|
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
E-FORCE
Evil Forces (Season of Mist)
Yowza! I knew of E-Force’s power from the early demo days a
while back, but their debut for Season of Mist is miles above their
previous efforts, in both production and intensity. Ex-Voivod singer
Eric Forrest has managed to assemble an outfit that is tight in
execution and sharp in attack. Thrash fans should be excited with
this release as Evil Forces is pure thrashing madness! No doubt
fans of Forrest’s time in Voivod will pick up a Negatron-esque
vibe at times, but that could also be credited to Forrest’s
intense vocal cries atop the technical/thrashing style. Production
on the album is of a high calibre, thanks in part to knob twirling
by Pierre Rémillard. Polished, but no too slick, Rémillard
helps bring out a real nice solid flow of ideas, pushed forward
by an eerie metallic atmosphere and metallic crunch. The title track
and "Germ Warfare" are proof of that. While Voivod comparison
will come up when E-Force is discussed (as in this review and I’m
sure many more down the road), I think it is fair to say that Forrest
has imbedded himself with a band that kicks so much ass that people
will eventually forget his past work and focus on what he’s
dishing up with E-Force.
<A. Bromley> -9-
EYES OF FIRE
Disintegrate EP (Century Media)
Featuring two members of the sadly defunct Mindrot, Eyes of Fire
(formerly known as Shiva) is a completely different entity than
its predecessor, although both bands share at least one common feature:
the ability to combine heaviness with emotion in perfect measure.
Disintegrate is Eyes of Fire’s three-song debut and is intended
as a teaser for the forthcoming full-length, Ashes to Embers. Eyes
of Fire has crafted a compelling sound for itself; one that mixes
the heavier moments from Neurosis’s Through Silver In Blood
with the extraterrestrial post-thrash of Alchemist. The result is
simultaneously penetrating and mesmerizing, like being anesthetized
from the neck down and then watching helplessly as a kidney thief
removes one of those choice organs from your body with a minimum
of care. The title track inaugurates the album with a blast of hyperbolic
tribal drumming that serves as one of the best uses of this style
yet performed by a metal band, and is well-matched by the bellowing
vocals and frenetic guitar lines. The middle tune, "Hopeless,"
sees the band slip into a multilayered soundscape that is hypnotically
intricate, with myriad layers of guitars and sophisticated vocal
arrangements enthralling the attention. On the memorable finalé,
"Anyone," Eyes of Fire oscillates between verses of ominous
tranquility and deafening chorus eruptions where the vocalist shouts
out the lyrics of lament with mantra-like precision. Consider the
musical taste buds piqued…now, bring on Ashes to Embers before
I become dehydrated from anticipatory salivation.
<T. Bengtson> -8.5-
FINTROLL
Visor Om Slutet (Spikefarm Records)
Unfamiliar with anything Fintroll has recorded before this album,
I can’t say for sure whether or not Fintroll have progressed
or regressed or even changed. Apparently they played metal before,
and are taking a break from the style with Visor Om Slutet, which
is a kind of upbeat folk/drinking music conglomeration, with a lot
of short ambient interludes. It lends an overall impression of sitting
in a small cabin in the woods with a bunch of drunken Finnish guys
sitting around you having a good time, laughing and dancing. Oh,
pardon me... it WAS recorded in a cabin in the woods, near Helsinki
to be exact...and these guys are Finnish, and are probably indeed
drunk. So the description is somewhat accurate after all. I say
that the release is upbeat—allow me to correct myself. This
is not true all the time. There is definitely some melancholy in
the Fintroll compositions as well as what the label describes as
"trollish hoedown," and perhaps even the merry parts have
an underlying sadness to them. This would make sense on some level
as the recording stands as a tribute to Teemu Raimoranta, an old
friend of theirs who had died. Speaking for myself, I cannot listen
to the 30 light and goofy minutes of this album for too long; I
think I have to be very drunk to really enjoy Fintroll. But, drunk
or not, these guys have captured something really original in Visor
Om Slutet and have done it in a proficient and tasteful way. Perhaps
next time I am drunk and decide to have a trollish hoedown in my
backyard I will put this CD in the player and see what happens...
<Y. Arkadin> -7.5-
FAR FROM BREAKING
The Identity (Third Party)
Before even recognizing that Far From Breaking was a straightedge
hardcore band, old-school comparisons such as Minor Threat and Uniform
Choice sprang to mind. Of course, you don’t have to look hard
to figure out how these guys position themselves: an X on the hand
on the front cover, two more Xs-on-hands on the back cover, song
titles such as "Think Twice" and "The Bonds We Build."
It seems as though Far From Breaking are intent on capturing the
entire old-school experience, as the album’s fuzzy production
quality sounds more ’80s than contemporary, which contributes
an interesting air of nostalgia and novelty. With a whack of good
songs, excellent intensity, and a hell of a lot of conviction, The
Identity will have you reaching for the volume knob instead of the
bottle.
<P. Silbiger> -7-
FROM ASHES RISE
Nightmares (Jade Tree)
Indubitabl>y inspired by ’80s British hardcore/punk-gone-metal
acts such as Discharge and Broken Bones, Portland, Oregon’s
From Ashes Rise invoke all the energy and chaos of their predecessors,
while intimating a good dose of modern influences as well. The fast-paced
tempos and manic guitar riffing behind opening tracks "Reaction"
and "Hell In the Darkness" simply ooze the influence of
Discharge’s Never Again, and much of the album’s first
half follows in the same vein. Then things get interesting, as "The
Inner Beast," "Black Granite" and "The Mandate"
enter the fray. More dynamically charged, with undulating volumes
and serene instrumental interludes, these songs are perfect examples
of From Ashes Rise’s capabilities. In fact, after digesting
these three consecutive tracks, the dynamics and musical precision
behind the album’s opening songs begins to leap forward as
well. If you were to turn your head to the sky and plead to the
punk gods to give you Discharge circa 2003, the best thing they
could possibly offer you is From Ashes Rise.
<P. Silbiger> -8-
GRABNEBELFUERSTEN
Dynastie (Ketzer Records)
Hearing Grabnebelfuersten before on several European metal samplers,
their songs have never really produced any memorable effect on me.
But this was before I heard Dynastie—Oder Wie Man Herrschaft
Definiert, an album difficult to simply toss aside and ignore. Apart
from the excellent artwork and layout by Lunar Aurora’s Aran,
the music of Grabnebelfuersten (Gravefogprince?), has received a
considerable upgrade in nearly all its aspects. The band has grown
tighter, darker, faster, more complex, epic, and, if not original,
much more willing to take chances than ever before. Of the six tracks
on this release, five go on for nearly 10 minutes apiece—very
intricate and layered songs, and the blast beats almost never let
up. The blast beats, the drumming of one of these five guys, are
awesome, just as the guitar work and most of the ideas they present;
mystical, atmospheric and powerful tunes. The album really begins
to pick up by the fourth track, "Briefe an die Toten"
(Letter to the Dead Ones), where the exchange between the two vocalists—the
neurotic little guy and the hungry, growling bear—gets really
intense, creating a dramatic, dynamic and sick atmosphere. Well
before I reached the last track I understood why Aran decided to
lend his hand to this band—this is a very cool album, and deserves
to be heard by more people.
<Y. Arkadin> -7.5-
HIMSA
Courting Tragedy And Disaster (Prosthetic)
Ahhh…nothing helps fuel anger and aggressive expression than
heartache and shattered love lives. Full of aggression and massive
amounts of intensity, Seattle’s Himsa continues to push boundaries
within their music, meshing tightly together elements of thrash
metal, hardcore and noisecore with the greatest of ease. I’m
blown away with what the band has offered here with Courting Tragedy
and Disaster (check out the tracks "Rain To the Sound of Panic,"
"Cherum," and "Loveless and Goodbye"), an album
that is leaps and bounds from any of the band’s previous releases,
reason being the band now has a stable lineup and spent more time
harnessing ideas/sounds. Himsa, along with bands like Cannae, Lickgoldensky
and On Broken Wings, have made a valued effort to bring a heaviness
factor to the hardcore/noisecore realm. Not only is the music now
fast and abrasive, coming at you from all angles, it also showcases
a really powerful punch on top of that. They say love is blind,
but in Himsa’s case, it can also be seen as a weapon.
<A. Bromley> -8-
HOUSE OF PENANCE
Disturbance (Xtreem Music)
I found it difficult to find any musical redemption for this band
and for their new release. This is about as straightforward and
typical as it comes in the realm of fast, downtuned death metal.
Naturally, the performances are strong of all of the participants,
but the monotonous and predictable style that this CD chugs along
at leaves much to be desired. Too much clone-like tendencies and
not nearly enough self-distinguishing qualities to deserve many
listens.
<S. Wasylyk> -3-
HORNED GOD
Chaos, Bringer of All Revelations (Listenable)
I’ll admit right off the bat; this is just pretty sick ’n’
evil death metal music from South America. Brazil’s Horned
God masterfully creates an atmosphere that resonates a world of
destruction, hatred and wrongdoing—and most metal fans will
eat this up for sure. Be sure to check out incredibly powerful numbers
like the title track. "War Goes On" and "Satan Isn’t
the Enemy of Men." But Chaos… is not an album without
some problems. I found the production a little thin in some spots
and the drums could have been a bit higher in the mix—the rattling
drum sound at times was reminiscent of early Krisiun (though not
as bad). Despite any minor quarrels I have with the album, Horned
God are a talented quartet that deserve to be heard.
<A. Bromley> -7-
IN THE WOODS
Live at the Caledonien Hall 2CD (Karmakosmetix / The End)
A posthumous testament for a band that remains light years ahead
of its time. Generally, live albums issued in the winter of a band’s
career are dubious prospects: often released to fulfill contractual
obligations; hastily cobbled together from soundboard tapes of the
last tour; almost invariably carrying a tinge of bitterness. No
such qualities creep into In the Woods’ monumental live album,
thankfully. Recorded at the band’s final performance, Live
at the Caledonien Hall is a magnificent performance that eloquently
encapsulates an extraordinary musical career. Doomy psychedelia
and progressive pomp coagulate into grandiose psychosis, as the
band’s depressive odes command the most impressive of heights.
Male and female vocals duel and duet throughout the course of the
album, the deepness of the former adding solemn richness, the loftiness
of the latter adding grandiloquent splendor. From the pensive shimmer
of "Medley on Heartworks" to the hallucinogenic cover
of Jefferson Airplane’s "White Rabbit" to the staggering
fourteen minute "Omnio (bardo + post)," this live album
is indispensable for fans of the band, as well as a fitting introduction.
Held together by a cohesive track selection that spans In the Woods’
studio work (including the entirety of the band’s second album,
Omnio) and a production as flawless as the band’s performance,
the music fits into a seamless whole, each track a different movement
that is part of an awe-inspiring totality.
<T. Bengtson> -9-
IRON MAIDEN
Dance of Death (Columbia)
Right from the get-go, the change in Iron Maiden’s sound grabs
the listener by the throat: while the inanely cheerful opening track
may be laughed off as "Can I Play With Madness" part two,
it signals a return to the roots so many die-hards have been clamouring
for during the past three years. A far cry from the lacklustre songwriting
of Virtual XI, and the overly sombre tone of Brave New World, this
year’s offering is a triumph for the band, cementing the return
of Bruce Dickinson as an integral and essential part of the band’s
sound. The man’s timbre may have darkened somewhat over the
years, but it only serves to refine his distinctive sound, bringing
out the emotional nuances on the more dynamic material like the
title track, an instant classic that echoes the eerie "Fear
of the Dark," if not quite in melody then at least in spirit
and intent. Galloping rhythms and blazing twin-guitar solos abound
throughout the album, as do the instantly memorable, anthemic choruses
that have been missing in the band’s last three albums. "No
More Lies" suffers slightly from a overly repetitive chorus,
but the rollicking energy and infectious melody of the song leaves
no room for doubt in even the most sceptical, old-school fan. A
newfound thrashiness makes the intro of "Montsegur" seem
un-Maiden-like, but as soon as Dickinson’s voice soars into
the uncannily familiar sounding epic chorus, there’s no doubt
that these are the guys who brought us classics like "Revelations"
and "The Flight of Icarus." With the exception of an annoyingly
tinny guitar sound at times, the production is an effective stripped-down
mix that allows the simplicity of the material to shine through
on its own merit. What the album lacks in complexity of songwriting
(three guitarists seems like overkill given the simplicity of the
arrangements), it makes up for in barrels with an undeniable youthful
vibrance that shows up in the infinitely catchy melodies and trademark
twin guitar riff-trading that characterised their earlier material.
There are certain bands who don’t take well to progression,
and in Iron Maiden’s case, this sense of retrospection gives
fans the satisfaction that’s been missing from their music
for years.
<A. Wee> -9.5-
IPSUM
Mystic Evilution (self-released)
One must love a band whose intent is to create darker and more extreme
music as time passes, rather than the other way around. Ipsum, a
five-piece from Switzerland, not only fulfill these traits, but
also project in their compositions a feeling that seems to be growing
more and more rare in the underground: an actual sense of alienation
and loneliness. At least this is what I feel listening to their
second release, which almost immediately struck me with its rough
and abrasive, dirty sound. A friend that I played it to told me
the first track, "New Model Inferno," or parts of it,
reminded him of old Amorphis, the first release, The Karelian Isthmus,
which is to my mind no small compliment. Personally, Ipsum to me
generates an atmosphere, or a recollection, of a sound somewhere
between the first two Ancient releases, which I consider black metal
classics (especially Trolltaar), and early Samael. There is an eerie
vibe to the seven tracks on this release, a cold and morbid quality
that has me playing it over and over again, and the fact that the
songs are all distinct from one other definitely has something to
do with this as well. Obviously a lot of time was spent in selecting
only the best material for Mystic Evilution. Tracks like "Silent
Skies" and "New Model Inferno" make many of the metal
bands coming out lately whose ambition it is to be "dark"
and "obscure" seem impotent and pretentious. This music
is intelligent, unique, poignant, and a downright pleasure to hear.
Someone ought to sign this band!
<Y. Arkadin> - 8.5-
LEGEN BELTZA
Insanity (Crash)
Perhaps Insanity is not the album of a band that is quite "in
the zone"—at least not yet—but it is a refreshing
change of pace despite a few flaws. Frolicking in the always-bountiful
grounds of old school thrash, Legen Beltza’s love of all things
Bay Area is unabashed and occasionally impressive. Even the production,
courtesy of none other than Jeff Waters, oozes old-school vibes
with its crisp guitar tone and natural drum sound. While suffering
from some rather jagged transitions and awkward passages, the Iberian
quartet demonstrates a knack for writing powerful riffs and actually
fleshing them out before moving on to the next one. Moreover, much
of the soloing is expressive and fluid, always carefully deployed
in order to accentuate the song in question rather than simply showcase
a given musician’s chops. The tasty lead work that begins "Dying,"
and later becomes a repeated motif throughout the song, stands as
a fine example of the prowess possessed by Legen Beltza’s six-string
duo. Again recalling the golden age of American thrash, Legen Beltza
concentrates on writing chorus hooks that are quite catchy, even
if vocalist Xanti has a rather unappealing tone that resembles a
bad mixture of Mille and Schmier. Unfortunately, the unpalatable
vocals, in conjunction with a sense of songcraft that has yet to
completely gel, hinders Insanity from making the impact that it
well could have. That said, Legen Beltza is clearly a band with
great potential. With a little more fine-tuning, they could join
Divine:Decay in championing a renaissance of the Bay Area sound.
<T. Bengtson> -6-
LEVIATHAN (UK)
Shrouded by Fog (Monkeyhouse Recordings)
UK dark ambient act Leviathan’s latest outing signals a vague
change of direction from the dynamic, structured pieces on the debut
to a more diffuse soundscaping. If any structure or form is apparent,
it’s of the sprawling, shadowy variety (akin to gazing across
a fantastic, mist-enrobed village of ill origin) suggesting a weird
ambience rather than place. Rumblings and abyssal drones give way
to miasmic sweepings and even occasional, vaguely symphonic strains
in the upper register, as a nebulous, far-off pounding resounds
in the background. Highly promising stuff, until signs of inconsistency
become apparent when the echoey sweepings on "A Land of Mist..."
and the companion "...and Shadows" start becoming annoyingly
repetitive (a lack of true depth in material still seems to be Leviathan’s
major fault). Skipping forward reveals stronger material in "Frostbitten,"
where profound orchestral drones resound deep in untrodden halls
of antiquity, only to be replaced with a surprisingly bright synth
melody as the "Clocktower" beats out a refreshingly light
tattoo. "The Seawitch’s Lament" closes out the album
on a strong note, emphasizing Leviathan’s strength in combining
lighter passages and melodies with the heavier ambience of their
style. Shrouded by Fog clearly showcases a developing act with great
promise, but somewhat lacking in the individual character and depth
possessed by more experienced dark ambient counterparts like R|A|A|N
or Inade.
<A. Wee> -7-
MOLESTED SENSES
No Friends Here (Still Dead)
Drawing from the early ’90s death metal sound that came to
be associated with the New York scene, Molested Senses bashes out
eight tracks of thick-necked death metal that favours midtempo grooves
and methodical riffing. Of course, faster and slower rhythms are
(ab)used with vigor, but the band is at its best when stomping through
the steroid-enhanced mid-speed slogfests—when the deliberate,
unrelenting guitars move with the formidable power of a legion of
steamrollers. With a deep and guttural singing style akin to Frank
(Suffocation) Mullen, vocalist Dan Boone (I kid ye not) belches
out the lyrics with the right mixture of grizzly bear growls and
boar-in-a-bloodfrenzy snorts. The words may be unintelligible, but
they are phrased in a rhythmic fashion that is effective, with Boone’s
enunciation changing in tandem with the tempo and riff patterns.
The guitar work sounds like Suffocation mixed with groovier sections
that hark to Dying Fetus and Jungle Rot, all making for a deliberate
attack that could be likened to the manner in which Jason Voorhees
stalks his next victim, emotionless and unhurried in the realization
that sheer power always trumps speed. While the band’s sound
is not original in the slightest (nor does it intend to be, in the
band’s defense), Molested Senses does write songs that are
coherent and focused in structure, boasting well-executed timing
changes and punch-to-the-kidneys riffery. In short, this is sure
to please death metal fanatics, and few others. And there is absolutely
nothing wrong with that.
<T. Bengtson> -7-
MONSTROSITY
Rise to Power (Conquest)
Not many veteran bands can lay claim to still staying true to their
roots. So many have dropped off the planet and/or dropped their
sound/style altogether for a much cleaner and commercial sound.
Not Florida’s Monstrosity. After a four-year gap the band returns
with Rise to Power, a brutal onslaught of powerful death metal intensity
and speed for us to digest. Songs like "Visions of Violence,"
"Awaiting Armageddon," and "Shadow of Obliteration"
easily set the tone for an album that relies solely on the momentum
of death metal to execute what needs to b done. No gimmicks or technicality
required. While far from groundbreaking, Rise To Power is definitely
Monstrosity’s most brutal and-in-your face release—fits
nicely next to killer2003 releases by Morbid Angel, Vital Remains,
Luciferion, and Withered Earth.
<A. Bromley> -7.5-
MOONSPELL
The Antidote (Century Media)
Despite having shifted styles a bit since their earlier gothic/black
metal-rooted days, I think it is safe to say that Moonspell still
has managed to keep the same atmosphere and creativity flowing with
each release. Each album is an adventure for us all to discover.
I was a big fan of the band’s previous albums—1999’s
The Butterfly Effect and 2001’s Darkness and Hope—and
I’m glad to see the band has expanded a bit on some of the
ideas from those albums, but still at the same time ventured forward
and brought about a real sense of horror and beauty with simplistic
ease. With lyrics inspired by the work of Portuguese author Jose
Luis Peixoto, the band cultivates an intriguing album with songs
like "In and Above Men," "Everything Invaded"
and "A Walk on the Darkside" standing above the rest.
The Antidote is a mesmerizing flow of darkened emotions and mystifying
qualities that only Moonspell can deliver and as fans we should
be grateful that the band continues to find new inspirations for
their music. The journey is still ongoing for Moonspell…
<A. Bromley> -8-
|
