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Midnattsol - Nordlys (Napalm) Review by Steve
Green |
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Napalm have probably been my favourite label over the past 3 or so years
and I rarely have a bad word to say about one of their releases, but this
one's just not doing it for me.
I was a huge fan if Midnattsol's debut,
2005's Where Twilight Dwells, and I still play it on a regular basis, but
everything that was good about that album, hasn't been replicated here.
Midnattsol have gone for a heavier, more bombastic sound and
unfortunately, Carmen Elise Espanæs, younger sister of Liv Kristine, now
sounds like a clone of her older sibling. And while the vocals are of a
superior quality, all I can think of, is that Midnatsoll now sound like a
2nd rate Leaves' Eyes. The folk elements from their debut are now at an
absolute
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minimum, as are any traces of originality. It's only the final
third of the album that sounds anything like their debut cd. I find it
quite ironic that the only new song from Nordlys that is being aired on
the bands MySpace page is the only one, of three, that relates to Where
Twilight Dwells. The others, are the acoustic New Horizon, which sounds
like it belongs on Within Temptation's Mother Earth opus, as does the new
age/LOTR feel of River Of Virgin Soil. And all the time I'm bitching, I'm
still a fan of songs like Kronkylie and the folkier En Natt I Nord, and
I'm still a fan of the band, I'm just not a fan of their new direction. If
you hadn't heard their debut, and if you didn't know of Leaves' Eyes
existence, then yes, you would probably be raving about this album. But I
have, and I'm sorry to say that I'm not recommending this one.
www.myspace.com/midnattsolfolk |
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Peordh - Glaring From Spacious Woods And Mountains Of Eternal
Frost
(Blackmetal.com Records) By: Dave Schalek |
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Peordh from the deep forests of Appalachia is the sole project
of one man, Dreogan, and consists of ecologically tinged,
pagan/ folk metal with plenty of ambience and atmospherics.
The project’s second full-length, entitled “Glaring From
Spacious Woods And Mountains Of Eternal Frost” and released on
Blackmetal.com Records, is presented here.
The obvious influences here are Drudkh with ecological themes
with a hint of mid-period to late Burzum tossed in for good
measure. Plenty of simple, droning riffs similar to that of
the early releases from Drudkh, a generally mid-paced tempo,
and some pleasing, simple keyboard work form the basis for the
album. In addition, there’s a whispered rasp from |
Dreogan that
is lifted directly from Varg’s playbook on “Filosofem”,
another obvious thematic influence. Some experimentation in
the form of acoustical guitars, keyboards, and ambience with
rainstorms and the like make various appearances, as well,
sometimes for an entire song.
None of these elements are particularly original, but
Dreogan’s work as Peordh manages to pull off the style with
conviction. Although the music appears to meander and lose
focus now and then, generally what I’ve heard on ”Glaring…” is
well done and, in some cases, very catchy. However, by
clocking in at over 70 minutes, some of the tracks on the
album are overly long and could really use a trim,
particularly when the songs began to meander a bit. There are
a few dissonant, off key moments with the keyboards and
guitars that are more annoying than interesting exercises in
experimentation.
In short, however, Peordh certainly shows some promise with
“Glaring… and, after some discretion with editing, Peordh may
begin to garner a great deal of notice. Recommended for those
with a penchant towards ecological ambience.
www.blackmetal.com
| www.peordh.com
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Razorwire - Wrapped In Lies (Psychophonic) Review by Steve
Green |
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This is one of those albums where it's not necessarily my cup of tea, but
I can appreciate the all round quality of the band. I can't really put my
finger on why I'm not completely clicking with Wrapped In Lies, but I
suspect it's got to be the rap style vocals which new frontman Dave Scragg
occasionally employs, as to me, it sounds like Fred Durst and at times,
it's all a bit happy for me, which is a shame as the band can really rock
out when the moment takes them. I'd have preferred them to work on the
more extreme aspects of their sound, but I cannot fault them for the sound
they've created here as the biggest plus point has to be the production,
as this album sounds fabulous. And this, in turn, propels the songs
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forward. Numbers like Fractures and the heavier, Tomorrow Ends
Today, are up there with any of the bands peers and I can see
them flipping over into the mainstream and becoming a more
credible proposition than the more manufactured shit that's
available, and is being lapped up by the masses. And as I type
this, I'm hitting the repeat button on Tomorrow Ends Today, as
I love it's Punk meets Thrash attitude and the song deserves
at least another spin before I finish the review.
Some of the songs are a gnat's dick away from being thoroughly enjoyable.
I love the dark groove of Drempels, but while the band employ softer
backing vocals, I think a more hardcore shouty style backing would have
given it a major kick in the ass. Overall, it's not quite my thing, but
Razorwire are a quality band that have the potential to go far in more
mainstream circles.
If you are interested in this album, get it quick as
the first 1000 copies come with a bonus dvd featuring all of Razorwire's
videos and a load of tour footage.
www.razorwire.info
| www.myspace.com/razorwireband |
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Sathanas - Crowned Infernal (Pulverised Records) Review by
Luke Goaman-Dodson |
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US black-metal has a bit of a bad reputation. Bad in the sense
of ‘rubbish’ rather than ‘evil’, unfortunately. The bands that
break through the shit-barrier generally do so because they
add something else to their BM concoction, rather than simply
aping their European cousins like so many obese, panda-painted
fuck-faces are content to do. Thankfully, Sathanas belong in
the former category, incorporating layers of the thrash and
death-metal that the Americans did so very well back in the
80s. Sathanas were actually formed back in 1988, so this album
has a certain edge that today’s bands mostly lack. Drummer Jim
Strauss was with Acheron for a period, and there is a very
clear Floridian influence here, |
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sounding like a trebly version of Obituary at points – there’s
a lot of groove in Sathanas,
and ‘Summoning the Ancient Hordes’ even features a brief bass
breakdown. The production is decent for a black-metal album,
and is heavy on the reverb. All in all, this is an excellent
release that any blackened-thrash fan should purchase.
www.myspace.com/sathanasmetal
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Soul Of The Cave - Asphalt (UK Division Records) Review by Steve
Green |
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Soul Of The Cave are another in a long line of Italian bands that are
impossible to categorise. They've a cool as hell groove as the foundation
for their own brand of rock, and it's laced with a multitude of styles,
including Stoner, Grunge, Punk, Psychedelia, funk and good old fashioned
Rock N Roll. There's so much going on here, with countless different
genres being represented, but it still comes across as cohesive, and more
importantly, it rocks!!! The only time it gets bogged down is with the
clever ass Primus meets Rock N Roll shit like Money Game, which to me is
just a mess. Where the band excel is with the rocking, guitar led songs,
with Southern flavoured goodies like Senseless and the quirkier
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strums of Girl, leading the way. But they are both eclipsed by
the finale of Yellow Glue, which drifts off into a Neil Young
style oblivion.
I do have a slight concern that although there's an over-riding style that's
prevalent throughout, the switching of styles, mainly at the beginning of
the album, may alienate a few people. A rocking groove reminiscent of Rage Against The Machine one
minute and a laidback 70s influenced vibe the next, maybe too much for
some. Personally, I think it's kinda cool, apart from the funkier moments
that is. www.myspace.com/soulofthecave |
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The Hottness - Stay Classy (Ferret) Review by Steve
Green |
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I've had to fight with my conscience quite a bit to actually enjoy this
album. The album starts off in fine form, after the gentle sound of
someone having a piss, with Straight Brown. The Hottness dish up a solid
wall of Southern flavoured, ballsy rock that's not a million miles
away from their label mates, Maylene and the Sons of Disaster. What makes
them stand out, is the more commercial, melodic vocal, that seems to come
from nowhere. While I think the melodic vocals work brilliantly on
Straight Brown, on other songs I'm in two minds as to whether I like them,
and there begins my dilemma.
The repeated listens I've given this album have taken their toll on me and
I have to concede
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that the more modern elements have won me over. Despite the
crushing nature of the music, and at times, the caustic
vocals, the melodies are hard to ignore and the hooks just get
under your skin. The biggest culprits are numbers like Dearly
Departed, The Ghost and Still Standing, which I'm still trying
to deny that I like, mainly I suppose, because they are likely
appeal to the Metalcore crowd, an area I have absolutely no
affinity with. Fuck it, The Hottness are good, go check 'em out:
www.myspace.com/thehottness |
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Thule - Anthology: 1995-97
(Blackmetal.com Records)
By: Dave Schalek |
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I’ve sort of idly wondered why more black metal bands haven’t
appeared from Iceland. Considering that there aren’t all that
many people in the country, I suppose that isn’t all that
surprising. At any rate, Blackmetal.com Records releases a
retrospective of the Icelandic trio, sometimes quartet, Thule
with “Anthology: 1995-1997”.
The anthology consists of eight total tracks, seven of which
were released on a compilation entitled “Fire And Ice”, and a
split tape with Asmodeus between 1995 and 1997. The eighth
track is new; well, sort of, as the liner notes indicate that
the song was recorded between late 2004 and 2007. |
Basically, what we have here is more or less traditional raw
black metal with plenty of bursts of speed and blastbeats
galore, simple chord progression- styled riffs, rasps, a
grainy production (all of the songs were retouched, however,
during 2007), and a few bombastic hints of influence from
early, pre-“In The Nightside Eclipse” Emperor. Although not
very original, Thule performs the style well and with
considerable enthusiasm.
The eighth track is a redone version of “Thegar Tunglid Er
Fullt”, the third track on the anthology and one which
originally appeared on the split with Asmodeus, with the
former members of Thule, now variously releasing material as
Curse, Potentiam, Fortid, and Sykdom. The redo is excellent
(the original is good, as well) with good musicianship, a
powerful production while still retaining a raw edge, and a
fuller voice and bass than the earlier material.
Overall, “Anthology: 1995-1997” is a good release from a now
defunct band, and you certainly can’t go wrong by obtaining
this release from an obscure band from the reliable
Blackmetal.com Records. Recommended.
www.blackmetal.com |
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