Critical Metal Update B Tear sheet.
This page is printable.
I guess it should be obvious from the sheer number
of reviews on this page that I have been writing them for a long time. Many of the discs reviewed have been out for
some time, others are more recent. I
have yet MORE CD’s to review.
Reviews:
Abigail Williams, Angel Corpse, Arch Enemy, Black Bonzo, Blood
Tsunami, Blut Aus Nord, Carnal Forge, Celestia, Crionics, Cruachan,
Demised, Depressed Mode, Einseferum, Ensepulchered, Entombed, Fall
of the Leafe, Flagellation, Funeral (my personal favorite), Furze, Herasi,
Iced Earth (2 releases), Illuminandi, Kamelot (2 releases), Kotipelto,
Laethora, Lost Eden, Machinery, Magnum, Marduk, Martriden,
Masterplan, Messiah’s Kiss, November’s Doom, Obituary, Obscurus
Advocam, Omnium Gathering, Onslaught, Pro-Pain, Paganize, Saint,
Saxon, Shining, Sigh, Super Geek League, Swallow the Sun, Terhen
(another personal favorite), Throne of Katarsis, Toxic Bonkers, Transmission
0, Tuner Pole, Up From the Ashes DVD, Virgin Black (CD and concert), Wuthering
Heights.
Check out this website: www.deathtotheworld.com.
Check out Six Gun Symphony’s band site: http://www.myspace.com/sixgunsymphonyband
ABIGAIL WILLIAMS “Legend” (5 tracks.
21:41). CANDLELIGHT USA.
Rating: 7. Country of origin: USA.
Release date: January 23,
2007.
I had
mixed feelings about this CD when I first got it. I think I hastened to judge this band as another modern metal
band with pseudo-thrash riffs and alterna-rock choruses. Later I tried it again—and was probably in a
more receptive mood. That time I found
the CD to be more to my liking. First,
I do not think that the modern metal characterization was accurate. There is some melody in the music, mostly in
the form of keyboards, but this is lightly placed above a deadly guitar
attack. There is definitely a lot of
black metal influence in their music, but this southwestern band balances is
out with that thrashy-meets-hardcore modern sound. Once I got a grip on it I found it to be enjoyable.
ANGEL CORPSE “of Lucifer and Lightning” (9 tracks. 36:32) OSMOSE/THE END.
Rating: 8. Country of origin: USA.
Release date: Available
now.
Another
band that has successfully picked up where they left off is Angel Corpse. Their aggressive and technical, but raw
sound has been sorely missed over the last ten years or so. Fans will be pleased not only that they are
back together, but that this new album of theirs is another great death metal
offering in their characteristically brutal style. Those not familiar with the band will want to know that they are
somewhere in the ballpark with bands like Morbid Angel and Hate
Eternal, that is, aggressive, bottom-heavy, riff-oriented, evil death
metal. The hiatus seems to have done
the band well as they here knock out nine blistering new tracks that kill from
beginning to end. Don’t be surprised if
you wind up breaking something while listening to this CD.
ARCH ENEMY “Black Earth” (12 tracks
+ 1 video. ). REGAIN RECORDS.
Rating: 9.5. Country of origin: Sweden.
Release date: April 10,
2007.
This
gem is not to be missed by anyone who considers himself/herself a true fan of
death metal. After splitting with Carcass,
guitarist Michael Amott joined forces with brother Chris, drummer Daniel Erlandson,
and bassist/vocalist Johan Liiva to create one of the most brutally awesome
death metal masterpieces ever to come from Sweden’s fertile scene. One listen to this disc and you will know
why Carcass’ Swansong album could not measure up to Heartwork—the
absence of Michael Amott’s killer riffs.
In other words, by that time Amott had left Carcass to form AA. Carcass’s loss can be proven by comparing
this release to the tepid Swansong.
But since the release of Black Earth 10 years ago, it has only
been available in North America as an import.
Now, thanks to Regain Records, it will be released domestically. But wait!
That’s not all. The disc comes
with bonus tracks: “Losing Faith,” “The
Ides of March,” and “Aces High.” On
this last track, even though the death metal vocals may be a little out of
place, the influence of NWOBHM—and especially Iron Maiden—becomes crystal
clear. And finally, this disc also
comes with a video track for “Bury Me an Angel.” Get it now or cry later!
BLACK BONZO “Sounds of the
Apocalypse” (8 tracks. 54:06 ). LASER’S EDGE.
Rating: 10. Country of origin: Sweden.
Release date: available
now.
1970’s
progressive rock (Kansas, Styx, Deep Purple, Queen)
with a 1960’s protest atmosphere, Black Bonzo have combined great vocals and
vintage prog-rock playing into an epic of critique. Guitarist Joakim Karlsson, for instance, must have studied Brian
May a lot, and probably Jimmy Page too.
Vocalist Magnus Lindgren also has a classic sound. In fact, I cannot communicate enough in
words how convincingly vintage this album is.
It is flawless. Add to this the
deep, thought-provoking lyrics and excellent musicianship. I have probably listened to this CD 30 times
already. This is probably the biggest
endorsement I can give it.
BLOOD TSUNAMI “Thrash Metal” (8
tracks. 42:54). CANDLELIGHT USA.
Rating: 7. Country of origin: Norway.
Release date: April 3,
2007.
If
the title doesn’t clue you in, please allow me: Blood Tsunami revel in Carcass, Destruction and Kreator
worship. This is not to claim that they
are a clone band, for BT have plenty of creative energy evident in their
music. But from the opening track,
“Evil Unleashed,” musical affinities with the revamped Destruction will be
fairly obvious, though I am more likely to associate this band with Kreator
(check out “Rampage of Revenge”) and vocalist/guitarist Pete could easily pass
himself off as Mille Petrozza. But as I
said, there is enough creativity here not to stereotype the band (e.g.,
“Godbeater”)—and thankfully they are real thrash and NOT modern metal! Also of interest is the fact that the band,
while new on the scene, does have a veteran on board, drummer Bard “Faust”
Eithun, whose work is well-known with Zyklon and Emperor among
others. Finally, while I would be
tempted to give this band a higher rating because of their obvious thrash
orientation, I did not feel as drawn to their music as I would have expected.
BLUT AUS NORD “MoRT” (8 tracks.
47:10). CANDLELIGHT USA.
Rating: 7. Country of origin: France.
Release date: available
now.
It is
always my practice to try and understand an album as it was intended by the
creators of the music. This is
difficult, of course, because all my impressions are subjective—that is,
subject to my own whims, likes and dislikes.
And, since this is my first time to hear Blut Aus Nord, I cannot rightly
say how this music compares to their previous releases. On the other hand, I think I like Blut Aus
Nord because they do not sound like anyone really, though ambient black metal
is a fairly well-established sub-genre by now.
On the other hand, their sort of wall-of-sound, droning noise can get
lost in the background if you are not actively listening, and the boundaries
between the songs—if they even exist—are so blurred that you may not notice
them. I like this kind of music when
concentrating on something else, like doing research or reading a book. I do not like it for riding in the car. Think of it as mood music. It is definitely better done (by far) than Burzum,
and has a real industrial connection.
People who enjoy releases on the Cold Meat Industry label (Sweden) will
really get into this.
CARNAL FORGE “Testify for My Victims”
(12 tracks. 48:18). CANDLELIGHT USA.
Rating: 7.5. Country of origin: Sweden.
Release date: May 22,
2007.
From
the beginning CF sounded to me like a heavier version of just about any
Gothenburg death metal band. From album
to album the sound and the subject matter has remained pretty much the same: extreme Swedish death metal with themes of
death and victimization. The one thing
that is different here is that the guitar playing is a lot more interesting
than previous albums in my opinion. It sounds
like Jeff Loomis (Nevermore) came in and played solos for them. Not to say that the band’s previous work
hasn’t been excellent, only that here the guitar work seems to be more
diverse. All that said, CF are still
pretty much the heavy duty death-mongers they have always been. Fans will be pleased.
CELESTIA “Apparitia – Sumptuous Spectre” (8 tracks. 43:13).
PARAGON RECORDS.
Rating: 8. Country of origin: . Release
date: available now.
This
intriguing black metal CD hits you with an evil sound but some mystical song
titles. The CD begins with “The
Awakening of the Dormant Fiancee” and ends with “The Radiance of the Astral
Code.” What these and the others songs
are about lyrically is anyone’s guess since I do not have lyrics, but the
titles are thought-provoking and suggest either magical and/or mystical
pursuits. Whatever the case may be, the
band demonstrates some strong skills in the art of cold, brutal riffage. The music is an unrelenting
wall-of-black-metal with some great production and cavernous dungeon vocals. And I especially like the fact that you can
distinguish the bass guitar from the other instruments. Despite the fact that this band was going
for a primitive sound, it is clear that they have good production values. They do not simply abuse their instruments,
but show the capacity to create different dark moods, including sorrow,
melancholy, and fury. But, to be
honest, there are still a few moments when the constant throbbing of the fast
playing can get a bit monotonous. Still,
it is an excellent album over all.
CRIONICS “Neuthrone” (11
tracks. 43:40). CANDLELIGHT USA.
Rating: 9. Country of origin: Poland.
Release date: July 3,
2007.
Like Vader
and Behemoth, Crionics are an extremely heavy, tight death metal
band. Perhaps now, with their third
album, Crionics will achieve a level of notoriety commensurate with Vader and
Behemoth. They certainly deserve
it. This album is, in short, a
breath-taking example of uncompromising brutality. And though keyboards are not usually associated with this type of
brutal death metal, they are used to great effect in Crionics’s music.
CRUACHAN “The Morrigan’s Call” (12 tracks.
46:39). CANDLELIGHT USA.
Rating: N/A. Country of origin: Ireland.
Release date: available
now.
I
appreciate “ethnic” metal. I have
encourage friends in Mexico to try and cultivate a distinctly Mexican sounding
metal. I like Finntroll. But I just couldn’t get into Cruachan. I wanted to. I passed it on to Criticalnate for review, and he too could not
get into it—and he is a bigger Finntroll fan than I. I also have an earlier Cruachan CD and had the same
reaction. In short, it does not appeal
to me. But I do not want to criticize
it just because I do not care for it.
Obviously this band has released a number of albums and have a
following.
DEMISE “Torture Garden” (13
tracks. 55:51). CRASH MUSIC.
Rating: 6.5. Country of origin: Poland.
Release date: available
now.
I had a mixed reaction to this band at first: are they death metal or are they modern metal? It was hard to tell. The reality is that while many modern metal bands sound like death metal verses mixed with alternative rock choruses, Demise keep it just a bit “deathier” in the chorus department. I think metalheads younger than myself will really like this band. I enjoy listening to this disc, but I wouldn’t put it on my favorites list.
DEPRESSED MODE “Ghosts of Devotion” (9 tracks.
51:20). FIREBOX MUSIC.
Rating: 8. Country of origin: Finland.
Release date: available
now.
Finland continues to expand its proud tradition of creating gloomy, depressive music in the form of Depressed Mode. The name is obviously meant to be funny, but after listening to a few songs I thought to myself: Depressed Mode? More like “Doomy Borgir.” I think that this Dimmu Borgir comparison was inspired by the sort of twisted carnival sound of the keyboards by vocalist/keyboardist Ossy Salonen, founder of the band, and the female (soprano) vocals provided by Natalie Koskinen (also in Shape of Despair). On the third song, “Words of Silence,” her vocals, which counterbalance Salonen’s, sound almost like Vortex behind Shagrath. In terms of heaviness, tempo (really slow), and the male vocals, I think the best comparison might be Swallowed by the Sun. Comparisons aside, funeral doom bands are either really interesting or really boring. Rarely do we find middle ground. DP are definitely interesting. The title song, “Ghosts of Devotion” is a particularly funereal tune. Track 7, “Fallen Angel,” is, in contrast to the rest of the album, angelic sounding. It is followed by a very gothic sounding cover of Burzum’s “Dunkelheit.” I do not have the original, so I have no idea how to compare it with the Burzum version except to say that, given what I have heard of Burzum, it is probably astronomically better performed.
ENSEFIRUM
“Victory Songs” (9 tracks). CANDLELIGHT USA.
Rating: 8. Country of origin: Finland.
Release date: April 24,
2007.
Ensiferum strike me as a good balance of folk and power metal, though the vocal style may tempt some to throw in the term “black metal.” This is probably not necessary. They may be compared to fellow Finns as maybe a cross between Children of Bodom (power metal leanings with harsh vocals) and Finntroll (folk leanings), with Warmen as another band in their general milieu. The title “Victory Songs” and their overall Viking image suggest an affinity with Swedish bands like Unleashed and Amon Amarth. Victory Songs is a great listen, with a good balance of aggression and folk elements.
ENSEPULCHERED “The Night Our Rituals Blackened the
Stars” (9 tracks). AUTOPSY KITCHEN RECORDS.
Rating: 7.5. Country of origin: USA.
Release date: Available
now.
I think Ensepulchered belong a sub-genre of black metal which includes the likes of early Burzum, Xashur, and Blut Aus Nord. Though drums, guitars, and dungeon vocals are present, it is the electronic side of the band (keyboards and drums) that really sets the tone of the music. And so I think that while this is clearly intended to be black metal, it should be sub-classified as something like “experimental, electronic black metal”. The songs do have structure, of course. But the overwhelming sense of doom and torture set to a B-movie type soundtrack and honestly lovely, but haunting keyboard melodies makes this release both unique and very engrossing. It’s not for everyone, but if you are into creepy atmosphere—say, a low-budget Arcturus—then you will really enjoy this CD.
ENTOMBED
“Serpent Saints” (10 tracks.
41:31). CANDLELIGHT USA.
Rating: 7.5. Country of origin: Sweden.
Release date: July 3,
2007.
I did not realize that it has been four years since the last mainstream Entombed release. As advertised, though, Serpent Saints is definitely Entombed’s best work since Wolverine Blues. Consider, however, that WB came out in 1993. This does not mean a return to form as SS is clearly more in the “death n’ roll” vein than even WB was. In other words, these guys have found themselves in a groove—which can also be a “rut” if they quality or inspiration suffers. This time it is a groove, and for the most part, a good groove. So what are we really saying? Well, from beginning to end SS is a good listen. All the elements are there, but even a highly popular confident band like Entombed can get monotonous. Subject matter is, as usual, sophomoric and provocative anti-Christian lyrics. If you are a big fan of the band, then SS will surely be one of your favorites. If you are not a fan of the band, SS will probably be one of the Entombed releases you will enjoy. Personally, I like it, but it is not Wolverine Blues, nor will they likely ever repeat that kind of release.
FALL OF THE LEAFE
“Aerolithe” (11 tracks. 41:23).
FIREBOX.
Rating: 8. Country of origin: Finland.
Release date: Available
now.
For a while now I have wanted to hear Fall of the Leafe. This is, I believe, their sixth album, but it is my first time to hear them. I usually have a hard time describing bands like this. I guess they are metal, especially since they do not utilize pop song structures. On the other hand, they are not heavy per se, though they do have heavy moments. They have real singing, and singer Tuomas Tuominen has a very pleasant voice. No doubt they are among the creators of the “vibe” in Finland right now that gave birth to bands with metal foundation but eclectic tastes such as Rainpaint. One way to describe the band, though, is to call them atmospheric and passionate. But I would say that they are kind of nu-rock, kind of alternative, and kind of progressive metal.
FLAGELLATION “Incinerate Disintegrate” (6 tracks. 20:32).
LAST ENTERTAINMENT.
Rating: 8.5. Country of origin: Sweden.
Release date: Available
now.
Now why couldn’t Emperor go this route? Flagellation, as the name suggests, is obviously a death metal band, but there is a lot here reminiscent of Anthems to the Welkin at Dusk and IX Equilibrium, only more deathy. This band has a full range of sounds and capabilities, but they keep it focused on the brutality. Now you may ask, why use this as an opportunity to criticize Emperor? Well, because what brilliance Emperor achieved in the two above-mentioned albums, was lost in the baroque-ness of Prometheus and Ihsahn’s more recent album, Adversary. If Emperor would have stayed with their more deathy sound, though embellished with keyboards, real singing, and killer riffs, they might have sounded like this Flagellation E.P. The similarities are amazing, and yet like I said, Flagellation definitely keeps it focused on the death metal side, with occasional Destruction like guitar gymnastics, and eerie King Diamond inspired keyboard passages .
Flagellation are not really a newcomer band since they were originally formed in 1997, but this is their debut. And the members of the band are not newcomers either: Per Lindstrom (bassist for Machinery) does vocals, Teddy Moller (Loch Vostok, F.K.U.) does vocals/guitars, Daniel Cannerfelt (Anime Morte) also does guitars, Fredrik Klingwall (Loch Vostok, Machinery) does keyboards, Marcus Jonsson (Insision) plays drums, and Jacob Anderson (Plague Division) plays bass. So here you have a combination of veteran players and ten years of on-and-off collaboration. The result is very satisfying. Also of interest—especially to Criticalnate—is that Jonas Kjelgren of Scar Symmetry does guest vocals on “Threshold to Madness.”
FUNERAL “From These Wounds” (8
tracks. 1:04:56). CANDLELIGHT USA
Rating: 9.5. Country of origin: Norway.
Release date: March 20,
2007.
Though
I receive a lot of CD’s to review, I usually wind up buying doom metal
CD’s. Doom metal is my favorite genre,
and until recently, has not been part of my regular review material. About seven months ago I bought Firebox’s
reissue of Funeral’s early albums and extra material entitled Tragedies/Tristesse. I was absolutely in love with their
painfully slow, but grindingly heavy music highlighted by occasional
melancholic female vocals and classical (nylon stringed) guitar moments (Ashen
Mortality, Anathema’s Serenades, and Cathedral’s Forest
of Equilibrium come to mind as excellent points of comparison). I was definitely willing to sink more cash
into this band should anything else surface.
Imagine, then, the rapturous joy I felt when this little jewel arrived
to my house. If it had turned out to be
more of the same I would be plenty satisfied.
But as it turns out, it appears that the band has spent much time and
reflection improving their already excellent style. From These Wounds is better than I could have hoped for.
I usually trust that my instincts have the ability to lead me to conclusions (feelings) that don’t always seem clear at the time. When I heard Cathedral’s Forest of Equilibrium album, Carcass’ Heartwork, and Emperor’s In the Nightside Eclipse, I felt that I was hearing something special. In those three cases I feel that time has born out my first impressions. Well, intuition can be wrong, but I feel the same way about this new album from Funeral. I think it is special. And it does not surprise me that a label such as Candlelight has picked them up. Even though doom metal is not the biggest moneymaker in the U.S., obviously Candlelight feel like this band deserves the chance. So do I.
Present on this new album are some fuller, lusher sounds. The sparse classical guitar and female intros have been replaced with orchestras (done with synthesizers, but convincingly) and operatic female vocals. The male vocals are fuller and harmonized at times. It sounds almost like Gregorian chant. This stylistic advancement reminds me a lot of Morgion’s Cloaked With Ages album, though Funeral is definitely heavier than Morgion, and also of Saturnus, especially on Martyre, some of November’s Doom’s more sublime moments, and some of Paradise Lost’s best moments (think Icon). Another contrast to their earlier material is that there is a lot more movement in the music. The riffing and production on this new album is chunkier than on the previous albums, and probably indicate that the band had a good recording budget and equipment. Nevertheless, budget and production are only half of the package, the other half is that the band has simply written a tremendous album which demonstrates a brilliant blending of the doom genre with a strong sense of musicality (= use of dynamics, technique, melody, harmony, etc.). I will be very surprised if this is not the doom metal buzz album of this year. It’s powerful, it’s doomy, and it is beautiful.
FURZE “UTD” (8 tracks. 44:05).
CANDLELIGHT USA.
Rating: n/a. Country of origin: Norway.
Release date: February 2,
2007.
From
time to time a band will get signed to a label that has already garnered high
praise. This incredibly bizarre black
metal CD comes with a quote from Celtic Frost’s own Martin Ain. So one of the godfathers of the genre says
that Furze is “a good example that it is still possible to create unique Black
Metal!” Well, it is definitely unique,
but it makes me wonder what Ain was smoking when he heard this album. I also have to say that I respect
Candlelight Records, but this album makes me wonder if sometimes even really
good labels have a sense of humor.
Quite frankly, what the hell is this?
Check out these “song” titles:
“A Life About my Sabbath,” “Beneath the Wings of the Black Vomit Above,”
and “Deep in the Pot of Fresh Antipodal Weave.” Yeah, see what I mean?
The music makes about as much sense as the titles. This album is an oddity, a novelty, and
quite possibly, a tragedy. It’s so bad
the guys in Darkthrone should be jealous.
HERESI “Psalm II” (5
tracks. 28:28). HYDRA HEAD
Rating: 7. Country of origin: . Release
date: available now.
This
band combines the regular high speed, wall-of-sound black metal with a variety
of other underground black metal elements.
These include some well-placed death metal riff and experiments with
that cold, algebraic guitar sound made famous by Blasphemer of Mayhem. Track 3 is a prime example. It starts out grindingly slow, but grim
sounding. While short and not original
sounding, it is good for what it is.
ICED EARTH “Overture of the Wicked”
(4 tracks. 22:25). SPV USA.
Rating: 8. Country of origin: USA.
Release date: June 5,
2007.
Here’s
a four song e.p. that presages the epic return of Iced Earth’s “Wicked Saga”
begun on the Something Wicked This Way Comes album. Thus it is titled, Overture of the Wicked. The full-length is due out later this
year. Everything here is as
expected: tight, crisp drumming and
galloping guitars, and Ripper’s awesome vocals. It is well produced and recorded as we have come to expect from
this band. It demonstrates once again
that Iced Earth is a first rate metal band.
Of course, you already know that if you are a fan of the band.
ICED EARTH “Framing Armageddon:
Something Wicked Part 1” (19
tracks. 69:05). SPV USA.
Rating: 7. Country of origin: USA.
Release date: September
11, 2007.
The
E.P. leading up to this release, Overture of the Wicked, was quite
enjoyable but was pretty much standard Iced Earth in my opinion. With this full-length, however, I was
pleased to find that much of this album has a different feel and sound. There are some great, crunchy riffs as
expected, and some emotional ballads.
As usual, there is no shortage of drama. This is, after all the first Iced Earth epic in a long while, and
the first full-length epic with Tim “Ripper” Owens on vocals. Calculate the time off from The Glorious
Burden to the recording of this material, the return of Brent Smedley on
drums, and the addition of Dennis Hayes (bass) and Troy Seelie (guitar). The sum is a fresh sounding, somewhat new,
but recognizably Iced Earth album.
Something I am always wary of is when a band has been around this long
it often becomes the focus of only one or two members. In such situations many bands will become
predictable and thin. This is not the
case, as my comments have indicated. I
believe the “new blood” and the scope of this project must have inspired Jon
Schaffer’s creativity. For me, just as Glorious
Burden was a welcome “rebirth” of the band in terms of sound and content, Framing
Armageddon confirms that Schaffer can surround himself with some great
musicians and revisit the band’s trademark “Something Wicked” topos with
fresh ideas. I’m eager to hear part II.
ILLUMINANDI “Illumina Tenebras
Meas” (5 tracks. 25:02).
2006 Demo.
Rating: 9. Country of origin: Poland.
Release date: not yet
available.
This
is the second demo I have received from this very talented Polish band. Somebody better sign them soon because they
are exceptional. Illuminandi is
comprised of seven members which include violin, cello, two guitarists, bass,
drums, clean male vocalist, and harsh male vocalist. Fans of old Tristania, Sins of Thy Beloved will be
delighted to discover them. They also
remind me at times of Undish, a gothic band from Poland, and a little of
Virgin Black, on the song “The Betrayal,” but of course, Illuminandi are
much heavier than both of those bands.
In fact, while gothic elements are clearly present, it is probably more
accurate to think of them as death metal with hints of gothic and doom. Comparisons to Antestor are not out
of place. Even so, the early Tristania
comparison is the strongest in my opinion.
In
terms of songwriting skill, I would say that this band is ready for a recording
contract. These five songs are well
conceived and well executed. They are
interesting and very exciting. Despite
the fact that this is a demo, the recording quality is quite good and the
band’s sense of their music exudes confidence.
The only barrier that this band may encounter is the prejudice of some
labels and fans of metal against positive, Christian lyrics. That would be a shame as this band is worthy
of serious attention from the metal world.
Do not be a fool, Illuminandi are the real thing.
KAMELOT “Live” (2 discs).
Rating: 10. Country of origin: USA.
Release date: available
now.
I
really enjoyed watching these two discs.
Kamelot are a great band and their live shows do not disappoint. This DVD is excellent in its production and
layout. It seems like SPV really now
how to make band DVD’s. Disc one is a
lengthy concert filmed in Norway with great sound and awesome camera work. Disc two has a filmed tv appearance and a
collection of their videos, including both versions of “March of Mephisto,”
interviews and discography. I consider
myself to be an admirer of the band, though at times I find their albums to be
too similar. But here I find that they
have chosen all the right tunes and have performed them in their usual
professional manner. There is nothing I
found disappointing or superfluous about this 2 DVD set. It’s a great deal.
KAMELOT “Ghost Opera” (11
tracks. 44:05). SPV USA
Rating: 8. Country of origin: USA.
Release date: June 5,
2007.
In
this update I get the pleasure of reviewing both Kamelot’s live CD and DVD as
well as this new album. As always,
Kamelot are a top-notch, professional, prog-metal band. Vocalist Khan has never sounded better and
the music is well-done as always.
Kamelot are one of those few bands that can appeal both to the heavier
side (darker side) and to the lighter side of metal with respect. They also possess a level of gravitas
that many bands lack. But the reason Ghost
Opera gets only an 8 is that this band has basically remained within their
comfort zone for the recording of this album.
There is nothing unexpected or unusual about this album. Not that this is a bad thing. Quality is always appreciated. But to get the higher rating, something
needs to surprise and wow me. Also,
songs like “Anthem” sound like heavier versions of Disney soundtrack
tunes. Great as this may be—and it is a
sign of professional musicianship—these kinds of songs sound good at first and
then get old. Still, though this review
may sound negative, I enjoy this album like many of Kamelot’s earlier works.
KOTIPELTO “Serenity” (10
tracks. 45:29). CANDLELIGHT USA.
Rating: 7. Country of origin: Finland.
Release date: available
now.
To me
Timo Kotipelto and Stratovarius have been a mixed bag. It is mostly good. The musicianship of his regular band and solo albums has always
been excellent, and I have always appreciated his reflective, often philosophical
lyrics. On the other hand, you always
know what to expect from him: mildly
progressive power metal. So I feel
funny every time I write a review for either Stratovarius or Kotipelto. The only real downside is that often when
he goes for the really high pitched singing he often strains the limits of his
voice, sometimes sounding a bit flat.
Anyway, Serenity is a nice, singable power/classical metal album from a
very popular, well-established vocalist.
It’s a safe investment.
LAETHORA “March of the
Parasite” (10 tracks. 38:42).
UNRULY SOUNDS/THE END.
Rating: 8. Country of origin: Sweden.
Release date: available
now.
Fans
of Bloodbath who are impatient for a new release will want to check out
Laethora. This is Swedish death metal
in the heavier vein of Bloodbath, Hypocrisy, and Allegience
(excellent side project by members of Marduk). Despite the comparisons, and the seemingly predictable genre,
Laethora bring just enough innovation to keep their album distinctive. For me, the best unique quality about this
band is how they occasionally play rather slowly, and almost melodically—you
know, how some doom bands come near to playing death metal? Well, here is a death metal band that comes
near to doom in that way. Songs like
“The Scum of Us All” and “Facing Earth” are prime examples. But over all, brutality rules the day in
grand Swedish style.
LOST EDEN “Cycle Repeats” (10
tracks. 35:01). CANDLELIGHT USA
Rating: 5. Country of origin: Japan.
Release date: available
now.
Review by Criticalnate.
Monotonous, post-modern
thrash with hardcore influences that borrows from many mainstream bands
including In Flames, Trivium, At The Gates, and similar
cliché bands. Despite its monotony, it has few crunchy [enjoyable] parts, but
all of them are the same. IMO horribly annoying [read: monotonous] vocals,
although they will apply to mainstream listeners. There is one radio-friendly
acoustic track, which leads into the heavier half of the album, something most
bands do now. This album does not stand out as a genre-defining release, but
rather a maintainer of the sound.
MACHINERY “Degeneration” (9
tracks). LAST ENTERTAINMENT.
Rating: 8. Country of origin: Sweden.
Release date: Available
now.
This band’s combination of dramatic,
passionate vocals and crunchy guitars will certainly please fans of Nevermore. Similarly, their sound is close to thrash
and close to death, but also melodic and commercial enough to have a broader
appeal. Despite the use of words like
“melodic” and “commercial,” Machinery should not be taken for a Gothenburg
clone band. Their style is not
identifiably “Swedish” in any predictable way, though their professionalism and
skill are certainly up to par with what we have come to expect from Sweden. I believe that while this band would like to
be judged by their own merits, the similarities to Nevermore are too great to
be passed over. In my mind this is a
compliment to the band’s talent, but not creativity. I do not sense that Machinery has set out to imitate Nevermore,
it only seems that the combination of elements has brought them within
proximity of Nevermore’s sound.
MAGNUM “Princess Alice and the
Broken Arrow” (11 tracks. 1:02:32).
SPV USA.
Rating: 9. Country of origin: U.K.
Release date: April 3,
2007.
No
matter how many years I have been an avid fan of metal, it never ceases to
amaze me that I receive new CD’s from time to time from bands with a long
history I was not aware of. Here is
another case in point. Princess
Alice and the Broken Arrow turns out to be Magnum’s 13th
album. The cover art is a delightful
painting in the Grimm’s Fairytales/Blind Guardian/Tolkien-esque variety which
caused me to suspect that Magnum might be a throw back to 80’s power metal of
the German variety. Not so. In fact, the soberness and maturity of this
band can be discerned right off with the opening track “When We Were
Younger.” Obviously I cannot speak
concerning the band’s earlier history, but here Magnum’s music is very much a
blending of classic rock and progressive metal. I can imagine fans of Deep Purple and Whitesnake,
even Meatloaf liking this band, but also bands like Saxon. As weird as it may sound, I find their music
to be very mentally stimulating and relaxing at the same time. I think this is because the band sounds to
me a lot like a 70’s rock band (e.g., “Thank You For the Day”). There are a couple ballads on this disc,
“Inside Your Head” and “Desperate Times,” both good, but otherwise the CD is a
rocker. The subject matter in the songs
is not syrupy or cheesy love ballads or fist-pumping adolescent anthems, but
rather songs about life from various perspectives. So the maturity of the lyrics nicely fits the maturity of the
music. Magnum have turned out to be a
very pleasant discovery for me.
MARDUK “Romans 5:12” (10 tracks.
55:30). REGAIN RECORDS.
Rating: 9. Country of origin: Sweden.
Release date: April 24,
2007.
“Therefore,
just as sin came into the world through one man, and death came through sin,
and so death spread to all because all have sinned” (Romans 5:12, NRSV). Ever faithful to their evil image, Marduk
never cease to amaze me at their ability to sound fresh and interesting. Here they give the added surprise of an
album title (and song) based on a passage in the New Testament. As an ordained minister and also fan of
Marduk, I find this amusing. I couldn’t
help laughing when this CD arrived. The
question is: how did they find this
verse?
Musically,
Marduk’s trend in recent years of mixing up the tempos has been a real sign of
their musical “common sense.” That is,
instead of being pure image, the band has labored successfully in creating
diverse music which can still be cold, black/death metal. There still are no keyboards or orchestrated
parts, but the use of slower tempos and melody—or rather, movement—in the
guitar playing has kept the band fresh and interesting. Romans 5:12 is vocalist Mortuus’s third
album with the band. He is, I think,
the best vocalist the band has had. But
the best thing to say is, I think that Romans 5:12 is as interesting and exciting
an album as the band has produced—must be the results of Bible study!
MARTRIDEN “Martriden” (4
tracks. 25:42). CANDLELIGHT USA.
Rating: 9. Country of origin: Sweden.
Release date: June 5,
2007.
Like Abigail
Williams, Martriden are an American extreme metal band making their debut
with an E.P. on Candlelight. What
immediately comes to mind when hearing this band is how heavy and powerful they
are. I think the promo sheet is dead on
this time: fans of Opeth, Emperor,
and Behemoth will really appreciate this band’s style. Like these bands, Martriden’s music can be
described as death metal or black metal, and is best described as a combination
of both. The super-tight bass drumming
often sounds like a low flying chopper.
The guitar work is solid and chunky, but not all the same. There are moments of quiet reflection, but
for the most part, it is heavy duty.
Keyboards lurk beneath the surface in spots in ways we remember from
Emperor and Dimmu Borgir. So
where are they from? Sweden? Norway?
How about Montana! I hope this
band has more of where this came from.
MASTERPLAN “MKII” (12 tracks. 52:24).
CANDLELIGHT USA.
Rating: 8.5. Country of origin: Germany.
Release date: March 20,
2007.
Featuring
a number of well-known German classic/power/speed metal alumni, Masterplan
leans more to the hard rock side. This,
their fourth release, is rock solid. I
do not know what MKII stands for, but it certainly sounds good. I think the addition of Riot vocalist,
Mike DiMeo has really complimented the band’s sound. Fans of the band as well as fans of Whitesnake and Human
Fortress will love this album. As
expected, the excellent musicianship is complimented with excellent vocals and
well-written lyrics. Track 6, “I’m
Gonna Win” is a classic power ballad which I imagine will be a crowd favorite
for years to come. But of course, the
band rocks throughout this album.
MESSIAH’S KISS “” (11 tracks.
45.11). SPV USA
Rating: 8. Country of origin: Germany.
Release date: March 13,
2007.
I was
not familiar with Messiah’s Kiss previous to receiving this CD. This is actually their third CD. It consists of 11 songs of fist-pumping,
power metal tunes straight out of the 80’s.
The mark of producer Herman Frank, whose work on Accept’s Balls
to the Wall album is still worth remembering, is evident in the crispy,
mean-ass guitar tone. This band
obviously reflect their influences of German power metal. They also bring to mind some of Judas
Priest’s best riffs. While there is
nothing really new to say about German power metal bands of this sort—lyrically
or musically—I will say that their music is very contagious due to their energy
and great sense of riffing.
NOVEMBER’S DOOM “The Novella Reservoir”
(8 tracks. 45:58). THE END RECORDS.
Rating: 9.5. Country of origin: U.S.A.
Release date:
My
original review of this proud CD died in a hard drive crash. Now I have had the benefit of interviewing
Paul Kuhr and listening to the CD many more times. Without doubt, November’s Doom has created a stronger death/doom
album than Pale Haunt Departure.
On Pale Haunt, the band oscillated back-and-forth between heavy and soft
so much in the songs that it hindered my ability to enjoy the album. What makes The Novella Reservoir so
great, aside from the fact that it is a November’s Doom creation, is the fact
that the heavy songs are focused on being heavy, and the two quiet songs are
focused on being quiet. From the
opening of the album to its ending, TNR is predominately a death metal
juggernaut with some of the bands best riff work. Songs like “Drown the Inland Mere” and “Dominate the Human
Strain” are devastatingly heavy, probably as heavy as the band has ever been. The album is also noticeably less “doomy,”
and in fact, Kuhr told me that ND is not a doom band and that we can expect
more in this vein. But in the midst of
this powerful CD is the fragile “Twilight Innocence,” a dreamy, Floydesque
piece that is as powerful as it is beautiful.
I think it is the best ballad the band has ever done. I have always regarded this band as one of
the finest examples of American metallic capability. I would pit them against any European band in a contest. And even the least of their albums—Pale
Haunt—is great by any standard.
OBITUARY “Executioner’s Return”
(11 tracks. 40:45). CANDLELIGHT USA.
Rating: . Country of origin: USA.
Release date: August 28,
2007.
Forming
in the year that Metallica recorded Kill’em All, Obituary have
stuck-to-their-guns over the years, preferring the dedicated death metal crowd
to the fickle trendy crowd. So here
they are once again, 23 years later, sounding as crisp as ever and being
welcomed as heroes into the Candlelight Records fold. It is with much anticipation that this album is being released,
and already many tours are shaping up.
So how is Executioner’s Return?
Is it worthy of the hype?
Yes. It is classic Obituary,
classic Florida death metal. In short,
it sounds good!
OBSCURUS ADVOCAM “Verbia Daemonicus” (7 tracks.
42:14). BATTLE KOMMAND/SOUTHERN
LORD.
Rating: 8.5. Country of origin: France.
Release date: February 6,
2007.
While
most French black metal bands I have heard tend to be weird (but interesting),
Obscurus Advocam here come across as very talented. Primitive in nature, but very well produced, this French black
metal beautifully mixes slow tempos, raw guitar sounds, distinguishable bass
guitar, and real guitar solos with that wall-of-sound style that I like. The mixture of riffs keep the music
interesting throughout. Fans of Antestor
will love the mood of this album. The atmosphere is classic black metal, but at
times with a sense of doom metal timing in songs like “Verbia Daemonicus.” “Starlight to Twilight” is somewhat
reminiscent of early Arcturus.
This is a very satisfying, well-executed album.
OCTAVIA SPERATI “Grace Submerged” (10
tracks. 37:57). Candlelight USA.
Rating: 8. Country of origin: Norway.
Release date: May 22,
2007.
For whatever
reason, Octavia Sperati’s first album did not grab my interest. This second album does. Grace Submerged exhibits both power
and grace. It sounds to me like a
combination of The Gathering (the beauty) mixed with Madder Mortem
(the power). The songwriting is
excellent, and the song, “Don’t Believe a Word” is definitely a classic. It is a morose ballad dripping with
irony. It begins with, “don’t believe
me if I tell you … ‘I love you.’” Most
of the songs, though, are heavy and somewhat doomy, like you would expect from
a cross between The Gathering and Madder Mortem. In other words, the songs are driving and aggressive, but with a
touch of femininity in the vocals.
However, the CD ends with a moody, ambient instrumental, which is a nice
closer for this disc.
OMNIUM GATHERING “Stuck Here on Snake’s Way”
(12 tracks. 44:25). CANDLELIGHT USA.
Rating: . Country of origin: Finland.
Release date: April 3,
2007.
Here’s
a band that comes at you from so many different angles it is hard to put your
finger on them. My guess is that people
who listen to this CD will hear many of their own favorite styles, even if two
different people cannot decide what those styles are. Some will point to Gothenburg inspired band like Soilwork
and Dark Tranquility, and due to the level of their brutality, Carnal
Forge. Still others—like
Criticalnate—will mention Mastodon.
Let me give you the bottom line at the beginning this time: there is no doubt this band is talented and
will attract a lot of attention to themselves.
Still, these comparisons do not seem to cover all the bases with this
band. Even so, perhaps the essence of
this band is a cross between Carnal Forge and Mastodon with many additional
influences.
ONSLAUGHT “Killing Peace” (9
tracks. 44:07 mins). CANDLELIGHT USA.
Rating: 9. Country of origin: U.K.
Release date:
Old
school thrash band returns sounding like young thrash band. Onslaught emerge from retirement with a heavy-duty
does of the type of thrash we first went nuts over in 1984—the year I
discovered thrash. Lyrically, Killing
Peace seems to be a severe critique of Evangelical American warmongers who
blinding accept W’s false pretexts for the Iraq war, not to mention
evangelicalism in general. I point this
out because some less critical minds may hear their lyrics as just mindless
blasphemy typical of many metal bands.
Their lyrics are, to be blunt, prophetic, pointed, and very
intelligently written. There is enough
hate here to fuel a CD to rival any of Kreator’s or Testament’s
best. I’d say it is one of the best
come back albums of recent memory.
PRO-PAIN “Age of Tyranny” (11
tracks. 39:30). CANDLELIGHT USA.
Rating: 7. Country of origin: USA.
Release date: May 22,
2007.
Once
again I must offer my thanks to Pro-Pain for saying all those things that need
to be said. The album title says it
all: we are living in an age of
tyranny, an age where lies are openly promulgated, exposed, and yet believed. The current American regime is as despotic
as Hitler or Stalin ever was, just not as free to oppress as they were. Remember, National Socialism (Nazism) was a
right wing movement that promoted “traditional values” as their rallying
cry. Like a minority of voices that
spoke out against such tyrants, Pro-Pain continue to speak openly and candidly
what many are thinking to themselves.
For that, we owe them our thanks.
While
I think the lyrics are top-notch and clever, musically Age of Tyranny is
not as enjoyable as Prophets of Doom.
I like it, of course, and there are a number of elements on this album
not present on the previous one, but overall, it is not quite as good
musically. The new elements include the
actual singing on the chorus of the song, “All for King George” and the female
singer on “Beyond the Pale.” Other than
this, the music is typical, and solidly Pro-Pain.
PAGANIZE “Evilution Hour” (10
tracks. 59:54). CANDLELIGHT USA.
Rating: 8.5. Country of origin: Norway.
Release date:
One
of the selling points of Paganize will be the fact that Trym (of Emperor)
is their drummer. But don’t let this
mislead you, Paganize are a classic metal band, not black or death metal. Instead, Paganize sound to me like a band
that grew up on Fates Warning, Mercyful Fate, and Queensryche. The music is best described as aggressive
power metal with some excellent guitar hooks, progressive elements here and
there, and high pitched tenor vocals—definitely going for the Geoff Tate sound.
SAINT “The Mark” (12 tracks.
50:06). ARMOR RECORDS.
Rating: 7.5. Country of origin: U.S.A.
Release date: Available
now.
In my
teenage days Saint filled an important need:
a Christian band with a credible metal sound. Twenty years ago they released their second album, Too Late
for Living, then disappeared for more than a decade. In the early part of this century they
reemerged and have produced an e.p. (The Perfect Life), a studio album (In
the Battle), a rerecording of their original e.p. (Warriors of the Son),
and now this new album, The Mark.
As they have been doing for more than twenty years now, Saint once again
offers us a Judas Priest inspired collection of tunes with apocalyptic themes
drawn almost exclusively from the book of Revelation. Back on guitar is Dee Harrington (Too Late for Living, Warriors
of the Sun re-make), Larry London on drums, Josh Kramer on vocals—and
getting very spry for a guy his age!, and band founder, Richard Lynch on
bass. In terms of music, this album has
some of the band’s heaviest hooks since the John Mahan days. The contrast between Mahan and Dee
Harrington is that Harrington had more finesse and was more of a shredder,
while Mahan simply played some mean sounding riffs and solos. Here Harrington has provided us with both
finesse and power. The tune, “Reaping
the Flesh,” will especially please fans.
The only down side to this album is that it is self-financed and thus
did not have quite the budget a label release would have. Even so, Saint has once again produced a
very credible sounding metal album with an uncompromising Christian message.
SAXON “The Inner Sanctum” (10
tracks. 44:32). SPV USA
Rating: 8.5. Country of origin: U.K.
Release date: April 3,
2007.
Though
Saxon have stayed true to their sound over the decades, one might expect some
“maturing” in their sound, i.e., slowing down, writing ballads,etc. But I can say that they always manage to
sneak in plenty of youthful vigor. The
Inner Sanctum is trademark Saxon, and maybe one of the most enjoyable
albums they have made. There are some
songs here that really get the blood pumping, like “Need for Speed,” “Let Me
Feel Your Power,” “If I Was You.” and
“Atila the Hun,” this last one conjuring up comparisons to Kamelot. In a more traditional Saxon/Krokus/AC/DC
vein are tunes like “I’ve Got to Rock to Stay Alive” and “Going Nowhere Fast,”
it’s all good stuff. But they are
mature—not in the “mellowing with age” sense, but in terms of songwriting. These guys know how to write good classic
metal songs. You might expect that
after all these years a band would either mellow or become lacrimose. Not so.
The Inner Sanctum will rock you.
SHINING “V – Halmstad (Niklas
Angaende Niklas)” (6 tracks. 42:37).
OSMOSE/THE END RECORDS
Rating: 9. Country of origin: Sweden.
Release date: available
now.
My
first reaction to this band was negative because the cover depicts a person
with a gun in her mouth. It seemed like
bleak, post-black metal shock art. I
can live without that sort of imagery.
But after listening to this CD I found that this band is not simply a
violent black metal band. To the
contrary, there are a few rather peaceful moments on this CD. But who is this band? I tried to find out some information and
found very little. Their website is
down and their myspace has little information.
The best I could find was a few comments on the Osmose website and the
blurbs on The End Records’ mailorder (The Omega). As it is, I have not heard of anyone in the band—that is, unless
I just don’t know their real names as listed on the myspace site. But it appears that at some time earlier in
their career Hellhammer may have been their drummer.
All
that aside, my evaluation of this band is that they are an unusually talented
bunch. In terms talent, though not
necessarily style, I would lump them in a category with Green Carnation
and Opeth. In terms of style I
would have to say they touch on black, death and progressive metal, sounding
like Mayhem, Tormentor (as in Recipe Ferrum), Green Carnation’s
heavier/darker moments, and so on. The
vocalist could pass for Attila Cshir and has the ability to sing as well as to
sound like an escaped lunatic. The band
does not simply make use of the traditional instruments of metal, they also use
fretless bass and a cello. And as they
blurb on the Omega mailorder says, they have the ability to interweave moments
of power with moments of sublimity. I
am glad to have discovered this band’s fifth album, though I should be
embarrassed about not knowing about them previously and am eager to hear their
earlier material.
SIGH “Hangman’s Hymn” (10 tracks. 44:19). THE END RECORDS.
Rating: 9. Country of origin: Japan.
Release date: available
now.
Now
this is the Sigh album I—and maybe you too—have been waiting for. Sigh albums have always been interesting but
weird. Overall they have been too “left
field.” Imaginary Sonicscapes
and Gallow’s Gallery had their intriguing moments, but the experimental
and odd nature of their music could not hold my interest for long. I think it was just too idiosyncratic for my
taste. Now I do not have the full range
of albums from this band, so what I say only goes back to Scenario IV, but in a
sense, even that is not necessary. What
is important here is Hangman’s Hymn.
This is truly a black metal album with some bite, even if it still
sounds different from the usual fare. I
think that with this album Sigh has found a way to make their uniqueness work
for them while living up to the reputation they have earned since their early
involvement with Euronymous’s infamous Deathlike Silence. The bottom line, though, is that while I
found the other albums to be both interesting and, at times, aggravating, this
one works for me.
SUPER GEEK LEAGUE “Peppermint Rainbows” (13 tracks. 48:33).
SGL.com
Country of origin:
US. Release date: available now.
Out
of the blue I received this bizarre CD in the mail. It sounds like rock/punk/humor inspired, perhaps, by the likes of
the Butthole Surfers, but their eclectic instrumentation and
off-the-wall style seems representative of the recent trend from the West Coast
in the form of bands like Estradosphere and Sleepy Time Gorilla
Museum—well, maybe not THAT eclectic, but pointing in that direction, and
with a touch of the B-52s. The
band also claims inspiration from Frank Zappa, Cirque du Soleil, and Dr.
Seuss. Further impressions
include: The Talking Heads, Smash
Mouth, and SNL’s The Ambiguously Gay Duo, though I wouldn’t accuse
these guys of being “ambiguous,” as is evidenced by the artwork, and especially
the lyrics to “Semen.” The song, “The
Battle for Supremacy” is just plain funny, and perhaps has a deep message, as
does “Strange Creatures Book I & II.”
They also venture slightly into Marilyn Manson territory with
“Jesus in Clown Shoes.” I’m not quite
sure what this song is about—maybe nothing—but it definitely will appeal to MM
fans, and offend others. Despite the
comic art work, and a website offering fans the opportunity to create their own
heroes, the content of this CD is adult in more than one way. One way, of course is the racy material, the
other is the critique of society from the viewpoint of artist/creator, Floyd
McFeely—yeah, the name fits, eh? In
terms of the music, it is fun to listen to.
Finally, about 10% of the sale this album will go to support the Special
Olympics.
SWALLOW THE SUN “Hope” (8 tracks. 57:44).
CANDLIGHT USA.
Rating: 9. Country of origin: Finland.
Release date: March 20,
2007.
Like Funeral
(above), Swallow the Sun is a band whose music I have paid money for (and would
have continued to do so if not for my relationship with Candlelight USA!). I hadn’t yet gotten around to acquiring
their second album, Ghosts of Loss, but I certainly enjoyed their first
disc, The Morning Never Came.
Obviously, though, I am missing a stage in the progression here, and so
my comments will have to be understood in that light.
First,
I like this album more than The Morning Never Came. As much as I liked the first album, it seemed
to be too harsh, too death oriented. I
was quite relieved to reach the end and hear their brilliant cover of Candlemass’
“Solitude” because it has a soft side. Hope
varies between death/doom and, I guess you would call it reflective doom. You could say “more melodic”, but that would
be inaccurate since even their heavier stuff is melodic. But on Hope the band moves between
heavy and reflective modes so that the listener can feel the ebb and flow of
the music. This more reflective mood is
highlighted by an awesome track called “The Justice of Suffering” which
features guest vocals by Jonas Renske of Katatonia. Renske’s vocals fit the music very
well. Tomi Joutsen of Amorphis
also makes a guest appearance, but I am not sure where, perhaps on “These Hours
of Despair.” Actually, though, it may
be that they do vocals throughout. It
is really hard to be sure without more information.
TERHEN “Eyes
Unfolded” (5 tracks. 53:52).
FIREBOX.
Rating: 8. Country of origin: Finland?
Release date: August 20,
2007.
It may be easiest to
describe this band’s music as funeral doom (a favorite genre of mine), but that
would not give the best impression.
Yes, the music is slow and plodding, and the male vocals are gutteral,
but the overall “feeling” of the music is surprisingly gentle. Don’t misunderstand, this is not some
sort of Anathema album. It is
heavy and doomy, but it over the top of all the slowness and heaviness is a
brooding organ sound which gives the effect of a soothing wind. It reminds me somewhat of Saturnus’s
first album: heavy but comforting. There are also sweet female vocals, and
keyboardist Marianne Mieskolainen also provides some violin. Even so, the lyrics are melancholy as should
be expected in this genre.
THRONE OF KATARSIS “An Eternal Dark Horizon”
(5 tracks. 55:25). CANDLELIGHT USA.
Rating: 7. Country
of origin: Norway. Release date: April 3, 2007.
A
cursory glance will tell you that there is nothing unique about this band. They are from Norway. They play old school black metal. They wear black clothing, Venom t-shirts,
bullet belts, spikes, etc. They are
pictured with weapons and torches with black and white photography. And they have song titles like “Funeral
Moonlight,” “Symbols of Winter,” “An Eternal Dark Horizon” and two in
Norwegian, “Under Guds Hud,” and “Nattaander.”
Whichever member (either Grimnisse or Vardalv) is pictured on the back
cover, he looks a lot like Euronymous.
And this is a clue for you.
Mayhem’s De Mysteriis Dom Satanas has to be the inspiration for
this band and this album. Even
Grimniss’ vocals resemble Atilla’s. On
the other hand, his guitar playing is quite good, better than most black metal
bands, the production is crisp, and there are even acoustic guitars on this
album. And what!!?? These songs are lengthy. Some over ten minutes long (five songs at
nearly one hour in length). So maybe
they are not so typical in at least some ways.
TOXIC BONKERS “Progress” (10
tracks. 35:11). SELFMADEGOD RECORDS.
Rating: 8.5. Country of origin: Poland.
Release date: May 21,
2007.
I
need not mention that Polish death metal bands are flat out brutal. This is expected and you will not go wrong
to assume such here. Toxic Bonkers have
ben around for a while—since 1993—but this is my first time to hear them. TB do not disappoint: they are heavy duty! Criticalnate says they sound like Vader,
I agree to a point. They are brutally
heavy, but I am more inclined to hear comparisons to early Sepultura (up
to Chaos A.D.) and Morgoth (especially Cursed). In other words, this is prime, classic,
brutal death metal. But just when you
think you’ve got them figured out, the title track, “Progress,” challenges your
assumptions. This is a slow moving
tune, still death metal and brutal, but it makes me think of earlier Samael
minus the keyboards. It has just enough
of their influences to be discernable, but also enough of their own creativity,
to have produced a very satisfying death metal CD.
TRANSMISSION 0 “Memory of a Dream” (10
tracks. 64:25). CANDLELIGHT USA.
Rating: 8. Country of origin: the Netherlands. Release date:
April 24, 2007.
Think
about all the bands you’ve heard from the Netherlands. What are some elements that we may associate
with bands from that country? Heaviness
is one, but there are also those dreamy, psychedelic instrumentals (think The
Gathering). There are also some
bands which lean towards doom. Well,
all of these elements describe Transmission 0 in my opinion. They are definitely heavy and somewhat doomy,
but they also employ many psychedelic sounds.
But one may also compare this band to Madder Mortem
somewhat.
TUNER POLE “Tuner Pole” (14 tracks. 60:01). UNSUNG RECORDS.
Rating: 9. Country of origin: USA.
Release date: available
now.
This
progressive rock CD has a very cool, creepy vibe. Though the tear sheet that came with it compares it to TOOL,
Peter Gabriel, NIN and others, I am more familiar with metal and
would compare it to White Willow, the Gathering, and a touch of Madder
Mortem here and there. On the other
hand, the evolving musical structures in many of the songs remind me a lot of U2,
a non-metal band I am very familiar with.
And, I think fans of Ulver can find this CD like hearing a guitar
and drums version of Ulver’s more recent material. Tuner Pole is a collaboration between Pat Mastelotto of King
Crimson, whom I am familiar with, and Markus Reuter of Centrozoon,
whom I am not familiar with, but am pleased to discover. It also features a long list of guest
vocalists and musicians that evidently give this CD its diverse flavors and
contribute to its technicality. Tuner
Pole is an instantly likeable CD, but it has proven to be one that grows on
you with every listen. I think with
each listen I have discovered some nuance that had previously eluded me. It isn’t heavy for the most part, but you
feel really smart while listening to it.
UP FROM THE ASHES “Up From the Ashes” (DVD). ROXX
RECORDS/RETROACTIVE RECORDS
Rating: 7.5. Country of origin: USA.
Release date: available
now.
This
DVD contains a combination several legendary Christian metal bands and some
newcomers hoping to achieve some level of success. Among the veterans featured are Saint, Deliverance,
Ultimatum, Once Dead (Vengeance Rising without Roger Martinez),
Sweden’s Laudamus, and Neon Cross. Holy Soldier was listed, but I did not find any Holy
Soldier material (but then again, there was the bonus material in the trivia
section I haven’t gotten to yet). A
number of new bands, hopeful of making their mark on the Christian metal scene
are: Tower of Hundred, Tukkus,
Terrestrial Harvest, Blissed, Demise, and more. Some of these bands show signs of developing
talent, a few of them will probably not make it. What’s really nice is that they get their chance here to be seen
and heard. Many fans of Christian metal
will be absolutely thrilled to see Once Dead (remember, Vengeance Rising
without fanatical, apostate vocalist, Roger Martinez) and Ultimatum on DVD for
the first time. I enjoyed this, but for
me, the real thrill was seeing Saint.
I was disappointed when they broke up in the late 80’s and excited when
they regrouped in the late 90’s. To see
Dee Harrington shredding on the guitar, Richard Lynch throbbing along on his
bass guitar, and Josh Kramer screeching out the vocals … well, it was a real
pleasure. I have to admit, though, Josh
seemed to be a little hoarse in a spot or two.
Also pleasurable to me was to see Deliverance still around (despite two
disbandings and reformings). I got to
see Deliverance and chat with Jimmy Brown in ’93. Back then I thought he was the real deal, and even now I think
so. Deliverance are not making the same
sort of thrash that really drew me to them in the early 90’s, but I will say
that nothing Jimmy Brown and band mates have done has ever been bad.
Up
From the Ashes is a DVD to be had by all who love these bands as I do, but
understand that Christian metal bands and labels do not have the capital that
regular metal bands and labels have.
This means that there is a noticeable difference in recording quality
and venue (most videos were obviously shot in churches). However, producer Bill Bafford and all
involved have made really good with the means at their disposal. The DVD is organized with menus, and as
mentioned above, with trivia sections and so on. The appearance of many of these bands on this DVD may likely be
the only exposure they get in this medium.
Those interested should visit the website: www.roxxproductions.com.
VIRGIN BLACK “Requiem – Mezzo Forte”
(7 tracks. 52:08 mins). THE END RECORDS.
Rating: 9.5. Country of origin: Australia.
Release date: April 3,
2007.
I
have never been able to “get it” with one listen. Listening to Virgin Black is a discipline. I can say this too, because I have been
listening to them since shortly after their demo came out in 1995. Each album defies the listener’s sense of
progression. The complexity of the
music, the oddness of the timings, structures, even Rowan London’s awesomely
haunting vocals confuse and alienate the casual listener, but reward the
faithful listener. It takes time for
the structure to sink in, for the listener to adjust. In other words, don’t listen to this disc just once—or even twice
for that matter. Don’t play it in your
car when you want a “pick-me-up” on the way to work or school. Listen to it when you are in a mood for the
sublime (look this word up in a dictionary, it doesn’t mean what you
think). If you take the time to really
get to know Virgin Black’s music, you will be blessed.
Though
the details are readily available, let me explain quickly what this is
about. Virgin Black have spent the last
two years or so composing not one, but three (!) albums. This one is the first one to be released,
but it is actually the second album.
They are aiming for the middle with this release. It combines the work of the Adelaide
Symphony Orchestra with VB’s trademark dark avant-gothic sound. The first album, Requiem-Pianissimo,
to be released later, will be softer (as the title suggests) and will be
exclusively, I think, music performed by the orchestra. The third album, Requiem-Fortissimo,
will be, according to the label, “a fierce statement of grief, and the band’s
heaviest work to date.” Both sound very
promising.
Being
a combination of both ends of the spectrum—thus the title, Mezzo Forte—there
is a lot of fluctuating between soft and heavy, finesse and aggression. Still, it sounds more like an opera than a
metal album. The structure of the
individual songs in relation to the whole is more akin to “classical” music
than orchestrated metal. Thus, while we
can all appreciate the orchestrated sophistication of a band like Therion,
Virgin Black is the band that actually writes the symphony.
A few
quick observations: Rowan London’s
operatically trained voice sounds as strong as ever, and as early as track one,
“Requiem, Kyrie,” he hits a magical high note in his singing that calls to mind
opera greats like Michael Crawford.
There are plenty more moments like this throughout, but he shares
singing duties with a very beautiful sounding soprano. Samantha’s guitars are very present in key
places, very melodic in some, and yet not overpowering the full instrumentation
of choir and orchestra. We expect that Requiem-Fortissimo
will show her more aggressive side.
Finally,
I do not believe that this review as it stands will be the final word. Two other points are important to
consider. One, how will this CD sound
to me once I have become familiar with the other two? And, how will it sound to me a year from now? Whatever the answer to these questions may
turn out to be, I expect that many, many more hours of listening pleasure are
in store for me. To my friends in
Virgin Black: bless you for this
musical gift!
VIRGIN BLACK CONCERT REVIEW – June 29, 2007.
I, my son, Criticalnate, and my cousin Bo had the thrill of seeing Virgin Black in Atlanta. I was so happy to finally get to meet them (I’ve had a long-distance, e-mail relationship with the band since their demo days. When they recorded Somber Romantic I suggested they send a copy to The End Records. The rest is history). The tour plans got screwed up for them, but they made the best of it. We thought their performance was especially intense, but the irony was that the bad venue and poor equipment caused them a great bit of frustration. Somehow that frustration came across to us as intensity. At one point in the show Rowan stepped around the microphone to the edge of the stage and began singing at the top of his lungs. We were very impressed because we could hear him very clearly. We found out later that he was trying to let the soundboard person know that his mike was dead! But the biggest thrill for me (my son, and my cousin Bo) was that we got to sit down with Rowan and Samantha for over an hour and talk. It was like talking with old friends. Very enjoyable.
WUTHERING HEIGHTS “The Shadow Cabinet” & “Roaming Far from Home” (Disc 1: 10 tracks. /Disc 2: 7 tracks. 42:57). SENSORY
Rating: 8. Country of origin: Sweden.
Release date:
Disc
one is a great new album, disc two is a live disc from Prog-Power 2004
in Atlanta, GA. Both demonstrate
Wuthering Heights’ continued commitment to prog-metal with a dramatic
flair. If you have never heard this
band, think of a Swedish version of Blind Guardian with moments that may
be slightly reminiscent of In the Woods. And at other times they are just pure power.
OTHER NEWS
Band’s
name: THULIUM Location:
London, UK
Biography: Boubou, started the project on his own in
2003. A year later, he moved to UK and co-founded “OutCaged” with Alistair
Darby (UK) & Sven Mundorf (Germany). The band became a 5-piece and started
to gig; unfortunately, OutCaged had to split after a few performances. Sven & Boubou, still good friends, then
decided to go back into Boubou’s original project; Thulium. The band was
complete in 2006 with Chris on Bass and Rob on Drums. Surprisingly, after a few
gigs, Sven decided to move to different projects. Still he helped the band on
finding and training the future lead guitarist, Dani, who replaced Sven in
2007. The band didn’t stop gigging in between the switch.
With
members from France, Spain, Canada and UK, Thulium has become one of the most International
bands on the planet. Thulium is actually gigging 2 to 3 times a week in London.
Members
Boubou -
Rhythm Guitar / Lead Vocals
Dani - Lead Guitar
Chris - Bass
Rob - Drums
Influences:
Foo fighters, Audioslave, Metallica… Official
website: http://www.thuliumband.com Myspace website: http://www.myspace.com/thulium69