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3RD - D Day (UK Division)
Review by Chris Davison |
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What exactly does “modern metal” mean to you? Sometimes I
read this description and I despair. I am increasingly aware
that this is probably because, at 33, I am getting to be a
reactionary old bastard that doesn't like change in music. I
like the simple things done well. The power of the riff, the
majesty of a basic drum kit, hit like a red haired step child.
The low end rumble of a bass being strangled with more venom
than Albert De Salvo coming to measure up your missus for a
lovely new dress. The sound of a man screaming like you've
just tip toed into his bedroom and poured flaming lighter
fluid over his crown jewels. I don't like Nu Metal riffs. I
don't like people who whine in music. I don't like rapping
vocals. |
So. The good news. 3rd are an Italian band that were formed
from the ashes of an old thrash band. Many trash bands are
good. This is a promising start. Another good thing in their
favour is that they sound a lot like Machine Head. The bad
news: they sound like Machine Head circa their Supercharger
era, you know, the time when Robb Flynn really, really wanted
to be in Korn, was wearing track suits and trying to rap.
Badly.
It's not all bad news though – because 3RD are really rather
good at what they do. So sure, this is in the main a nu-metal
album, with simplistic riffs, down tuned guitars and those
monster banded screaming axe sounds, but by and large the
vocals aren't all that bad, and the drums are frequently
played with plenty of aggression and attack.
Ach, as you can probably tell, I just couldn't get into D Day
at all – as it sounds like the dying sounds of a genre that
was really a blight upon heavy music while it lasted. The
worst thing of all though is that I did this to myself – I
listened to the Myspace tracks and agreed to review it, so I
must have been a complete masochist or at the time it didn't
seem that bad. I feel really bad about not being more positive
guys, but sorry, the music sounded formulaic and perhaps most
tellingly of all it sounded very, very outdated.
Don't take my word for it though, have a listen yourself at
www.myspace.com/3rd2k6
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Black Crucifixion - Promethean Gift
(Paragon Records) Review by Crin |
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Originally released in 1993, this cult Finnish release has
been repackaged with some extra demo recordings and a live
track. Black Crucifixion began life in 1991 at the advent of
the Norwegian Black Metal explosion. This band are as cult as
fellow countrymen Beherit, as pioneering lights in the Finnish
scene. Here we discover a plodding doom reminiscent of early
Anathema with a very Celtic Frost vocal delivery. 1993 was a
time of arising Norwegian supremacy and this Black doom style
was to be trodden underfoot by the imminent corpse painted
northern horde. This Mcd was not genre defining in its era,
nor any great musical achievement. I recall its coming and
passing with little regard at the time. |
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Now, the lost 4 tracker emerges once more as a historical
document to a scene that has only recently come of age. The
extra tracks are a 1996 studio track that is decent enough,
two demo tracks with a far more Black raw sound, and a live
recording that sounds like it was performed to 3 or 4 drunken
metal heads. As bonus tracks it’s a hit and miss affair, but
to the avid fan, an interesting lost side to the band.
http://paasto.com/bc/ |
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Dominici - O3 A Trilogy Part 3
(SPV)
By: Joe Florez |
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Charlie Dominici, former Dream Theater vocalist is back with
his third and last instalment of his concept story. Just like
on part two, Chuck and his crew continue to deliver crushing
music that is heavy, melodic and intense all rolled up into
one. Opener “King Of Terror” is proof positive that this has it
all. Bursting with intense music in the beginning before
slowing things down and picking again and adding shredding
solos from his insane guitarist. To balance things out here,
“So Help Me God” is a ballad that includes plenty of acoustic
guitar which is nice cause it matches with what’s going on in
the story and it’s a pretty somber moment. The momentum of the
discs shifts constantly from mid paced to fast, but |
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never sounding like a train wreck. Everything music wise is
distributed evenly and the musicianship is top notch. Pound
for pound this one has it all from plenty of metallic sounds
to progressive elements and a pop sensibility, but never is
anything watered down or sacrificed to please one audience or
the other. Everyone wins here. I think that the DT fans from
the beginning probably know about this band and have followed
it. But, the newer kids on the block may not know who Charlie
is and quite frankly you should do yourself a favor and check
this out because this stuff rocks out just as good as anything
in the prog metal scene or anything that he has done with his
previous bands. Not only do you get great compositions and
that are intelligently written, but you get a story with
morals as well. Can’t pass this up. Don’t worry! There’s no
preaching here. www.spv.de
| www.dominici.com
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Fires Of Babylon - Fires Of Babylon
(Metal Heaven)
By: Joe Florez |
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The story behind this project is interesting. Guitarist Lou
St. Paul of Winter’s Bane was recording a record with his band
for the label Metal Heaven when he was approached by an A & R
guy to put something new together and get some musicians to
back him up. Check out this line up: Rob Rock on the mic. Lou
is in the mix as well and former Death and ex-Monstrosity bass
pounder Kelly Conlon and drummer Bob Falzano who comes from
the prestigious Berklee College Of Music. What is served up
here is classic 80’s heavy metal with a slight modern touch.
“Falling To Pieces” contains plenty of crunch for numerous
reasons. It’s fast on all counts. The riffs are razor sharp
while the rhythm section |
just soars into orbit. As far as Rob’s singing goes, it’s
remains distinct and I don’t how he does it, but he is able to
sing high enough to be heard over the heavy bashing. Don’t
fear true metal heads as the music is not all about speed as
things mellow out during the chorus lines. Lou is able to tear
shit up during the solos while this one doesn’t have a ton of
pizzazz, you can tell that he works his nimble fingers.
“Devilution” has a more old school flavor,
but remembers that we are living in 2008 and mixes it up
successfully. Fear not metal freaks who enjoy their double
bass drumming as “When The Kingdom Comes” contains plenty of
it and takes the group into the next level of heavy. What is
displayed on here is nothing more than a nod to the old
school. There is nothing on here that will shake the very
foundation you are standing on. If you like it traditional,
then you should feel right at home. If you were to pop this in
and not tell me who this was, I would have guessed a new Rob
Rock solo disc, but it’s not. There is plenty of talent on
display here and unlike bands in the past who talk about dumb,
fun shit, there is some intelligence on here as topics about
religion and politics are discussed. A feast for the ears.
www.metalheaven.net
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www.myspace.com/firesofbabylon |
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Gwen
Stacy - The Life I Know (Ferret)
Review by Steve Green |
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First up, an apology for the delay in producing this
review. The idiot that was supposed to originally cover this
cd decided to disappear, presumably up his own asshole, and I
also have to apologise for the fact I'm probably not the most
qualified to cover this disc.
If you are familiar with the Ferret roster, you probably have
a good idea what to expect here. Left of centre,
unconventional, but still with a good grasp of melody. I'd say
Gwen Stacy (presumably named after Peter Parker's, aka
Spiderman, first true love) have the heart of a hardcore band,
but crank it up from many varying platforms. The main
difference from Hardcore are the off-kilter start-stop
rhythms, which are topped off with thick
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crunching guitars whose riffs, at times, seem to be drip fed
into the mix, particularly on If We Live Right, We Can't Be
Wrong.
I think for me, the biggest surprise, is that I like the clean
vocals. Normally in this type of music they kill it dead for
me, but Gwen Stacy have got the balance absolutely spot on.
While Cole Wallace's harsh bark is dominant throughout, when
utilised, the clean vocals actually enhance the song they
appear on, rather than diminish its power, as is normally the
case. I wish the majority of the Metalcore fraternity would
take a leaf out of Gwen Stacy's book and learn how to weld the
two styles together, just as they've done here.
On, The Life As I Know, I think Gwen Stacy have crafted a
perfect balance between melody and power, and if I can enjoy
it, then fans of the genre are bound to lap this up with
gusto.
www.ferretstyle.com/artist.php?id=113 |
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Hellhammer - Demon Entrails
(Century Media Records) By: Dave Schalek |
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Any self-respecting metalhead with tastes that veer towards
the more extreme undoubtedly worships at the feet of the
forefathers of the death and black metal genres (well, those
of us over 35 at any rate). In 1984, my friends and I eagerly
snapped up copies of the original Hellhammer EP, “Apocalyptic
Raids”, released in the U.S. on Metal Blade Records.
Consisting of primitive, sloppily played, proto-black metal
that took a cue from Venom and dumbed-down the musicianship
even further (if that’s at all possible), Hellhammer saw
steady rotation in my stereo for years to come. Hellhammer
would soon enough morph into Celtic Frost and the rest was
history. |
Hellhammer’s official output was scant and anyone seeking
additional material had to resort, in those days, to the tape
trading underground to get a hold of the three demos, usually
after being endlessly copied, that were recorded over the
course of 1983. Those demos were never given an official
release. To that end, Century Media Records now releases the
three demos in three different formats. Two different versions
of a two CD digipack (one version with a detailed booklet and
a poster) and a three LP vinyl version (also includes the
extra goodies) of the demos are released as “Demon Entrails”,
complete with a cover that nicely complements the “Sitting
Death” depicted on the classic 1984 version of “Apocalyptic
Raids”.
The three demos, “Death Fiend”, “Triumph Of Death”, and
“Satanic Rites” have been completely re-mastered and
extensively cleaned up for “Demon Entrails”. In fact, the
clean-up is so extensive that you’d be hard pressed to believe
that these are the original demos you’re hearing. It’s almost
as if you’re hearing an entirely new Hellhammer album. The
clean-up also gives you the impression that the musicianship
has improved from the originals! Those of you out there that
may be turned off by this need not worry as the songs on all
three demos now just drip with power and heaviness.
Naturally, if you have any interest at all in the early days
of death and black metal, “Demon Entrails” is a must-have. The
three demos give you 29 songs stretched out over 80 plus
minutes of classic material. The extra goodies alone would
probably entice you, but the extensive re-mastering is about
as well done as anyone could have asked for. Buy or die.
www.centurymedia.com/us/
| www.hellhammer.org/
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Illogo - When Liquids Stay Dry
(UK Division Records) Review
by Luke Goaman-Dodson |
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Listening to the obligatory ambient intro to this CD, I became
immediately aware that it was based around a particular
pre-created loop called ‘Shining’ that has been floating
around for a few years and I still have on an external
hard-drive somewhere about. How I manage to accumulate this
level of nerdy obscurity in my life, I don’t know.
And neither do Illogo by the sounds of it, whose dissonant
chord progressions and stuttering rhythms evoke nothing so
much as a feeling of absolute confusion and desperation. This
Italian trio plays a kind of post-metal/hardcore with touches
of mathcore, industrial, ambient and doom. Apparently,
‘Illogo’ isn’t actually their name, but stands in for |
a picture of a weird mask, or something. Someone should
probably tell them that Prince did the same thing back in
1996, and everyone thought he was a dick.
The Band Presently Known As Illogo utilises a trebly, low-gain
guitar tone through most of the album, which reminds me a lot
of Blut Aus Nord. The notes I made on the first listen mention
‘free jazz insanity’ (or possibly ‘intensity’ - my handwriting
is rubbish) in relation to ‘Inaudita Altera Parte’, which
makes sense in light of the information that a lot of this
album was apparently improvised.
But is all of this actually any good? This is a question I’ve
been wrestling with, and I still haven’t really come to a
proper conclusion. While they certainly have an interesting
sound, it’s not quite original enough to distance them from
their influences, nor is it listenable enough to stand up to
them. First of all, and this is probably the biggest problem,
the vocalist desperately needs to blend into the music more.
His screaming is immensely distracting from the music, which
calls for a far subtler style. Secondly, developing a keener
sense of melody is essential if they wish to stand up to their
peers. Fortunately, there are definite signs of this on
‘Stellar’, the album’s standout track. Unless they wish to
remain in their present world of augmented fourths and minor
thirds, finding an ear for a tune would be a welcome
development, and should not be remotely considered any form of
compromise.
www.illogo.net |
www.ukdivision-records.com |
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Incoming Cerebral Overdrive - Cerebral Heart (Myphonic
Records) Review by Steve Green |
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I think in the past 6 months, I've heard more Italian cds than I have in
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previous 6.1/2 years of this sites existence. The underground in Italy is
definitely busy, although I'm not particularly bowled over by the overall
quality. And this album is a perfect example of why I think that way.
Incoming Cerebral Overdrive are a band I don't really have a bad word for,
but on the other hand, I've not got many positives for them either. They
sit in no mans land, somewhere between ok and competent, with countless
other bands above them in terms of |
quality and energy. ICO are a hardcore
band, with a liking for Voivod style tangents to venture into, but they
don't wipe the floor with me like a band on Bridge Nine of Lifeforce
would. Mainly because there's not the power, or the in your face attitude to
scare the shit out of you.
I'm a casual observer when it comes to hardcore and its related genres,
and there are certain bands that I just love, such as Death Before
Dishonor, and this doesn't make me feel the same way.
www.incomingcerebraloverdrive.com |
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Inkarakua - Self Titled
(UK Division Records)
Review by Steve Green |
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Although it's blindingly obvious to me now, it took three of
four songs for me to decide who Inkarakua sounded like. First
up, there's Cristian Rocco's vocals. He has a strong accent,
which reminds me of either a famous Brazilian Thrash band,
(I'm fed up of name checking them the past few weeks) or an
underground Mexican grind band from the Endless Brutality Of
Men roster. Despite the fact that he's actually singing in
Italian, his voice really does have a South American flavour
to it. The same goes for the music. Inkarakua produce a heavy
mixture of bouncy Thrash and molten hardcore and it's all
wrapped up in Entombed's patent Rot N Roll. In fact, stick LG
Petrov in the classic line-up of Sepultura, |
make him sing in Italian, but with a South American accent,
and you have Inkuarakua to a tee.
Enough of trying to work out how the band sound, the most
important question is, are they any good? Hell yeah! Is the
answer to that one. This sounds superb. This is uncompromising
Metal that drives forward and batters anything that stands in
its way. A lot of this is down to the thick and luscious
production which just gives it that extra bit of oomph. And
I'm left suitable impressed with the eight tracks on offer
here. My only complaint is that the cd isn't long enough.
Clocking in at around the half hour mark, I could have easily
sat through half as much again. Have a listen yourself at:
www.myspace.com/inkarakua |
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