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Canvas Solaris - Cortical Tectonics
(Sensory Records) by: Joe Florez |
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I
was introduced to this intricate jazz/prog three piece outfit
on their last offering and thank God they were capable of
putting a twist to the instrumental genre otherwise this would
have been a complete bore. This time around, the boys serve up
six more chaotic songs that are unorthodox, but fun as well.
“Berserker Hypothesis” is a wickedly intense music fest with
dizzying guitar riffs with off the wall time changes and
drumming that will have most people scratching their heads.
It’s metal of the highest order fused with noisy jazz elements
that will give most people a headache if they aren’t prepared
for this. It’s hard to find the melodies in here because |
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there is no true consistency, but it’s fun to soak in if you
can brace yourself for some abrasiveness. “Sinusoid Mirage” is
more laidback for the first half of the composition as it
provides a smooth and calm ambience along with some keyboard
work performed in a soft jazz fashion. A few minutes into the
track and then the guitars get plugged in and the drums go for
the kill, but in a more relaxed manor with twists and turns
thrown about here and there. “Interface” is the first track to
be devoid of anything fused with metal. You can easily enjoy
this one as it’s gentle and melodious without any headaches.
It seems like as the songs travel along they get to become a
bit more listenable and enjoyable at the same time. You can
tell they have carefully crafted each cacophonic tune. The one
thing I will say about this CD as opposed to their last one is
that these tracks are longer and don’t need to be. Canvas
Solaris seem to feel the need to cram so many notes into each
baby of theirs. The playing seems to become more automatic
after a while rather than playing with feeling and from the
heart. It’s technical and well performed, but I sort of lose
interest after a short time. I appreciate their efforts and
like what they do to try and make the instrumental field a
pleasurable experience, but it wears you down a bit. I give
these artists credit because that is what they are by
incorporating unusual atmospheres into the mix to try and
freshen things up and it works, but I think less would have
been more efficient. This is something for folks who can soak
Spiral Architect, Winds, Spastic Ink and so forth. It’s a
swell performance, but I think it’s time for the prog thing to
take a seat in the back for just a while.
www.lasercd.com |
www.myspace.com/canvassolaris |
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Death Before Dishonor - Count Me In
(Bridge 9) Review by Steve Green |
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My
introduction to Boston's Hardcore hero's Death Before Dishonor
was via their Friends Family Forever re-release earlier this
year. But my enjoyment of that cd is nothing compared to that
of their new album Count Me In. I've said it of a couple of
releases recently, but this is why I love music. Even after
countless years of craving new music, I can still get excited
by (good) shit like this. I love Death Before Dishonor's
energy levels. They cut through the bullshit and go for the
jugular every time. This band play with such a passion, that
bands from every corner of the Metal/Hardcore world should
take a look into this fiery pit and learn from it. From the
unforgiving title track, through to the final, |
uncredited number, a re-working of Cock Sparrer's England
Belongs To Me (bastardized as Boston Belongs To Me)
everything is as amazing as you could expect it to be.
Metallic riffing and rumbling bass lines sit comfortably with
boisterous gang shouts and Bryan's tortured vocals are the
icing on the cake. I've no idea how big he is in terms of
stature, but his voice alone is enough to shit you up. The man
is aggressive beyond belief.
I mentioned before that DBD dwell somewhere in between Metal,
Thrash and Crossover. I'm not sure if they triggered it, but
I've been returning to "those" days a lot more recently,
especially with S.O.D's seminal Speak English Or Die, which is
a great soundtrack for my intense workouts on my rowing
machine. But that's what Death Before Dishonor do, they
capture that sound, that moment in time. Except
that they've created their own perfect identity. If you love
aggressive music, then buy this immediately. A possible top
ten of the year contender.
www.myspace.com/deathbeforedishonorbhc |
http://b9store.com/product_info.php?products_id=786 |
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Diskreet - Infernal Rise (Candlelight
Records USA) By: Dave Schalek |
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Technical death metal with a dose of some chaotic grindcore on
a debut EP (actually almost a full-length at seven tracks)
from Candlelight Records USA’s latest find, Kansas’ Diskreet,
is the order of the day here. “Infernal Rise”, the band’s
debut although they’ve been around in one form or another
since 1999 (probably since their early teens, I suspect),
features some rather impressive, frenetic guitar work with
time changes galore, all out bursts of speed, and some thick
riffs.
Essentially, Diskreet comes across as collision between
Cryptopsy, for the over the top, all out technical death metal
assault, and Meshuggah for the frequent use of the odd time |
change signatures characteristic of said band. All of this is
backed up with some quality musicianship and creative
songwriting, which is somewhat surprising from a young band
playing in this genre. In short, what’s not to like?
Perhaps the only thing lacking here is the rather thin
production. Certainly the guitars have a deep crunch going on,
but the drums are underwhelming and the bass is, for the most
part, virtually non-existent. Deepening the drums and adding
strong bass lines will go a long way towards catapulting this
band into more of metal’s collective consciousness. Still, for
a debut EP, “Infernal Rise” is impressive indeed, and strongly
hints at the potential of a young band. Obviously, Candlelight
Records USA recognizes the potential that is here and
“Infernal Rise” is recommended.
www.candlelightrecordsusa.com |
www.myspace.com/diskreet |
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Forgotten Sunrise - Willand (My
Kingdom) review by Neil Mackenbach |
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Basically I don’t believe there is any great universal law
that applies to music. There has, however, always appeared to
be a fundamental set of rules that has on the whole been
adhered to. Sure, the odd rule has been bent here and there,
even broken. However, Forgotten Sunrise appear to have taken
it upon themselves to push a few boundaries. Not a violation
as such, more of a random reshuffle of the pages of the rule
book. Rather akin to cutting up a Picasso and rearranging the
pieces completely on a whim. Musical schizophrenia. No? A
musical personality disorder would be a closer analogy – a
dangerous analysis maybe. But the important thing is, it
works. It actually works. |
Forgotten Sunrise are an Estonian four piece, formed in the
summer of 92 as what could be described as an archetypal death
metal outfit, and have on the face of it undergone something
of a renaissance over this, at times, troubled 15 year period,
coupled with a few line-up changes in transit. They emerged
with this their seventh offering to date (second for My
Kingdom). It draws on an extensive library of influences
gleaned along the way, encompassing techno, ebm and industrial
with trace elements of synthpop, hip hop breakbeat and even,
dare I say jazz? (Nice). Their death metal roots are, however,
still firmly planted in the ground.
It’s worth mentioning that they have cultivated some
impressive connections on the inside of the industry, for
example in 2000 and 2003 they pulled off a coup by having
material remixed by Ghost of legendary Californian dark
industrialists GGFH. The list of guest musicians on Willand is
also pretty impressive, including Inger Lilles (ex of fellow
Estonian band Redoqueene) on female vocals.
Willand is an album of ten tracks, which on initial listening
seem to be lacking any thread of connective tissue whatsoever,
but listen again. It’s a cleverly constructed production,
fusing together this eclectic band of influences. It has
quieter moments, being almost ambiently surreal at times.
There are even interludes vaguely reminiscent of eighties
electropop. But the whole crux to this exercise is delivered
without warning. Straight from the blue, to catch you totally
unaware and hold you like a rabbit in the headlights. No
precursor, no key change. Like a tightly balled fist to the
viscera, these deathish metallic interjections, lead heavy and
hard, rip through the fabric of the relative calm like a fox
through a chicken pen. A not so subtle reminder that this is
still the skeletal framework they attach their flesh to. This
is them at their most poignant, their most adventurous work to
date.
Any future success will be based on their ability to absorb
and embrace new ideas and fresh influences. As an Eastern
European band they have exposure to an abundance of
influences, given that this seems to be one of the foremost
burgeoning, fertile breeding grounds, spawning some of the
most innovative and experimental alternative music at the
present time. Whether this is due in part to their one time
isolation within the Eastern bloc and their relative lack of
exposure to outside influences at that time, who knows? All I
know is they have the uncanny ability to make it work.
www.myspace.com/forgottensunriseband |
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Memfis - The Wind-Up (Candlelight
USA) review by Sam Thomas |
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It’s a well known phenomenon in physics: a massive body
distorts space and time around itself, producing a
gravitational well from which any object foolish enough to
approach will have difficulty escaping. So it is with the
world of metal, there are bands who have such a massive
presence that others seeking to emulate them (and there are
many for each successful band) cannot escape from the label of
“being just like …”. Or to put it another way, “Tonight,
Matthew we are going to be Opeth”.
Harsh words, perhaps. But to be perfectly fair, I adore Opeth.
And surely it’s better to be compared to a brilliant band than
to a crap one? The vocals in particular are so like Mikael |
Åkerfeldt (both in distorted and clean form) that it’s
positively uncanny. Especially as it takes two guys to produce
them (makes Mr Åkerfeldt look like very good value for money).
The song structures are not as complicated or involved
(witness that there are 11 tracks in a mere 38 minutes, which
hardly compares to “Black Rose Immortal”), but then again this
is a debut album, so perhaps it’s a touch unfair to expect the
band to have evolved a very complex style.
Then again, maybe the album title is a give-away. Perhaps this
really is a wind-up, and this really is Opeth. No, if it had a
release date of April 1st I might be worried, but I just think
this is an extreme case of hero-worship and lack of
originality.
All told, there’s not a great deal I can really say about this
album. If you like Opeth, you will either like this because
it’s like Opeth or hate it because it’s like Opeth. If you
don’t like Opeth, you probably won’t see any merit in this
whatsoever. And if you’re in the band, no doubt you’ll be
sending me hate mail before too long. Sorry guys, maybe next
time …
www.memfis.net |
www.candlelightrecordsusa.com |
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Morian - Sentinels Of The Sun
(Dynamic Arts Records) Review by Steve Green |
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Finland don't do bad bands... right? I'm in quandary with
Morian. Ok, they're big business in their homeland and I can,
to a point, see why. Their songs are hook laden and there is
no denying that they can write a decent chorus or two, which
in places remind me of the catchiness of early Lacuna Coil. My
main problem is where to place them in terms of style.
Occasionally there's a Gothic undertone, especially in the
strangely titled The Rats In The Walls, but that should come
as no surprise as Sentinels Of The Sun was produced by Hiili
Hiilesmaa, who has worked with, amongst others HIM and The 69
Eyes. My main concern is with their lighter material. For
example "hit single" Away From The Sun reminded me of, |
after much searching through shit bands of the past, Del
Amitri. And that, ladies and gentlemen, isn't good. So part of
me can't decide if they are Rock, Pop, Goth or even Prog.
While I'm sitting quietly contemplating such important
matters, the choruses start to work their magic and I'm can
see myself beginning to enjoy this. But should I really be
allowed to like this? Flak Jacket, which sounds like Flat
Chicken to me and the awful poppy melodies of Sleep Of The
Just, managed to save me from falling for this completely.
Again, this one is really down to personal taste. If you like
it rough and ready, this one ain't gonna be for you, but if
you are a sucker for a pretty face, and for a catchy chorus,
then Morian could be right up your street. This one isn't
really for me, but I can appreciate what they've created.
www.morianband.com |
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Obscurity - Schlachten Legenden
(Massacre Records) Review by Crin |
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Germanic melodic Black Metal meets precision Swedish Death
under a full moon shrouded in mist. [This is not the German
Death Metal band who share the same name] Unless your familiar
with the Teutonic language [and I am not] then the title will
be obvious [which it isn’t to me]. So, what shall we make of
this album then?
The band have been around since 1996, and this is their third
album, [never heard of ‘em prior to this so I can’t compare
this to the previous two] The music is fast, precise and as
solid as the production will allow, and that evokes a
collision of influences from Dark Funeral, Marduk, Argoslolent,
and even In Flames. Black Metal is a phrase we should use |
lightly here, as there are no cold, icy atmospheres, no
depressive, melancholic moments, nor are there any eerie
brooding sections. The closest bands that adhere to this style
of full on Blackened death, are Keep of Kalessin, and
Dissection, both of whom do it better.
Obscurity play well, they create well balanced songs, the
sound is good and the overall quality high. This album is very
intense, very rapid and endowed with a one dimensional purpose
of cutting you to pieces. Its just that "heard it all before"
syndrome, and the only possible way anyone will benefit from
this bands impressive musicianship, is if they have not heard
music of this style of extreme metal before. For us old
bastards, its just another of the same regurgitated formulas
that keep on coming year after year.
www.massacre-records.com |
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Ruiner - Prepare To Be Let Down
(Bridge 9) Review by Steve Green |
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What a happy bunch Ruiner appear to be. Songs about broken
relationships, loneliness and self-fulfilling bitterness and
the pessimistic nature of the album title, hint at the less
than joyous experience Baltimore's Ruiner are about to put you
through.
As this is a Bridge 9 release, you already know you are about
to listen to a quality cd, I don't think the label know how to
do mediocre, the only question is, how good will it be?
In all fairness to Ruiner, this was never going to rival Death
Before Dishonor, I don't think many albums will this year, but
as a lesson in an all-out Hardcore-Punk style assault, I think
the band can be proud of this, their debut album. I say album
as this is a dozen tracks spat |
out in about 21 minutes, which for this type of onslaught, is
just about right.
For a Hardcore album, there is a distinct lack of breakdowns
and the gang shouts are noticeable by their almost complete
absence. Instead the aggression is left to vocalist Rob
Sullivan to dish out and he tries to cram in as many words as
possible into each short sharp shock. His style is verging on
Punk, as is Joey Edwards drumming style, which reminds me more
of 70s Punk than it does of Hardcore. But whatever style you
want to call it, it works for me.
At the time of writing this review, Ruiner have about another
2 months on the road in North America, before they hit
European shores around September/October. I hope all of their
hard work pays off for them. Good stuff.
www.myspace.com/ruiner |
www.bridge9.com/ruiner |
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Stalaggh - Projekt Misanthropia
(Autopsy Kitchen Records) By: Dave Schalek |
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Oh, no, not again! Yep, Autopsy Kitchen Records issues yet
another “music” album from, I’ve heard, the same bunch of
lunatics (once again, perhaps literally) that brought us
“Transformalin” from Diagnose: Lebensgefahr earlier this year.
This time, the project is called Stalaggh and is rumored to
consist of members of the Belgian black metal underground.
“Projekt Misanthropia”, believe it or not the band’s third
full-length (!), consists of the same deranged screaming,
moaning, hollering, and caterwauling at an even more
disturbing and frenetic level than “Transformalin”, if you can
believe it. However, |
“Projekt Misanthropia” actually begins to include some guitar
and drums that begin to make an appearance about five minutes
into this album, and periodically reappear, after the most
disturbing round of screams from the asylum (once again,
perhaps literally) that you can possibly imagine. The overall
deranged atmosphere continues throughout the one 35 minute
long track with a few moments of ambient black metal and a few
blasts making muted appearances far in the background. There
are also a few moments of industrial/drone with some muted
bass tones that seem to come out of nowhere later in the
album, as well.
Is this any good? Well, that depends, how screwed up in the
head are you (to be blunt). It certainly is interesting as an
exercise in hallucination inducing auditory expression and
it’s probably as “real” as it gets, but this will not garner
many repeated listens. Given that this is Stalaggh’s third
full-length, there certainly seems to be an audience for this
out there somewhere (preferably behind bars), but I can’t
really say whether or not you’ll actually like “Projekt
Misanthropia”. That’s entirely up to you as an individual.
As a side note, the band claims to have used a criminally
insane man who has murdered his mother to provide the vocals
as a means of achieving authenticity. Whether or not this
practice is ethical is probably up to you.
www.autopsykitchen.com/ |
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Tesla - Real To Reel (Rykodisc)
Review by Strawb |
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Why do bands release cover albums? Run out of ideas for new
stuff? Want to cash in on the success of others? As a tribute
to those other artists whose music you are covering?
Tesla are a successful American band, they have been around
for decades, in the last century they released platinum
selling albums, and did an acoustic set before MTV had
“invented” the unplugged series. The publicity bumph states
these are the songs that inspired the group back in the 70s.
So all of the above reasons then.
And this reviewer may be the wrong one to send a covers album
to, as my last such |
purchase, Ozzys Under Cover, was being listened to on the way
home. I was so impressed, that along the A52 the window came
down, the disk came out of the cd player and, well, suffice to
say it wasn’t a good frisbee either.
Some of these 13 tunes I know really well, others I have a
passing acquaintance with. I ignore The Beatles, never heard
of Guess Who and don’t listen to The Temptations, so with the
exception of these I can compare the tracks with the originals
to some extent. And we all do it, don’t we? And the results
are not too bad at all. Each track has some degree of Tesla,
no straight copies here.
Space Truckin’ is not in my top 10 favourite Deep Purple
tracks, but is one of the better tracks on this album. The
original has Jon Lord on keyboards, however with Tesla there
is not a keyboard to be heard, the part covered very well by
the bands instruments, giving a refreshing output. And the
vocal high notes? Better here than Gillan can manage these
days. Walk Away is a bluesy classic rock track, the main
staple of the original being the guitar output of Joe Walsh.
This is in the Tesla music area and another good cover. Up a
gear next, to Bad Reputation. It may be one of the lesser
known [to the general public] Thin Lizzy tracks, but is well
chosen for this collection, also has a great ending to it.
Thank You – I’d buy the album for this track alone, ‘nuff
said. Rock Bottom is the track I have listened to most, just
to pin down why I don’t rate it. The instruments are good, but
the opening is poor and the vocals insipid. I’ll sick with the
version on Strangers In The Night. Day Of The Eagle –
brilliant cover of a track from an underrated artist. Stealin’
is from my era of Uriah Heep, and comparing the 2 versions I
would say a very entertaining score draw. Bell Bottom Blues
and Honky Tonk Women both suit this group and are well
presented. Dear Mr Fantasy is a modernised version of a 60s
hit, simple vocals and powerful, very powerful playing
throughout, and an extra minute of instrumental from the
original. Great ending cut and leaves me wanting disk 2…….
Does this album actually add anything to the greater musical
universe? For a Tesla fan, it probably does, you want your
band doing everything they can. For anyone with the original
songs in their collection? Why bother, just different
interpretations of what you have. For anyone else? This may be
the only place to get these songs in one place, and if you
like tight, blues type rock and tunes from the 60s and 70s
recorded on period equipment, then go for it.
www.teslarealtoreel.com |
www.myspace.com/teslatheband |
www.teslatheband.com |
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