|
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
MORNING
AFTER
Beneath the Real (Black Lotus)
Morning After is impressive for two reasons. First, this Greek act
has managed to take the absolute worst elements of newer Sentenced
and HIM and blend them into an atrocious amalgam with an ineptitude
so perfect that it defies the very meaning of being inept. Second,
the band has managed to score a record label based upon its dubious
merits. Morning After plays a bland form of what has lately (and
ludicrously) been described as "suicide rock." In other
words, a capricious admixture of modern rock and bubbly gothic rock
with a few touches of something that smells vaguely of metal, all
focused on conjuring a mood of despondency without losing that rockin’
sensibility. Consider it rock ’n’ roll for the Prozac
Generation. Even counted among suicide rock’s dubious accomplishments,
Morning After comes up vastly inadequate. The songwriting is hamfisted
and lacking fluidity, with the band’s more eclectic moments
frequently ill-timed and always poorly executed. The maudlin vocal
melodies come across as awkward contrivance, emotional pap that
reeks of (mis)calculated artifice. Indeed, one listen to the weepy,
marble-mouthed melodies of "Heaven in Hell" reveals a
band that clearly needs to spend a lot more time crafting its harmonies
or firing band members. Perhaps a note of redemption could have
been struck had the songwriting been stronger, but the band’s
graceless mixture of mainstream rock hooks with the faux passion
of suicide rock comes across as lamentable in concept and laughable
in practice. <T. Bengtson> -1-
ONDSKAPT
Draco Sit Mihi Dux (Selbstmord)
With the most shamelessly outrageous, hyperbolic marketing behind
it—"the most evil album ever recorded"?—I would
expect to be at least HALF let down by this, but, surprise—Ondskapt
have let me down completely. They have gone the whole nine yards,
to use the idiotic cliché. And clichés are appropriate
to apply here, I believe, since the entire band itself is a huge,
overabundant, overripe cliché come to life. The intro opens
with melancholic choir made up of female voices set against a background
of xylophone tinkling and organ. As soon as this ends on this, "the
most evil album" of all time, the high-speed mayhem begins,
or, to be more precise, the De Mysteriis Dom Sathanas mayhem, as
that famous band has obviously had a very profound and direct influence
on the musicians of Ondskapt. The vocals are drawn out growls and
are okay enough, but when the singer tries to sound as though he
is possessed or losing control of himself he just ends up being
ridiculous, like a really lame Attila Csihar with cotton stuck in
his nose (and also his ears). The songs are all predictable and
dull and have a carnivalesque, merry-go-round quality to them that
didn’t sit well with me at all. In fact, from this writer’s
point of view, this is the shittiest fucking black metal I have
heard from the Selbstmord label to date, hands down. I don’t
see what the charm is to Ondskapt or how it has been getting such
good reviews in magazines abroad. It’s an outright mystery—the
single most mysterious thing about this band that I’ve discovered,
in fact. <Y. Arkadin> -3.5-
PERDITOR
In Signo Suo (Ordealis)
A five-song disc from this duo hailing from Holland. This stuff
is like a blast from the past in many ways. It calls to mind some
of the fast metal from the late ’80s in terms of playing style
and composition fused with a good dose of Slayer and Possessed hybridized
with a more modern black metal sound, albeit basic and straight
ahead. The vocal delivery is an exaggerated and decrepit yelling
variety, full of the raspy acidic spittle dripping from the beast’s
tongue. Some dual vocals vary the lyrical delivery with growls and
moans pervading where lyrics aren’t spewing forth. The most
unfortunate fact is the sloppy editing appearing between the first
and second discs. The second disappointment is that only two songs
have their lyrics printed, although it’s probably no great
loss as the lyrics aren’t all that unique or important in the
grand scheme of things. Layout appears courtesy of E. from Watain,
so you know that their sentiments lie in a similar direction, even
if not so occult in nature. <Bane> -6.66-
POVERTY’S NO CRIME
The Chemical Chaos (Inside Out)
With so many progressive rock bands out there vying for attention
from a demanding fan base, it’s hard to stand out these days.
This is the case with Poverty’s No Crime. While possessing
a tight and fluid sound, it’s come down to the fact that it’s
not memorable. It starts off infectiously enough with its delivery,
and gives off an almost positive feeling, but not too much that
it makes you sick. Journeying through the album, it runs from melodic
to straight-ahead hard rock, but the main thing that bothered me
was that there seemed to be almost no breaks between songs with
each song tying into each other. That can get exhausting enough
on a straight-ahead rock or metal album, but on a progressive rock
album, it makes it that much harder to keep up with what’s
being thrown at you. Don’t get me wrong, these guys try, but
I got really bored really fast. I was hoping I would be able to
keep my attention on it with repeated listens, but it didn’t
work.
<L. Savage> -4-
RAMMER
Suffer (Funeral Gig)
Hands down one of the most energetic and downright lethal metal
acts of the current Toronto metal scene is Rammer—they are
about as vibrant as they come. The music radiates an aura of authentic
heavy metal know-how and serves up an intense rhythm section and
blazing guitar work that’ll keep the fists pumping and the
pit swirling for a nice duration. Vocalist Dave Kristiansen is a
madman on CD, and that carries over into the band’s live performance
as well. I was pleased to hear that the band took the Suffer release
(originally only in a 12-inch format) and released it on CD for
more to enjoy. While the band’s self-titled debut from a few
years back is still my fave release by the band, the EP offers four
great new tracks, two of them ("Rammer" and "WTC
Inferno") that are of mind-blowing goodness and provide us
a vision of where Rammer may be headed next. I’m ready, are
you? <A. Bromley> -7-
SCARS OF TOMORROW
Rope Tied to the Trigger (Victory)
This So-Cal five-piece is another example of what happens when hardcore
kids start listening to a little metal. There is a foundation of
Hatebreed and Sick of It All in their sound, but Scars of Tomorrow
are built from bricks of double-bass drumming and interesting guitar
fills. The production of Rope Tied to the Trigger is very bass-heavy,
and this sound quality also differentiates these guys from the pack.
Sometimes their sound is almost too much, as round after round of
double-bass fills come at you, and another high-pitched guitar fill
bridges riffs, bleeding one song into the next. In fact, the most
remarkable track on the album comes when they slow the tempo down
for "Break the Fall," the album’s eighth track. Overall,
a very good debut album, and a band to keep an eye on to see how
they progress. <P. Silbiger> -7-
SIRENIA
An Elixir for Existence (Napalm/Fusion III)
An Elixir for Existence has everything you might expect on the second
album of a post-Tristania band: extreme metal guitar riffs and vocals,
synths that range from faintly industrial to all-out orchestral,
choir passages, and sweet female vocals. With more emphasis on neo-classical
and less on goth rock, Sirenia’s new record sounds even more
like Tristania than their debut, which gives the album a strong
feeling of familiarity. It’s all done very well—the balance
between intense metal and epic classical and the smooth transitions
to quiet and lyrical—and with no new Tristania album since
2001 it’s good to hear this quality coming from somewhere.
But it all seems a little safe, like a known formula for success—not
new but extremely comfortable. Unsurprisingly, Sirenia’s "elixir"
is a dark one, right from the goth-styled cover art to song titles
like "Lithium and a Lover" or "In My Darkest Hours"
(don’t be misled by one called "Euphoria"). "Star-crossed"
is one of the record’s highlights, capturing Sirenia’s
mastery of their chosen style, and the added touch of folk-inspired
riffs. A darkly eloquent instrumental eventually brings An Elixir
for Existence to a close, building from solo piano through the addition
of a ghostly choir and eventually full orchestra, only to fade off
into a soft solitary piano finale. <L. Taylor> -7.5-
SYMPHORCE
Twice Second (Metal Blade)
I received this CD hoping for something more original and varied
than Symphorce vocalist’s other band Brainstorm. I guess it
was me kinda wishing for something more interesting, but while Symphorce
has a good forceful sound and a more modern and streamlined approach
to an overly saturated power metal scene than the average band,
I’m having problems with it captivating my interest. Don’t
get me wrong, there’s plenty of talent and catchy hooks to
keep the metal listener interested, but in the general scheme of
things, this album doesn’t do anything to be really attention
grabbing. Give me a little something less original with more energy
and I’d be happy. It’s just a little mundane for my ears,
I suppose. The one highlight of the band for me is singer Andy Franck,
who comes away with an original power metal snarl. But he can’t
save the boredom that plagues me when listening to this. <L.
Savage> -3-
TAROT
Suffer Our Pleasures (Spinefarm/Metal Blade)
Imagine this if you will—a power metal band in this modern
age that plays a no-frills, balls-out style and bears a perfect
resemblance to a meshing of Savatage and Symphony X. Tarot’s
latest album contains these elements, and enough power metal fury
to knock all the pansies on their asses. This band’s sixth
album since 1986 (several breaks have taken place in the band’s
history) shows the dedication to their craft, delivering the goods
with opening track "I Rule" and onward throughout this
multi-layered affair. Two things to note in this band are that the
keyboards are used as a backdrop and aren’t out in the forefront
the way many bands present this instrument. The other thing is singer/bass
player Marco Hietala (also with Spinefarm label mates Nightwish)
who adds an angry and rough touch to his accomplished and well-suited
vocals. And the old-school approach with a power metal foundation
and prog elements works wonderfully. This is what power metal needs
now; no fancy ass bullshit, just energetic and musical metal. <L.
Savage> -8-
V/A
Bring You To Your Knees: A Tribute To Guns N’ Roses (Law of
Inertia)
I was initially excited to hear this tribute album: good bands,
cool songs to cover. Then came the time to spin the album and get
a good feel of how these bands put their own mark on songs that
I probably have sung/heard thousands of times in the last 15 years.
My initial reaction was uncertainty, as Zombie Apocalypse sped through
"Welcome To the Jungle," Unearth demolished (in a good
and bad way) "It’s So Easy" and Most Precious Blood
added some tinkling ivories for "Sweet Child O’ Mine"
(clever!). Soon after I was digging some of the bands’ renditions
of the classic GN’R songs, and hating others. Choice cuts are
by The Dillinger Escape Plan ("My Michelle"), God Forbid
("Out Ta Get Me") and Haste’s ("You’re
Crazy"), while others went nowhere: Bleeding Through ("Rocket
Queen"), Break the Silence ("Nightrain") and Every
Time I Die ("I Used To Love Her"). A little hit and miss,
but I guess since Axl is more concerned about wasting many years
of his time, money and his fans’ patience to make Chinese Democracy,
then we should be happy we have some kind of Guns N’ Roses
release to cheer about. Hurry up, Axl! <A. Bromley> -6-
|
