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After Forever - After Forever
(Nuclear Blast) Review by Steve Green |
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Oh
this is a hard one. After Forever's Nuclear Blast debut is
everything you'd expect it to be. Symphonic, bombastic,
amazing vocals from Floor Jansen, near perfect execution...
it's very After Forever. Yet, it ain't exciting me like it
should. Admittedly it is growing on me, but it's not hitting
me like Invisible Circles did. But that may be down to the
shifting of my own taste in music, rather than anything else.
With my own personal love/hate with the female fronted genre
put to one side, in terms of quality, you aren't going to get
much better than After Forever this year. It's going to be up
there with the new Epica, who it has to be said After Forever
are beginning to sound more |
like on this release, mainly due to to the bombastic and
orchestral nature of opener Discord and the grandiose
operatics of Withering Time, although the intensity of
Transitory takes them to a whole new level. After Transitory,
it's only the industrial tinged Who I Am, which features Metal
Queen Doro Pesch sharing the vocal duties with Floor, that
really piques my interest.
This was a very difficult review for me to write as there's
nothing wrong with this album at all, yet at the same time I'm
not inclined to want to play it for pleasure. The excitement
factor for me, is completely missing. I guess it's the same as
finding out the most beautiful woman in the world is crap in
bed. www.nuclearblast.de |
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Ansur - Axiom (Candlelight Records)
By: Dave Schalek |
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Ansur, an old school death metal band from Norway playing with
a few progressive elements, has been garnering some notice,
for reasons that escape me frankly, with their self-produced
(rather muddily, at that), 6-song debut from 2006, entitled
“Axiom”, on Candlelight Records. Coming across as a mix of old
school influences from early Sodom and, perhaps, hints of
Celtic Frost and Enslaved, as well as some progressive
elements involving acoustic guitars, female vocal harmonies,
and even some mathematical moments, Ansur ultimately fails to
bring these disparate elements into a cohesive whole.
Ansur’s big problem, in my opinion, is that the guitar playing
is downright annoying. The old |
school riffs are fairly derivative and are, at times, sloppily
played, and the quirky time changes that periodically make
appearances, particularly later in the album, just aren’t
pulled off in a convincing fashion. Instead of being impressed
at a musician’s ability, as you would be with some other
bands, with Ansur you find yourself reaching for the skip
button at these moments. In addition, the drumming is also
fairly pedestrian, alternating between some bursts of speed
that would fit right in the mid to late 80s, and some
mid-paced drumming to accompany the riffs. The vocals are
patterned after Tom G. Warrior’s early style and the bass is
buried in the primitive mix.
Basically, I was just plain bored by this release. Beyond
that, what else can you say?
www.candlelightrecords.co.uk |
www.ansursite.com |
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Autumn - My New Time (Metal Blade)
Review by Steve Green |
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I
have to admit that after a good ten years of lapping up almost
anything with female vocals on it, the genre is beginning to
bore me rigid. Which is why I'm being slightly harder than I
normally would be on both Autumn and After Forever. Whereas
the new After Forever album just doesn't really excite me,
Autumn fall into the the trap of sounding like other bands.
Even if they are two of my favourites, I'm still going to have
a little moan. If you like Leaves' Eyes and Elis, then you are
going to love Autumn. In fact, My New Time is very much in the
mould of the classic Mastersound Studio sound. Lush,
inoffensive melodies that swirl around in your head for days.
And yeah, in all honesty, this album, for what it is, is |
spot on. It's pure ear candy.
Opening number Satellites entices you in, Closest Friends
Conspire makes you feel comfortable, then the upbeat Blue Wine
seduces you. It's a well worn pattern that most blokes fall
for every time. And that's what Autumn have done, they've
copied a winning formula and they've done it very well and
along the way they've crafted some very good songs. Yet why do
I still want a little bit more? Maybe I am getting a little
greedy after years of feasting on the choicest cuts. But after
a certain amount of time, every genre becomes over saturated
and that is exactly what's happening with female fronted
bands, labels are snapping them up and market has become
flooded.
Look, Autumn are a good band, isn't that the case with all
Dutch bands? But right now, musically, I'd rather be battered
senseless by Amon Amarth than be wined and dined by the latest
(Gothic) female fronted sensations.
www.autumn-band.com |
www.metalblade.de |
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Be'Lakor - The Frail Tide (Self
Release) Review by Steve Green |
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I've not given this cd the attention it deserves, mainly due
to lack of time, but every time I play it, it blows me away.
Be'Lakor are from Australia, the land of sun, sea and surf. It
probably explains why this album is so dark and gloomy. The
Frail Tide takes me back a good dozen years, to the days when
death/doom ruled the roost, around the time of Paradise Lost's
Icon and Moonspell were just appearing on the scene and
playing the Devil's Church in London. Be'Lakor have the
deathly vocals, majestic lead guitars and grandiose piano
licks scenario perfected and it's that retro feel that's got
me completely hooked. It's also doing my head in because I
can't pinpoint who I think George Kosmas |
sounds like. He's kind of like a slightly more gruff Nick
Holmes... but it's not him I'm thinking of. It'll come to me
eventually, probably at around 3am knowing my luck.
Let's not beat around the (Australian) bush here, Be'Lakor are
a world class act, my only concern is that labels might not
pick them up because of two reasons. One, their geographical
location, because it might prevent them from extensive touring
- and two: Labels that are only interested in the latest
trend(s) might not warm to their classic sound. But whatever
the labels may think, my opinion is that The Frail Tide is a
beautiful album, the ebb and flow (accidental pun) especially
on The Desolation Of Ares is captivating. I'm not going to
highlight any more song as it's the album as a whole that
grabs your attention. The construction of each song is well
thought out and rivals anything in the same genre. Everything
from the pacing, to the atmospherics, the productions, it's
all top notch. In fact, I can't even think of a single fault.
If you live in the UK, you can get this directly from the band
for only a tenner post paid. And trust me, it's worth every
penny. Find out more at
www.myspace.com/belakor and I hope someone snaps them up
and brings this album to the masses. |
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Cage - Hell Destroyer (MTM Music)
By: Joe Florez |
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San Diego’s most popular power metal act in the European scene
strikes back with a fourth disc. This is my first foray into
this five piece. I have heard a ton of stuff about them from
being a cross between Manowar meets Maiden and anything old
school to singer (Sean Peck) having the vocal capabilities of
one Mr. Rob Halford in terms of his banshee-like screams.
Well, my expectations are high from all that I have read about
them for the past several years and it’s with great excitement
and trepidation that I will now analyze this new release. |
Judging by the Hammerfall like cover, I was very weary of what
I was in store for. The title track begins with a long scream
ala Metal God style and then the band rips into a fierce power
metal track that is equal parts old school and new school via
killer production. The drums are thunderous and quick while
the guitar work from Dave and Tony is absolutely merciless as
they charge your speakers with full force, but also throw in
some melodies here and there. Sean’s singing is a mixture of
screams and bombast, like Harry “The Tyrant” Conklin from Jag
Panzer. At just under four minutes, I had a grin on my face
from ear to ear and I was now fired up and ready for anything.
Bring it on! “I Am The King” is scaled back just a tinge as we
go from lightening quick to an upper mid tempo track that
still has the capability of bringing down the house. The lung
work is tuned lower and Sean tends to sing more with less
screaming and there are plenty of backing vocals that chime in
and chant “Hail” numerous times throughout the song. I can see
this one being a fan favorite live. Sean’s voice is scary
because he can morph it into interesting ways from Rob to The
Tyrant to…Jon Oliva? Yes, you can hear it during the beginning
of “Bohemian Grove.” It’s frightening to hear it, but fear not
as he gets into his own groove after that.
Everything you could ask for in a metal disc is here. It’s
strong, powerful and bombastic. This epic disc comes with
narration in between songs which is a nice touch to keep us
informed in what’s going on. At eighty minutes, I thought that
this would be a little lengthy, but in fact ends up being an
epic listen that quit frankly is better than anything
currently in the theaters now. This was one ride I wasn’t
expecting to be good, but ending up being fantastic.
Basically, fans of Manowar, Jag Panzer, Virgin Steele and
Priest with a hint of Maiden won’t regret spending their hard
earned scratch on this.
www.cageheavymetal.com |
www.mtm-music.com |
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Chris Poland - Return To Metalopolis Live
(Lion Music) By: Joe Florez |
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When I read that a live disc from this CD was going to be
pressed, I was completely stoked. I have had Return To
Metalopolis (first pressing on Enigma records and since has
been re-mastered numerous times) since I found out that it was
going to come out back in 1990. This is truly the one
instrumental that I can revisit over and over again and never
be bored of. It was anything, but pretentious. Sure, Chris
dazzles the faithful fans with his intense finger work, but
it’s never gets dull and he doesn’t shred either like the most
of the Shrapnel artists (Sorry!). The songs were magnificently
crafted and hold up even to this day and makes for a great
learning tool for those that want to become future Guitar
Gods. With |
that said, I couldn’t wait to fire this one up. Before I
continue any further, I will get this off of my chest. This
live recording is from 1991 and it’s pretty much the only live
recording known to exist. It’s pretty raw and isn’t slick like
many of today’s live offerings. If you can get past this, then
please read on otherwise go somewhere else.
The first six tracks were recorded at a now defunct club in
Arizona. God, I wish I was there. The first cut on here is the
title track and everyone is full of energy. Chris throws down
some serious riffs along with some melody filled with passion.
His brother Mark is tight and slams away. The bass lines are
thick and noticeable which I like and during the slow sections
it even sounds a little funky and jazzy. As a fan of the
record who knows it inside and out, it sounds pretty much note
for note like the original. Brings back memories for sure. The
one song on here that I wasn’t expecting is their rendition of
“Wake Up Dead.” You heard right. While the music is pretty
much spot on for the most part, it’s Dave Randi’s vocals that
kills this. He’s no Dave and that’s cool, but when he sings,
erm, rather screams, it sounds forced and unnatural. While the
vocal content is minimal here, I would have preferred if they
left it off. Not bad, but not necessary. “Khazad Dum” is a
pretty emotional piece of work that you tell Chris doesn’t
play with his head, but rather his heart because it’s actually
moving. Towards the end of the piece the band shifts towards a
blues vibe to wrap it up. It’s pretty cool. “Psycho Boy” is
one song on here that I have never heard. The first six tracks
were recorded live and even though they aren’t melted and
spliced together perfectly because there is some dead air
between songs it doesn’t matter. You have what is the only
known recording. Also on here is “Paradise” which is an
unreleased demo from the Metalopolis era and a B-side from his
latest band OHM along with a CDrom track for Alexandria.
Overall, this should be mandatory for all so called guitar
freaks and music fans. I have been in on this secret for
nearly 20 years now and if you are new to the music scene,
then this is necessary not just the live disc, but the studio
one as well. You won’t be disappointed. I am glad that Lion
Music resurrected this one from possible extinction.
Essential.
www.lionmusic.com |
www.chrispoland.com |
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Collarbone - The Back Of Beyond
(Ranch/Spinefarm) Review by Simon Roberts |
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When I was passed a copy of this album being told this would
be my sort of music and to write a review, I looked a little
into the band to find on the basics. Low and behold, they are
from good old rock country Finland. Just when you think that
Finland have no more music to offer and all the good bands are
fading and drying up. They have done it yet again. How come
any person in Finland who wields a guitar is instantly a God?
We may never know. Maybe it’s something in the water. So with
great anticipation I listened to the album, only to find yet
another great band that can get me hooked after only thirty
seconds. Defiantly my sort of music. |
With a Metal sound Like Bullet For My Valentine/Hawthorne
Heights mixed with the vocal styles of The Used you can tell
that this is a band with a passion for bring together 2
different types of music. Mainly Metalcore and Rock and
turning it into something new. The album itself is basically
good heavy metal music without the shouting from the lead
singer, Unlike bands like Trivium, Lordi (Yet again,
Finland...) and Napalm Death, who really aren’t that bad,
There are worse. This new breed is slowly taking over with a
large cult following online due to bootlegs of the bands album
being leaked and sold on imports to around the continent.
Not since my old Queen days has an album stuck in my head more
than this. The opening riff is in instant air guitar for me
and If I hear it the once. I'm humming along in my head all
day, and sometimes even attempting to sing along even though
the lyrics are not clear in all places. Like other bands of
Finland, like Children of Bodom, HIM, The Rasmus and Nightwish.
Collarbone are sure to do well. Not really the music for era
of Metalheads who grew up with the likes of Iron Maiden, Thin
Lizzy and AC/DC, much more for the era of My Chemical Romance,
Fallout Boy and Paramore really.
The album seems keeps a similar theme most of the way through.
Most people would call it linear or 'one long song', much like
bands such as Dragonforce and early Greenday. But to me it
just stays with the basics of music... Nothing complicated or
going off the walls with insane length songs and solo's. Just
music and lyrics. All that’s needed really. And they do a damn
good job at it too. If you are a fan of Bullet for My
Valentine's The Poison or My Chem's You Bought Me Bullet's
you'll fall in love with this album before you get to the
third track. With every song on the album sounding slightly
like a different band, ranging from BfMV, Rise Against, Papa
Roach and sometimes a glimmer of SoaD. There is most likely
something for everyone on this album. If you listen to it the
once and don’t like it at all, give it a second try at least.
It will grow on you. Give it time and no doubt that the band
will be getting overplayed on Kerrang! Radio and their TV
channel along with Scuzz.
One of my favourite things to do with the album is to play it
very loud to drown out the noise of anything being played from
channels such as Kiss or anything that is sung or produced by
anything beginning with MC. Trust me on this, Its like having
teeth drilled by a Black and Decker without Novocain to chav's.
Overall the best track has to be the opening “Seafarers Song”
which will most defiantly hook you to the rest of the album.
It is all in all an amazing album and well worth the money.
Defiantly worth the purchase for anyone into that sort of
music.
www.collarbone.org/ |
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Comatose Vigil – Narcosis (Solitude)
Review by Chris Davison |
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I
reckon if any nations got a right to play funeral doom, it's
got to be Russia. I mean, there doesn't seem to be a whole lot
to be happy about there right now unless you're lucky enough
to own a company selling natural gas, natural oil or natural
gangsters. Solitude seem to be a rather up and coming record
company, and so far they seem to have got a broad spectrum of
all things doom, and happily it seems that their quality
control is well up to scratch.
Comatose Vigil then, are a three piece outfit from the
Motherland. I reckon it's fair to say that they don't like
things to happen too quickly, but at least their output isn't
as deeply |
tedious as many of their sub-genre contemporaries. Narcosis is
a trippy, listenable excursion into a cinematic version of the
funeral doom album. Rarely am I impressed by keyboards in
metal, generally being, by my reckoning to be as welcome as a
horse shit in a swimming pool, but here strangely it works.
The riffs are as wrought as huge iron gates, of course, and
the vocals sound like someone trying to pass a barbed wire
bowling ball through the backside, but here the washes of
electronic sounds, discordant with the pained music adds a
nightmarish touch to the musical vision. While the riffs do
run on for longer than the London marathon, there is plenty of
dynamism and symphonic sweep within the two main tracks on
this release. There is a short(!) bonus track lasting just
over six minutes that's relatively upbeat and happy, and while
it sounds like a cover version, I just can't place it,
although it sounds pretty much like the better moments of The
Blood Divine.
Sure, this isn't going to appear on my end of year list as an
essential purchase, but it's a surprisingly enjoyable, happy
listening experience for me. It's not what they expected, I'm
sure, but hey, I never claimed to be normal!
http://solitude-prod.com |
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