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Demetra Sine Die -
Council from Kaos (My Kingdom Music) Review by
Luke Goaman-Dodson |
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Being gifted with an Englishman’s poor grasp of
neighbouring European languages, I remain unsure of exactly
how to pronounce this Italian trio’s moniker, but I’ve settled
on “demetra sinny dye” until I hear it spoken with a trained
tongue. Demetra Sine Die play what they describe as
‘alternative dark metal’ – but I’d peg it as modern
progressive-metal with a light dusting of Goth, and as such
their sound can broadly be placed as somewhere between Tool
and Katatonia, with a bit of Nevermore, latter-day Anathema,
and Porcupine Tree thrown in. The title track begins with a
phased and distorted natural-minor bass line, before breaking
into steely, atonal riff heavily reminiscent of Ænima-era
Tool. At a little over |
two and a half minutes in, the song breaks down to an
atmospheric keyboard driven interlude, and vocalist Marco
shifts gears from moody Jonas Renske mode, to a Perry Farrell-ish
quasi-psychedelic melody. The bands guitar licks occasionally
remind me a little bit of early-to-mid 90s Paradise Lost, but
that could just be the production – eg, 2:10 minutes into
‘Blood and Water’.
The first five tracks are generally strong, but after this
point the album struggled to hold my interest. It feels as
though the band had used up most of their tricks by this
point, and I wonder if this release might have benefited from
being trimmed into an EP. While the band have not yet crafted
anything resembling a masterpiece, this is still a promising
debut from a band who will most likely turn out to be a worthy
addition to the progressive metal genre.
www.myspace.com/demetrasinedie |
www.mykingdommusic.net |
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Emergency Gate - Nightly Ray (Universal/Silverwolf
Productions) Review by Steve Green |
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The theory behind Emergency Gate seems to be based around creating a
unique sound. And while I'm not brimming over with comparisons of other
bands, they've kind of neglected one major ingredient. To me they sound
like Disneyland After Dark's Sleeping My Day Away, but without nailing the
chorus. While I think the overall sound is good, I'm just not getting the
hooks and melodies. I can't find anything here to sing along with, which I
do with the D*A*D classic. Where the band excel is with the structure of
their songs, with In My Dreams being a perfect example. Although, once
again, I don't think they've nailed the chorus, and with this flaw,
they've missed out on producing a possible epic. Thankfully, |
it's something they manage to rectify on Hold Me Again, and
this does highlight to me that the band are capable of
producing quality material.
What the band are missing from their sound is the feelgood factor and the
use of melody that their fellow countrymen, the Scorpions, are masters of.
Look, the Scorpions used Desmond Child on their last album, and the
results were stunning. Maybe Emergency Gate just need a bit of outside
help to fine tune their song writing or to point them in the right
direction. I just hope they steer clear of cover versions as I'm not a fan
of their cover of Rock Me Amadeus, although to be fair, I was never a fan
of the Falco original.
I think Emergency Gate have potential, they just need to learn
how to unlock it.
www.emergency-gate.de |
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Forefather - Steadfast
(Seven Kingdoms) Review by Crin |
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This is the sixth album from England’s Forefather... an entity
still very much lurking in the underground. Formed in 1997,
the band have grown into a very formidable UK act.
The music here is deployed in much the same up-beat polished
form as Children of Bodom or Moonsorrow. Pure pagan majesty
that thrives on intricate riffing, exquisite guitaring and a
harsh/clean vocal style. There is an element of prog rock
seeping from the music’s vibrant core, and yet the brazen
pagan theatrics dominate the whole sound.
Like a more intricate and heavier Skyclad, this is a band that
will take you to the dark ages and spit you out in the lap of
a Saxon burial chamber. From within this hallowed grove the |
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music’s rousing arrangements shall awaken the lost heroes of
Wessex and raise high their battle horns. The ancient pride of
the English shall once more rally below the dragon standard.
The title track, Steadfast is so addictive you’ll be banding
that head until ya neck snaps. This is a great English Heavy
Metal album with the bite of a Huscarl hunting hound. A
magnificent slab of unique sounding pagan metal that will
stand behind its shield wall and stand against the tide of the
foreign hordes, Fintroll, Turisa, Ensiferun, etc
www.forefather.net |
www.seven-kingdoms.com |
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Heavy Lord - Chained To
The World (Solitude Productions) Review By
Strawb |
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It is said by those who are not English, that those who were
lucky enough to be born there have a fixation with the
weather, well here goes. It is Easter, a time of Spring. So it
should be dry roads, a soupcon of sunlight, young ladies in
less clothing, etc. And in fact what we have had is snow,
sleet, and the heating on at home. Particularly disappointing
as I have 1100cc of Kawasaki in the garage which needs its
throat wringing. So my demeanour was not the best as I
approached my latest reviews. And as if by magic, just to
match that mood, we have this CD.
The opener and title track gave me an insight into the
experience that this album was to |
provide, within twenty seconds I had the volume turned up and
my head was banging. I then began to analyse the elements,
some excellent riffs, good use of changes of key and of tempo,
and low, throat-straining vocals. I looked to the counter and
saw we were now three minutes in and my head was banging
again, this track is five minutes of absolute pleasure. The
second track, Serpento, begins with a slower pace but has the
same intensity; inducing thoughts of self harm, razor blades
and wrists went through my mind, before building up to a
crescendo finish. The eleven minute Maelstrom is mainly
instrumental with some unclear lyrics; a couple of times I
actually checked my watch to check that time had not in fact
stopped, but this was too long a track. And after this we have
Darius II as a contrast offering, almost thrash pacing and
with the vocals higher and clearer than so far experienced,
what was once described by a politician as a short, sharp,
shock. If the set list is to correspond to the album, then the
opening of Looking Into The Makers Eye will provide a chance
for a breather as the slow, clear opening accompanies the dry
ice / smoke across the venue, then the drummer beginning the
revival, the pace picks up and five seconds short of the
two-minute mark the whole band are back, getting the head
moving backwards and forwards in rapid, jerky movements and
these continue when the vocals join in around three minutes
forty-five. The riffs continue making this another outstanding
track. At the start of Eternal Crawl the bass conducts a
fillings test, if yours are not up to it then they will be out
of your mouth and in your lap before you can mumble “Pneumatic
Drill”, followed by a single note sustain and then the drums,
which I will mention here, are great throughout. However, this
track is ten and a half minutes, and I found myself answering
emails and ordering CDs and had to play it four times before
finally getting through to the end, and on this occasion I’m
sure I caught my second hand going backwards…..
We finish with Waiting To Die, this is doom and nothing but,
pacey from the opening and a good scream early on, at one
point there is a sound of falling machinery and I am half
expecting to hear the words “I am Iron Man” but no covers here
and Heavy Lord contribute their own vocals, good closer.
The fact that this is the third album from this Dutch
four-piece raises the expectations, and they match these in
all but the too-long areas. Whether this is due to the fact
that it was recorded at the Void Studio in Eindhoven, Holland
with Pieter Kloos I do not know, but the band want this credit
known. It took four days to lay down and is also being issued
on a 500 run vinyl edition, so oldies can match some of the
style shown with media of the same era.
Internet access at
www.heavylord.nl/ |
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Javelina - Self Titled
(Translation Loss Records) By: Dave Schalek |
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The second album included in Translation Loss Records’ recent
mailing is the self titled debut from Philadelphia based
Javelina. Featuring a snarling razorback on the cover, I
immediately said to myself: Southern sludge. Yep, Southern
sludge it is, and Javelina heaps on plenty of influences with
gusto and aplomb to put together a ripsnorter of an album.
Throw in equal parts Eyehategod (speed it up a bit and use
less heroin, though) and “Technocracy”-era Corrosion Of
Conformity (well, add moments of “Blind”, too), add a dash or
two of Soilent Green/ Goatwhore, and include a few
post-thrash/ sludge/ stoner touches evocative of newer acts
such as The Fucking Wrath, and you have Javelina’s debut |
full-length in a nutshell. Frankly, this album is just damn
catchy while being crushingly heavy at the same time. Although
this genre has been done to death and Javelina are treading
rather well worn ground, the mix of exceptionally catchy songs
and the pure heft of this album has really grabbed a hold of
me. Strong riffs, a dual vocal attack, a thick bass with
plenty of huge chops, a generally mid-paced to up tempo
structure with some great variation within songs, some sludge
laden stoner navel contemplation, and even a few fleeting
moments of melody are all present in spades on the debut. All
of these disparate elements are seamlessly woven together to
produce an excellent debut album that speaks volumes of the
potential of Javelina.
Translation Loss Records is rapidly establishing itself as a
label to watch with bands in genres that are somewhat off the
beaten path. Recent, highly praised releases from Rosetta,
Intronaut, and Zodiak (some of these bands are rotating some
members) are excellent. The release of Javelina’s debut
continues that impressive streak. Highly recommended.
www.translationloss.com |
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Manifest - Hedonism
(MorningStar Records) Review by Marco Gaminara |
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Other than the annoying crashing of FoxyTunes and hence
Firefox when listening to this CD, it's something I could cope
with once finally getting all the way through the disc. This
Norwegian quartet hailing from Oslo comprises of Stian Leknes
on Vocals, Ole Marius Larmerud on Guitars, Alessandro Elide on
Drums and Kenneth Einarsen on Bass. Varying from thrash to a
hardcorey type death, they are never uninteresting and manage
to have each successive song sound nothing like the one
preceding it, to keep you guessing as to what they have in
store for you next. And holding no bars from the outset
"Chemical Solution" is spat out and high speed with enough
venom to make a spitting cobra cower in |
shame. On "Unrelenting" the snare sounds like it's being
beaten in a different room as it's echoy and distant, but at
the same time gives the song a bit of a tribal drum sound.
Going for a more thrash sound on "Machinery Of Violence"
reminiscent of early Sepultura, it's very raw and extremely
aggressive, the lead however is lively and fast. Taking things
nice and slow, "Swine" trudges along in a very Bolt Thrower-esque
manner complete with heavy guttural growls. Picking up the
pace considerably, "Cursed To Prevail" is a full on aural
assault that has a Snapcase snare sound that twats you in the
ear like an unruly bastard. I'm trying to remember where I've
heard the vocal effect that's used on "Hydroplaning" before,
but either way it makes Stian sound like he's singing
underwater, which I'm guessing is the desired effect, which
the guitars screech along and wash away any sediment you may
have had in your ears. Sounding like a caged tiger on "My
Equilibrium", Stian growls his way to the slow lead break
where Ole allows Ale and Ken to keep the rhythm going. To say
that "Breaking `Em In" is fast is kinda like saying that
everything else on this album is slow, if that made any sense
at all. Coming in at 12 minutes long "Cynical Perception" is
where everything freezes on each listen, so I'm not too sure
what happens after minute 2 but that's of little concern, as
the rest of the album has been heard, so I just restart
Firefox, eject the CD and start it from the beginning again.
www.manifestmetal.com |
www.myspace.com/MorningStarRec |
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Shenaniganz - Four Finger Fist Fight (Silverwolf
Productions) Review by Steve Green |
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I think it took me three weeks to pluck up the courage to actually play
this album, just because of the horrible band name. Add to the mix that
Shenaniganz are 4 young Germans, aged 17 - 21 and I was fearing the worst.
Cheese and Emo were on the agenda, or so I thought.
How wrong could I have been? Fuck this is good. This is pure party time,
with these youngsters playing with a passion way beyond what their
formative years would suggest them capable of. This is, to use their own
phrasing, "bad ass rock n roll". They take it right up through the years,
primarily from The Beatles and the Rolling Stones in the 60s, Mott |
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The Hoople in the 70's, they have the swagger of The Black Crowes
from the early 90s and take it
right up to Rage Against The Machine. Occasionally they include snippets,
or familiar lyrics or song titles of well known songs into their own
compositions (Using Aerosmith's Walk This Way and that line from
Rage Against The Machine's - Killing In The Name Of, in 25 Years Ago is
pure genius) to create a song that is instantly recognizable, and
instantly memorable. This has been very cleverly thought out I'm sure.
While this album is a pure fun listen, it probably disguises how good
Shenaniganz are as musicians and as song writers. If this takes off, they
could go far.
www.shenaniganz.vandalay.org |
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Warrel Dane - Praising
The War Machine (Century Media) By: Joe Florez |
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Nevermore fans may be somewhat shocked by what they hear on
Warrel’s debut offering. There is no blistering fast music
that will shake the foundation and there is no technical
shredding on here. What you get is a more stripped down and
simplistic offering. “When We Pray” doesn’t exactly strike you
in the face, but there is a lot for the music fan to soak up.
Former Soilwork guitarist Peter Witchers not only serves up
slow and heavy guitar licks, but he also produced this as
well. Current Soilwork drummer Dirk Verbeuren plays the skins
straightforward without any flashiness. As far as the singing
goes, there’s no high shrieks or anything of that magnitude.
You will still recognize his distinct and signature lung |
capacity, but it’s more subdued and reserved. He sings several
ranges lower, but it sounds good. I don’t know why this
doesn’t transfer too much with his day job. Those of you who
miss Mr. Jeff Loomis’ guitar frenzy fear not cause he appears
on “Messenger” and he does a superb job at what he does best.
Don’t worry, you will be able to recognize his work quickly.
What is intriguing is the pair of covers that are tackled on
here. Sister Of Mercy’s “Lucretia My Reflection” is heavy on
the riffs and beats, but Warrel manages to add his gothic
touch to the situation. And folk singer Paul Simon’s
“Patterns” gets a bastardized treatment as well. If you
remember or kept track, Simon and Garfunkel’s “The Sound Of
Silence” was cover a few years back on a Nevermore disc.
There is some groove action going on here on some songs
without going over the top or sounding too funky. What is a
real treat here is that Mr. Dane has the knowledge and
capability to register his voice in lower ranges from mid to
bottom and does it successfully. “Equilibrium” may perhaps be
the closest thing you get to a Nevermore track on here. The
bottom line is that this is a very mature release, if you want
to call it that. Too many times we focus on the music and not
enough on the lyrics and singing. Peter had the right idea to
strip it down and let Warrel do his thing because this is
about the man’s powerful words that hit you from track to
track. This is intelligent and sophisticated. I wasn’t quite
sure what to make of it at first, but after a few listens I
was hooked. This is worthy of your ears.
www.centurymedia.com |
www.warreldane.com |
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Zodiak - Sermons
(Translation Loss Records) By: Dave Schalek |
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“Sermons” by Zodiak comes my way as part of a two album promo
package from Translation Loss Records, a label that sports a
number of different bands with various members rotating and
appearing in multiple bands on the roster. Case in point is
Philadelphia-based Zodiak, a dreamy, groove laden exercise in
psychedelic meanderings and post-rock composed of members of
Translation Loss bands Javelina, Rosetta, and a few others
that came together as a side project and managed to come up
with the rather interesting “Sermons”, the debut full-length.
“Sermons” comes across as a collision between Tool, Pink
Floyd, and a dash of post-rock |
in
the vein of Isis that manages to gel into an interesting album
over the course of eight tracks. “Sermons” really shines when
the band members are engrossed in shoe gazing and navel
contemplation with dream-like, dissonant riffs, strummed
guitars and muted, melodic vocals similar to those of Maynard
James Keenan. Of course, these are all tricks lifted from
“Aenima” era Tool, and that’s just fine with me as Zodiak hit
all of the signature elements of the sound, right down to the
same production values, and put together a number of excellent
songs. The few touches of post-rock present on “Sermons”, such
as harsher vocals and up tempo song structures, are not nearly
as interesting, nor as well done (leave that to label mates
Intronaut) as the Tool-like wanderings. However, these moments
are relatively few as “Sermons” essentially becomes an homage
to Tool. As a bonus, the last track is a heavy cover of “When
You’re In”, a classic Pink Floyd track from all the way back
to “Obscured By Clouds”.
If nothing else, “Sermons” is a well done album in a niche. As
a side project, you can’t really ask for much more and I, for
one, look forward to any further releases that may come from
Zodiak. Recommended.
www.translationloss.com |
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