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Past
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BACK
OSI
Office of Strategic Influence (InsideOut)
OSI tripped me up while it tripped me out. I wasn’t expecting
this album to be such an original mix of styles, nor was I expecting
it to grab me so quickly. The collaboration between Fates Warning’s
Jim Matheos, Kevin Moore (Chroma Key and ex-Dream Theater), and
the omnipresent Mike Portnoy has resulted in a bracing, forward-thinking
album. Matheos contributes a host of weighty, sinuous guitar riffs;
Moore adds keyboards, laconic vocals, and a jarring array of sound
manipulations and samples; while Portnoy’s performance is admirably
restrained and complementary. The end result is a Pink Floyd sound
for the Information Age, placed squarely along the Porcupine Tree/Gordian
Knot axis. In fact, PT’s Steven Wilson contributes vocals to
one track here, and Sean Malone of Gordian Knot fame plays Stick
and bass throughout. Sometimes the metal roots pierce the shimmering
surface of the music, as on the crawling doom of "ShutDOWN"
or the latter half of "Dirt From a Holy Place" but they
only underscore how varied this album really is. Elsewhere the music
is very filmic, weaving two or three riffs together into textures
as inviting as they are menacing. For listeners who’d like
some visuals, the CD comes with a bleak, intentionally grainy video
for "Horseshoes and B-52s" an instrumental track that
shows off the band’s gift for making odd time signatures flow
gracefully. OSI have made a very contemporary album in they’re
using their comfort with cutting-edge technology to bring a sense
of unease to the listener. They seem to be exploring the point where
the human gesture ends and micro-circuitry takes over, and the effect
is like cutting through warm skin and finding wires, or hacksawing
through metal conduit and having blood pour out. As this album proves
in superb fashion, it’s an area worthy of investigation.
<Rob Hughes> -9-
PAGAN WAR MACHINE
Pagan War Machine (Demo)
The potential of this band is nothing short of incredible. While
only the first demo of the project’s existence, the band’s
gifted writing style will please both the old-school hardcore thrash
fans, as well as today’s youthful fans of Iced Earth and In
Flames. The charm of the band’s thrashy vibe is caused by their
nucleus, guitar legend Jim Durkin (Dark Angel, Dreams of Damnation)
and bassist Steve Gaines (Abbatoir). Within the confines of only
four songs, the potential of a New Wave of Bay Area Thrash Metal
(NWOBATM—you heard it here first) revolution is imminent. Durkin
and co. implement multi-textured flavours (be they Eastern, techno-organic,
and the thrash staple, violent emotion), which offer a glimpse into
a past that the kids missed, and provide direction for future influence.
The only setback of the demo is that it was recorded with a drum
machine, but since they are now employing the talents of Dreams
of Damnation skinsman Al Mendez, the band’s true brilliance
may be realized sooner than we think. With the recent resurgence
of classic thrash bands and potential new music from them (i.e.
Death Angel, Vio-Lence and the like), it’s truly noble of Jim
Durkin to take the helm and kick start this new Metal Enlightenment.
<M. Morton> -8-
paganmachine@hotmail.com
PANDEMIA
Personal Demon (Lost Disciple)
While I never really latched onto the brutal/well-played intensity
of Czech death metal act Pandemia when with their last album ‘Spreading
the Message’ surfaced, I did take note when the album landed
on my desktop as some of my metal cohorts were noting how good it
was. After a few spins, I must note that ‘Personal Demon’
is fucking heavy! With just enough technicality to not bog down
the band’s monstrous death metal stride, Pandemia culminate
all the good aspects of death metal into a forcibly violent frenzy.
Killer riffs and demonic vocals echo as the band rips into songs
like the title track, "Father of the Lie" and "The
Right Path." Death metal fans who like it fast and brutal will
no doubt be supporting Pandemia in 2003!
<A. Bromley> -8-
www.pandemia-deathmetal.com/
POISONBLACK
Escapexstacy (Century Media)
While far from mind blowing, the debut album by Poisonblack (featuring
Sentenced singer Ville Laihiala) is an infectious rock album full
of addictive choruses, seductive gothic overtones and a real slick
production. While one can’t help but get drawn into the trio’s
musical arrangements, especially passion-filled numbers like "The
State" and "Glow of The Flames," no doubt fans of
Sentenced will hear a slight similarity between Poisonblack and
the current sound of said band. Not a bad thing, but it might have
been a little more creative for Poisonblack to distance themselves
a little further. Regardless, Laihiala sees Poisonblack as a real
band and he says that he puts his "heart and soul" into
it. I guess we’ll see when Sentenced reconvenes to follow up
2002’s ‘The Cold White Light,’ won’t we?
<A. Bromley> -6.5-
PORCUPINE
TREE
In Absentia (Lava Records/Atlantic)
The phrase "major label debut" strikes terror into the
heart of any self-respecting music fan. You know what can happen:
your favourite band gets signed, has a new producer foisted on them,
releases an album that stiffs, and then sells out even more shamefully
on the subsequent albums. Today’s test case is Porcupine Tree,
and their latest album, ‘In Absentia.’ After a handful
of albums on "major indie" labels (Delerium and Snapper),
I’m happy to report that major labeldom hasn’t tainted
Porcupine Tree’s music at all. Their sound is completely intact—modern
rock music with a healthy respect for the past, especially the progressive
’70s. Hard riffs abound, as do atmospheric passages of Floydian
majesty. To the uninitiated, the headphone-friendly production and
often plaintive vocals (both from bandleader Steve Wilson) might
suggest Radiohead, but Porcupine Tree are less obtuse and more interested
in communication, with lyrics that mix modern-day horror with introspection
and reminiscence. The music provides a shifting backdrop for either
lyrical mode. The heavy parts on ‘In Absentia’ are Porcupine
Tree’s most intense yet, as evidenced on album opener "Blackest
Eyes." Just as Wilson’s production brought out the melody
in Opeth’s last couple records, perhaps his collaboration with
the Swedes has inspired the Tree to bulk up their riffs and become
more metallic overall. These tendencies are also apparent on the
instrumental "Wedding Nails" with its caterwauling axe-work,
and "The Creator Has a Mastertape," which rides an anxious
bass line and taut snare sound until the guitar enters to clamp
a pillow over your face. "Strip the Soul," the first single,
is also heavy, but it initially struck me as the least intriguing
track on the album. However, it does possess a surprise acoustic
break, a section in 5/4 time that climbs majestically, and some
total doom parts—pretty meaty stuff once my first impression
wore off. The rest of the album is composed of equal parts beauty
and tunefulness, from the massed acoustic guitars on "Lips
of Ashes," to the elaborate vocal arrangements on "Heartattack
In a Lay by," to the wistful, string-laden final number, "Collapse
the Light Into Earth." ‘In Absentia’ overflows with
excellence and integrity. Put aside any fear of major-label tampering—just
shut your eyes and listen.
<R. Hughes> -9.5-
THE PROVENANCE
Still At Arms Length (Scarlet)
I know a lot of music critics have a hard time hearing new bands
with female singers and not thinking of The Gathering, Lacuna Coil
or Nightwish right away. I never really had that problem until recently.
I mean, I know The Gathering have expanded their sound and Lacuna
Coil and Nightwish have come into their own of late, but many of
these newer bands are struggling. Regardless whether the band is
fronted by a lone female or features dual vocals with a male vocalist/growler,
I am finding that many bands (including The Provenance) having a
hard time escaping a well-followed pattern. Maybe The Gathering
was smart to break free from this style of music and go somewhere
else so that they wouldn’t be caught in this type of predicament?
Who knows? Anyway, I must admit that "Carousal of Decent"
is a great song and really works the strengths of the band, but
overall The Provenance’s album has me feeling a little bored.
<A. Bromley> -5-
RAISED FIST
Dedication (Epitaph / Burning Heart)
Raised Fist could quite possibly be the best hardcore band on the
planet. Much of that, mind you, has to do with the fact that the
band doesn’t actually play hardcore music. Rather, Raised Fist
takes its cue from metal, particularly Slayer’s classic mid-’80s
period. As such, ‘Dedication’ is laden with thrashy axe
riffs and angry vocals that spit out the lyrics with genuine malevolence.
While following a similar path as the previous ‘Ignoring the
Guidelines,’ the new album does witness the band continuing
to develop and expand its sound, rather than merely regurgitate
its old moves. Certainly, Daniel Bergstrand’s formidable production
job has much to do with this, as he injects metallic venom into
the bloodstream of the guitars and highlights the ruthless aggression
of the rhythm team. Over and above this tempest of rage, Alexander’s
relentless vocal delivery shouts, screams, and yells the socially
conscious lyrics as if the collective rage of thousands of anti-globalization
protesters were somehow projecting their disenchantment and disgust
directly into his larynx. While the production values certainly
mark the most obvious change for the band, the songwriting is really
where the most consequential developments have occurred. Now demonstrating
a greater appreciation for space and balance, the band exemplifies
this newfound cognizance on "Killing Revenues," where
colossal mid-paced sections are executed in a more pronounced and
profound fashion than previously heard. The explosive rage of yesteryear
has found an appreciation for economy and dynamics, now constructing
its overpowering tactical maneuvers with strategic sensibility.
Of course, the hallmark characteristics of Raised Fist’s sound
remain active, most notably the band’s favoured technique of
allowing the guitars to drop away temporarily in order to allow
the vocals to rant over top of a psychotic rhythm for a few bars,
before re-entering the fray in a rhythmic series of guerilla assaults,
and sending that apprehensive energy into the stratosphere. As if
to reaffirm the band’s metallic aspect, ‘Dedication’
closes with the fantastic "Between the Demons," which
features an unholy vocal duet courtesy of ’Fist yeller Alexander
and Gustav, the lead growler from Defleshed. It is, in keeping with
the Slayer reference, a match made somewhere a little south of heaven.
<T. Bengtson> -8.5-
RUNNING WILD
Live (G.U.N.)
Rock ’n’ Rolf Kasparek—the man’s an absolute
institution. Disregarding trend, the man has made a career spanning
over 14 releases in 19 years…every release a variation of a
style he developed from day one—potent, bombastic, fist-banging
metal anthems. ‘Live’ is a fine representation of Rolf’s
dedication to Teutonic Metal, and, while obviously studio cleansed,
is still a fantastic initiation for the untried and a fond addition
for the diehards. These two CDs culminate material from many of
Running Wild’s most notable releases (however obscure they’ve
been on American shores): ‘The Brotherhood,’ ‘Death
Or Glory,’ ‘Pile of Skulls,’ ‘Victory,’
‘Black Hand Inn,’ ‘Blazon Stone,’ ‘The
Rivalry,’ ‘Port Royal,’ ‘Gates To Purgatory,’
‘Ready For Boarding,’ and the immortal ‘Under Jolly
Roger.’ While there is arguably no live album in existence
that pleases fans 100 per cent, ‘Live,’ as exhibited above,
represents an interesting cross-section of Running Wild’s work,
including some surprising classics, like "Prisoner of Our Time"
(from the band’s debut), "Uaschitschun," "Riding
the Storm", and the rare "Purgatory." This is not
to say that Running Wild’s absolute best work lives on in their
’80s releases, as the band has been known to knock in some
shockers here and there, making the listener say "Whoa, where’d
that come from?" ‘Live’ was recorded on the German
tour for 2002’s ‘The Brotherhood’ release, and while
the fans were not properly miked for this recording, the energy
of said live performance is still intact. One of the hallmarks of
a Running Wild performance is Rolf’s lack of inter-song banter,
letting the music breathe and speak for itself. Obviously designed
for the fans, ‘Live’ is also an intriguing release in
that it is formatted so it cannot be played on a computer drive.
I can understand why a band or record company wouldn’t want
studio albums available for computer assimilation, but this is just
a live album. As a fan, I would want the opportunity to be present
for anyone willing to give Running Wild a listen, and from a business
standpoint, wouldn’t leaking a couple tracks bring in new fans?
I don’t think I’ll ever understand the German business
ethic, but you take what you can get, I guess.
<M. Morton> -7.5-
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