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Hardknox - Colosseum (Rotten To The
Core) Review By Steve Green |
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I don't really have a lot of background info on Hardknox.
So, they formed in Belgium in 2001 and they play a form of
hardcore that is backed up with more metallic and punk
influences. Introductions over, it's now time for the music.
This is not hard-assed hardcore. It hasn't the power of what
our American cousins are firing over the Atlantic, it has a
warmer, more punk fuelled edge, although I have to say, it
doesn't have the aggressive fervour that drives old school
punk. This is dampened by the metal influences, which range,
to these ears at least, from the Industrial stylings of Clawfinger
to crossover acts such as Pro-Pain and Biohazard. The result,
well it's either going to appeal
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to everyone
as there is a bit of everything in here, or no-one at all, as
there is not enough hardcore for some, not enough Metal for
others etc... Personally, I think it's above average, but
there's not enough here to get excited over. But at the same
time, I don't have a single bad word to say about it either. A
bit of full-on aggression would have given this release the
edge it needs, maybe we'll get this next time.
www.myspace.com/hardknoxbelgium
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Infected Malignity - RE:BEL (Anticulture)
By: Dave Schalek |
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This really took me by surprise. A year or so ago, I wrote a
review for the debut full-length from Japan’s Infected
Malignity, entitled “The Malignity Born From Despair”. A
powerful slab of brutal death metal that is evocative of the
loosely defined Texas- style, I gave “The Malignity Born From
Despair” a very positive review. Naturally, I was quite
pleased to find the band’s second full-length, entitled
“RE:BEL” from the U.K.’s Anticulture label, arrive in my
mailbox.
I immediately spun the album (actually more of a long EP,
consisting of only six songs), expecting an all out blast.
Nope. Infected Malignity have totally switched gears and have |
considerably softened their sound. In my mind, things start to
go wrong from the get-go as the first track, “Waltz Of The
Rebellion”, begins with acoustical guitar that gradually
segues into, I hate to say it, melodic metalcore. The
remainder of the tracks pretty much fit the same bill with
plenty of moments of guitar melody, the odd breakdown or two,
shouted vocals, and occasional bursts of speed combined with
some fast riffing that is a bit all over the map. The brutal
death metal of previous releases from Infected Malignity is
nowhere to be found, although the vocals still have an
occasional deep growl thrown in for good measure.
My response to “RE:BEL” is one of disappointment for two
reasons. Although I’m not one to fault a band for branching
out artistically and trying a different style, the fact is
that Infected Malignity was a promising brutal death metal
act. Certainly, the potential was there to become a giant in
the genre and Infected Malignity may have missed their chance.
Secondly, although, frankly, the six songs in the new style
are well written and rather interesting (for metalcore), the
musicianship of Infected Malignity is outstripped by the top
acts of the genre. Given that metalcore (and the somewhat
related deathcore) is overloaded with bands with technically
accomplished musicians, Infect Malignity have an uphill climb
on their hands as the flashes of technicality on “RE:BEL” are
rather few.
It is with some regret that I cannot recommend “RE:BEL”.
http://sound.jp/infectedmalignity
| www.anticulture.co.uk |
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Nightmare - Genetic Disorder (Regain)
Review By Steve Green |
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I have Nightmare's 2003 opus Silent Room, which I think was
sent to me by our Power Metal hating, Black Metal scribe Crin.
Silent Room was a very flamboyant, symphonic album, with huge
orchestral choirs, very much in the vein of Therion. Which is
a bit of a contrast compared to the more traditional sound of
Genetic Disorder. It took me the whole of opener Nothing Left
Behind to work out who they sound like, and then it hit me...
Germanic Metallers Grave Digger. Even down to Jo Amore's
vocals being a dead ringer for Chris Boltendahl's. Honestly,
if I didn't know any different, I would swear this is the new
Grave Digger album. At this point I had to dig out Silent Room
to make a comparison and
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yes, the vocal style is the same as back then, but the music
has lost the pomp and and is now straight ahead Heavy Metal.
And I can't really say anything else, other than that this is
prime Teutonic Metal. If you are a fan of Grave Digger and
other similar acts, then you know exactly how Nightmare sound,
on this album at least.
Nightmare have reversed history, and this French band have now
invaded Germanic territories... but only in the name of Metal.
And while I do have a major niggle about the lack of
originality and major shift in style, all done in four short
years, I cannot help but like this album. It's the type of
Metal I love to hear. I've accepted this album for what it is
and can enjoy it with a clear conscience.
www.regainrecords.com
| www.nightmare-metal.com |
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October File - Holy Armour From The Jaws Of God
(Candlelight) Review By Steve Green |
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One way to make sure you get signed to one of the leading
independent labels around... have the bassist own the record
label. October File's bassist is Steve Beatty, owner of
Plastic Head, which also owns Candlelight Records. And that's
a cheap shot that I don't really mean, as I think October File
would have a long queue of labels who would love to sign them.
If you like Killing Joke and Ministry, then you are going to
love this album. It's a forceful machine that comes out
fighting on opener A Munitions Crusade, and just doesn't let
up. It's not particularly fast, or even loud, but the album as
a whole is such a powerful wall of
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sound, with the lyrics to back up the musical strength. "Flick
the switch to drop the H bomb" ain't exactly inviting the girlfriends mummy and daddy
around for a cup of tea. And Ben Hollyer's delivery is utterly
compelling, especially on the more in-your-face songs such as
Hallowed Be Thy Army and In My Magnificent Circus, and he
ain't no slouch on the industrial led Friendly Fire either.
I read a while back that Killing Joke's Jaz Coleman was going
to produce this, and I presume that he did as I've not heard
anything to the contrary since. And he's done a great job as
the sound is clean and uncluttered. Unfortunately, the only
song that the production struggles on, is the song he also
makes an appearance on. The first half of High Octane Climate
Changer is too much of a mess for my liking. But that's
probably my only complaint about the whole album. I've only
two words to describe this album: Fucking relentless.
www.myspace.com/octoberfile |
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Svartsot - Ravnenes Saga (Napalm
Records) Review By Steve Green |
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At first I thought this album was going to be a bit of a
dud. The first two numbers, Gravøllet and Tvende Ravne are ok,
but for a Viking/Folk band, Svartsot hadn't really fired up
the party. The only saving grace on these numbers is the
hypnotic tin whistle of Stewart Lewis, which at least keeps
the hey nonny nonny quota to a decent level. Thank Odin, that
on the third number, Nidvisen, Svartsot let rip and at last,
the party can begin in earnest.
After the indifferent start, Ravnenes Saga is a ripsnorter of
an album. Frantic hoedowns, which aren't a million miles away
from Korpiklaani, although the themes are more about Danish
folklore than drinking and messing about in woods, and the
addition of the tin
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whistles adds a Celtic slant on everything. The Celtic side of
things really takes off on Jotunheimsfærden and they very reminiscent of Irish folksters
Cruachan, albeit with a more deathly edge. Throughout the
album there are numerous calls to arms and ample opportunities
to raise you fist and to shout along in exaltation. You can
really get involved with the music and I'm sure, if the band
start to play more gigs, they'll go down a storm live.
I'm a huge fan of this type of Metal hoedown, and I became a
fan way before the likes of Korpiklaani and Finntroll exploded
on the scene and apart from the bigger bands who are
constantly delivering the goods, I'm not getting enough newer
bands of the genre coming my way, which is why I'm so thankful
for this cd being so damn good.
www.napalmrecords.com
| www.svartsot.dk |
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The Foreshadowing - Days Of Nothing
(Candlelight) Review By Steve Green |
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This album has had me changing my opinion on it countless
times. My first impressions were that wasn't gloomy enough and
opinion would be divided, very much like over which era of
Paradise Lost is better? Obviously everything up to, and
including Icon. But, given a bit of time, I've grown to really
enjoy this delicate brand of Gothic-Doom.
I much prefer the My Dying Bride style of misery, but I'm not
too adverse to a slice of Katatonia and that's where The
Foreshadowing are more comparable to. Marco Benevento has an
exceedingly warm tone, very much like Jonas Renske, although
nowhere near as miserable as the Swede. And I would like a bit
more misery on this album. It just
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sounds too damn nice. But at the same time, it is a beautiful
album, so I guess you just can't have everything.
In the same way I would like the vocals to be a bit more
miserable, I would have liked the guitars to be a lot more
doomy too, with huge monolithic riffs to bring the mood down,
just as tonight's snowfall has. Snow may look beautiful, but
in all honesty, it's a fucking pain in the ass.
As you can tell, I'm still six of one, half a dozen of another
on this one. Days Of Nothing is a bit too pleasant and a bit
short of gut wrenching suffering, but I cannot deny that it's
a beautiful album.
www.theforeshadowing.com |
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Vanishing Point - The Fourth Season (Dockyard 1) Review by AJ
Carlile |
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When I first received The Fourth Season by Australian
Progressive Power Metallers Vanishing Point, I figured they’d
be another relatively new band. But after a little research, I
found this is actually the fourth album from the group
consisting of Silvio Massaro on vocals, Tommy Yucur and Chris
Porcianko on guitars, Adrian Alimic on bass and Christian
Nativo on drums. And after giving the album a good listen, I
found myself rather amazed that I hadn’t heard of them before,
because these guys are good.
The band is technically sound. Vanishing Point’s music is well
structured, flowing from one section to the next to create a
superb overall sound. The guitar is powerful enough, without |
being overpowering, the drums keep a steady pace to
proceedings, and even the keys serve to compliment the music
well. And Massaro‘s voice is well suited to the sound, even
being powerful enough to stand alone without the support of
the rest of the group, as evidenced by the final track, "A Day
of Difference".
But for all the praise I’ve given the album, there’s nothing
on The Fourth Season that is really going to set the world on
fire, though there’s certainly enough evidence to show they’ve
been messing around with a box of matches. With the exception
of the aforementioned "A Day of Difference", which seems
somewhat lacklustre by comparison, each track is of very good
quality. Some are great, in particular "Surrender" and "Hope
Among the Heartless". But there’s nothing on there that’s
truly mind-blowing.
Overall, The Fourth Season is a quite a superb album, all
things considered. I can’t comment on how it stacks up against
their previous releases, but I can say this is a brilliant
starting point for those just discovering the band, and a
fantastic album, one which is well worth consideration.
www.dockyard1.com/vanishingpoint/default.asp |
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