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Antimatter - Leaving Eden (Prophecy)
Review by Steve Green |
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I've seen the name Antimatter bandied about plenty of times,
normally with the word Anathema tagged alongside it. Duncan
Patterson was one half of Antimatter's core, alongside his
partner in crime Mick Moss. Also aided at various times by
both Danny Cavanagh, who took an occasional interest and Les
Smith, who made one guest appearance. Studio album number four
heralds the departure of Duncan Patterson, leaving Mick Moss
firmly at the helm, with the Anathema connection still alive
thanks to Danny Cavanagh being listed amongst the session
musicians. Now I've got that info out of the way, I can take a
deep breath and tell you that this album is absolutely
stunning. |
Leaving Eden is a gentle, thoughtfully constructed work of
genius. It's mellow, yet completely absorbing and I want to
rush out and buy their complete back catalogue. Before I go
spending my hard earned cash, I better try and sell this one
to you. Now please forgive my comparisons with other bands, as
this album really needs to be held aloft on it's own merits,
but a couple of comparisons will make my job a whole lot
easier. Pink Floyd's an easy call to make, especially with
Danny Cavanagh's warm leads on opener Redemption, not quite up
to Dave Gilmour's ripping solo on Comfortably Numb, but the
quality is of a high enough standard to be worthy of the
comparison. Mick Moss' voice is a mixture of Eddie Vedder at
his most mellow and perhaps with a touch of Chris Cornell's
dulcet tones, both at their very best on the Temple of The Dog
opus, way back in 1990. With that as an outline to Antimatters
make-up, how can you not fall in love with this album?
Start of paragraph number three and I can't believe I've not
used the most important word that's needed to describe this
album: Atmospheric. Leaving Eden is a moody album, but not in
a downtrodden way, the acoustic guitars keep it, not exactly
happy, more they maintain a certain level of warmth. I suppose
Dark Ambient could be another description to throw into the
pot, yet I don't find any depression in the mood, nor on the
other hand do I find anything uplifting. There is just a very
special aura that draws you in and lets you drift off into
your only little world. Kind of the same fuzzy feeling you get
after drinking a nice bottle of red, except without the nasty
after effects of the alcohol.
With so many bands still to be discovered, it's been a joy
listening to Leaving Eden and realising that I've yet again
come close to missing out on a great band that could have
easily passed me by. Don't let it happen to you. Discover more
at
www.antimatteronline.com or
www.prophecy.cd |
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Burn - Global Warning (Formula One
Records) Review by Steve Green |
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Burn released a couple of albums back in 1993 and 1995, even
getting 5K's from Kerrang (something I'm sure they'll never do
again) toured with the likes of Thunder and Steve Gibbons,
before tragedy struck in 2001, when their drummer was killed
in a bike accident. After that the band was put on ice. After
several years of inactivity, the three remaining members of
Burn have been joined by new blood and their third album is
now ready for release.
With the background history out of the way, you don't really
need me to tell you what Burn sound like do you? I mean, if
you name yourself after Deep Purple's greatest ever song (I'm |
actually only guessing at that fact) what are you expecting?
If there were any doubts, the Coverdale sounding Rockin' Blues
of opener Shadow Of The Satellites dispels them immediately as
this is classic Hard Rock in the vein of Whitesnake, Deep
Purple, Rainbow et al.
Global Warning isn't a bad album at all, but with so many
classy albums being released by Rock/Metal stalwarts such as
Magnum, Tony Iommi/Glenn Hughes and Cornerstone over the least
couple of years, Burn are going to find it hard to make any
headway in a reasonably crowded market. On the other hand,
this is a good, honest and without being detrimental in the
slightest, solid album. The hooks are infectious, the melodies
are all pretty original, despite being in a World where it's
easy to wear your influences on your sleeve and the song
writing as a whole, is of a really good standard. In fact, bar
a minor niggle with the production, which could have done with
being just a little bit crisper, I've no major gripes. And I
don't want to undersell this album either. It's only the fact
that Burn aren't a household name band such as Deep Purple,
that I think this album will be overlooked, when in fact it's
probably better than any Purple album in the last 15 years.
They've just played at MFN (Middle o'Fucking Nowhere) which is
a big biker venue not far from where I live and that will be
Burn's core audience. Bikers and lovers of Classic Rock and
Metal. If that's your thing, then definitely lend an ear at
www.burn.uk.com |
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Cruachan - The Morrigan’s Call
(Candlelight Records USA) By: Dave Schalek |
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Candlelight Records USA adds the rather strange Irish folk
metal band Cruachan to their roster. Cruachan, with the
release of their fifth full-length, “The Morrigan’s Call”, can
now reach a domestic American audience.
I’ve only heard bits and pieces of “Pagan” and “Folklore”,
Cruachan’s last two albums immediately prior to “The
Morrigan’s Call”, and, frankly, the music just didn’t grab me.
The reason, I suppose, is that, although Cruachan does present
elements of metal within their song structures, the band has
moved too far away from their metal roots for them to resonate
with me. Ultimately, though, I didn’t really give Cruachan a
serious listen until “The |
Morrigan’s Call”.
“The Morrigan’s Call” continues the format that I’ve
previously heard, with a nominal, at best, black metal
influence, combined with Irish folk melodies, both female and
male vocal harmonies, and the prominent use of a myriad of
traditional instruments. Many bands in the pagan/folk genre
are able to effectively and seamlessly blend together a metal
base with folk influences, but Cruachan isn’t quite able to
make this combination work for me. Instead, the music ends up
sounding rather disjointed, with the metal aspects almost
thrown in as an afterthought, rather than providing a solid
foundation. Case in point is the first track, “Shelob”, with
an opening screamed rasp and furious riffing all of a sudden
giving way to pleasant female vocals and traditional
instruments. The result is jarring and doesn’t quite work.
This trend continues throughout the rest of the twelve tracks
of the album in that the few moments of metal are few and far
between.
Certainly, I have nothing against Irish folk music and The
Pogues are a great example of a non-metal rock band achieving
a perfect blend between rock and folk. Unfortunately, Cruachan
falls short at achieving a metal version of this blend and I
found “The Morrigan’s Call” dissatisfying.
www.candlelightrecordsusa.com |
http://cruachan.cjb.net/ |
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Excalion - Waterlines (LMP)
Review By Jesse Ketman |
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My
oh my, another good, new, epic Finnish band. For such a small
country, they’re really starting to dominate my hard drive
with excellent musicians, like staples Children of Bodom and
Nightwish, while constantly surprising me with new acts like
Battered, The Wake, and especially my new favorite, Machine
Men. Here we have another (relatively) new project from Finns
Excalion, this being their second album and the first I’ve
heard/heard of them. This is an epic power metal ballad album
through and through, with every song exuding classical
influence. The keyboards tinkle away and often rise to the
foreground to belt out a few lines of classical beauty before
the guitar takes things over the top. Jarmo Pkknen, |
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Excalion’s singer, mentions in his bio that he first started
hitting high notes after he heard Stratovarius, and not to
demean him, as his voice is great, but damn is it obvious.
This isn’t really my major concern though. The flow of the
album doesn’t vary a whole lot, and as I alluded to earlier,
I’d consider every one a ballad. Not a bad thing in and of
itself, but I was really hankering for some variety. All songs
are very good and tight, but listening gave me a perpetual
sense of déjà vu, like I’d been there before. Upon further
reflection, I believe this is because Excalion don’t really
have a sound of their own yet, and seem to borrow from a lot
of other groups, a la Stratovarius, Helloween, and a keen
resemblance to Sonata Arctica, particularly in keyboard-tinged
sections, though I have to say I prefer the vocals on
Waterlines. All the right elements are here, and all are
obviously capable musicians (particularly Vesa Nupponen, the
sole guitarist), but to rise above they’re going to need to
distinguish themselves. How they do it is up to them, but hope
remains where skill resides, I’ve always liked to say; the
last song on the album, a redux of track 6, Arriving As The
Dark, entitled Yoevartiv and sung in (I’m assuming) their
native language, just plain fucking rocks, and makes me want
to dance and throw my fist in the air every time I hear it,
which is in part what caused my hopeful mindset. I’d like to
hear more of Excalion, and would recommend them to bored power
metal fans, but would first suggest you check out Machine
Men’s Circus of Fools for your new power metal needs, as its
way more energetic and involving, with more Maiden than Strato
in their bloodstream, and the album just rips.
www.excalion.com |
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Kotipelto - Serenity (Candlelight
Records) By: Joe Florez |
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Timo Kotipelto hasn’t released a solo record in three years,
but that’s because he was working on the last self titled
Stratovarius effort which was nothing short of a disaster.
Even the frontman agrees that it wasn’t exactly a good
offering to himself or the fans. So, let’s all hope that this
is better. Just like on his first two releases, there are
guest performers that helped shape the solo records sound out.
Guitarist Michael Romeo from Symphony X was on board, but now
the Finnish community is helping out in a major way.
Keyboardist Janne Warman from Children Of Bodom is on board as
well as two members of Thunderstone and Lauri Porra from the
Warmen project. |
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In typical power metal fashion, the opener “Once Upon A Time”
begins with raging drum work, power chords galore that strum
along nicely and is synthetically drenched. I have come to
realize that Timo’s voice is about as thin and limited in
range much like Andi Deris from Helloween. I know that some
people will want my head for saying that, but I am only
speaking the truth here. I love the man, don’t get me wrong,
but he doesn’t exactly have a strong set of lungs. It’s ok and
all, but nothing to brag about. The music overall packs a
punch and will definitely hold your interest. “Sleep Well” has
keyboard work that is reminiscent of the 70’s but doesn’t
overstay its welcome like track one. This is more mid paced,
but manages to carry great energy with it and the vocals are a
bit better here. I believe that I like this disc a bit more
than his previous work for the simple fact that Serenity is
just a little bit predictable. The first two albums were
primarily drenched in the power metal genre, while this one
likes to blend the past with the present and change the tempo
speeds quite often, but do it in a subtle way. The solos on
the guitar and keyboard front just burst with vibrancy and
help make the songs be more memorable. The song writing is
more mature and that helps in making this a keeper. Power and
true metal fans would be wise to pick this up as this will
have to tie you over until the next Strato disc.
www.kotipelto.com |
www.candlelightrecords.co.uk |
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Sammath - Dodengang (Folter Records)
Review by Crin |
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Black Metal from the Netherlands. Sammath formed in 1994, and
following in the footsteps of other fine Dutch acts like,
Funeral Winds, God Dethroned, Countess, and Liar of Golgotha.
The album [the bands third] begins as it ends, in a flurry of
crushing rhythms and guitar breaks. Snapping snares hurtle
along like a missile dragging a plough across a graveyard.
The ferocious Black Metal onslaught is assisted by a thick
bass sound, and a merciless vocal bark that shreds the
atmosphere with hostile menace. When the slower sections kick
in, the band become more potent, releasing skull pounding
riffs that splinter the bone and |
render the brain numb with delusion. The guitar style can be
likened to the first Borknagar album, sharp and resilient.
The trouble with Sammath, is they sound like so many other
bands of this ilk, no better or worse, certainly above
average, and albums like this keep the flame of the genre
alive. The similarities of the cadaverous tracks that roll
into one another make the album as a whole, very one
dimensional.
www.folter666.de/ |
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Sonic Syndicate - Only Inhuman
(Nuclear Blast) Review by Steve Green |
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Nuclear Blast, what the fuck are you doing to me? This is the
sort of album I should hate, but rather perversely, I really
like it. Sonic Syndicate are a young band from Sweden that won
a battle of the bands type contest organised by Nuclear Blast.
With the high calibre material on Only Inhuman, it's easy to
see why they beat over 1,500 other competitors.
If you are expecting anything heavy, be warned, this album is
commercial as fuck. Kind of like Children of Bodom with a bit
more bite, mixed with, dare I say it, Metalcore style choruses
with lashings of clean vocals. I know there are already a
million bands like Sonic Syndicate on constant rotation on
Scuzz, especially with the catchy choruses and |
clean/angry vocal mix, a perfect example of which can be heard
on the Nuclear Blast website
here: Psychic Suicide will have many a hairy Metalhead
running for cover, but credit is due to Sonic Syndicate,
because they excel at what they do and they've even converted
an old scrote like me. I guess the acid test will be when they
play Wacken this year, when they've 30,000 pissed Metalheads
to contend with. Despite their modern stance, I think they'll
be ok as their catchy choruses will go down a storm with the
Power Metal brigade.
I'm trying really hard to embrace the more modern approach to
Metal, even though I do hate a lot of it, but these youngsters
really do have what it takes to go all the way.
www.nuclearblast.de |
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Steen Grontved - Night Vision Goggles
(Lion Music) By: Joe Florez |
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Lion Music has snapped up this Danish guitar virtuoso who,
like everyone else, has a solo record that he wants the world
to hear. Basically, he’s a session musician who has performed
with other folks on his home turf. Since he had no control of
what he would like to hear and play, he took it upon himself
to release 12 instrumentals that are in the jazz/rock/fusion
vein. I am at the point right now where I don’t want to hear
anymore solo artists unless they have something unique to
offer.
“Timber” opens up with a very upbeat and energetic riff that
is spiraling out of control before quickly calming down and
going for the mid tempo jazz route complete with nice |
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percussion work. It bounces back and forth, but with each jazz
interlude inserted, the composition is slightly different. The
second time around offers a little bit of a funky beat and a
rockin’ guitar solo that is electrifying. It’s smooth,
sophisticated and pleasant. “The Worm” goes for that weird and
funky vibe with the synths getting all goofy and adding a
dated 70’s atmosphere, but it works on here. The thing that
intrigues me about Steen is that he builds his songs up
slowly. You may at first want to turn the song off after a
minute or two, but if you stick around you get this highly
combustible solo that’s kind of Satriani-ish and it’s great.
He really knows how to hold your interest. “Playground” offers
a more smooth jazz approach and is laced with lots of Latin
like rhythms that moves along at a perfect pacing. Amazingly,
Steen proves to be an interesting musician. He’s not limited
to just one style of music. In fact, it’s dynamic, rich in
sound and mature. Thank God he’s not trying to be the next
great shredder. This is intelligent music for people who want
to think outside the box. This isn’t metal music like most
would hope and sometimes that’s a good thing. Hail to Lion
Music for picking something worthwhile. Now, if we can just
get back on track and discover new bands worthy of our ears.
www.lionmusic.com |
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The Stone - Magla (Folter Records)
Review by Crin |
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Currently the leading horde in Serbian Black Metal and beyond,
ouch!! I’m not sure if that eliminates Serbia as a potent
Black Metal force or relegates the remaining acts into
oblivion.
I stumbled upon this band recently with the, Neke Rane Krvare
Vecno’ album, a collection of their early material, and
compared to this, well, there is no comparison. The bands
early works are far more potent and significant.
The music here is nine years onwards from that release, but it
may as well be nine years backwards. There is no passion, no
inventiveness and my mind was utterly masticated by half
way, leaving the rest of the album to lacerate my thoughts
with even more lacklustre |
music. After a few days rest, I decided to give the album
another spin, to allow any hidden attributes to seep forth
from the murky, vapid atmospheres generated by this band.
Choppy guitars, thumping snares, grunting vocals, set to basic
arrangements and bonded together by sweeping rhythms and an
altogether stringent orthodox approach. With the scene in
general producing countless similar acts around the globe, I
would suspect The Stone will remain as inconspicuous as they
are now. I’ve heard this format regurgitated year after year
since it was first fashioned nigh on twenty years ago, and no
doubt a teeny metal head, with bald bollocks will cum all over
the cover when first introduced to this album, but it doesn’t
do it for me.
www.folter666.de |
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The Stone - Neke Rane Krvare Vecno (Grom
Records) Review by Crin |
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Serbian Black Thrashing Metal based on
Slavic paganism and musically endowed with the classic
keyboard era Black Metal bands of the mid-late nineties.
Formed in 1996, and already having blasted forth four
vitriolic albums, we are greeted here with 8 old tracks
recorded in 1999 and 2 from the, Cujete vLi Semeju Se Mrtvi’
Ep. 2004.
If you are Serbian, then this band will need no introductions,
if not, and that more than likely means you, then the band are
pretty much like most Baltic State Black Metal bands. There is
a certain unique edge to the music, call it that Slavic
essence if you like.
From their beginning in 1996, this cd exposes the rough and
ready sound of a bands |
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fledgling musical efforts, a brash, in
your face Black Metal assault, resplendent with all the
clichés your would expect, grizzled vocals, blasting snares
and keyboard enhanced chorus parts allowing for varied levels
of atmosphere. The songs also reflect the times, and there is
not much new, nor invigorating unless you are a hardcore fan
of the band.
These Serbian/Slovak and surrounding Baltic territories have a
equally tongue twisting language and like the Norwegians, tend
to compound the music with unpronounceable titles. Luckily,
one growl or guttural rasp sounds like the next in most
tongues, a common denominator for extreme metal, the world
wide accepted gnarled vocal language or the unwritten grunt
vocabulary.
www.gromrecords.com |
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