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From The Ashes -
Awakened (Self Release) Review by Steve Green |
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When I
received this cd I couldn't believe it was a self release.
With so many shit bands signed to majors and leading indies,
I've no idea why From The Ashes have had to release this,
their debut album themselves. Especially with Traditional
Heavy Metal and Thrash having enjoyed a resurgence the last
couple of years. And as I was about to write this review, I
discovered FTA have just signed a 5 album deal with Bieler
Bros Records, which is a smart move by the label as this is a
killer band.
Matt Wilkof's soaring vocals, had me thinking of a multitude
of vocalists, from Bruce Dickinson, Rob Flynn and Rob Halford
to a more measured and powerful assault that had
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me
thinking of Chris Cornell. Wilkof's fluid guitar work combines
well with the driving Thrash based and groove laden rhythm
section courtesy of drummer Angel Hernandez and bassist Das Haas. This is all
mixed together with the best of American extreme Metal. IE:
Pantera and Slayer, plus a huge chunk of melody that's all
their own. And the finished product is a must have release.
I've mentioned a few bands above and if they rock your world,
then you will love this album. Despite my comparisons, there
is plenty of originality to get your teeth into, mainly due to
Wilkof's unique tones and the bands clever use of harmonised
vocals. Stand out track for me is Stand Up, which has a complicated,
multi layered melody, but one that's easy to absorb. It's just
an exceptional song that deserves to be broadcasted to the
masses. Elsewhere, there is plenty to keep both Traditional Metalheads and Thrashers alike very happy, very much like
Machine Head in their early days, although I must make it
clear that Awakened is nowhere near as good as Burn My Eyes,
but the potential is definitely there.
I've no idea if part of their deal is for Bieler Bros to
re-release this album, if they do it'll be under a new band
name as From The Ashes has been trademarked by another band.
So look out for this band and follow their progress, for the
time being at least, via
www.fromtheashesband.com |
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Ground of Ruin -
Visions of Obscenity (Self Released) Review by
Chris Davison |
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Ah, a chance at last to listen to the much-talked-about Ground
of Ruin. Initially, I thought that the band were named after
White Hart Lane, what with the dismal showings of Spurs this
season. I hadn't been aware that the band had been about since
2003, though I had heard about them from the pages of
Terrorizer. A couple of Teh Interweb chums of mine had
mentioned some of their earlier demo work, and had used their
name in about the same vein as my much loved For Ruin. The
facts about the band, such as I know them, are that they are a
collection of five Irish long-hairs, (who apparently like to
skulk about in the woods - rain permitting, obviously,
according to the promo-pic), and have risen to |
prominence in the Irish metal scene, playing the rising metal
festival Day of Darkness.
So to you, the unschooled reader. What of the musical output
of this band ? Well, this is a six track demo e.p., each track
featuring a fittingly dirty and grimy death thrash song.
Interestingly enough, the band betrays a prevalence for the
thrash influence rather than the ordinary emphasis on the more
deathly aspect of the marriage of the two, and they are all
the better for it. As a break from the normal demo-fodder, it
seems as if the tracks are fairly well matured, and fully
developed. Blistering cuts like the rip-snorting "Nerve Damage
Affliction" have more than a nod to the classic break-neck
thrashings of prime time Exodus. Stop-starty riff-fest laden
track Architects of Our Own Demise hints at the marriage of
Sacred Reich and Dismember (if you can imagine such a thing!),
with special mention to the fantastic guitars of Rob Chanders
and Dom Brennan. The production, while good for a demo, does
tend to bleed away some of the potent force of the music.
While to the die-hard thrasher the treble heavy mix might
bring back fond memories of the initial wave of kraut-thrash,
it does render much of the drum and bass rhythm section
impotent. Likewise, while Dave Hynes has a fine whiskey soaked
death-growl, I can't but help wonder if he might serve the
music better if he was to tone down the growling and try some
genuine thrash vocals. Maybe an experiment for a single song
on the next demo, chaps ?
Overall, a fine collection of metal that would grace any metal
rack. I can only hope that one of the big labels is able to
give the youngsters a break and see what they can produce with
a decent budget and a fully fledged production. Send me your
next platter, boys - I'm a fan.
www.groundofruin.com |
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Intestinal Disgorge
- Humiliated (Pray For Death) Review by James Young |
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Whilst some grind
bands come across as predictable and tedious, there are a
number which manage to shine, and we can thank the sick folk
at Pray For Death for giving us a top class platter of the
latter. In this release, Intestinal Disgorge have put out a
clever, perverted, and downright funny record, with the only
exception of the last track ‘The Terror In Her Eyes’, which
after the great first minute turns into twenty minutes of
electronic boredom, forgivable only because the rest of the EP
is so darn great. The production is impressive, and
compliments the horror movie atmospheres created in the sheer
madness of the four Texans. Although the band contains four
members, Eddie is limited to supplying the |
electronic noise, and two of them are responsible only for
vocal duties. This leaves Ryan to provide the guitar, bass,
drums (and of course some more vocals), which is no small task
considering the insanity that features on this EP. Pissy’s
so-called ‘bitch-screams’ will determine whether you love or
hate the album - they feature a heck of a lot on the album, on
nearly every song, and adds a certain lunacy that reminds me
of the more depraved moments of Sikth or Macabre.
The songs, in keeping with the goregrind tradition, do not
last long, the shortest being ‘Oh My God’ which manages to
repeat the song title a good number of times along with some
very unsettling screams in its eleven minute running time. By
no means is this just unintelligent breakneck grind though -
there are some ridiculously fast blastbeats, ‘Petechial Hemorrhaging’ being one of many examples, but it all seems
under control, with a large degree of discipline amid the
chaos. Intense stop-starts and slabs of industrial noise bring
order to tracks including ‘My Knife In Her Chest’ and the
wonderfully titled ‘Twat’, along with a thumping dose of
heaviness. The aforementioned ‘The Terror In Her Eyes’
introduces some extremely infectious riffs into the fray,
despite being let down by the electronics that follow. The
twenty minutes of noise are simply unnecessary - being a huge
fan of sick flicks, I had already felt the influence of
exploitation films in the eighteen previous tracks, especially
the depraved lyrics of ‘Look At Me Bitch’ (and quite possibly
on the rest of the album too, this being one of the few I
could actually make out).
What it all comes down to is whether you see the screams as
genius or irritating, because musically, this EP is as good as
this genre gets. Disgusting, obscene, and bloody marvellous.
Highly recommended.
www.pfd.cjb.net
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Kylesa - Time Will
Fuse Its Worth (Prosthetic Records)
Review by Ryan Ogle |
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From Savannah, Georgia’s crusty sludge darlings Kylesa comes
an album that could very well be the sonic summation of 2006;
ugly as fuck and full of strife, aggression and confusion.
Much like this latest cycle of seasons, beneath the ugly
you’ll find an underlying element of beauty and innovation on
Time Will Fuse Its Worth. Featuring a roster that now boasts
two drummers, TWFIW kicks off with tirade of tom-tom work and
noise before blasting into “What Becomes An End,” a cutthroat
rager with a tripped-out Middle-Eastern flavored solo section
that would surely make the Eyehategod boys raise their bongs
with approval. The obligatory Sabbath-y riff on “Hallow
Server” leads to much of the same |
| crusty
debauchery I’ve grown to expect from Kylesa, plus we get more stony guitar soloing
and pussy-tight dual drumming. I love this disc already. The
three-chorded beast known as crust-punk rears its unkempt head
on “Where The Horizon Unfolds” while “Between Silence And
Sound” goes down a more somber and depressing road. The latter
track is one that explores the darker depths of Kylesa’s
multi-faceted psyche. As the disc plays on, the surprises get
bigger and better with the use of piano (“Ignoring Anger”),
avant-noise (“Intermission”) and brilliant use of feedback and
wah pedal (“Identity Defined”). My biggest regret about this
album is that I didn’t get to it in time to put it on my Top
Ten. Now only one question remains; are Kylesa subliminal
socio-political commentators that have offered up an
ultra-distorted oral report on the year that was, or did I
just need a clever way to start off a review?
www.kylesa.com
| www.prostheticrecords.com |
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Lodown - Black Horse (Bhurr Records) Review by Don Baird |
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Lodown are one of the most cocksure bands I've encountered in
many a year. Proclaiming that "they might just be the most
important rock band to come along in quite some time" is one
hell of a statement. I wouldn't quite go that far myself,
although after a solitary listen it's obvious that Lodown are
indeed a very special band. Numerous listens in and Black
Horse is a riotous album that is probably near impossible not
to enjoy. Hence the bands confidence.
Trying to pin-down Lodowns sound is also a difficult task.
Think back to bands that were dangerous the first time you
heard them. Early contenders for me are Janes Addiction |
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(especially on One In A Million), Motley Crue (more for the
swagger), The Doors for a sense of danger, perhaps the whole
grunge scene (Soundgarden and early Pearl Jam leading the way
though) and most of the fuzziness of the Stoner scene too.
Mike Edwards has a voice to rival any of his contemporaries,
and he oozes passion from every pore. Although smooth in
texture, there's just about enough of a rough edge to give his
voice a menacing and convincing tone, with the albums title
track giving him his best workout. It also helps that Black
Horse is an intense album. Redeemer, Summer Set, Mexican
Fireplace and the fiery album closer Dirty Heshan sit side by
side with rockier, more accessible numbers such as Pucifer,
Seminal and Century and the blend is seamless. My only real
complaint is that the badly pixelated artwork sucks and might
put off a potential purchaser because it looks so cheap. But I
guess it's best never to judge a book by it's cover, this
being a prime example.
www.officiallodown.com |
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Manslaughter -
Through The Eyes Of Insanity EP (Self Released) Review by
Steve Green |
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Elizabeth Schall, one half of Manslaughter, the other half
being drummer Mike Caffell, was very keen (make that
pleasantly insistent) to get her bands debut EP reviewed. And
after receiving the disc in the post a week later, I can see
why. This is the sort of debut that should get both fans and
labels pricking up their ears and dribbling in delight, as
this is top quality stuff.
As I'm not actually renowned for being the most subtle of
males, I'll just plough ahead and take whatever flack comes
flying my way (as I'm probably going to offend our entire
female readership, but I'll defend myself now and say my
comments are not meant to be sexist |
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women in Metal) Now before I'd heard a note, I'd noticed the
slim frame and attractive nature of Ms Schall from the
Manslaughter press photo and immediately pigeonholed this as a
Gothic or maybe a traditional Heavy Metal release, probably
edging towards the latter due to the hairy disposition (very
much like myself) of Mike Caffell. What I wasn't expecting,
was the raw gutteral, kick in the bollocks vocals (forget
Angela Gossow, this the best raw female vocals since
Cadaveria's performances with Opera 1X) and the blackened
thrash onslaught of opener Cursed. Having already mentioned
Opera 1X, I'd say that's the closest I've heard to
Manslaughters sound, plus a fine smattering of traditional
Metal a la Iron Maiden. Which isn't really a surprise as
Elizabeth used to be in the Iron Maidens. Take those
influences and add some inventive (and at times enjoyably
pummelling) drumming, good use of atmospherics with slower
segues that allow each song to breathe and a fine selection of
quality riffing, then you have a sure-fire guarantee for
success. Except the bastard known as the music industry
doesn't quite work that way. But if there is any justice, this
four tracker will be a stepping stone to greater things,
mainly because it fucking rocks and someone needs to stop the
kids listening to commercial crap, why not let it be
Manslaughter! Order a copy via
www.manslaughter.tv |
www.myspace.com/themanslaughter |
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Pain Of Salvation -
Scarsick
(InsideOut Music)
By: Joe Florez |
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P.O.S. have pretty much created each disc to be as diverse as
possible and never sounding the same twice. I think that a
line has been drawn as to which era fans like best. I believe
that the true prog heads quit with the band in frustration
after their second offering “One Hour By The Concrete Lake”
which was a true masterpiece. Everything after that had a nu-metal
vibe that is either loved or despised. One would think that
after their last release “Be” that there would be nowhere else
to go and you know what? I couldn’t imagine where they would
go next either. As it turns out, they have gone back just a
little bit, but in the “nu” vein and I am positive that the
hardcore old school fans will be disappointed. I am a fan of
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their
products and am interested in what they pumped out here in
2007. “Scarsick” is the first cut up to bat and as usual it’s
quirky. Vocalist Daniel Gildenlow raps his way
through the song complemented with tough riffs and an odd
atmospheric vibe. The drums amazingly start out simplistic and
don’t get all new school. Since the band always loves being
unpredictable the tables are soon turned where the skins have
more of a rhythmic and tribal feeling and some ethnic screams
it seems to be enter the fold. Some progressive elements are
injected into the song every now and again to say the least
it’s more than intriguing that requires much patience, even if
you are a long time follower like myself to completely grasp
what they are trying to accomplish. “Spitfall” goes directly
for the throat and assaults the ears with the quickness. The
music is slow, but heavy and the lyrics are angry taking a
stab at our society. I have never heard so much vulgarity come
out of one’s mouth, but it is necessary because it’s getting a
point across how we are all succumbed to the material things
in life, fast cars, model women, money, vanity and then some.
“Cribcaged” is the first song on here that is rather normal.
It’s a dark and sad ballad that manages to thrown in a one-two
punch in here every now and then, but the structure is what one
would expect from the groups earlier efforts. It was quite
enjoyable to soak in after trying to study the first two
offerings. I am sorry to give you the readers such a blow by
blow detail account of this review, but it’s necessary in my
eyes because this is definitely NOT a cut and dry album.
“America” and “Disco Queen” are going to draw up a shit load
of controversy more so than the rest of the disc. “America”
has a poppy and alternative feel that is very bizarre. Banjo’s
manage to sneak their way into the composition and to my ears
don’t fit the overall sound. This is very spastic and a head scratcher for sure. Oh shit! I hope the band is prepared to
receive tomatoes at their face for this one. “Disco Queen”
totally comes from left field, even for me, but you know
what…I like this in a freaky way. This is a rock/disco track
that is reminiscent of Kiss’ “I Was Made For Loving You.” It's
catchy, hooky and enjoyable to the aural senses if you are
unbiased like myself. I even managed to bust the John Travolta
white suite made famous from Saturday Night Fever and got down
on the dance floor. Just kidding, but that is the kind of
experience you will get from this. It is towards the end of the
disc where “Flames To The Moth” begins to somewhat go back to
their progressive ways, but still manage to throw in forward
thinking ways and the results are pleasing.
Basically, this
disc will require many more sit downs than any of their
previous works. It’s complex, questionable and then some. A
lot of patience is necessary to understand where they are
going with their song structuring and why. I am very confused
by this release. I like it…I am not so enthralled by it. This
is very unusual for me because I have an answer for
everything, but here I'm not sure. If you pointed a gun to my
head, I would say that I love it, but not too sure. So, I will
say this: P.O.S. wants the fans to think for themselves and
that is why they write such off the wall songs. As of now, the
disc isn’t all that bad, though I am
still not sure what to think. I believe I will have to go back
several more times before I can make a final decision. So, I
say yes to this as long as you can hang on for the wild ride.
www.insideoutmusic.com
| www.painofsalvation.com |
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