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Die Kur - From Dark (Renaissance of
Evil) review by Neil Mackenbach |
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Cast your mind back if you will. Your childhood. The black
void under the bed. Or the monster that lay in wait in the
darkness of the closet behind the half open door? Eew! Get the
picture? From Dark the title. From dark it is!
This is the first full length collection from this Italian
three piece outfit: Ays, Alberto and Jenya. Quintessentially
industrial – if that is the correct terminology. There are
many musical grey areas that abound under that umbrella,
making it all too easy to nail down a genre and then
pigeonhole music within it.
This is a conceptual album riddled with political angst. A
band with a conscience? Certainly. |
But that’s nothing unusual. After all there’s no-one more
politically motivated than the almighty father of industrial
himself, Mr Al Jourgensen.
For a first time outing this is a damn fine, competent
collection. Seventeen tracks in all, so you’re definitely not
being short-changed. A razor sharp acid-etched vocal. The
guitar: a dirty, corrosive, oxidised grind, interspersed with
what can only be described as a melancholic Latin /Flamenco
acoustic interruption. The ferocity of a malevolent, many
toothed synth snaps and snarls between the two, and it’s all
held together by a pulsating, heavy barrage that is the
programmed rhythm section. The programming is oh so tight,
very tight.
This trio are not exactly newcomers, they have been around for
a number of years, although this is their first full length
album, they have seven single and EP releases under their
belt, five of which form the backbone for this album.
I’m almost certain the trio have got what it takes to be a
success on a prevalent alternative underground scene, where
the fanbase has a tendency towards strong loyalty. Indeed, the
mainstream should be possible, but I think we all know how
fickle that can be.
These guys are well on their way to a completely individual
sound. The album itself is an exercise in sound/musical
experimentation, but it is not difficult to spot the
ever-present Trent Reznor influences. Don’t get me wrong,
there’s absolutely nothing wrong with that. After all, haven’t
most bands and solo artists, past and present, leant on their
heroes for early inspiration! These three are no exception,
they are still going through that all important learning
curve.
I look forward with anticipation to their forthcoming new
album “The Fallen of Empire” expected to be released sometime
in the second half of this year, which promises an even darker
atmosphere, with ever-darker political scenarios. If the
opportunity arose, I would not hesitate to catch them live!
www.diekur.net/pages/diekur.html |
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Freedom Call – Dimensions (SPV)
Review by Samuel Munch-Petersen |
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Hah. Freedom Call. If only I were free of this band. I might
be coming across a bit strong in my beating of this German
band but it has to be said that they aren’t all that. Yes okay
they can play their instruments and they have some defined and
well placed tracks on this album, but overall they aren’t
anything that special from your average Joe Bloggs of fantasy
metal bands that seem to be swarming our ear bogs. Loving fans
of Freedom Call will point out the “melodic and up-tempo”
approach the band has taken with this album and I’d agree with
them, but it’ not really working my socks off.
Dimensions is said to be a sort of bastard child of the
previous two albums; Eternity and |
The Circle of Life (Elton would be proud). It takes elements
from Eternity such as the speed and melodic attention given to
the music with the more contemporary and “bombastic” approach
of The Circle of Life. This leads to a rather stereotypical
amalgamation of music in Dimensions; standard keyboard, clean
vocals, harmonious backing vocals, speedy kick drums and
circular riffs.
The album was mixed and mastered by Tomy Newton (Helloween,
Kamelot) and has done a rather good job with keeping true to
the fantasy metal structure. Of course the band are to be
praised for their musicianship but at the same time I can’t
find anything particularly amazing about this record. It seems
very orchestral and choir-esque.
There’s not much I can say about the album to be honest since
it’s not entirely my cup of tea. It’s a bit too flouncy for my
liking; with little grunt or gore and a lot of puff and powder
dust. Of course if you’re into this reincarnation of 80s
brilliance then I’d highly recommend Freedom Call to while
away your time in that mythical world that is our modern day
time representation of fantasy.
Just be sure to note that the album “raises the question where
the climatic disaster will lead, what the fate of the human
race will be, and whether our future maybe not on earth but
far away on another planet of the universe” (what the
fuck!!!). I feel I’ve been abducted and thrown into an alien
cell where all I can hear is Freedom Call to break my spirit
before the final probe.
www.freedom-call.net |
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Hell Within - Shadows Of Vanity (Lifeforce)
Review by Steve Green |
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This is good shit. Hell Within are a no frills Death/Thrash
band from the USA. I say no frills, as this is heads down,
bullshit free Metal that's driven by the pummelling
skinbashing of Derek Jay and a molten twin guitar Thrash
attack. But it's the smooth(ish) tones of Matthew McChesney
that gives this a more accessible edge.
Trying to tie Hell Within down isn't an easy task. The
approach between old and new school is mixed so well that the
lines begin to blur before your eyes... or in this case your
ears. The solos are definitely old school, as are the riffs.
Saying that, the first half of the album is almost exclusively
contemporary, it's not until Between The Dead And The |
Deceived that the blue touchpaper is lit and the aggression is
allowed to spill over. And when it does, the album benefits
greatly from the extra impetus.
For all of the vintage Thrash and ranging rhythms, there is a
Shadows Fall style approach that'll make this album appeal
more to a younger audience. McChesney isn't much of a growler
and his timbre is what'll sell this album, as is the case with
many vocalists. If you prefer the darker tones of Tom Araya or
a lean towards a (early) Hetfield style, then I doubt Shadows
of Vanity will be for you. If you like it modern, then jump
aboard and enjoy the ride.
www.lifeforcerecords.com |
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Lake of Tears - Moons And Mushrooms
(Dockyard 1) Review by Steve Green |
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I've seen the name Lake of Tears bandied about many times over
the years, so I can't believe it's taken me 13 years to
actually hear them. Thankfully it's been worth the wait.
Moons And Mushrooms is a guitar heavy slice of Goth that's
instantly gettable on it's first spin. Last Purple Sky is a
great choice as an opener. The rhythm is bouncy and the beefy
riffs eat their way through the mix, whilst Daniel Brennare
keeps the pace in check with his measured vocals. I guess a
good comparison would be with Tiamat circa Judas Christ and a
trip back to the darker climes of the 80s, although I'm not
quite sure which part exactly. It's a lot poppier than 80s
Goth, even though the tones are all pretty familiar. Waiting |
Counting, being the biggest culprit as the keyboard melody is
so recognizable, yet I've no idea where it's from. It's doing
my head in. Grrrhhh.... Children of the Grey is the only song
that bucks the trend as it's heavier than anything else on the
album, with the groove being reminiscent of a certain Black
Sabbath track with an eerily similar title. Back on more
familiar ground, Head On Phantom is a dead ringer for D-A-D's
(Disneyland After Dark) Sleeping My Day Away.
Ok, Moons And Mushrooms may not be the most original of
albums, but it's a thoroughly enjoyable one nonetheless and
will be a perfect soundtrack to a laidback sunny afternoon, if
we ever get any again.
www.lakeoftears.net |
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Litmus - Planetfall (Rise Above)
Review by Crin |
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To
eliminate the obvious is never an easy option, and with the
bands debut album, You Are Here, to state the obvious is ‘HAWKWIND’.
The very texture and soul of the music takes its root source
from the mighty Hawks, and yet the driving ferocity and sheer
work rate of the instruments takes that root foundation as
merely a platform to propel the sound into hyperspace. Litmus
are firing on a V12 proton enhanced engine of their own
making, dragging a tired space rock genre into a blazing super
nova of charged hard astral metal music.
Here, with Planetfall, Litmus have shed most of the Hawkwind
alliances, and generated a |
totally unique sonic rock aural head shredding sound that
lifts the guitar heavy arrangements of the great eighties
rock/metal acts and lets you have volley after volley of six
string solos, strums and picks that will make an air guitarist
wet his or her pants.
The era of when Hawkwind were at this vibrant pure rock
embodiment was in the mid-eighties, it was to diminish when
legendary guitarist Huw Lloyd Langton left the fold. It was
his total emotive playing and that generated another level to
the bands history. Litmus have harnessed that lost soul and
fashioned a fresh, natural feel to their sound where the songs
veer away from an obvious paint by numbers fabric, instead
rolling onwards like a jam session with each member feeding
off the next for inspiration. This creates a total uninhibited
flow of musical muse. Its quite wonderful to behold, and if
you don’t smoke the weed, you’ll feel like you do after
hearing this.
This full throttle guitar velocity is tethered to an array of
electronica, synth waves and moog effects that will open your
mind like a cosmic can opener. If you close your eyes you will
find your self swaying amongst the aural journey into an
consuming vortex where the lengthening melodies expand and
constrict in equal measures. You will experience dreamy
cerebral flash backs, numbing thought sensations and bending
light waves undulating within the abyss of your mind.
The whole album is very much built on a band working as a
unit, a product of playing together live and gelling a
cohesive oneness that releases its energy through the various
levels of swirling rhythm’s. I dare you to listen to, Far
Beyond’ and not be blown away by the infectious groove and
guitar blitzkrieg. Think of Gary Moore, Brian Robertson or
Fast Eddy Clarke on amphetamines, and you may get the picture
this band paint. The production is crisp, and the sonic boom
generated by the sound is quite magnificent.
Enough said, I need a Special Brew bong to recover…………..
www.riseaboverecords.com |
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Marduk - Regain Records Re-issues
(Regain Records) By: Dave Schalek |
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Hot on the heels of the release of Marduk’s excellent new
album, “Rom 5:12”, are re-issued, and finally re-mastered,
versions of Marduk’s hard to find first four albums. Released
with new cover art and bonus material, Sweden’s Regain Records
provides a means to easily get these classic albums from a
seminal black metal band. The albums, “Dark Endless”, “Those
Of The Unlight”, “Opus Nocturne”, and “Heaven Shall Burn…When
We Are Gathered”, showcase the progression of a young band
towards the style that would essentially culminate with
“Panzer Division Marduk” before slightly switching gears and
changing their sound.
First up is 1992’s “Dark Endless”,
originally released on No Fashion Records with absolutely
cheesy album cover art. Essentially, Marduk’s sound at the
time was a knock-off of the Sunlight Studio sound prevalent in
Swedish circles at the time, and was much closer to mid-paced
death metal than the all out blur they would become. With
Jocke Gothburg on vocals, the amateurish, raw sound of the
band ultimately barely hints at the greatness to come. Regain
Records’ reissue dramatically updates the cover art and
includes bonus tracks, including the first song called “The
Eye Of Funeral”, and five atrocious sounding live tracks.
In 1993, Marduk signed to Osmose (they would be with the label
until the release of “La Grande Danse Macabre”) and released “Those
Of The Unlight” with Jocke Gothburg handling both
vocal and drum duties for the recording. Moving more towards a
fast black metal style, the album definitely shows a
progression for the band, with better songs, but ultimately
still nowhere near a fulfilment of their potential. The bonus
material consists of three live video tracks shot with a
camcorder (looks like it to me, anyway) from a concert in 1993
with surprisingly decent audio quality. Certainly worth a
look!
1994’s “Opus Nocturne” was
the point at which the band began to hit their stride, with a
bit of experimentation with song structures and more memorable
riffs. In addition, the production, though still raw, is
exceptionally powerful. Also worth noting is the recruitment
of Frederik Andersson on drums (I believe that he appears in
the concert footage from “Those Of The Unlight”, as well as
some of the photographs from that re-issue), who would remain
with the band through the release of “La Grande Danse
Macabre”. The bonus material consists of studio rehearsal
tracks and is worth a listen.
The last of the four is 1996’s “Heaven
Shall Burn…” and features the band maturing into a
slickly produced, well-crafted fast black metal album with a
modern sound. In addition, |
the ever-charismatic Legion joins the band on vocals;
ultimately creating a stable line-up that would persist for
years. In retrospect, Legion is a much better vocalist than
Gothburg, with a much more powerful delivery. The music itself
is exceptionally fast and well produced. Four bonus tracks are
included, as well as a dramatic update in cover art.
Certainly, if you do not already have these albums, you’ve now
run out of excuses with these re-issues. In addition, those of
you with these albums already will probably want to get these
updated versions, as well. Unfortunately, there’s a decided
lack of liner notes, anecdotes, etc. that would’ve been a
great inclusion for these re-issues. That minor quibble aside,
these classics are well worth your time and effort. You
guessed it, buy or die!
www.regainrecords.com |
www.marduk.nu |
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