|
|
|
|
|
Agalloch - The White EP
(Vendlus Records) By: Dave Schalek |
 |
Four years after the release of “The Grey EP”, the Pacific
Northwest’s Agalloch returns with a similarly themed interlude
between full-lengths in the form of “The White EP”. Almost a
full-length itself, “The White EP” consists of seven tracks
clocking in at over one half hour that are nowhere near the
black metal influenced style of the band’s prior full-lengths.
What we have here are seven tracks that come across as
“Damnation”-style Opeth crossed with hints of the dark ambient
style of Vinterriket’s lighter moments along with a style
evocative of the “Blade Runner” soundtrack by Vangelis.
Concentrating upon acoustical melodies, the ecological themes
presented on “The White |
EP’ bring to mind gentle winter snows in a primeval, birch
tree forest similar to those found in the U.S.’ Great Northern
Woods. Virtually no vocals make an appearance except for a few
harmonies and some muted spoken word interludes espousing
ecological pagan themes that overlay the gentle guitars.
Numerous classical piano pieces and some muted, simple
synthesizers are also incorporated, as well as a few ambient
harmonics that justify the Vangelis comparison. Frankly,
there’s no metal to be found here, and “The White EP” is
entirely an acoustical/ ambient piece played by a nominally
black metal band.
Worth mentioning is the stellar packaging from Vendlus with
numerous photographs of a heavily overexposed birch tree
forest overlaying a white background. Also somewhat startling
is the fact that the EP was recorded at various times from
2004-07, yet does not feel like a project that was just sort
of thrown together.
As I said, however, this isn’t really metal and this will
probably only appeal to those that are already fans of the
lighter work of Agalloch, Opeth, and so forth. In addition,
there are only two thousand printed copies of “The White EP”
(besides me, fellow scribe Ray Van Horn, Jr. also has a copy),
so you’d better hurry.
www.vendlus.com |
www.agalloch.org |
| |
|
Chainsaw - The Journey Into The Heart Of Darkness
(Metal Mind Production)
Review By Strawb |
 |
Poland is the land of origin for this band, Chainsaw. Their
excellent trilingual website reveals that this disk was
originally released in 2005, so it must have come to the UK by
a particularly torturous and circuitous route.
(The album was originally released by
Empire Records, this is a Metal Mind re-issue - Steve) But I for one
am glad that it has finally arrived here, as I am sure that it
will find an eager audience. The album opens with the [in 2005
at any rate] de-rigueur gambit of recreating a particularly clicky, vinyl-esque
version of music, in this case something classical. I was then
expecting some sore throat vocals and thrash-type speed as a
contrast but this was not to be, as Bitter Thoughts lets the |
instruments loose before a stereo-testing right speaker,
joined by left speaker, guitar and drums stint. Then vocals,
quite melodious and clear, but with the odd burst of throaty,
just to show it is there if the occasion warrants.
As I occasionally do, I ran the album by a mate, and this is
what Russ said when he heard it, “This is like 30 years ago, a
few of us gathering to kill time by listening to music, and it
reminds me of something from back then!” Well, yes, it has a
bit of everything from back then and a few additions besides.
There are tracks which are definitely camped in the field of
soft metal. An occasional tent has been pitched in the
American Radio staple of five minute AOR. However the
collection of motor homes is in the central area reserved for
rock/metal at which the band aim. A couple of the tracks
remain in Polish, so could cover any subject, however there
are no really strong viewpoints or messages laboured in
English.
And back to Russ and his being reminded of something… I
listened to the track In Flames [was this not the title of an
album by Slade? Pub quiz, double point, Metal wins and rolls
on to the next round…. ] and it came to me, a touch of the Rush
here, if Geddy had a more normal voice and it was thirty years
ago. So, if you have a longing for that kind of thing, nip out
and strike up Chainsaw.
The internet has them at
http://chainsaw.pl
or the usual chance to try before you buy at
www.myspace.com/chainsawpl |
| |
|
Draconian - Turning
Season Within (Napalm) Review by Steve Green
|
 |
Album number four for the Swedish Doom band, although I'm not
sure if I can really call them, simply a Doom band anymore.
You can use whatever phrase you want: Draconian's sound is
evolving, they've come of age etc... but the truth is, there's
a huge injection of energy in Turning Season Within. Sure
there are plenty of wistful moments and the pace is extremely
pedestrian at times, but, as with My Dying Bride at their
zenith, which for me was The Dreadful Hours, Draconian have
learnt to shift through the gears and to vary the pace, more
than they've ever done in the past. Fear not, those that you
that love Draconian, they've not sold out, they've just
evolved. The doom laden beauty of Not Breathing, or the |
exquisite beauty of the ingeniously titled Morphine Cloud,
will satisfy those that love it slow and gloomy. In all
honesty, Draconian just don't write crap songs, so whatever
they serve up, you know it's going to be great. Just be
prepared for things to sound a little different on this album.
The highlight of their sound, for me, has always been Lisa
Johansson's dulcet tones. The lady has such a beautiful voice
and her radiance is a perfect foil for the darker timbre of
Anders Jacobsson and of course, the miserable music. And with
the changing of their sound, the dual vocals still work
perfectly. Just listen to The Failure Epiphany and you can
have no doubts how magnificent this album is.
I do believe that this is a new chapter in the history of
Draconian. This is, by far, their most mature work to date and
I hope it brings them the success they deserve. Brilliant
band, great album.
www.draconian.se |
| |
|
El Chupa Cobras - El
Chupa Cobras (Acerbic Noise Development) Review
by Metal Mark |
 |
Montgomery, Alabama’s El Chupa Cobras play a rather furious,
head spinning style of heavy rock that will pass you by if you
don’t focus in rather quickly. They draw on metal/punk/indie
and just plain noise plus the styles are oftentimes mixed
together to such a point that it’s slightly difficult to
distinguish as to where one style ends and another begins.
Their approach is most often presented in short bursts that
assault your ears at a vicious pace although they do seem in
control. The energy level of this band almost always stays
towards a high level as they frequently fly, twist and rip
though the material. If you can center your ears fast enough
than you might realize that beyond the chaos there actually is
a |
|
great deal of rhythm at the heart of this band’s approach. The
writing definitely has peaks and builds to and from them yet
that’s always very obvious. There were a couple of times where
I think they repeated some tones or twists, but it was only a
few times and it was fairly brief. It’s certainly not
sing-a-long in the shower style of music, but then again, I
wouldn’t want to hear myself sing in the shower. Instead it’s
a bash at your senses style of music that’s rather harsh at
times, but it will sure keep you on your toes.
www.myspace.com/periscopesound |
| |
|
Highgate - Highgate
(Total Rust) Review by Chris Davison |
 |
It's a really tricky prospect reviewing this, a one track erm...release
that lingers for some 54 minutes. I suspect that the trio of
Kentucky based bastards that comprise Highgate would be more
than happy for this unhappy music to utterly confound my
powers as a critic and sometime doom aficionado. Still, nobody
said it would be easy now, did they?
The album cover really gives a hint of what is to come. Troops
clad in what appear to be extremely early versions of Nuclear
Biological and Chemical Warfare suits huddle around a machine
gun, superimposed over a corpse. All in beautiful monochrome,
of course. Yes folks, if you hadn't guessed by the one
gigantic track, the overall aura of unpleasantness and |
complete lack of information about the band, we're back in
extreme doom territory. This is less of an onerous listen than
you might be expecting, however. I have listened to several of
these one or two track doom affairs in my time, and by and
large I find them to be ponderous, navel gazing affairs that
are more to do with tickling the ego of their creators than
providing any kind of entertainment for the listener. Not so
here. For sure, if you're going to get enjoyment out of this
then you're probably one of those guys who get their kicks
from watching David Lynch films while tripping the light
fantastic on industrial strength hallucinogenic drugs, but
then wouldn't life be boring if we were all the same?
Firstly, the claim that this is one track is a right load of
old pony. Sure, it might only span one track on your PC, but
albeit joined together by harsh noise, atmospherics and
digital jiggery-pokery, there are clearly several songs here.
That the band has chosen not to name them will come as either
atmospheric mood building or extremely irritating, depending
on which side of the fence your ball sack is hanging on. Total
Rust have described this as experimental black / doom, which I
must disagree with. Yes, the production is pretty lo-fi and
rough and ready, and from what little I can glean of the
lyrics, there isn't a whole lot to smile about here, but that
does not black metal make. Yes, black metal is all about the
emotion and the atmosphere, and the minimalist riffing and
hypnotic guitar may bring to mind some aspects of the
Norwegian forest skulkers, but this is much more rooted in a
marriage of Eyehategod doom-on-downers and that whole down on
your luck, let's get drunk and celebrate the end of the world
kind of vibe. The vocals are completely and utterly demented,
sounding not unlike a raving lunatic allowed unfettered access
to the recording facilities. His voice is a rasping,
half-shrieked exhortation to the gods. The guitar work is
compelling, not only in the afore mentioned repetition, but in
the sheer pummelling aural power of the composition. The drum
work is sparse and minimal too, knocking out a suitable
companion to this forlorn racket. Occasionally, and I do mean
occasionally, the instruments lock on to what might fleeting
be called a “groove” (see 28 minutes left to run, for about
three minutes), before again lapsing into absolute despair and
suicidal intent.
So. Should you buy this? Kind of. I'm glad I've got it, glad
I've listened to it, but I can't see myself just sitting down
to listen to it for its own sake – but as a rather twisted and
mad companion piece to doing other unpleasant things, this is
almost peerless.
www.totalrust-music.com |
www.myspace.com/therealhighgate |
| |
|
Martriden - The
Unsettling Dark (Candlelight/SOAR) Review by
Steve Green |
 |
I
had this cd earmarked for another L4M scribe to cover as it's
more his thing. Unfortunately, due to an unfortunate event of
two, this one's been left to yours truly. I won't even attempt
to pull the wool over your eyes, this one is not my normal
listening of choice, nor is it, in parts, a genre I have any
real knowledge over, bar the obvious Dimmu Borgir comparisons.
What makes it even more difficult, is that Martriden fall
between so many different camps, it is hard to know where to
begin.
In a nutshell, Martriden produce Blackened Death. And although
it is thick in texture, with a solid mix that'll appeal to
fans of Dimmu Borgir, there's also a constant melodic edge
that, |
as with Dimmu, makes this accessible to the masses and
counteracting this, there's a more aggressive Death Metal
thread that's prevalent throughout. The Death Metal side of
things is where my knowledge is lacking. The biog states
comparisons with everyone from Nile to Behemoth, so I'm really
none the wiser, as I don't listen to either band. What I can
tell you is that Martriden are not afraid to through in a
melodic passage or two, and one in particular that would do
Opeth proud. They seem to have no limits to what they are
willing to try and you have to applaud them for not taking the
safe option.
If the keyboard dominated noodlings of Dimmu Borgir are your
bag, then I think you'll like Martriden. Although I must point
out that they are nowhere near as symphonic as the Norwegians.
Death Metal purists on the other hand, will probably think
this has too many keyboards for their brutality fixed hearing.
I'd suggest having a listen via their myspace before making up
your mind on this one.
www.myspace.com/martriden |
www.martriden.com |
| |
|
Paganus - Pagunus
(Total Rust) Review by Chris Davison |
 |
In experiments in supermarkets, shopping malls and other
consumer outfits, they have found that piping relaxing, middle
of the road pop music can have a dramatic effect on the amount
of money that the shoppers are prepared to pay. Hence, while
walking around your local S-Mart, you may have your aural
senses assaulted by the latest pop-lite sensations, wondering
why you feel strangely drawn to a massive packet of Cheesy,
delicious Doritos*. In similar experiments, I have piped the
feel-bad vibes of Paganus through the P.A. System of my local
shopporium. The resulting scene was not unlike the final few
scenes from the original “Dawn of the Dead” movie. |
Paganus are a Finnish extreme doom band, and present to us
here in their four track, almost fifty minutes of ear-bashing
grimness a piece of the most engaging, spiky heavy soundscape.
Limited to a run of only 1000 copies on the first CD run, this
is likely to acquire a cult (or should that be Kvlt?)
following pretty quickly, being mid placed as it is between
the likes of riff-mangling outfits like High on Fire, and the
more extreme sound of the ouvre such as Burning Witch.
Actually, the most accurate comparison would be the sound of
the defunct Belgian doom-mongers, Thee Plague of Gentlemen at
their most torturous. As I have said, this is not feel-good
music in any sense of the world. Each riff has been
constructed out of equal parts feedback and anguish, and
hammered into shape by tools made out of pure misery and
torture. Slow, crushing guitars and bass combine to act like
slowly tightening hands throttling your good cheer to death.
The drums, of course, are simple but rather effective, and
there is a hypnotic quality to the mental soundscapes conjured
by these wizards of dischord. “Blood Soaked Boots”, for
example, rumbles on for over eight minutes, turning at points
like a wounded snake, but ever present is an aura of utter
malice and hate. If it's all about the atmosphere, baby, then
this is Jupiter.
The production is as thick as the fog in a Hammer House of
Horror film, and the the sound of the instruments cut through
the murk with their angular rawness, each note seemingly
dripping with menace. If this production was a character from
Grange Hill, it'd be Gripper Stebson. I'm not joking, seldom
have I heard a sound that was more based about menace and
absolute belligerence. If you're a doom fan, then get a hold
of this: it's like a piece of 2 x 4 smashed into your face.
www.totalrust-music.com
*(This article is neither endorsed nor advertising the
premiere, cheesy dip-accompanying delicious snack, available
at all good retailers). |
| |
|
Primitai - Through the
Gates of Hell (Green China Records) Review by AJ
Carlile |
 |
Through the Gates of Hell is the debut album
from UK Underground regulars Primitai. For those unfamiliar
with Primitai, they’re a straighforward heavy metal act that
can be likened to early Iron Maiden and other British metal
acts of the late 70’s, early 80’s.
The album begins with a string of no-nonsense heavy metal
tracks, with some brilliant riffs and spectacular solo work
from guitarist Nick Saxby, and strong support from James
Lordcastle on Bass and Stuart Armitage on Drums. These tracks
are all quite good in their own right. However, as the album
progresses, the group becomes a little more adventurous, with
a number of lighter sounding tracks, amongst which my personal
favourites, "Primitillian |
Man" and "Rockin’ in Hell" can be
found.
Which brings us to the fourth member of this metal quartet,
Graham Christie on Guitar and Vocals. Christie adopts a gruff,
guttural growl in his singing, which is actually a rather well
suited accompaniment to the rest of the group, not being too
overbearing as to distract from the overall sound. However,
the excessive amount of unnecessary profanity found in "Lights
Out" rather does.
Primitai are really quite impressive throughout the album,
though you can find obvious traces of their metal influences
at certain points. "Primitillian Man" for instance has an
opening that could’ve quite easily come from an Iron Maiden
album. But for the most part, Primitai have their own style,
and to write them off as a carbon copy of other bands does
them an injustice.
Primitai are a throwback to the past. But when the present is
littered with whiny emo brats, that’s not such a bad thing.
For anyone who appreciates good, solid rock music, ‘Through
the Gates of Hell’ is well worth a listen.
www.primitai.com |
| |
|
Retribution - Made In Hell
(Metal Mind Productions) Review by Strawb |
 |
It was in February 2006 that I visited Cracow in Poland. I
found it to be a fascinating city for many reasons, but chief
among them was the amount of metalheads visible, a competent
and quite large metal shop and a bar with nothing but metal on
the jukebox. It had excellent speakers and a bloody big amp,
and we spent some excellent times there, in fact I enjoyed my
last pint there before setting off for the flight home. It
must, therefore, have been somewhat inevitable that eventually
I would be listening to an offering from this fine city. And
here it is. Retribution hail from Cracow, play thrash and
bring us their debut album.
Vocals from Lukasz remain the Strawb side of vomit and are
powerful. They do however |
benefit from the lyrics sheet provided. And the lyric sheet
and cover artwork are suitably doom laden and shit brown
coloured to match the tone of the vocals. There are no happy
tomes here, the Prozac certainly didn’t work for these boys.
When I made my notes for this one I did so on a track by track
basis, as there were variations a plenty which warranted this.
From the short opener Humanproof, which gives a taste of what
is to come, to the message-conveying Ordinary Judas and
Dealers Fuckin’ Killer we have it all. I found Pitch Black
Future a bit too much like a Judas Priest tribute track and as
out of place on this album as a turd on a dessert tray, and I
would avoid Logic Matchbox Horror simply for the fact that it
seems to have been written in txtspk. However, those are the
downs, but the ups are all of the other tracks and the
highlight is the title track, Made in Hell. The claim here is
that one is the antichrist, but I can think of a number of
politicians who top that particular chart; however I mind no
one staking a claim for a place. I have reviewed heavier and
faster, but these sons of Poland do Cracow proud.
Internet sites at
www.myspace.com/retributionblitz
for those with only English, and
www.retribution.metal.pl
if Polish is one of your language fluencies. |
| |
|
Volition - Volition
(Totalrust Music) Review by Luke Goaman-Dodson |
 |
Volition are a band firmly placed in the death-doom territory,
utilising agonisingly slow tempos, growled/shrieked vocals,
and heavily detuned Iommi-style riffs. With the pioneers of
the genre having largely disbanded or abandoned the style
completely (Paradise Lost and Anathema being obvious
examples), the field is open for newcomers like this Cumbrian
five-piece to showcase their ability to doom it up, or rather
down, with their self-titled debut album. A heavy Winter
influence is on display here, especially in the vocal
department. There is a great deal of traditional doom in the
band’s sound, setting them starkly apart from both the
post-metal/hardcore side of things as well as the
Gothic/symphonic end of the |
genre. Volition’s emotional remit is exactly what one would
expect from this kind of music, summoning grief, anguish, and
menace in equal parts, but surprisingly without being
excessively suffocating or demoralising, as many bands of this
type can be. Standout tracks include the dismal (in a good
way) opener ‘To Those We Have Lost’, and the Crowley inspired
finishing track ‘Do What Thou Wilt’, which even kicks up the
tempo, albeit for a brief period. A strong debut from a band
that any aficionado of this genre should look into.
www.myspace.com/volition666 |
www.volitiondoom.co.uk |
|
|
|
|
|
|
|
|
|
