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Secrets of the Moon
– Antithesis (Lupus Lounge) Review by Frank
Allain |
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Secrets of the Moon’s 2004 album ‘Carved in Stigmata Wounds’
ruffled a few feathers in certain sectors, representing as it
did a distinct movement away from the band’s raw, obscure
routes. It was a defiantly ambitious (some might say
pretentious) and mature release, ditching the hysterical skree
of their debut in favour of long, complex, progressive hymns
married to a clear and organic sound quality. I personally
enjoyed it and found it an album that benefited massively from
repeated listening. Still, I couldn’t help but feel that the
band had more to offer, that the strident, monolithic elements
that they had touched upon were a taster of a greatness yet to
come. Therefore, my anticipation for this album was high, |
an
appetite only whetted by the band’s recent performance with Watain last month in London where (in my opinion) despite
playing only three or four songs, they unleashed the set of
the night.
So, to Antithesis and proclamations that the band ‘…are merely
confined by the limits that they set themselves… but only, as
you might have guessed, to transcend them straight away’. Bold
words indeed, but does it live up to the band’s obvious
self-confidence and my expectations? Well, the answer is
‘yes’, basically. Secrets of the Moon haven’t shifted their
sonic template too far from ‘Carved…’ yet Antithesis presents
a slightly more refined, more textured approach. Where
songs once rambled somewhat for the sake of it, mainman S
Golden and his cohorts (bolstered by the addition of new
guitarist AD) have honed their craft significantly – the
progressive, snaking structures are still very much in
evidence but this time around, Secrets of the Moon have
booby-trapped their tracks with myriad hooks and searing
melodic refrains. The haunting clean arpeggios of ‘Ordinance’
for example quickly give way to a thunderous blastbeat, the
initial melodies still chiming over the frenetic assault.
Speed and aggression is used sparingly on Antithesis,
retaining maximum impact when the fury is finally unleashed.
Most of the tracks occupy a ponderous, weighty stomp, massive
riffs marching from the speakers in a ruthlessly mechanical
fashion, this machine-like vibe reinforced by Golden’s
monotonous growls. Take the final few minutes of ‘Lucifer
Speaks’, an exercise in how to use dynamics and tension to
build up to a stirring crescendo. It’s a sonic template not
too dissimilar from Thorns or the Enslaved, resolutely modern
and precise in delivery yet possessing an undercurrent of cold
savagery. The band are also not afraid to unleash melody when
the mood suits and the final track ‘Exit’ harnesses a
reflective, sorrowful undercurrent that contrasts sharply with
the disdainful malice that permeates the rest of the album.
When all is said and done, ‘Antithesis’ presents a band who
have come of age and have fully defined ‘their’ sound. It’s an
album that demonstrates Secrets of the Moon are in complete
control of their art – original, progressive, flawlessly
executed, unless you are the kind of black metal enthusiast
who considers Darkthrone’s ‘Transylvanian Hunger’ to be
overproduced, this is certainly worth seeking out.
www.myspace.com/secretsofthemoon |
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Seven Witches - Years
Of The Witch DVD (Screaming Ferret Wrecords)
By: Joe Florez |
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I was/am basically a
fan of the group because of James Rivera. I have followed his
career since forever. I like Mr. Frost’s guitar playing
because he’s simple to a point and never goes over the top.
He’s a bi-product of the 80’s and it shows in his song
writing. I like that. Well, after all the postings on various
news sites about this coming to fruition, it happened. The
show was recorded in a small club in Texas and if you remember
there were tons of problems that plagued the concert, but the
show managed to forge ahead. The gang are firing on all
cylinders ready to perform in front of the packed venue and
Mr. James Rivera is decked out in black leather. Everything
from the coat to the gloves looking like a desperado. The
lighting was decent and the camera shooting was ok as well
despite it being very low budget and amateurish. The biggest
problem was the sound. I had to crank the volume way up and it
still sounded poorly. Well, I managed to forge ahead anyway
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what
went down was just crazy. The thunderous opener “Dance With
The Dead” felt so sonic thanks to the thick drumming and
Jack’s guitar 80’s style shredding. The Mexican Dio, James Rivera had that voice of his soar long past the
heavens. Despite him being in his late forties (probably) by
now, his lungs not only never gave out, but were just as good
if not superior to back in the decadent days. You can see
everyone having a blast with the show. Not only do the boys
rock the house in a hard and heavy way, but there’s a jam
session inserted into the set which is quite rhythmic and
grooving and the ballades “Can’t Find My Way” which is very
memorable and quite touching as well. Basically, the James
Rivera era of Seven Witches is the best in my eyes and quite
frankly with songs like “Apocalyptic Dreams”, “Metal Tyrant”
and “Metal Asylum” you are going to get a show that will
rattle your cage and create a lot of cacophony, but in a good
way. Horns up!
Besides the concert, we are treated to some up
close and personal interviews and other things. There’s the
history of the band told in incredible detail by the man
himself. You get to know everything from how the band name
came about, how Jack Frost the name formed to the reasons for
the constant line up changes. Popular scribe Mark Gromen from
BW&BK sits down with Mr. Frost for a one on one interview. The
tables are turned when Jack interviews the man who records all
of his music at his studio. If that’s not enough, you get a
live video montage with all the singers for “Camelot.” The
audio is pretty bad though as the different concert footage
from various shows varies from ok to flat out horrible.
Lastly, you are treated to tons of archival concert footage
throughout the years which is of bootleg quality. I think that
all SW fans should be pleased with this offering as Jack gives
you as much as possible from his personal vaults. Good times
to be had despite the constant sound problems.
www.screamingferret.com
| www.sevenwitches.net
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Steve Hackett -
Wild Orchids (Inside Out) Review by Steve Green |
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A note to any teenagers reading
this. Beware, live your life to the full, because before you
know it, you're gonna be an old bastard like me. My reasoning
for that sentence is because it's just dawned on me that the
last time I heard anything by Steve Hackett was way back in
1982 when I was 15 years old. 24 years on, I'm nearly 40 years
old, weigh a hell of a lot more than I did back then and I'm
starting to slow down (2 gigs at the weekend and 2 early 6am
starts, completely knackered me) but thankfully some things
don't change as Steve Hackett is still making great music.
I had no idea what to expect with this album as I can't even
remember the Highly Strung
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album I listened to constantly at
a friends house as teenager. I do remember buying the Cell 151
7" single, but if you played it to me know, I'm sure I
wouldn't recognize it, not even if I had the chance to pull
Saddam's chain... or rope as the case may be. After a
re-acquaintance with the ex-Genesis guitarist with his new
album Wild Orchids, I'm sure I'll be tracking down and
discovering his huge back catalogue as this album is superb.
If you want to know what this album sounds like, then the
easiest thing to do is to listen to it. That's not as dumb as
it sounds, as my description won't even come close to
describing the varying styles used throughout. Opener Howl has
orchestral backing, but it's nothing like ELO, the vocals are
laidback, but it's an upbeat song. The wonderfully titled The
Fundamentals of Brainwashing has an Indian twist, (I'm sure
with Mr Hackett's electric sitar providing the ambience) and
with the vocals reminding me of George Harrison's more hippy
moments. All good stuff and all making the journey an
interesting one. In fact every song song is top quality, bar
the quirky and downright awful, and aptly titled Why, which
makes me hit the skip button every time.
Bar the occasional heavy moment, Ego and Id, being the closest
to rocking out, this is a pretty mellow album. And I wouldn't
want it any other way. I'd much rather be entranced by the
hypnotic To A Close, than be pulverized by a million samey
breakdowns created by a bunch of faceless kids. Give me real
music and talent every time. Perhaps getting old ain't so bad
after all. www.insideout.de
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Stream of Passion
- Live In The Real World DVD (Inside Out) Review
by Steve Green |
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I've had
a bitch of a couple of months. Which is one reason why this
review is do damn late. So apologies all around. But having a
tough time makes you evaluate what's important in your life
and with me, music has always been my constant companion
through my troubled times. In fact I now sell Metal music
shirts for a living, so bar the Missus, music is the most
important part of my life, full stop. And my constant love for
music is fuelled by bands like Stream of Passion. This DVD is
an absolute joy in every department and the happy vibe their
music gives off is captured perfectly. I guess part of the
happiness is down to the fact that the majority of the
performers in Stream of Passion have never achieved the high
level of success attained by the bands mastermind Arjen
Lucassen. And some of it is because their debut album was
recorded in different parts of the world, without Stream of
Passion being a "real" band and this is the 1st time they've
been part of this new family. But the soft old bastard in me
would like to think that the biggest cause for the infectious
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happiness they display on stage is because their music and the
performance of the music is the biggest high you can ever
achieve. Along with Leaves Eyes, Stream of Passion are the
best new band I've heard in about ten years. Probably since I
1st heard the likes of Within Temptation and Lacuna Coil.
Billed as Stream of Passion featuring Ayreon, the setlist is a
non stop stream (pun intended) of classics from both camps. As
expected, Embrace The Storm is well represented, with
Spellbound, Passion, Wherever You Are and Out In The Real
World, leading the way. It seems touring has added an extra
spark to the songs and they sound note perfect and full of
energy. And with both Bovio sisters on stage, ("little" sister
Diana provides back-up vocals) they are extremely appealing
visually too. And I don't just mean in an un-pc way as eye
candy either. These ladies are on top of their profession and
can match any of the leading divas in the vocal stakes. I
think Marcela, after 1st being discovered on the Human
Equation album has blossomed into an amazing front woman. And
for a Mexican to address a Dutch audience in their native
tongue, and in a very fluent way, she's obviously not short of
confidence either.
Older Ayreon songs are given a completely new dimension
courtesy of the Stream of Passion guys (and gals) especially
Valley of the Queens which sees the sisters sharing the vocal
duties equally. The Charm of the Seer which sends shivers down
my spine every time I hear it, is probably the only song I
still prefer to hear with its original male vocal, and that
minor quibble is my only one for the whole DVD. As for the
best song... a tough choice but I love the medieval romp of
The Castle Hall with guest vocalist Damian Wilson tearing up
the stage. It's also got the whole band rocking as if their
lives depended on it. A pure adrenalin rush.
If you like either Stream of Passion or Ayreon, you are going
to love this DVD. It's well shot, sounds great and is simply
one of the best DVD releases I've ever seen.
www.streamofpassion.com
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Sylosis - Casting
Shadows (In At The Deep End Records) Review by Marco Gaminara |
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Musically Sylosis
are amazing. Powerful guitars played by Josh and Bailey, while
still maintaining plenty of intricate melodies that add
further layers to their sound. Carl and Rob take care of the
bass and drumming duties and provide an extreme and sturdy
backbone for the band. Adam's vocals tend to be scream-shouted
most of the time, granted he does some wonderful clean
passages, with the odd growl for good measure. I'm certain
that their live show is probably awesome as you can feel the
energy they exude on this recording. From the opening bar of
"Dark Revelations" you are aurally assaulted with the
relentless pounding of a tight snare and some intense footwork
on the kick drum. Title track "Casting |
Shadows"
follows on slowly at first, but when the flood gates open, the
shadows attack with full force. A pretty acoustic intro for
"The Bereaved" sets the mood nicely if it being a lament of
loss, until the screaming begins that is, and while the twin
guitar melodies keep the mood uplifted and flowing along
nicely, the steady drumming and vocals make certain that their
style never wonders too far from their staple. Varying from
steady to frantic "Oath Of Silence" builds and drops its tempo
causing the song to never remain stagnant and always an
interesting listen. Final track "Beneath Black Clouds" is
predominantly ambient thunderstorm sounds accompanied by a
bittersweet guitar melody that's reminiscent of dark dreary
days when the mourning never comes to an end.
www.myspace.com/sylosis
| www.iatde.com |
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Twelve Tribes -
Midwest Pandemic (Ferret Records) Review by Samuel
Munch-Petersen |
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I love Twelve Tribes as much as I love their rather samey
counter-parts; Killswitch Engage, Lamb of God and Soulfly. I
saw them last year support Killswitch and was blown away by
both of them. Twelve Tribes have a certain relentless drive
that pushes their music further and further whilst at the same
time sustaining the core afflictions of what metal actually
is. ‘National Amnesia’ is a fantastic prelude to what the
album is going to throw at you and it cuts into ‘Muzzle Order’
without interruption. Their fast paced, damaging tracks simply
work. They are all accomplished in their musical skill and the
album (as well as previous) merely emphasises that fact. |
‘Televangelist’ is by far one of my favourite tracks on it
since it has elements of being raw punk as well as having the
undeniable diffusion of riffs and drum breakdowns that make it
something more than just another track. The album itself is
eclectic in what’s being presented. Most people might suggest
that metal of this variety is too similar. I likened them to
Killswitch and LoG but to be honest they have their own sound
which although obviously is labelled the same as these bands
it isn’t the same musically. Labels are crap but there is
always the need to satisfy the establishment else you don’t
get anything back. This isn’t to say don’t fight the
institutions, do, but realise that you need to yield so become
stronger in a lot of ways.
Twelve Tribes keep on fighting and Midwest Pandemic is a
summative representation of what has been on their minds for
some time. Now they can lash out and begin to produce
excellent works like this album.
They even play with silly time signatures much to the
confusion of my ears. This adds a wonderful progressive
element to their music which is always a good thing I find.
‘History Versus the Pavement’ is a prime example of this
induction to those odd time sigs. It’s also a much more mellow
track that slides graciously along and instils something
inside your heart, I can’t quite place it. Excellent drumming
on that track.
This band and this album is one of the forerunners of what
metal is becoming in the world as we know it. You better get
used to it or find yourself listening to your heating turning
on night after night as the chill gets deeper.
www.twelvetribes.com |
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Ty Tabor - Rock
Garden (Inside Out) Review by Steve Green |
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I love 70s rock. In fact I've now
given up television almost completely and replaced it with
listening to Planet Rock (available on DAB or Sky channel
0110) which plays Classic Rock and Metal from the 60s through
to the 80s, with a smattering of newer material. With that in
mind, I still get funny looks when I play this album, which is
based upon Ty's 70s influences, mainly because this isn't
anything like my normal retro listening.
I think the biggest influence on this album is actually Ty's
day job Kings X, but without the dour influences of a certain
Mr Pinnick. It's got a laidback chilled out vibe which is
instantly accessible and very easy on the ear. And the vocals
are the complete opposite of the awful
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D(o)ug Pinnick solo
album I reviewed a while back, which in layman's terms means,
I actually like 'em. Like the music, his vocal style is
laidback and thoroughly enjoyable. The overall sound takes me
back to the Jonathan King tv programme No Limits in the early
80s. It was the 1st time that UK teens were regularly exposed
to cool American Rock. And although it's a genre I rarely
listen to these days, the occasional foray is a pleasant break
from the norm, which is exactly what Rock Garden is.
www.insideout.de
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Unleashed –
Midvinterblot (SPV) Review by Chris Davison |
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Vikings, eh? Not only are they the only good film to feature
Ernest Borgnine, (and no, “Escape to New York” is not a good
film), not only are they one half of the protagonists from the
classic Crossbows and Catapults playset, not only were they
the stars of a cartoon series featuring a youthful leader
called Vicky, but as any fool knows, they are hot potatoes in
the world of extreme metal. Every sub genre, it seems, has
laid claim to the ever popular Norse raiders, whether it be
from the power metal chaps, the black metal skulkers or the
folk metallers twanging away on their fiddles. Of course, the
Unleashed were plying the axe-and-long boat trade long before
Johny-come-latelies like Turisas. To be honest, I’d |
pretty
much lost all faith in Unleashed a very long time ago,
consigning them, perhaps unfairly, to the tail end of the
Swedish death metal movement.
Whatever the rights and wrongs of my earlier judgements on
this venerable outfit, I mean this as no hyperbole when I tell
you that Midvinterblot is the quintessential old school death
metal album of the year. This is a rollicking, mid tempo,
gravel voiced tour de force. Everything about this platter
screams quality. From the rather pleasing cover art (flaming
Mjolnir emerging from the vapours of horns full of mead,
anyone?), to the very final ringing notes of closer “Valhalla
awaits”, you’re in the company of sheer class.
Opener “Blood of Lies” sets the scene with a battering,
guttural, low sound – heavy without sacrificing memorable song
writing, and a sound well and truly based in the very best
traditions of old school death metal, but with enough modern
clarity of sound and superior production to appeal to anyone
unfortunate enough to have started listening to heavy metal in
the latter period of the nineteen nineties or later. Such is
the percussive weight of those thundering bass and drum lines
that placing ear phones on your ears is actually akin to
having Thor give you a smack atop the head with his hammer.
Previously, I recalled that the guitars where severely lacking
in the Unleashed arsenal. Not so any more. The axes are
wielded with as much aplomb as the dragon ship joy riding
pirates of yore. Intricate guitar lines weave sinister
melodies atop the furious battering of the rhythm section
(see, for instance, the simply marvellous mid section of
“Triumph or Genocide”). These six string sorcerers can now
hold their head up alongside other such talented death metal
acts, if not, in fact, look down on them. Where as fellow
Swede deathsters Dismember tend to lean their guitars towards
somewhat generic Iron Maiden inspired twin melodies, these
tunes are entirely original. The standard of song writing
throughout is of a universally excellent character, and I defy
any listener to provide me with a duff track throughout.
Fifteen tracks. Fifteen examples of world class, grim death
metal, seated in the old, weapons sharp and glistening.
(Actually, that last line has a hint of the homo-erotic in it,
but in the best traditions of metal, I’ve decided to let it
lie!). Thanks to this album, which, barring something
spectacular will be the best death metal band I have heard all
year – I’ll now have to choose between feeding the kids and
buying their back catalogue. Bah! I can always have more kids…
www.spv.de |
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Wolf - The Black Flame (Prosthetic Records)
By: Joe Florez |
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Wow! What a line up change in just two years time. The Swedish
true metal group went from a three piece to a four piece and
bass player Mike Goding is the only one to remain. So, does
this hurt the group at all? No way!
Lead off cut “I Will Kill Again” is pretty energetic that
provides just enough rocking riffs and a lethal solo to get
the job done. New vocalist Niklas Sralvind sings in a higher
range that is comparable to the former, but does just as good
of a job. This is a nice mid paced opener to show off what is
to come. “At The Graveyard” supplies the listener with more
than sufficient hooks and choruses that are not only memorable
musically, but to sing along |
| to as
well. I can imagine this one being a future crowd pleaser on
the live circuit. Wolf has the formula for traditional metal
down pat. While it’s not original as one would perhaps hope
for, they do it well and keep it entertaining. The
compositions are old school with a flair for some modernism
and having a great production only increases their
likeability. There are enough ear grabbing dual guitar leads
to wet your pants as each track is consistently up beat and
jammed with vitality. Yes, these songs pretty much follow the
pattern of their previous efforts, but you won’t get any
complaints from me. It’s another job well done and fans that
have liked the groups work before should continue to support
them. Another keeper for the collection.
www.prostheticrecords.com
| www.wolf.nu |
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