|
Past
Issues:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25
BACK
BREACH
Godbox (Chrome Saint Magnus)
Breach’s ‘Godbox’—which features tracks that
were actually recorded and mixed during some rehearsal sessions
in mid-2000—is an interesting ride through some really "way
out" musical arrangements, kind of like mixing Neurosis with
other home country peers Knut. In other words, a shape-shifting
wall of noise, full of atmospheric segues and hard-hitting emotions.
Choice cut here would have to be the stellar opener "Kill The
Sun." The potential is there for the band, and this may have
been the right move to get music out there, but time is up guys.
Bring on the next album!
<Adrian Bromley> -4-
JERRY CANTRELL
Degradation Trip (Roadrunner)
If there is one record this year that truly showcases honest emotions
and strong writing, look no further than ex-Alice In Chains guitarist
Jerry Cantrell’s second solo album ‘Degradation Trip.’
The record, a dark and deeply powerful assortment of songs about
love, anger, mental breakdowns and loss strongly reveals his work
as a songwriter and how it has grown over the years, whether it
be in AIC or during his solo stint. This guy (as I have known all
along) is talented! His guitar work is stunning and his vocals and
varied approaches to making music here, especially on tracks like
"Hellbound," "She Was My Girl," "Gone"
and "Anger Rising," enchanting. Unlike the charismatic
dabbling of ideas on his last album ‘Boggy Depot,’ the
new disc finds Cantrell working through very depressing, almost
abandoned offerings that are reminiscent of old AIC, a sad thought
knowing of the recent passing of AIC frontman Layne Staley and what
could have been in the near future.
<A. Bromley> -8.5-
CRACK UP
Buttoxin’ Bloom (Moonstorm)
So, what happened to Crack Up? Not many people will utter those
words in 2002 I am sure, but seeing that I was a huge fan of the
band in the late 90s, I was eager to see what I missed as their
latest album ‘Buttoxin’ Bloom’ and last album (2000’s
‘Dead End Run’) were hard to find here in North America.
Finally after some searching on the Net, I tracked down the label
Moonstorm and secured these puppies. The latest album by the once
death n’ roll German act sees the band upping their sound with
a more modern, hard rock flare, but still standing firm with their
death n’ roll groove at times. A little bit of give and take
with their classic sound. There are some interesting song ideas
for sure (i.e. "Push Me Down," "Leaving Mexico"
and "Tits & Champagne"), but I miss the older days
where the band was a reckless, almost uncontrollable death n’
roll machine. Now the band sounds like they are actually trying
to impress with their sound rather than just have fun writing fast,
obnoxious numbers. I’m still a fan though.
<A. Bromley> -5-
DOWN
II: A Bustle In Your Hedgerow (Elektra)
Prior to the release of the eagerly-anticipated sophomore effort
from Down, featuring members of Pantera, Corrosion of Conformity,
Crowbar, and EYEHATEGOD, the key question was: could Down top its
debut album, ‘NOLA’? The answer, as it turns out, is both
yes and no. Yes, in the sense that the band has recorded another
album of heavy, southern-fried metal that meets and exceeds expectations.
No, in the sense that it would be a mistake to measure ‘II’
according to the criteria established by ‘NOLA.’ Both
albums were recorded under quite different conditions, and that
is manifest in the recorded output. ‘II’ is a much looser,
jam-oriented album, playing off a sense of heaviosity that is slightly
less metallic, and slightly more stoner rock. As a result, the album
is a much more sprawling opus, in which the quality of ideas remains
quite high, though deployed in looser song structures that are the
different creative and recording processes used. The album gets
down to business with the blunt-dentist’s-drill riffage of
the second track, "There’s Something On My Side,"
a torrential cut in which Phil Anselmo mixes intimidating snarls
with abrasive nicotine harmonies. The following tune, "The
Man That Follows Hell," tosses off huge ’70s-inspired
axe riffs that, though a little disorganized due to some rather
abrupt transitions, are redeemed by a ferocious vocal line and a
sweet jam passage shortly after the two-minute mark. The unusual
boogie riff of "Stained Glass Cross," replete with some
swanky Hammond mashing and a soulful vocal line in the chorus, is
a charismatically groovy cut that is perhaps one of the best on
the album, even though it is followed by the meandering "Ghosts
of the Mississippi" which, in similar fashion as its name,
evokes a rather meaningless drift through muddy waters. While the
notion of a jam-oriented album may suggest fears of wandering, ill-conceived
ideas, Down’s second album retains its tight focus and only
rarely languishes in rather tepid waters that would seemingly call
for additional creative heat. Instead, this jam quality works in
Down’s favour, allowing spontaneity and talent to commingle
in a surprisingly productive session that is clearly conducive to
the general vibe that Down ardently pursues on ‘II.’
<T. Bengtson> -8.5-
DRAGON GREEN
Emissions From Green Sessions (Infernal Racket)
If you are a fan of bands like 5ive, Warhorse or even the mighty
Electric Wizard, then chances are you will be into what Dragon Green
provides us with ‘Emissions From Green Sessions’—lots
of feedback, heavy guitar riffs and drum bashing. Like most bands
of this ilk, there is a solid groove running throughout each track,
a sort of linear point that joins the musical ideas as one. Hard
to explain, but if you are familiar with the bands mentioned above,
it will come in loud and clear. This Allentown, Pennsylvania act’s
five-song (37-plus minute) EP is good, but I can’t help but
wonder if a few more cuts would have added a bit more variety into
the fold. Possibly. A solid choice for "green" burning
weekends.
<A. Bromley> -5-
DRAGSTER
New Times EP (Independent)
Dragster. Sounds like the name of a rock ’n’ roll band,
doesn’t it? This Dragster (could there be others?) are building
on the foundations of early ’80s thrash/metal, with Metallica,
Exodus and Whiplash as their inspiration. The first song on this
four-song EP, "Break Down", has that catchy Metallica-like
guitar gallop to it, and is the only song on this disc even bearably
worth listening to. Even as the highlight of the EP, there are still
some difficult points in "Break Down", such as the mid-solo
rhythm change when lead guitarist keeps playing to the first rhythm.
The second track, "The Chase", is characterized by a wimpy
guitar line; "Why Do You Kill When You Can Save Lives",
the third song, breaks away from Dragster’s early ’80s
thrash influences into rap/rock; and, finally, "New Times"
shows more balls than any of the other three songs, but is hap-hazardly
arranged. Each of the final three tracks last for about five minutes
each—getting close to an epic-length song—but the riffs
that Dragster are building off are only suitable for haiku. Finally,
though it’s obvious that Dragster are more comfortable with
their native tongue—the CD’s packaging and their entire
Web site are in Spanish—the lyrics are in English and are sung
with a heavy and highly distracting accent. If a band’s not
comfortable with English, they shouldn’t be using it—they’re
betraying their local fans and looking silly in front of everyone
else.
<Paul Silbiger> -1-
Contact: www.dragstermetal.com.
DSR / AURICLE / THANIEL ION LEE
Split CD (Resident Art Media)
What a mixed bag of goodies this 3-way Split CD is. While I am a
fan of this whole atmospheric/noise/electronic genre, sometimes
trying to get into a band’s material (especially if they are
at abstract and bizarre as the three acts on this CD are), then
it is a test of your patience. DSR is a good noisy fusion of loud
electronics and whacked out feedback, a fused sound that lashes
out with aggression from time to time. The second track by DSR,
the creepy "Her (Extractions From Australia)," is short
at 1:23 but effective. Moving onto Thaniel Ion Lee, which takes
a while to get something going, expands into this almost unbearable
distorted echo concoction. At times it almost seems like your head
is going to explode there is so much frustrating sounds going back
and forth on this 10+minute track "String Deconstruction".
This 20-minute offering glides almost harmlessly through a surreal
and dream-like atmosphere, calming the nerves of those who listener
to it for sure. It got to be a bit too samey, but still an enjoying
experience. Like I said above, a mixed bag for sure, something the
casual listener would avoid straight out but those in the know might
find something to latch onto.
<A. Bromley> -6-
GLUECIFER
Basement Apes (SPV)
Norway’s Gluecifer have always delivered dependable, high-energy
rock ’n’ roll, and ‘Basement Apes’ continues
that trend. There are many different takes on the rock ’n’
roll sound, and Gluecifer’s take is straight-ahead and honest—an
approach that guarantees instant appeal. Excellent verses build
up to catchy choruses in songs like "Brutus" and "Black
Book Lodge," embodying that whole "walk with a swagger"
feel that good rock ’n’ roll creates. That said, there
is still a lot of variety on ‘Basement Apes’; they haven’t
taken a cookie-cutter approach to songwriting. "Round and Round"
has more of a classic rock feel, while "It Won’t Be"
has something like a country twang running through it. Only "Little
Man," a dark Sisters of Mercy-like brooder, seems totally out
of place on this very well put-together disc.
<P. Silbiger> -7.5-
|
