|
|
|
|
|
A
Life Once Lost - A Great Artist (Ferret Style) Review by
Samuel Munch-Petersen |
 |
It’s a resubmission of the old full length album released in
2003 on Deathwish Inc. Vocalist Robert Meadows says; “We want
to be in that place with those bands, right up there with
them. And we feel like we can do that”. He’s referring to
bands such as Dillinger Escape Plan, Converge and Isis. This
metallic hardcore band from Philadelphia has certainly
continued to hold high the flag of uniqueness and force. The
album has already received great acclaim and follows their
previous release in 2005; Hunter, which made sales of 30,000
copies. The band moved from Deathwish to Ferret Records in
late 2004 and so far they haven’t looked back. However, also
in 2004 this album; A Great Artist, went out of |
print and it has been seen as something of a lifeboat for the
band who have toured with the likes of Lamb of God, Unearth,
Disturbed and Every Time I Die. They even played the 2006 Ozzfest, how’s
that for getting your name out again?
So far the album has been pretty structured and grunting. The
tracks come punching through with every chord and every note.
There are obvious similarities with bands already mentioned
although A Life Once Lost are continuing some of the
uniqueness I’ve talked about by simply doing just that;
creating music which although heavily influenced has actually
found a small corner (soon to be a big corner?) on the music
shores.
They are lumbering tracks that require you to look deeper than
the music and to discern the lyrics as best you can, for
instance; Cavil and ...In Anything Under the Sun. Having said
this, a majority of the tracks tend to lend an ear to rather
calculated musical changes and systematic riffs that throw you
along with every motion of those musical hands. The vocals are
raw and crisp in their undetectable dialect of throat
scratching, which adds to the ensemble with rather large grit.
Nine tracks long and yet something of an epic release this
album has everything you need to sit and dwell on those
moments in time when you thought you might kill someone. It, in
actual fact is more of a dirge than anything else, which could
possibly be said of most hardcore bands; the dirge is the key
to success.
Hardcore fans and fans of the bands mentioned will enjoy A
Life Once Lost, though do not expect any super-fast beats or
riffing, this is an album of reflection and thought, though
taking a look at Overwhelming, the last track, it’s clear that
the album has moments where you are completely crushed, though
also laid gently down.
www.alifeoncelost.com
|
| |
|
American Dog - Hard (Colonial Canine)
By: Joe Florez |
 |
I was introduced to this three piece raw and rockin’ band from
Ohio back in 2005 with the album Foamin’ At The Mouth Live.
This was the guys in the studio with a bunch of their friends
playing some of their hits on the fly with no studio
polishing. While I thought it was ok, I wasn’t familiar with
their material yet and I think my opinion would have been
better shaped if I was able to hear some of their back
catalogue first. At any rate, I have their latest offering and
it’s a mighty fine slag of dirty rawk. You are gonna’ get
nothing more or less than simplistic rock that will kick you
square in the teeth. I totally dig the instrumental “Bock”
that opens the show. The bass flies in a catchy and rhythmic
way while the guitars |
keep up the pace. It’s quick and it gets you all lubed up for what’s to come. “No Pity” gets down and
filthy with Steve’s gritty and bluesy licks that are very
Motorhead-ish. Wild solos complete as well. The rhythm section
also carries the weight because they play loud and proud. It
will flat out shatter the windows at any distance. Mike’s
vocals also fits like a glove on here because they are croony,
whisky soaked and rough as if he used sand paper to prepare
before recording. “Sometimes You Eat The Pussy...” isn’t exactly
very thought provoking, but then again they aren’t looking to
change the world, but rather have a good time and if you don’t
think you can do that then get the hell out! Slide guitars
reign supreme on “Long Time Comin’”, while you get some Jerry
Lee Lewis style piano banging on “Rock-N-Roll Dog.”
The band
plays one style of music only, but change it up slightly with
the tempos and arrangements such as including harmonica and
other said instruments mentioned before. This is rock and
blues of the highest order. I am glad that I got another shot
with this band because this disc serves up everything that I
like in raw rock. They pull no punches or tell no lies. They
are true to what they do and stick to their guns. So, crack
open a six pack or twelve, whip out your pack of cigs and
crank this one up because you are head down a dusty road. This
disc deserves to fit snug in your CD collection between Motorhead and BLS. By the way, if you are possibly thinking
about buying this on itunes, here’s a reason to buy the disc
instead: it comes with an iron on patch and sticker.
www.americandog.us |
| |
|
Battlelore – Evernight (Napalm)
Review by Frank Allain |
 |
Liberally swathed in Tolkien-esque imagery and song titles to
stir the most stony of hearts, Finland’s Battlelore proudly
proclaim themselves exponents of ‘Epic Fantasy Metal’. Really?
Are they quite sure? Y’see, to these ears (ears I might add
well versed in musical interpretations of all things
chest-beating, dragon-riding, sword-wielding and
loincloth-clad), the sounds contained on Evernight sound
distinctly like a car-crash between ghastly goth-metal
crooners Evanescence and fellow Finns Nightwish. Yup, I’m
afraid to say its plodding, dancefloor-friendly female-fronted
Euro-metal time again. Big slabs of industrialised riffing
chunk away, twee keyboards plink and plonk, ridiculously fit
frontlady |
Kaisa Jouhki warbles in that oh-so-typical
mid-Atlantic drawl affected by the bands of this ilk and the
whole saccharin soundscape starts to nauseate considerably
within the space of a few minutes. Not exactly what it says on
the tin, to put it mildly.
Who are these guys trying to kid? I mean, honestly. About as
epic as an episode of Neighbours, the so-called paeans to
‘fantasy’ on this record are nothing more than throwaway
gestures calculated to desperately differentiate this lot from
the Lacuna Coils, Within Temptations and Sirenia's of this
world. This sort of stuff normally encourages little more than
passing indifference from yours truly, however the blatant and
cynical marketing of Battlelore really has me riled. Evernight
is so stunningly bland, so painfully radio-friendly and so
horribly over-produced that it has actually genuinely angered
me – a rare thing for a CD to achieve with this cynical old
bastard of a reviewer. Nothing more than a flimsy attempt to
cash in on the success of the aforementioned acts and the
burgeoning mainstream interest in all things fantasy-related,
Battlelore deserve nothing but cold contempt from fans of
either.
www.napalmrecords.com |
| |
|
Children of Bodom - Chaos-Ridden Years
(Universal)
By Jesse Ketman |
 |
This band is something else, I tell you what. I got into this
Finnish 4-piece with their second album, Hatebreeder, with
Silent Night, Bodom Night becoming my favorite song, period.
The classical elements and pure speed/thrashability of the
album was staggering, and I knew right away that this
relatively unknown guitarist Alexi Laiho was going to be a
fucking legend. Follow the Reaper released in 2000 and has
maintained it’s status as one of my favorite albums ever, as
it showcases the band at it’s fastest and most thrashy, not to
mention the jaw/pants dropping guitar/keyboard duel at the end
of the albums last track, Kissing the Shadows; best Bodom solo
ever, in my opinion. Anyhow, time marches |
forward and 2003 brings us Hate Crew Deathroll. Arguably the heaviest album to
date, I had a bit of an issue with HCD for a long time. Even
though it was arguably the heaviest Bodom release to date, and
the songs were all pretty cool (despite a disturbing lack of
classical influence), but the cheesy lyrics and choruses all
but broke me; Alexi goes to great lengths to tell you not to
fuck with him, and sometimes does it with a more core-ish
rhythm than we’ve yet seen from Bodom. I’ve since gotten over
myself about it and like it quite a bit. Onwards! Are You Dead
Yet? was released last year and is by far Bodom at their most
melodic. It’s not as heavy as Hate Crew, nor as crazy fast as
Follow the Reaper, and the classical elements that helped
define Hatebreeder are still conspicuously absent, much to my
(continued) chagrin. To be blunt, I thought this was the worst
album to date. Upping the “In Your Face” pissed-off posturing
to mach 10, simplified core-tinged riffage, and straight
stupid fucking lyrics. “I don’t give a flying fuck
motherfucker (x3), I don’t give a flying fuck!” Continued by
an explanation that it’s his world, and he’ll bitch slap you.
I can do without this shit. Also, am I the only one who
thought ‘Bastards of Bodom’ and ‘Trashed, Lost and Strungout’
were kind of poppy? However much I may disagree with the
direction, there’s no way I can deny Alexi’s continued
ascension towards guitar legend status, thanks to his total
inability not to create a brilliant solo around every corner.
Moving inexorably forward, and to the product in question, a
2disc collection entitled Stockholm Knockout Live. Take note,
this is exactly what a live collection should be: a huge
sampling of the discography, played with (relative) tightness
and boiling passion, not to mention small altercations in some
songs that the diehards among you will love. Starting out with
Living Dead Beat (who would have guessed?) and driving
straight into Sixpounder, an excellent driving song. Then back
to the basics (or complexities?), Silent Night, Bodom Night
thoroughly dominates most metal songs ever written, and has me
starting up the inevitable headbang. Other exemplary tracks
out of the awesome eighteen here are a sweet meld of Bodom
Beach Terror and Bodom After Midnight that falls just short of
9 minutes, a 5-minute drum solo for Jaska to show us all what
he’s made of, and my personal favorite, not to mention the
side of Bodom I crave and love most, a 7 ½ minute
guitar/keyboard battle cleverly titled Clash of the Booze
Brothers.
This is a brilliant collection of songs, bound to
give fans chills and astonish newcomers alike with its
brilliant, driving, heroic guitar madness. Need more
adjectives? How about pants-flipping? Trust me guys, it’s
sick. Like Bodom? Pick it up. Love Bodom? Pick it up. Never
heard Bodom? Pick it up. Hate Bodom? Re-evaluate your life.
www.cobhc.com
|
| |
|
Dimmu Borgir – In Sorte Diaboli (Nuclear Blast) review by Sam
Thomas |
 |
In Sorte Diaboli must be one of the most awaited, eagerly
anticipated releases of the year. It’s Dimmu Borgir’s 8th
release. Just for once, they’re sticking with the previous
line-up (from the re-recording of Stormblåst ). In a personal
context, this is a huge release for me. Dimmu Borgir are the
band who are pretty much single-handedly responsible for
rekindling my love affair with metal with “Puritanical
Euphoric Misanthropy” and ultimately leading to a complete
change of direction in my life.
First track “The Serpentine Offering” sets the mood for the
album: hard hitting, black metal with no compromise. The
opening notes are as good a demonstration of the symphonic
side |
of things as you’ll get: very bellicose, very much like a
bastard offspring of Gustav Holst’s “Mars” and the theme from
the Star Wars movie of your choice. The lyrics are as
blatantly Satanic as ever, the brilliant use of keyboards as
much to the fore as ever. This album is very much a refinement
of previous works, by which I mean that it is absolutely 100%
identifiable as Dimmu Borgir right from the first note through
to the last (it might as well have Dimmu Borgir written
through it like a stick of rock!) but also that it is a step
forward, an improvement on a theme. And, fundamentally, I
think that that’s exactly what every fan wants of their
favourite band: that they should produce an album which is
like their previous works, but better. Because, make no
mistake, this is way better than Death Cult Armageddon (which
I liked at the time, but has now paled into insignificance).
To me, this whole album is very much an extrapolation of
“Progenies of the Great Apocalypse” – from the harsh sounds of
the horns through to the pure and perfect vocals of Vortex.
Shagrath is enjoying himself as much as ever with the vocals,
sneering, growling and blaspheming his way through nine tracks
in his usual inimitable fashion. For whatever reason, each
track has a three word title, and in every case the first word
is “The”. And this time around, some of the track titles bear
some resemblance to the lyrics, which is almost unheard of,
and great news for such as me, because it means I might have a
hope in hell of remembering them (I know, for example, that I
really like “The Blazing Monoliths of Defiance” from Spiritual
Black Dimensions, but I’m
fucked if I can remember which track it is!).
All through “In Sorte Diaboli” I’ve been haunted by melodies
that remind me of other albums: “The Sacrilegious Scorn” has
echoes of “Puritanical” about it, and again some desperately
beautiful vocals from Vortex, counterpointed to perfection by
Shagrath at his sneery best. Mid-album, there’s a beautiful
little instrumental “The Fallen Arises” which has an almost
industrial feel to it, in a symphonic kind of way. As always,
the lyrics are interesting, providing an insight into Dimmu
Borgir’s world: “Mercy is not truth” being a particularly
bizarre concept. And who would disagree with Shagrath that he
“was born for burning”?
“In Sorte Diaboli” is a work of near-perfection, a triumphant
call to arms for all lovers of black metal. It’s very rare for
a release that is so anticipated to come anywhere near what is
expected of it, but in this case, Dimmu Borgir have far
exceeded my expectations. Don’t bother thinking about it, just
go out and buy it. You probably won’t stop listening to it for
at least a month, but who needs a social life!
www.dimmu-borgir.com |
| |
|
Dir En Grey – The Marrow of a Bone (Gan-Shin Records)
Review
by Samuel Munch-Petersen |
 |
This lot of J-rock maniacs are back. And their career has
literally thrown them into the air to land firmly on their
feet and claws blazing. Dir En Grey are something of a
cultural gift; their music and their attitude seems to speak
to a myriad of fans and will only get more and more instilled
as the years go on. Their music seems to flow from album to
album and their lack of conformity has done them well. Japan
is a place we all want to visit at some point. I’m sure you’ve
had that thought, I have. And when there are bands like Dir En
Grey that come out of it, I can see why we should go, not only
for the culture and the rather large masses of commuters that
work in the city centres. Dir En Grey were superb at the 2005 |
Rock Am Ring festival where they played one of the side
stages. They certainly had a heavy gathering and were able to
pull the crowds as well as keep their attention for their set.
They also played the main stage last year at the same festival
amongst Guns ‘n’ Roses, Korn and Tool which isn’t a bad thing
(though I won’t rate GnR that highly).
The album can’t be flawed. It begins slow and menacing with an
enigmatic and awkward track that plays on the more emotional
and philosophical side of our minds. Then it just blows up and
feels like a volcano has just let forth a spewing debris field
of ash and molten J-rock. They certainly have the ability to
continue the legacy of a mix of death metal and rock, even
hitting points where hardcore and punk can be heard. Agitated
Screams of Maggots is certainly a good example of this fusion.
Dir En Grey aren’t afraid to try different things and you just
have to love the distorted Japanese vocals of Kyo; purely,
disturbing. Dir En Grey have had quite a few releases since
1997 and have shown no sign of retreating into a hole, as long
as the fans enjoy what they’re given then there’s no reason
why Dir En Grey shouldn’t be a steady and competent band to
last quite a few more years.
The album changes tempo quite drastically in places and the
seventh track moves us into a kind of jazzy type of era where
there are once more quite unnerving undertones to it, which
move into a recycled riff and vocals of chord stripping
resonance. Of course, Dir En Grey are a band that work on
presenting anger, suffering, frustration alienation and pain.
Just what you need to sing about to latch onto those
‘suffering’ kids nowadays.
An excellent album, to be expected and definitely a band worth
seeing live.
They will be touring this August starting with some festivals
in Europe; Wacken, Ankkarock and M’era Luna, so we should be
ready for their arrival since I can assure you it’ll be worth
going to see them live at least once. Check their website for
further details about gigs and the like.
www.direngrey.co.jp |
| |
|
Forest Silence - Philosophy Of Winter (Candlelight Records)
By: Dave Schalek |
 |
Forest Silence is a side project of sorts of Sear Bliss, one
of Hungary’s more well-known black metal acts (be that as it
may, I’m unfamiliar with Sear Bliss). Forest Silence’s debut
full-length (after three demos, the last of which was over
five years ago), “Philosophy Of Winter” on Candlelight,
consists of slow to mid-paced forest/winter themed black
metal reminiscent of a slower version of Satyricon’s first two
releases.
The album’s five tracks consist of simple, repetitive riffs
with some subtle melodies that I found very pleasing, a rasped
vocal approach similar to that of Satyr or, perhaps, Nocturno
Culto, and some truly haunting keyboard accompaniment that
provides ambience and |
enhances the simple rhythms. These elements are neither
complex nor technical, but come together in a solid manner to
give rise to an excellent example of the genre. Frankly, the
songs are mesmerizing and masterfully envelop the listener
within the layers of atmosphere for which the musicians are
striving for with “Philosophy Of Winter”. Moments of mood are
further enhanced with the guitar removed towards the end of
the last track, allowing the bass to become visible, as well
as showcase the keyboard melodies. This songwriting element is very effective, but, unfortunately,
only occurs once on the relatively short album (about 35
minutes in length). The production values are somewhat typical
of mid-paced black metal; that is, the guitar is rather thin,
but the drums have surprising depth that gives the songs some
weight.
Large independent label Candlelight Records has recently shown
a propensity for signing relatively unknown (Furze, Throne Of
Katarsis, and so forth), but exceptionally talented, black
metal acts. This is certainly the case with Forest Silence, as
“Philosophy Of Winter” has really begun to sink into my
consciousness with repeated listens. Highly recommended.
www.candlelightrecords.co.uk
|
www.searbliss.hu/enb/proj_forest.html
|
| |
|
Hanging Garden - Inherit the Eden (Spikefarm)
Review by Chris Davison |
 |
What is it about the Finns? I mean, really, just how is it
that they keep churning out quality band after quality band,
when the country is so small in inhabitants that I assume
everybody knows everybody else by name. My theory is that
there is a hardcore of six Finns who can play metal, and wear
those freakishly detailed latex face masks, as popularised by
hardcore detective serial “Scooby Doo”. Anyway, however they
bloody manage it, they've only gone and done it again.
Not content with producing quality death and black metal,
they've produced some absolute top drawer gothic doom metal.
Now, I know what you're thinking – you don't like to see |
the “G” word next to metal, do you? No, nor do I. Usually.
However, this is rather less Sisters of Mercy and rather more
Paradise Lost – Gothic, if you will. Ponderous, lovelorn
doom/death with heavyweight melodies laid over some tastefully
done keyboard work. To be fair, as soon as I heard the deathly
growl of lead singer Ari, I knew that this was going to be up
my alley. Certainly, occasionally I wish Matti Reinola would
give the keyboard a bloody rest from time to time, being
rather too loud in the mix for my ears, and even more
frequently wishing that he'd slip and hit the “fill-in” button
to inject some samba madness into the proceedings, but for the
most part this is really rather emotional and melancholy
music.
It brings to mind a marriage of the more aggressive portions
of latter day heavy hitters My Dying Bride with the musical
prowess and dark rock leanings of Katatonia. Saku, Mikko and
Janne certainly cover themselves in glory with the mastery of
their respective instruments (guitars, guitars, drums), and
the songs are both epic in length and in feel. For once, the
accompanying promotional blurb actually bears some resemblance
to the music on the disc when it proclaims, “(that the music
is)...Gloomy and ethereal, yet strangely fascinating”. Many of
the songs have a tendency to outstay their welcome or to
meander more aimlessly than perhaps they should, but to be
honest these are minor gripes over what is, effectively, a
most impressive debut for a new band.
Doom/death eh? It just won't die. Not while bands like
Hanging Garden exist. I wouldn't mind knowing where the fecking name came from though – maybe they're all big
Civilization players?
www.spinefarm.fi |
| |
Human Error - Life
Sentence (Endless Brutality of Men)
Comando Caveira - Ataque Terrorista
(Endless Brutality of Men) Nosferatus
Subworld - Self Titled (Endless Brutality of Men)
Review by Steve Green |
|
Time to go around the World of Grind and
Punk with the Mexican label Endless Brutality of Men.
First up we have the Grinding Punk of Budapest's Human Error.
This is in-your-face, angry as hell politically driven
Hardcore Punk that never lets up and no-one is safe from their
vitriol. "Rockstar - conceited, arrogant rubbish bastards":
the self explanatory titles Fuck The Police and Institutional
Slavery and the anti-capitalist Nothing Matters, the list goes
on. With half the songs sung in Hungarian, I've no idea who's
next for a tongue lashing, but I can feel the hatred that's
flying from my headphones. With Készülni a Legrosszabbra
hitting home like the Anti Nowhere Leagues classic Woman on
PCP, whilst Concentration Army reminds me more of the Dead
Kennedy's circa Bedtime For Democracy, it's all good shit.
Next stop Rio De Janeiro and the Crustcore of Comando Caveira.
Now with my non-existent grasp of Portuguese, I think our
Brazilian friends have a thing for war, terrorism and World
peace. Opener Passaros de Guerra lyrics consists of types of
planes used in World War II and the Airforces that flew them.
Elsewhere titles such as Ataque Terrorista and Forca de Paz,
which mentions Haiti and Angola in it's lyrics, tells us where
this trio are coming from. Unfortunately, their call for peace
and equality is hampered by a suffocating production which is
amateur at best. It's not until the three bonus tracks that
Comando Caveira can be heard loud and proud, but even then,
the production is still this releases Achilles heal, with only
Faixa De Gaza sounding worthy of a cd release.
From the production constraints of Comando Caveira, we shoot
back to Europe with Spain's Nosferatus Subworld, who have the
loudest sound of the three cds. More Metallic in nature, they
bulldoze their way through nine crust-laden anthems in just
over twenty two minutes. And while I like the bands power,
they don't have the finesse of Human Error, nor do they match
the more memorable elements of Comando Caveira. With
|
|
the first three numbers all rolling into one, it's not until
the temporary slowdown of Time Of The Rising Sun that any
distinguishing features appear between each track. This one's
definitely for those that like it hard and raw.
www.ebmrecords.com |
|
|
|
|
|
|
|
|
|
