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Devin Townsend Presents Ziltoid The Omniscient
(InsideOut Music) By: Joe Florez |
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Devin is at it once again, creating havoc for the masses and
those who can handle it. This time he takes the term solo to
the extreme and has crafted a comic book that comes to life
via audio cacophony. He’s done this completely on his own.
That’s right! He played every instrument on here and
programmed the drums (I hate that. I prefer organic). Well,
everyone knows just how mad and crafty he is and this
shouldn’t surprise anyone. Ziltoid is an experimental album
that is a concept piece of work. The story is based around the
title character and is in search for cup of coffee in order to
time travel. Just read his bio to get the idea because it’s
whacked out. |
“ZTO” is an instrumental opener that is filled with double
bass programmed drumming, chanting, orchestrated sounds, alien
like ambience and Devin who narrates about what is to come.
“By Your Command” sounds like a futuristic version of SYL
meets his other projects Physicist and Ocean Machine. He
screams and sings. You can tell that he has doubled and
perhaps even tripled his voice to sound louder and larger than
life. It’s quite melodious despite the fact that it has a lot
of aggressive elements, but it’s cool. I never doubt the man’s
abilities. “Ziltodia Ataxx!!!” is an absolutely berserker of a
song. It’s fast, slow and ambient. This truly some cracked out
music. I think a lot of people don’t realize that Devin isn’t
always a spastic mess. “Solar Winds” shows another side of the
man, that he can actually sing with a soothing voice if he
really wants to, but the music tends to shift from calm to
exciting as it shifts along the nine minutes it has to
complete.
Once again, this is an album completely built by a wall of
sound as only Dev can create. As always, there will be some
people who think that this is stupid and should get back to
doing only the SYL thing, but it’s cool to have a fun record
come out every now and then. The music world is deluged by way
too many artists that want to be taken way too seriously and
Mr. Townsend breaks it all down and just says let’s have a
good time no matter how ridiculous it is. This is a fun record
that isn’t meant to be taken seriously. The best part about
this is that there will be a limited edition version out with
a bonus disc devoted to webisodes of the title character and
other goodies. Take that Itunes!
www.insideoutmusic.com |
www.devintownsend.com |
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Dreamland – Eye For An Eye (Dockyard
1) review by James Young |
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It
doesn’t seem like two years ago when I was singing the praises
of these Swedes on this very site. The opus Future’s Calling
was a fantastic listen, embracing the full-on cheesiness of
power metal and combining it with gloriously high-pitched
vocals. On the latest release, the band have dropped the ball-squeezingly
high notes in favour of a more standard power metal voice from
frontman Jake. Twiddling the vocal controls again is
Hammerfall’s own Joacim Cans, and in all honesty, they aren’t
too bad, but the result of playing down the band’s strongest
element is that we are left with a fairly bland album. Yes, I
could quite easily listen to this album again and again – the
music is on the whole fantastic, with strong |
melodies, epic solos and some memorable choruses, even if the
formulaic nature of the songs starts to grate by the end of
the album. The problem is it’s all been done a million times
before, and Eye For An Eye simply adds nothing new to the mix.
Mercifully, the album doesn’t last for longer than forty
minutes, as any more would have been certain overkill. As it
is, eleven songs is pushing it – at three to four minutes a
track there is very little substance to the album, most of
them just carriers for a nice-sounding chorus. Hardly the
stuff great albums are made of.
The title track ‘Eye For An Eye’ is a classic example of how
great this band can be, with the catchy melodies and chorus
you would expect from a top class power metal outfit. Think
Hammerfall mixed with Dream Evil, mixed with Hammerfall, with
a touch of Stratovarius, with a bit more Hammerfall added for
good measure (did I mention there was Hammerfall influence
too?). ‘Carousel Of Pain’ keeps the fists pumping with some
well-placed double bass drum action from Jesse Lindskog (also
in Dragonland), as do the anthemic ‘Reverse Deny’ and
‘Children Of Tomorrow’ with some ‘woah’ along moments and
soulful singing. Lindskog’s drumming follows a rather ‘hard
rock’ approach rather than power metal, rarely going super
fast, with a minor exception being on ‘Heavenly Designed’,
which is underpinned by a hammering double kick assault. The
rest of the songs are a little samey, even if ‘Chosen Ones’
and ‘Spread Your Wings’ contain nice choruses and air-guitar
worthy solos from Johan Eriksson and Eric Rauti. I found
myself enjoying a couple of later tracks, but then I realised
that it’s only because it reminded me of the earlier tracks -
your walkman could probably jump between some songs and you
wouldn’t realise. There isn’t really a ballad as such to
balance things out; there are some slightly slower numbers but
nothing that halts proceedings for you to get your lighter
swaying in the air. The one time Dreamland tries to be a
little bit different is on the closer, ‘Revolution In
Paradise’, and I absolutely hated it. The band employs a
horrific metal-core scream into the mix, which does absolutely
nothing for the sound, and had me wishing they’d have just
stuck to putting out another slab of generic power metal. I’ve
heard metal-core bands infiltrating the death and grind
genres, but power metal? My ‘skip track’ button didn’t know
what had hit it when this one got going, and it was a dire way
to finish a mediocre album.
I’ve been rather critical of Eye For An Eye – it isn’t the
worst album in the world, but there are so many albums you
should check out before this one, including Dreamland’s
previous album, which makes this look like a nightmare. It’s
pleasant on the ear but I can’t say much more – it’s just
frustrating knowing that these guys can play but choose to put
out such a limp brand of power metal, because of that I
probably won’t be listening to this one again.
www.dream-land.nu |
www.dockyard1.com |
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Ea - Ea Taesse (Solitude Productions)
Review by Steve Green |
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If
you'd like a little background info on Ea, then I'm sorry,
there isn't any. The label aren't forthcoming with any
details, deciding to add a little mystery to the band and a
quick search on Google only showed up that they might
be from the US. But who cares, because if it's released on
Russia's Solitude Productions, you know it's going to be good
and of course Doom laden.
With one song broken down into three parts and with a running
time of just under 55 minutes, this could only be Doom, yet
I'd say this album was still pretty original. Yes the pace is
slow, in fact I'd say it's comatose and there are the
occasional gutteral vocals to |
drag everything down a little further, but there's a wonderful
ambience shrouding the whole affair that just gives the album
a certain touch of class that's absolutely fucking glorious. I
think the ambient parts are created by vocals, these days it's
hard to tell if they've been sampled onto a keyboard/computer,
but either way it reminds me of John Foxx's ambient work
(which is something I've remarked on at least a couple of
times recently) And it's the whole ambient slant that makes
this album a winner for me. You can either drift off to the
atmospheric wonder of it all, or if you are driving in your
car, you can think your car if breaking down because of the
huge undercurrent caused by the monolithic bass. We had to
turn this off as it was causing us to panic, which ain't good
when you are hurtling down the motorway. So don't play this in
your car, you have been warned.
This album is a little different than your average slice of
misery, mainly due to the minimalist approach, so listen to it
with an open mind. For me it could quite possibly be one of my
albums of the year.
http://solitude-prod.com |
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John Macaluso & Union Radio - The Radio Waves
Goodbye (Lion Music) By: Joe Florez |
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You may not realize it, but this man has been banging on the
skins since the mid 80’s. He’s played with Powermad, Yngwie,
Ark, TNT, Randy Coven and the list just piles up. Go to the
website for the full resume. At any rate, after working on
everyone else’s work, John has decided to create something for
himself. The result is Union Radio and truth be told this is a
far cry from metal. It’s a concoction of jazz, prog, ambient,
dark and moody sounds capes and then some. So in other words,
a true musicians audio wet dream. Since John has been around
for a while, he has made friends with some people and they
appear on here. Take “Soul In Your Mind” for instance. It’s
the first song on here and has James LaBrie on |
vocals along with keyboard wiz Vitalij Kuprij. It begins with
some very strong riffing akin to something you would hear on
an old Ministry record. The drumming is severely complicated,
but has rhythm. James’ voice is as subtle and light as ever
and there is this ambience that’s a little trippy, but
peaceful. This one runs the gamut in terms of tempo ranges
because it shifts around quite often. There is also a solo on
here that is lean and mean. Despite what I say on here, it’s
not a progressively metal song. It has a life all its own, but
is fascinating to hear. “Mother Illusion” features new
Masterplan vocalist Mike Dimeo who quite frankly I like on
here much better than his day job. He can sing his highs, but
they aren’t obnoxious and he too can have a strong set of
lungs and still sing in a mild manner that isn’t over the top.
The best way I could describe this one is outer space vibes
met with more mesmerizing and technical drumming that almost
sounds programmed with a hint of jazz and dance beats like
trip hop or something like that. It’s very bizarre. “Gates To
Bridges” remains on par with what is going on the first three
cuts, but you can hear some funky bass lines being plucked
away which only adds to this ultimate experience in
experimental music that will take you away to another galaxy.
“The Prayer Pill” finally scales back on the insanity and goes
for a more mellow piece. It’s slowed down tremendously and
sounds like a real song - meaning: drums, keys, guitars, drums
and bass with minimal ambience. The vocals are soothing as
well as the composition.
I had no idea what I was in store when I popped this in. This
was a pleasant surprise because it runs through and combines
many style of music that I wouldn’t expect. I mean mixing prog
and jazz with dance like beats is wild. Or combining dance
ambience with classical is just absolutely out there, but if
you appreciate things out of the ordinary you can find it
quite amusing and entertaining. This is a very daring record
from John and not everyone is going to get it, especially the
traditional prog rock/metal heads. This is experimental in
every way and is intended for the most of open minded only.
Once you dive in, you will discover that there’s a lot soak in
time and time again. Worth investing time in.
www.lionmusic.com |
www.johnmacaluso.com |
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Marduk - Rom 5:12 (Regain Records)
By: Dave Schalek |
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Sometimes you just want your fucking face ripped off. More
than a little tired of listening to a few albums that are
somewhat off my well beaten path of death and black metal, the
latest full-length from Swedish black metal masters Marduk,
and tenth studio full-length overall, entitled “Rom 5:12”, was
a more than welcome kick to the face, and just what I needed.
“Rom 5:12” pretty much continues where “Plague Angel” left
off. Alternating between all out blasts and some slower,
pummeling assaults, Marduk rip through 10 tracks on an album
approaching the one-hour mark. This style has been Marduk’s
bread and butter since 2001’s “La Grande Danse Macabre”, but
there have been a few changes since that album. |
Long gone at this point is long time charismatic vocalist
Legion, and his replacement, Mortuus from Abruptum fame, has
been firmly entrenched as a member for now his second go
around with Morgan Hakansson and crew. Mortuus’ style is a bit
different from Legion’s, but fits Marduk’s music perfectly.
Rather than the all out screaming rasp exuded by Legion,
Mortuus’ delivery seems more “organic”, if you will, with a
rasp enhanced with a puked gurgle of sorts (a few belches
signal the end of one or two tracks). Mortuus also seems to
show more range than Legion, by varying the pitch of his
delivery in mid-lyric.
In addition to the change in vocals, “Plague Angel” saw a
change in the mixing, as periodic bassist Magnus Andersson
took over the mixing duties from Peter Tagtgren. The change in
sound is noticeable, with a fuller sound with less treble and
a very prominent bass. Other than that, you have a rather
typical latter-era Marduk album. Plenty of bursts of speed
with full drums and an almost pathological abhorrence of
melody, but the slower songs manage plenty of interesting
riffs that keep the listener involved as you catch your breath
in between the all out blasts and fast riffs that accompany.
Marduk has only changed incrementally over the years and
that’s just fine with me. “Rom 5:12” is a lethal dose of
black/war metal at its best. Can they follow-up with a U.S.
tour? Buy or fucking die.
www.regainrecords.com/ |
www.marduk.nu |
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Mayhem - Ordo Ad Chao (Season of
Mist) Review by Crin |
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One of the monsters of Black Metal, sitting equal to the likes
of Venom, Bathory and Emperor. The bands history and notoriety
are well documented; the bands previous releases need no
introductions. Here we have the bands fourth album proper.
Maybe not so eagerly awaited as others. The very band is not
as intimidating as it once was, so can this new opus stand
against the new breed of Black Metal?
With an intro building up to the ignition of A Wise Birth
Giver, it becomes instantly apparent that the sound is
somewhat lacking of the jackhammer punch of previous releases.
The drum sound is muffled and Hellhammer seems to roll his
sticks as usual everywhere and |
anywhere. What strikes you almost at once is the very dry,
chilling production that sets the scene foe the following
splitting of ribs as the music’s tumult ensues. The
distinctive vocal thrum of Attila Csihar is a welcome
resounding throw back to the very flames of the bands
legendary, De Mysteriis album. After the initial blast, the
track slouches into a dragging doom bellowing finale,
descending into a stench of putrefied flesh. With off key
notes, thundering snares and scowling vocals emissions, the
album continues to eat up the atmosphere with neck breaking
velocity and bone cleaving intent. There isn’t much of the
classic riffs or memorable moments found on the more
simplified, De Mysteriis. It’s hard not to balance the current
with the past, and the band have always, and will always be
shacked to their past.
This is a very experimental, modern Mayhem in texture. The
tone and body belongs to the living entity of the core
members, and yet it is the very challenging arrangements that
weave their spell first and foremost, compelling the frailty
of the mind to cower from the sheer weight of the music’s
aural bombardment. This is very much a Black Metal album in
its purest form. A heavy as elephants shit, with a flesh
cutting sound blasted from the jaws of agony itself. It’s a
dark, menacing beast drooling at the mouth like a rabies
infected dog of war, licking the open wound of insanity. The
berating vehemence often melts into mind altering slower moods
where tortured vocal wails cast a bleak cloud across the
music’s macabre atmosphere. Like an Enslaved album, there is a
one dimensional sound divided into controlled moods, some
uncomfortable, others hypnotic. Mayhem still pack a punch,
Mayhem still has something to offer on the strength of this
release.
To sum it up, this is one violent album, a beautiful deathly
pallor set to music. |
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Moonlight Agony – Silent Waters
(Dockyard1) Review by Samuel Munch-Petersen |
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The first thing you’ll realise when hearing Moonlight Agony is
the influences are so heavily seeded in their work it’s almost
as if they have reincarnated their idols, their heroes; Dream
Theater, Symphony X, Helloween and Children of Bodom to name
but a few. The tracks are full and have an immense sense of
clarity behind them. The drums are powerful and push the music
forward with every bar with some lovely pedal work. The
guitars and vocals add to that symphonic feel which is
apparent in Moonlight Agony’s repertoire.
This is their second album which was complete late summer in
2006. They have gigged heavily in Sweden and played the
Axefeast festival in Gothenburg in 2004; not something to |
sneer at when you’re an aspiring band trying to take off.
Especially since it was the same year that their first album;
Echoes of a Nightmare, was released.
This album is a mix of orchestral harmonies that intertwine
with the likes of power metal and progressive rhythmic change
which creates something worth listening to. Moonlight Agony
have managed to push the boundaries of their music and deliver
us a feast from which to sup. The album has been one of the
better releases of this recent tirade of music. They are not
your black metal or death metal band of Finnish aptitude, nor
are they the jumping pop-wriggles of let us say; Caliban.
Instead they are something more, they are something accessible
yet layered with integrity and skill which surpasses recent
releases.
I am very impressed with the production of the album and the
tracks so far. The first four tracks just blast you into the
world of Moonlight Agony and what it is they are attempting to
represent in their music. Meaningful lyrics and musical talent
to emphasise it, Moonlight Agony are a band worth listening
to. If you enjoy that Ensiferum meets Dream Theater mix then
you’ll love Moonlight Agony. They have showed a great talent
in this album and it would be superb to see them at a festival
or a gig. You know you’re in for a treat when the double
pedals are parrying the blows of riff magic cast with
determination and energy.
Look out for track six; I’m Alive, where you will, by every
guarantee (even Tesco’s) love the drum work and the power that
is thrown at you. It is an anthem in itself and carries the
album past the half way point and into the realms of sheer
brute force. Heavy tracks and punchy keyboard work with
strings and odd electro sections will make you smile in that
“I love this” way. Go find out about Moonlight Agony and be
impressed. Do it.
www.moonlightagony.com |
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Mustach - Latest Version of the Truth
(Regain Records) Review by Chris Davison |
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Ah, it doesn't seem two minutes since I was last reviewing the
strangely monikered hard rock / metal combo Mustach with their
last six track E.P., Parasite. Yet, here we are again, with
the Swedish combo knocking out another full length effort in
an attempt to conquer the world charts. Astonishingly popular
it seems, in their native Scandinavia, it remains to be seen:
is this a full strength Lemmy styled facial effort, or more of
a “dirty Sanchez”?
It's always a nice change to get something from the more
northern portions of the continent that isn't “extreme”. Don't
get me wrong, I like to juggle chainsaws and bungee jump off |
moving helicopters as much as the next adrenaline junkie, but
there's something to be said for the sheer exhilarating power
of the classic rock riff played well. Mustach are masters of
the catchy riff, and killer cuts such as opener “In the Night”
and sultry rocker “I wanna be loved” are clearly the works of
a band not short in either confidence or songwriting skill.
Don't let all this talk of “rock” put off the metal purists
among you, as there are many a skull splitting moment to be
had, from the powerful driving drums (which, it has to be
said, have an absolutely killer deep punching sound), to the
dexterous serpentine bass playing. The vocals are equal parts
much missed cult act Transport League, and vintage Spiritual
Beggars. Indeed, to sum up the music in a rather crass and
simplistic way, this sounds like a (much) beefed up Spiritual
Beggars with a more modern approach and absolutely impeccable
production.
Brave moves such as the string section (!) in the infectious
Double Nature only serve to highlight that this is a band that
deserves much more widespread air play in not only metal radio
stations, but dare I say it, in the more mainstream media.
Instrumental breaks such as “Scyphozoa”, which brings to mind
the smoky excesses of Sabbath circa Sabotage are a living,
breathing example of a band that is absolutely cocksure in
their own abilities and non-plussed with any narrow genre
conventions. This is perhaps the perfect album to bring
together the pure thoroughbred metal head with their older
rock adoring fathers. Generational healing? Only a Mustach can
do that. Great, catchy fun.
www.regainrecords.com/ |
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