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Nailed - Hatred, Failure,
and the Extinction of Mankind (Anticulture Records)
Review by Luke Goaman-Dodson |
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‘Yorkshire is a state of mind’, according to Julian Barratt of
moderately amusing comedy duo The Mighty Boosh, and one I’m
not entirely estranged from, having in my veins the blood of
Yorkshire’s single greatest playwright (smug mode=off). And it
was in this state of mind that I approached the latest CD by
Wakefield’s Nailed, a half-hour shot of pure
brutal-death-metal administered neat and undiluted, with
absolutely no oh-so-trendy ‘xcore’ influences to soften the
blow for the dozens of floppy-fringed, stretched-eared
tosspots now inexplicably ubiquitous at metal shows of all
kinds. The sound here is somewhere between Morbid Angel and
Suffocation, and the musicianship is tight enough to |
stand up to either.
While I’ve never been massively into this style – my taste in
DM has always leant more towards the groove-laden chug-a-luggers
like Obituary and Bolt Thrower – I know the good from the bad,
and this is very, very good. Very highly recommended.
www.anticulture.co.uk |
www.extremebrutaldeathmetal.com |
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Obtest - Gyvybės Medis (Osmose) Review by Steve
Green |
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Obtest are a band I really should know a lot more about. I first started
discovering the joys of Lithuanian Metal about a decade ago when I
unearthed Ha Lela and Zpoan Vtenz, and I've discovered a few other bands
from the area through the likes of Nailboard Records and Ledo Takas, but
it seems Obtest have managed to have remained undetected by me, until now
that is.
Opening number Apeigos, wasn't really what I was expecting, with the
guitars in particular, sounding very melodic and clean. I was ready for a
piece of unruly Pagan/Heathen Metal, and this was, despite its driving
rhythm, quite catchy and melodic. Fear not, as the heads
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down and create hell, feel of Vedyls was exactly what I wanted to hear and I was immediately
hooked by this rousing anthem. Things get heavier still on Šviesa and
Obtest have already gained themselves a new fan. The title track is slower
in pace until someone decides to make a break for it and the guitars once
again let rip from a standing start. The lead guitars shine throughout the
album, but they don't seem to dominate, in spite of their high profile. It's
not just the guitars that warrant mentioning as I love everything about
this album. Despite the very majestic Pagan nature of their sound, there
is a huge melodic feel to every song, not in the Power Metal way that Ensiferum do things, but in a heavier, thrashier direction. The marriage
of the styles fits perfectly, none more so than on the gloriously anthemic
Sakalo Vaikai. And I think I'd better stop there as I'm fast running out of
superlatives for this album.
Having been to the Paganfest gig in Dudley last week, I'd wager that
Obtest would give any band on that bill a run for their money, this really
is of the highest quality.
www.osmoseproductions.com |
www.obtest.lt
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Septic Flesh - Communion
(Season of Mist) Review by Marco Gaminara |
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It's been 5 years since 'Sumerian Daemons', 5 long years. But
then again they had disbanded, so I had to make do with
tracking down Chaostar stuff, but while good, it just doesn't
have that pent up ferocity that Septic Flesh unleash on you
with such delicate intricacy that you don't realise that
you've been completely lacerated 'til you've already bled out.
Anyway, I'm about halfway through my first listen to this new
release and "blown away" doesn't really do it much justice.
It's got all the classical elements of old, but this time done
by a full 80 piece orchestra and a 32 (wo)man choir. From the
opening 'thin' guitar sound to the heavier bass that comes in
a few seconds later followed by the crushing guitars |
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and Seth's awe inspiring growl, the only thing that "Lovecraft’s
Death" might be missing, but isn't, are the horns and choir.
Christos Antoniou's arrangements are flawless and mindboggling,
and the way he and Sotiris Vayenas strum their guitars makes
you wish that "Anubis" would hurry up and come take you away
to the Underworld. A battery of blast beats from Fotis Benardo
Giannakopoulos accompanied by a choral outpouring complement
Spiros “Seth” Antoniou's bassy voice on "Communion", making it
sound all the more sinister. The full onslaught on "Babel’s
Gate" is only tempered by the orchestral interludes, but the
blasting it receives would bring down any tower. The melodies
that the guitars speed through over the barrage of drums and
percussion on "We the Gods" brings on gooseflesh when it slows
down to an aria of such beauty that you can't envision the
extremities being one. More traditional SF in the form of
"Sunlight Moonlight" is just plain haunting as Sotiris and
Seth both bring their vocal qualities to the song. The brass
instruments on "Persepolis" bring forth visions of vast starry
Arabian nights over desert sands, they even have some lyrics
in ελληνικά, which I'll have translated when I get home.
Continuing with the deific theme we have "Sangreal" with its
slowly building guitar and the dual clean/death vocals by
Sotiris/Seth that are used with great dramatic effect and in
exactly the right places. Wrapping this little bundle of joy
up we have "Narcissus", and if these guys had any vanity about
the epic work of art they have created here, he would be
proud, because it truly is a thing of beauty.
www.SepticFlesh.net |
www.Season-of-Mist.com |
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Sideblast - Flight of a
Moth (Cyclone Empire) review by Sam Thomas |
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Sideblast are another fairly brutal French export. They’ve
apparently been around since 2004, but this would appear to be
their first venture into recorded media. They manage to be
both original in the way that they mix assorted influences
(thrash, death and black metal plus (I’m guessing) horror film
samples in a variety of tongues) and coherent, in that the
tracks as a whole do not suffer from the messiness that
sometimes comes with multiple styles.
The overwhelming impression that this CD gives is, quite
simply, of brutality. In a Gothenburg kind of way, if that
makes sense. Think Dark Tranquillity meets Bloodbath, |
perhaps. There’s a definite nail-hammering into the coffin
kind of beat to many of the tracks, overlaid by heavy as fuck
guitar, interestingly played by Noam, who also plays keyboard.
And that’s one of the really good things about this release.
The guys have obviously thought about what they have got and
what they can do, and then gone out and written the best album
that they could with the tools available. They’ve kept it
fairly simple, not trying to be too clever, and have served up
a helping of good quality brutality. I’m sure that this is
helped in large measure by the fact that they’ve been touring
a lot in France and Italy, getting their sound together,
rather than racing to produce an album at the earliest
opportunity.
Title track “Flight of a Moth” has some really interesting
keyboards, almost tending to the symphonic black side of
things, Tarzan shrieks and then settles down to be a (very
short) little gem of death metal. With the use of samples in
strange places, it’s sometimes not too easy to spot
immediately where one track ends and another begins (still
there’s always the CD display for that) but in a way that adds
to the charm of this album. Strangely, the final (limited
pressing bonus) track is a Sepultura cover, “Arise” which
actually sounds quite good. Maybe I should get Steve to dig
out his Sepultura for me to have a listen to…
One of the best things about this release is that, despite
thinking from the press release that there were too many
separate influences cited, it really all hangs together rather
nicely. I’d guess that it’s main appeal will be for lovers of
Swedish death metal, although it transcends any attempt I can
make to categorise it. However you describe it, one thing is
certain. This is actually a very good, enjoyable piece of
French metal.
www.myspace.com/sideblast |
www.cyclone-empire.com |
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Taint - Secrets and Lies
(Candlelight) Review by Metal
Mark |
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I really felt myself saying "hmmm" a lot while I listened to
this one because I found myself really having to consider what
was going on here.
A lot of people seem to be easily biting onto the hook that's
being offered by this band from Wales. After two tracks I was
left a little disappointed as the impression I was getting
that this was starting to sound like an entree of warmed over,
very stoner rock with a skimpy side of so-so death metal
drippings. Yet by track three the meaty riffs I had been
hoping for started to make an appearance and the vocals that
had too far buried on the first two tracks started to emerge.
After that, the album stays at a fairly high level with the
music being |
somewhere between Clutch and Black Sabbath, but a times they
strike out on their own and show their own style of heavy
hitting, sludge laden riffs as well. I am not sure I
completely like the sound of the bass at all times and the
vocals aren't always consistent. I think at times they show
themselves as being technically better than a number of bands
playing this style, but at other times they are merely just
decent. There is a lot of potential and Taint slowly seem to
be easing themselves into their own style as they try to build
up a foundation, but there's certainly work to be done. These
guys know how to bring the sludge and pump some heaviness into
it, but their are plenty of moments where it's just alright.
My hope is they don't buy into a lot of the hype that seems to
being tossed their way. Instead I think they need to focus on
the times when they just grab a song and rip and tear into it.
That's the kind of approach they are capable of, but they need
to reach for it to be their main approach rather than the
occasional peak which is what they have here with "Secrets and
Lies". Pretty good overall, but hopefully the best is yet to
come for this band.
www.myspace.com/taintuk
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The Scourger - Dark Invitation to
Armageddon (Cyclone Empire) Review by Chris Davison |
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It would appear that when you reach 18 in Finland, they give you your ID
papers, your national insurance number, a copy of Reign in Blood, an
electric guitar and amp. Why? Well it seems for a country that only has
about five and a half million inhabitants, it seems there are about two
and a half million Finnish metal bands ! However, where as the current
crop of Finnish bands seem to be content with breaking out the accordions
and knobbing about in Longboats, The Scourger are an altogether more
thrashy outfit.
Formed in 2003 from the ashes of Gandalf (the band, rather
than that bloke from Coronation Street who was either grey or
white, depending on which washing powder the |
hobbits used), they have already had a busy release schedule
of albums, E.P.s and singles (blimey, anyone under the age of 30
actually know what a single is? Ask your folks...).On the strength of this
release, it seems as if they have spent a godly amount of their time
dedicated to snapping necks and getting arms-a-pumping at their live gigs.
In a nutshell, this is incredibly tightly played, modern thrash metal in
the vein on Testament circa their “Gathering” album, albeit played with
much more aggression and fantastic guitar playing. Some of the playing
here is so dense and frantic that there are times when they seem to put a
toe over that fine line that would see them labelled as a melodic death
metal band, especially with the rapid double bass laden drums, courtesy of
Seppo Tarvainen. That classic thrash swing is also classic in many songs
too however, with the most effective sections being mid-tempo
stomp-a-longs like the simply pounding bombast of “To Tame a Life”. Other
tracks, such as the self-assured swagger of the guitar toting “Beyond
Judas” showcase just how talented the guitar duo of Antti Werman and Jani
Luttinen are. Somehow, the power of the bass playing gets a little lost in
the production, which is a great shame because Kimmo Kamminen certainly
seems to have mastery of his instrument. The vocals are of the high,
rasping kind, and reminded me mostly of old Carnal Forge, which isn't a
bad thing at all – though the thrash purists among you may roll your eyes
at yet another thrash band that don't employ a vocalist of the classic
school. It's all a bit horses for courses I guess, as I thought that Juri
Hurskainen does a great job in delivering aggression while being eminently
decipherable, which is more than you can say for a great many of the more
extreme singers these days.
If you're getting a little tired of all the backwards looking retro
thrashers being bandied around these days as the new messiahs of thrash
(and I know for sure if I hear one more recycled riff from “Bonded in
Blood” I think I'll go absolutely postal), and wish that thrash could be
revitalised for a new century, then this could be the album for you. It's
not going to change the world, but then there's something to be said for
the simple pleasure of hearing good music played well.
www.myspace.com/thescourger |
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Through Your Silence -
Whispers to the Void (My Kingdom Music) review
by Sam Thomas |
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Through Your Silence hail from Milan, Italy and “Whispers to
the Void” is their first full-length recording. According to
the press release they play “intense and melodic Death Metal”
and are an absolute must for fans of Dark Tranquillity, The
Haunted, Soilwork, Amon Amarth and Dissection amongst others.
I must admit that this rather all-encompassing list left me
uncertain as to whether I should just write it off as your
regular journalistic hyperbole, or to be somewhat concerned
that someone was attempting to emulate so many different
styles in one forty minute recording…
The first track opened well, leaving me in mind of Dark
Tranquillity (one that was included |
on that list) but unfortunately things came apart at the seams
a bit after that. I hadn’t realised that they were going to
attempt all these different styles in just the one track! And
that is the fundamental problem with the album. It’s all over
the place. The main influence would definitely seem to be
Gothenburg sound, but there are some truly awful female vocals
thrown in (and I’ve heard some really bad female vocals over
the years), some strange bits of guitar and some parts that
are so bad that they are probably hardcore or metalcore (two genres about
which I choose to know nothing and remain happy in my
ignorance). The pace is constantly changing, but without any
apparent plan or design. That’s really the big problem for me
– there is no coherent design to this album – it all appears
to have been thrown together without any control. As an
economy measure, if you only wanted to buy one album this
month, it would work because you’d be getting plenty of
different styles for your money. Otherwise, avoid this.
www.throughyoursilence.com |
www.mykingdommusic.net
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Valdur/ The Frost/
Massemord - Split (Blackmetal.com Records) By:
Dave Schalek |
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The first of six (count ‘em) promos from San Francisco based
Blackmetal.com Records comes in the form of a three-way split
featuring Valdur, The Frost, and the Norwegian version of
Massemord. First up is Valdur, from the Eastern Sierras of all
places, with a contribution of three songs entitled “Battlescars”.
Valdur present an exceptionally powerful version of black
metal with a definite old school vibe with plenty of sloppily
played riffs, a huge, thick bass, and a bottom heavy
production that absolutely drips with power. The three songs
here consist of rather simple riffs and bursts of speed, but
are insanely catchy, particularly the title track “Battle
Scars”. Excellent stuff and I’m immediately heading out to |
track down the band’s self titled debut full-length from 2007
on Bloody Mountain Records.
Next up is The Frost, a grim, raw black metal act from Croatia
that is mostly a one-man project, although a session musician
or two are present. Consisting of a rather traditional
approach to raw black metal with a thin production and droning
riffs, The Frost’s five song contribution to the split,
entitled “Sounds Of The Frozen Hate”, unfortunately also
contains some poorly played drumming with a noticeable
tendency to annoying drift out of pace with the rest of the
instrumentation. Ultimately, I ‘m not nearly as impressed with
The Frost as I am with Valdur.
Norway’s Massemord is a rather established one-man wrecking
machine with two full-lengths already under wraps. Coming
across as a mix of Darkthrone and the catchiness of early
Svartsyn, Massemord’s six song contribution to the split,
entitled “This Is My War”, is professionally played raw black
metal that should tide you over as you wait for the next
full-length.
But, wait! There’s more! There’s no indication in the liner
notes or the promo material, but the album continues with the
first demo from the now defunct Everwinter from Virginia, a
five song affair entitled “Final Victory”. Surprisingly
well-produced for raw black metal, let alone a debut demo,
“Final Victory” has some atmospherics and even a moment or two
of melody to accompany the assault.
For the amount of sheer bang for your buck, Blackmetal.com has
a released a comp/split that is more than worth your money and
is a good way to sample some obscure bands.
www.blackmetal.com |
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Walls Of Jericho - Redemption EP (Trustkill) Review by Steve
Green |
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Walls of Jericho front woman Candace Kucsulain has finished many a gig
battered and bruised, has suffered a broken nose and has even ended up in
hospital, such is the energetic level of her performance. Here we see
Walls Of Jericho stripped back, in acoustic form, with Candace singing
sweetly and with barely a hint of aggression to be heard.
I have to say I'm not that familiar with the bands hardcore work, but the
change in style on this release is very much to my liking. Of the 5 songs,
Candace duets with producer, Corey Taylor, he of Slipknot fame, on three
of the them and the results are stunning. Very mellow and utterly
absorbing, I can quite easily stick this on repeat all afternoon. Ember
Drive is |
probably the most beautiful song I've heard so far this year,
it's kind of similar in texture to Kristin Hersh's classic My Ghost, where
she duets with REM's Michael Stipe. Which reminds me that I need to dig
that album (Hips and Makers) out for a few overdue spins.
I'm sure this complete change in direction will shock many a fan, even I
was surprised with their choice of cover version, House Of The Rising Sun.
This is a song I have heard way too much during my lifetime, particularly the
version by The Animals, well WoJ breathe new life into this old bastard
and it almost sounds like a brand new song. It seems they can do no wrong
on this EP.
I'm pretty sure I won't be a big fan of their normal style, but I
absolutely love this EP. I just hope their regular fanbase thinks the
same. Check out Ember Drive on their Myspace page:
www.myspace.com/wallsofjericho |
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| Zero Hour - Dark
Deceiver (Sensory) By: Joe Florez |
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Just two years ago, this mega progressive metal band released
their first clunker Specs Of Pictures Burnt Beyond. It was
watered down from what they normally produce and the end
product was weak. Now, they have had time to regroup and
refocus and the output is just intense and wild.
Shot right out of the cannon, first cut “Power To Believe”
hits your ears with sharp and striking drumming along with
fast bass licks and even quicker riffs. Chris has the power to
sing with grace under pressure because the composition gets
complicated immediately. If I was a singer, I would have been
lost in the shuffle from the get go. Things are hectic at
first, |
but then smooth out slightly to the point where you can enjoy
the performance of the vocals and the music. But, just like a
pendulum, this thing goes back and forth with tremendous
unpredictability. The solos on here are absolutely nuts and
will make many guitar wannabe’s scratch their heads. Dream Theater should take notice. Alright, this is getting
ludicrous. The title track is completely bonkers. The guitar
work is filled with flailing fingers that hits a million notes
a minute while the singing skills take it up a few notches and
as for everyone else, they just follow suit and play
ambidextrous music that would make Meshuggah proud. This isn’t
for everyone to soak in. After confusing your brain for the
first third of the disc, “Resurrection” is lighter to a
degree. Call it a prog ballad if you will, but the lung work
that Chris manages to provide is softer and very sincere. He’s
singing from the heart and it shows. The pacing is more
mellow, but at the same time the drums and axe work seem to
get a little crazy, but just not as obnoxious. It’s hard to
describe in words. You would just have to hear it to
understand. I don’t know when was the last time that I heard
something so over the top as this, but in a positive way. I
will let you all know right now that this isn’t for all even
if you are a true prog/metal head. There is some serious shit
going on here and only those that understand all the
complexities of this genre that has to offer can soak this in
otherwise others will be lost. This is anything but a paint by
numbers discs with a deluge of melody. Great stuff if you can
hack it.
www.lasersedgegroup.com |
www.zerohourweb.com |
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