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Ancient Creation - Evolution Bound (Melissa Records)
Review by Nathan Ward |
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Finding a band that has a unique sound in the metal world is
something I’ve been looking for, for a few years. When I was
handed Evolution Bound, I thought it would just be another U.S
metal band with the standard metal song, I was wrong. Ancient
Creation have one of those sounds which made me think “hang on
a second; this doesn’t have the normal metal sound”. That
being said it is still metal; all the riffs, drum beats and
lyrics have the metal edge.
The album is a mix of various metal styles; there are power
metal riffs, thrash riffs and black-melodic riffs, there are
even some classical influenced lead parts on the album. But |
what makes this album stand out, besides the various styles of
metal incorporated in the songs, is the sound of the guitars
and the vocal style. The guitars have a bluesy distortion
sound to them, which adds certain ‘catchiness’ to the songs,
one of the hooks of the album for me. The vocals on the other
hand are very unique, I’ve not heard anything like this
before, so I can’t compare Steve Bentley to other metal
singers, the only way to find out what his voice is like is to
listen to the album.
Evolution Bound opens with ‘The Brotherhood’, which has a
heavy thrash/black metal feel to it, like a mix between Slayer
and Arch Enemy. There is an acoustic intro for one of the
songs; ‘Heritage’, which reminds me of Blind Guardian, the
rest of the song has a power metal feel to it. The backing
vocals on some of the tracks have are done in a roaring style,
most notably on .Carrion – The Horde’. There is a lot of
soloing and lead work on the album which is great, they have a
nice mix of fast metal and melodic metal styles, as well as
some classical parts, like the intro to ‘Taste of Morality’.
My favourite tracks off the album though are: ‘Spirit of
Darkness’, ‘Bringer of Evil’ and ‘The Brotherhood’.
Although it took me a while in get into the album, mainly
because it was something new to me which I had to get my head
around. ‘Evolution Bound’ is a great album, showing that a
metal album doesn’t just have to be the same style all the way
though. So if
you’re looking for something that sounds unique, without
losing the metal essence, this a good place to start.
www.myspace.com/ancientcreation
| www.melissarecords.com |
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Aquila - Self Titled (Self Release)
Review by Steve Green |
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This is a debut 3 tracker from Canadian band Aquila and it
comes as a prelude to a full length album that'll hopefully
see the day in 2008. And if this is a taster of things to
come, then it'll be a cracking debut.
Let me start by saying, I fucking love the guitars on this EP.
Classic Rock/Metal six string action that just flows from the
fretboards of Anthony Rimac and Matt Shelsonne and it's pure
ecstasy to these aging lugholes (That's ears, to those of you
that speak a more refined version of English than myself)
Mixed with the more traditional axework is a more potent,
deathly/thrash and the marriage of the styles is seamless. I'm
not going to lie and say this is the best thing I've ever
heard, but the standard of the musicianship and more
importantly, the arrangements, is of a standard way above the
norm. I think a little bit more exuberance is needed in the
songwriting department as I want Aquila to wipe the floor
with my senses when their debut is recorded, but this has
definitely whetted my appetite for some more.
www.myspace.com/aquilametal
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Ayreon - 01011001 (InsideOut Music)
By: Joe Florez |
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Ayreon has been building a strong fanbase with his elegant
brand of space prog rock since 1995. I am a fan of this genre,
but some of his material is so out there that I just didn’t
get into it and I tried several times. I didn’t grasp The
Human Equation, The Universal Migrator 1& 2, The Final
Experiment and Actual Fantasy. Now that this disc has been put
in front of my face and since I saw the list of people on here
that I like, I might as well give Arjen one final chance. Hey,
I did like the Star One project.
First up on this double disc epic story is the ten minute “Age
Of Shadows.” Upon my first listen, I was already paying close
attention because this track was beefed up and easily |
accessible to the ears. Arjen’s
main man on the drums Ed Warby, who is also in Gorefest does an
awesome job pounding on the skins. The spacey vibes are on
here as usual, but aren’t as out there. They seem to be in
more in control, meaning that they are used sparingly. The
guitar was nice, but it’s the vocals that are sprinkled on
here from Tomas England (Evergrey), Daniel Goldenrod (Pain Of
Salvation), Steve Lee (Gotthard), Floor Jansen, Hansi Kursch,
and of all people Jonas Renkse (Katatonia) that steals the
show. The song is mid-paced, but moves around and acts
according to how the story goes. It’s crazy when Jonas sings
cause the song moves from mid tempo to slow, acoustic and
ambient like ala Opeth/Katatonia. It’s a very somber moment
and I just like how Arjen not only writes his music, but he
knows all of his musicians and vocalists and will cater to
them if and when it is called for. Bravo. Despite this being a
long opener, it’s filled with emotion and peacefulness. I am
gonna be hanging around. “Comatose” is written just right as
it’s very ambient with light and tender programmed beats and
subtle trippy vibes. Jorn Lande’s voice steals the show here
as well as Anneke (ex-The Gathering). I truly think that this
is Ayreon’s most ambitious work to date. The list of vocalists
utilized to complete is way too numerous to mention, but go to
the site and read the fantastic list.
Musically, this is the
first time that I am able to listen with a grin from ear to
ear from start to finish. Arjen encompasses all genres
perfectly from prog, metal, classic rock, spaced out ambiences
and folk. Everything is composed just right and used only when
needed. The tempo changes are scattered throughout this 100
minute epic. Damn, this could be made into a Sci-Fi original
movie of the week for TV. Anyway, I think that those like
myself who were put off by his earlier works for whatever
reason, will embrace this one wholeheartedly. Fans of the
man’s work already will just have to add this to the
collection. Be on the lookout because this will be released in
three formats. An enjoyable piece of work with great efforts
put forth by the guests and numerous musicians. Again too many
to mention here.
www.insideoutmusic.com
| www.ayreon.com |
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Cuntscrape - Thrush Bang Mania (Prime
Cuts) Review by Steve Green |
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What a great band name. The cover and booklet for this release
had me in stitches even before I'd heard a note. Hairy band
members faces are super-imposed over the bodies of a group of
sexy (and scantily clad) nurses and inside the booklet, well
let's say I've seen enough female genitalia for one day. And
if that wasn't enough, the backside (pun intended) of the tray
card, is a huge gaping asshole. At least, I think that's what
it is.
If I throw a couple of song titles at you, then you'll
immediately know where these crazy Aussies are coming from:
Drenched In Vaginal Stench, Hurtin' The Beef Curtains, Into
The Stink and the self explanatory boast of Monsters Of Cock.
Yes, this is prime time comedy |
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infused death/grind and it's all about tits & ass and of
course, pussy. Admittedly this is throwaway, cornball shit.
But with the multitude of soundbites
and samples that continually bring a smile to my face, you
gotta love this sick shit. An ode to tits, Thanks For The
Mammaries reminded me of an even more juvenile version of
Lawnmower Death, as do a few other tracks, and therein lies
the beauty of this album. If you'll excuse my terminology,
this is just a fun release, albeit full of retarded porno
goodness. A perfect Christmas present for the one you love,
especially with the hidden track, which is all about the
G-Spot!
www.myspace.com/grindecologyst |
www.primecuts.com.au |
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Frankenbok - Murder of Songs (Prime Cuts Music)
Review by Strawb |
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Back to the penal colonies to see if our English experiment in
social engineering was destined to work. A few hundred years
ago we dispatched some individuals society perceived as
undesirable on a one way boat trip. I cannot help but think
that if such a policy were in force today then I might be
writing this on a metalheads’ cruise and not bothering to
search for a return ticket. On the basis of this release from
Frankenbok we certainly would not be short of music to listen
to when we arrived. I like it from the opening. I was thinking
“not another borderline vomit album”, but no, soon in to it I
was debased of that notion by the clear, more rock like
opposing vocals, which by What Is Real? have taken over as the |
lead, with the throat hurters providing the contrast. Each
track is refreshingly different, at times this album appears
to be a home mix by a schizophrenic, one with more
personalities than the current government. (OK six then [still
half a dozen more than the current gravy train passengers]). I
like some System Of A Down, [despite the fact that they owe me
a car - long story for another day] circa Toxicity, and there
are similarities to some of the SOAD styling on this album. In
no way plagiarism, just healthy influence I feel. There is
also an awful lot that is original. Do I have any criticism?
Maybe Sludge is a bit too long, but that really is it.
Frankenbok are from Australia. The blurb informs us they have
been around since 1997 and released three previous albums.
They have toured extensively in the antipodes with some well
known bands. The vocalist, Mr. B. Metal, will no longer be
recording with the band, and this was his last contribution. I
found this disk refreshing and one I don’t want to put down.
So I won’t. Try them yourself, the computer says yes at
www.frankenbok.com
and
www.myspace.com/frankenbok
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Grotesque - Museum of Human Disease
(Prime Cuts) Review by Steve Green |
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For all the technical expertise of these Australian Deathsters,
this is a pretty soulless album. With the instrumentation
sounding like a speeded up version of Space Invaders, or
another similar retro game, and your standard gutteral vocals,
Chaos Theory is not an inspired choice as an opener. The title
track follows and comes flying out of the traps, which makes
me wonder why they didn't use it as track one. Don't get me
wrong, I think the level of musicianship on here is top notch
and in particular, the guitars, despite the thin production on
them, sound fresh and invigorating, and the drums are just
killer, I'm just not getting the |
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songs. The technical brilliance is not in question, I just
don't hear a whole lot of feeling (or groove) behind these
songs. Ok, it's extremely brutal death, so the band are
delivering what they've promised to do, but bar a couple of
more commendable moments, such as Internal Dimensions, Organ
Lust and the more thrashy, and thankfully
groove laden, A World Dissolved, this isn't going to set the
world alight as the song writing just isn't exciting enough
and at times, it's all way too predictable. The potential is
there, the band just need to unlock it.
www.primecuts.com.au |
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Humonic - Born Evil (Prime Cuts
Recordings) Review by Strawb |
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We remain in Australia and discover the first official EP from
Humonic. If any of you recall the band from the appearance on
the cover CD of a British magazine, then I must tell you that
since then they have added Paul on bass, so they are now a
threesome. Born Evil features six tracks, so only just short
of being an album.
There is a weird opening with a kiddie singing, female
screaming, religious seeking of forgiveness, a guttural voice
and male screaming. No instruments at all. Weird but makes a
very good impression. This then changes as we encounter brutal
instruments and mainly decipherable vocals. It appears at
first to be all dials on eleven and everything as fast as it |
will go, but we soon settle in to a more structured pattern
where drums, bass and guitar are blended and shine
individually. We Won’t Fall has a slower, almost doom
beginning, before the pace is again stepped up, well to be
honest accelerated on full turbo and supercharged. Born Evil
continues in the same vein, and has noticeable drum pieces.
All That Remains is slightly slower, but none the worse for
that and is probably my choice of track on this CD. Back to
full bore for Hard Love which features a fair portion of
clearer non-throaty vocals. Psychotic to close, and again we
have all together, individual bits and speed.
Their claim ‘HUMONIC............FLYING THE FLAG OF
THRASH!!!!!!!!!!!! ‘ might not be international or even
national in a country the size of Oz, but they have found a
flag and are beginning to wave it. Check the web at
www.myspace.com/humonic007 |
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Obstruktor - Dead On Arrival (Self- released)
Review by Dave Schalek |
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Plopping into my mailbox is a demo from Spokane, Washington’s
Obstruktor. Complete with local newspaper clippings included
in the promotional material, the four-song demo from these
promising upstarts consists of borderline death/thrash that
reminds me of similar Swedish acts toeing the same line.
Fast, fairly technical riffing and overall good musicianship
and songwriting form the basis of a generally fast-paced style
that alternates between some blasts and a thrash metal gallop.
Accompanying the basic sound is some fairly unique vocals
consisting of a frenetic rasp that brings to mind past efforts
from Defleshed. Rounding out the fun is a cute sample that |
introduces the first song, the hilariously titled “Gored By
Boars”.
The four songs presented on “Dead On Arrival” hint at the
potential of Obstruktor. A promising demo.
www.myspace.com/obstruktorspeedmetal
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Red Right Hand - Plotting you Death (Screaming Ferret Records)
Review by Metal Mark |
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I wasn’t sure what to expect just looking at the cover, but
old style thrash similar to the Bay Area sound wouldn’t have
been my first guess. However that’s exactly what this release
is and actually that’s about all it is. It’s straight up
thrash somewhat like Exodus or Testament although at times
it’s also comparable to slightly lesser known acts of the
scene such as Forbidden and Defiance. They utilize the tight
styled chugging riffs in a rather controlled manner. It’s very
likable material but it also rather one-dimensional and I
heard many bands playing this style before 1990 even rolled
around. Although they know the basics and have a good control
over the sound, they don’t take many chances with pace changes
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different styles. It also suffers from a little too slick of a
production that robs it of a little bit of an edge that
possibly could have been there. I loved this style twenty
years ago, but I don’t see the point in doing second tier
speed metal today. Even compared to the younger bands that are
currently doing the thrash retro thing, these guys sound a
little tired and stiff. This is above average, but they need
to dig a little deeper and expand beyond this release if they
want to get noticed.
www.screamingferret.com |
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Syrach - Days Of Wrath (Napalm Records)
Review by Strawb |
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And just in case I wasn’t sure, this promotional disk has a
clue on its jewel case edition sleeve – DOOM METAL. Looking at
the basic information, Nine Fallen Men had better be good,
because it is the shortest track here, and The Firm Grip Of
Death is four times longer. Some would say size doesn’t matter
[Not us - girls of the world] but we live in the real world
and know that it does. As the album begins I feel the chance
of a love song is about the same as me giving up real ale. Buy
that new car Mr. Theakston, it ain’t happening this lifetime.
Whilst on the subject of The Firm grip Of Death, it has an
opening featuring rain a la Black Sabbath and the best
campanology since the seminal Hells Bells. |
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Back in the1970s there was vinyl. This meant that in order to
produce a decent sound quality artists were limited to around
twenty minutes per side and two sides per album. So the
originators and purveyors of the music that would later be
christened doom had to limit the length of their tracks and
often ram a number of ideas in to each track. And now we find
ourselves in the next millennium and the digital limitations
we now face. Artists, therefore, are under a minimum of
time/quantity pressure and to be honest on a number of recent
albums this is obvious. Syrach buck this trend. The album is long, but has no
slackness or gratuitous length. Are You Able To Breathe Fire?
- Opens. And highlights the above – No time for any gimmicky
type intro - all instruments and vocals to open – if you like
your vocals deep and barely decipherable then these are for
you. Soon into the track we have a slow, doom laden
instrumental, then a pick up of the pace and the return of the
vocals. More and different instrument, then another change of
pace for the next verse, Around the five minute mark a guitar
lick/solo worthy of any of the masters and then the last
verse, and as the instruments begin to fade we transform in to
track two - Semper Ardens – which translates as always burning
OR a winter beer of 8.3 ABV. This has some fine drum work
which leads and at times dominates the track. Great guitar
work. The contrasting vocals are used to good effect, at times
producing a sound bordering on the commercial. Keyboards and a
synthesiser are a surprise in the type of music, but again,
used very well. Stuttering riff to sudden closure is a great
ending. And this is continued throughout the album. It is a
well made and proficient album, but does it stand proud from
the crowd? Yes, it does, not on every track, but on enough to
ensure it made my MP3 player. Incidentally, great website at
www.syrach.com
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www.napalmrecords.com |
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