him to
create art, and just because the lyrics are growled, and the guitars
are fast and distorted, does that make it wrong? Chuck certainly
didn’t think so, and he wanted to voice his opinion.
“I’m
not satanic because I’m in a band called Death. I’m not a violent
person or anything. I’m just a person who has a name of a band, and
I’m trying to just make everything fit together, you know? It
wouldn’t work having a band called Pink Flowers.”
“We
did write gore lyrics, but it was more like kind of tongue-in-cheek,
horror-movie type level. Nothing like encouraging people to go out
and hurt themselves or anything stupid like that. It's pure
fantasy-movie type, scary stuff.”
To
make matters better for himself, after the release of Leprosy
(1988),Spiritual Healing (1990), which even contained a controversial
track on his stance on abortion, and of course, the album that
launched Death into the spotlight, Human (1991). Chuck began abandoning his humorously gratuitous
and gory lyrics for the politically and morally charged verses on
But
it Death wasn’t just evolving lyrically. Chuck was a creative
genius, an artist who wanted his art to grow and change and evolve,
not at all content with an interchangeable discography of boring
musical consistency. With every passing album, the music started
becoming more technical, “more musical,” as Paul Masvidal (former
Death guitarist during Human and long-time Cynic guitarist)
said in an interview. Riffs became more complex, and time signatures
started getting crazier as Progressive influences started finding
their way into Death’s music and Chuck’s songwriting. Intros and
interludes were starting to be introduced, and melody was becoming
more and more prevalent in the riffs and solos.
By the time Symbolic was released in 1995, following the frantically
technical and wildly melodic Individual Thought Patterns
released in 1993, many thought Chuck had reached a creative and
technical peak. His songwriting was superb, a perfect balance of
extremity and melody, raw speed and memorable hooks, but despite the
seemingly unbeatable brilliance of this release. Chuck kept writing,
and kept evolving his music to new heights when he released his final
album, and his most ambitious and progressive work to come, in 1998,
The Sound of Perseverance, released a year before he was
diagnosed with brain cancer on his 32nd birthday.
After initial treatment, Chuck was in recovery and looking good, but
the cost of the operations were more than he and his family could
afford, and they were put in massive debt, and they were, as a result
of their financial issues, unable to continue the treatment that
could have saved Chuck’s life.
Now, I know I said that I wasn’t going to focus on the sad stuff
here, but what, if any, positivity you can take from this is that, at
the first notice that Chuck’s life was in danger, bands in the
metal community, as well as bands like the Red Hot Chili Peppers
began hosting massive fundraisers and benefits to raise money for
Chuck and his family.
In 2001, however, his cancer returned, and the chemo-therapy drug he
was given weakened him greatly, and he soon took ill with pneumonia
as well, leaving him dead on December 13, 2001, leaving behind him a
legacy that can be matched by few others as musicians, and as people
as well, for Chuck was not only striving to push himself musically,
but was always trying to better the lives and conditions of his
fellow musicians, disparaging the negative stereotypes placed upon
them, and actively trying to encourage the idea of equality and that judgement was the real evil, not the music.
While Chuck may be gone, we still have him here with us in the music
that he created while he was alive. Even after his death, he
continues to inspire people, such as myself and countless others with
his music. Like so many before him, Chuck was an innovator, who was
able to create so much in his short time here, to crush stereotypes
and break boundaries never before crossed.
This is how we should remember Chuck Schuldiner when we think of him.
Not just as the raw and guttural frontman of the very first Death
metal band, and not just as the Father of Death metal, but as a
positive lover of friendship, love, and animals, someone who believed
in the power of creativity and art.
“Believe in music, not rumors.” That’s what he would be saying
if he were still here, and while I’m sure, if you’re reading
this, that you know who Chuck Schuldiner and Death is, and that
you’re probably not someone who associates metal music with such
negative stereotypes, maybe, in remembrance, of Chuck Schuldiner, you
can help carry on what he tried to do until his dying day. Show this
to your family, your friends, anyone who may look upon these
musicians and artists in distaste, and show them that their judgment
is skewed, that playing music that’s faster, more extreme, or
different than what they’re used to hearing doesn’t make it bad
or wrong or evil. Help them open their minds the way Chuck tried to
get people to.
I
hear people say all the time that music should be innovative, and I
can’t really disagree with them a lot of the time. Bands should be
trying to do something new, to expand the boundaries of what was set
out before them, right? Well, maybe not all the time. What if there’s
a band that comes along that’s just so awesome, so amazing, so
satisfying,
that they don’t need to reinvent the wheel to sound freaking
incredible. Well, my friends, Pegazus are that band, and while you
may not agree with that statement, they certainly are that band for
me.
Now,
let me start off by saying that I’m a huge Pegazus fan. I have been
since I can remember, and I probably always will be. Since I first
started worshipping the art of New Wave of British Heavy Metal music,
Pegazus stood out with their attitude and songwriting, rather than
innovation. And the fact that they were from the 90s, an era where
traditional heavy metal was pretty much dead, is even more
impressive. Now then, on to the review.
The
opening track, “Metal Messiah,” is just the kind of fist-pumping,
good-time metal anthem you would hope for, with lots of melodic
prowess as well as a powerful and potent rhythm section. From the
very beginning, you know you’re in for a treat. After the first
track, I was more than satisfied, I would have been very content if
this was what the rest of the album was like, but then, “Road
Warriors,” the second track comes on, and blows me away. Better
riffs, superior vocals, and overall more impressive songwriting here,
even some good fills coming from the drums.
However, after the
first two tracks, this album is a real mixed bag, both in style and
quality. Sure, you have the songs that bear the great NWOBHM and
classic Euro-Metal force that makes albums like 'Headless
Horseman'
so amazing, such as “Metal Messiah,” Haunting Me,” and “Eye
for an Eye,” but I find quite often on this release that there are
a lot of songs that wouldn’t sound too out of place on Motley Crue
or Quiet Riot albums (“We Live to Rock,” “Road Warrior,” and
“Ghost Rider”). Also, it can’t be said that In
'Metal We Trust'
is the most consistent album in terms of quality. This could quite
possibly be an album where you pick maybe your four or five favorite
tracks and just stick with those, but I feel that even the less
standout tracks have a lot to offer, and are fun to listen to.
To
me , this album best serves the purpose of providing music for casual
listening, for when one is working, driving, or partying. While
definitely not as excellent as their earlier works (again, please
check out 'Headless
Horseman'
if you haven’t already), this album is still good fun from start to
finish.
[7]
Honestly,
as hard as I try, and I try very hard, it’s become quite
challenging to harvest any of the redeeming qualities one might
possibly find from the ever-growing crop of generic, rehashed thrash
metal albums around today.
Sure,
the riffs are cool, good melodies, nice chugging rhythms, but the
vocals may as well be copied and pasted from early Testament albums,
and in a music scene where there are actually quite a few great new
albums to seek out and enjoy, why bore yourself with this? Go listen
to 'Souls
of Black'
and give this one a pass. [4.5]
Uncomprehendable,
uncompromising, unintelligible destruction. That’s what Malaysian grindcore band Hellterror brings to the table with their new 16-track
EP, 'Reality…'.
With wild bursts of blind fury and unadulterated aggression, this EP
promises to leave everything in ruin by the time it’s over. Nothing
will be left standing. With only 150 copies (all in cassette format)
made, you might want to hurry and get your hands on this brutal
masterwork before it’s all gone.[8]
From
the moment I saw the title of this album, I knew, without even having
to give it a listen, that it was going to be a doom metal album. And
I was right. But what was presented here on Atlanta, Georgia’s
Wizard Smoke’s album 'The
Speed of Smoke'
is slightly different than what I expected.
What
we’re dealing with here is very laid back doom/sludge metal (really
more on the sludge side than anything) with some bluesy acoustic
intros (“Growing”) and monolithically slow, heavy riffs, dripping
with an overabundance of sludge and shrouded in a cloudy haze of
effervescent smoke. While the music here does its job in creating the
mood of lazy relaxation, what really impressed me about this album
was its ability to remain so chill and laid-back despite having
vocals that, ordinarily, would contradict that atmosphere completely.
Though checked and balanced by an extremely echo-filled production,
the vocals here consist mostly of high shrieks and raspy screams,
which, in my opinion, are executed very well, and only help to
enhance a sound that may otherwise have been rendered boring and
overdone by a more traditional doom/sludge vocalist.
Some
songs do drag on a bit and get a tad boring (“Butcher”), but I
find that, although this album is filled with riffs that are fairly
mediocre, it serves as an excellent soundtrack to laying back and
relaxing, whether you’re smoking the ganja, or just trying to wind
down, this album is pretty much perfect. However, the same can’t be
said for much else going on in this release, as there really aren’t
any features musically that stand out as being spectacular,
impressive, or even, at times, memorable. I suggest that if you can’t
pick up what Wizard Smoke is putting down with 'The
Speed of Smoke'’s
lazy and laid-back music, you should probably give it a pass.
Otherwise, I’d say check it out, and I know I sure enjoyed it! [6]
Hailing
from Estonia of all places, Ceremonial Perfection’s newest release
gives us something to be truly excited about. 'Alone
In the End'
starts off promising, with an interesting and engaging intro followed
by “Symbols and Processes” and what I would soon find to be some
of the most amazing melodic death metal I’ve heard in a very long
time, filled with hooks and melodies that are nothing short of
mind-blowingly.
And
let’s not forget about the instrumentation in itself. In addition
to the excellent songwriting, Ceremonial Perfection is composed of
musicians who know how to handle their instruments very well, the
most technically proficient being the drummer, who blows me away. The
riffs are as close to melodic perfection as one can get. Songs like
“Autumn of Memories,” Through Your Devil Nature,” “Asymmetry,”
and the aforementioned “Symbols and Processes” (best track in my
opinion) are prime examples of this, and while this album is filled
with many songs that provide incredulous hooks from start to finish,
not every song feels the need to be so immediate in its delivery, but
this isn’t a bad thing, as it gives the album diversity and
versatility. Tracks like “Blinding White” and “My Labyrinth”
choose to build up and work their way up to their emphatic melodies
and uplifting choruses rather than provide them throughout the whole
song.
In
conclusion, 'Alone
In the End'
is a near-perfect melodic death metal album in every way imaginable.
This is the kind of release that can make someone excited to listen
to metal music again. Now, I’m not saying that these guys are the
next In Flames, but I’m not saying they aren’t either. [9]
Over
the years, since their debut in 2006, Bongripper has never
disappointed me, and has never failed to blow me away with their
extremely innovative and amazing brand of instrumental doom metal.
That being said, when I first began listening to the band’s new
two-track EP, 'Sex
Tape/Snuff Film',
I was doubting whether or not they could maintain this glowing
reputation.
The
first track, “Sex Tape,” is obviously extremely heavy, that was a
given from the very beginning. However, the stunning experimentation
and intrigue for Bongripper is known for is absent from this track
completely, and in its place are boring and repetitious riffs that do
little to draw you in. There are some bright (well, more like faintly
glowing) moments in this song, like the intense jamming and increased
speed in the second half of the song, but even in light of this,
there’s still nothing that really holds and engages you. Could it
be? Could Bongripper really be turning into a boring and monotonous sludge metal clone? At this point, I was very afraid for the future.
But
then, a glimmer of hope from the EP’s second track, “Snuff Film.”
And it was far more than a glimmer. This song completely saves the EP
from boring and monotonous first track and blows me away. Always
uncompromisingly heavy, with constant shifts in speed, along with
infectious melodies and hooks that are perfectly matched by
off-kilter and experimental songwriting that makes Bongripper so
amazing. This track makes the EP more than worth buying in my
opinion, and I am very much looking forward to their next
full-length. [6.5]
Richmond, Virginia’s Volture is one of the many new bands around today that are valiantly keeping the classic sound of Traditional/New Wave of British Heavy Metal alive. Now, you never really know what these bands will have in store for you. Some are total flops, and others completely amaze me. Let’s just say that Volture, with their debut EP, 'Shocking Its Prey', have me very pleasantly surprised.
From the first listen of the opening title track, it’s apparent that, rather than the usual Maiden worship, there is definitely more Priest influence here, with the piercing vocals, upbeat rhythms, and of course, the truly magnificent solo. Dear readers, I am in love. The choruses catchy, the lyrics delightfully corny, Volture has me hooked from the first track.
And this doesn’t change as the album goes on. The following track “Heavy Metal Machine” is a masterpiece of classic metal, driving riffs and a soaring chorus lead to an incredible solo, and again, I’m completely and totally blown away. This whole whole EP is filled with anthems, and riffs any great band would kill for.
There’s really nothing on this album that can’t be loved if you’re a fan of classic metal music like Judas Priest and Iron Maiden. With 6 tracks and only 22 minutes of music, Volture’s debut EP leaves me pumped, full of energy, and desperately wanting more. [9]
(High Roller Records - LP / Shadow Kingdom Records - CD)
Here’s an interesting scenario for ya, a new power metal album that actually sounds like a metal album, rather than a fan-made soundtrack to the 'Lord Of the Rings' movies. How refreshing!
Manilla Road definitely air on the much heavier side of power metal, often crossing over into mid-paced thrash territory, and indeed most of the music on this album is not very fast at all, but still brings many epic hooks, driving melodies, and blazing solos, as shown quite clearly on the opening track, “Jackhammer” and in excellent fashion in “Abattoir De La Mort.”
The second track, “Into the Maelstrom” is slow and heavy enough to make the best doom bands jealous. It’s quite a stretch to even put this one in the power metal category. The title track brings some speed back though, introducing some awesome riffs, and a fantastic, memorable chorus that really sticks. However, by the time I got to this track, it came to my attention that the vocals could be quite sub-par, and are best described as dull, with a very uninspired delivery, despite the powerful hooks and vocal melodies.
This continues throughout the album, with some songs definitely proving to be better than others vocally. “Grindhouse” begins with an amazing intro that really got me excited to hear more, but only managed to disappoint with some overly repetitious riffing and some unimaginative and lackadaisical vocals. Freakin amazing solo though.
Overall, 'Playground of the Damned' is decent, with many moment of strength and weakness alike. Lots of great melodies and solos make for an interesting listen (“Brethren of the Hammer”), but it can also be quite repetitive, and tends to drag along at times. All in all, I recommend checking it out, for I feel that this album is especially subjective.[7]
