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Abigail Williams - In The Shadow Of A Thousand Suns
(Candlelight Records)
By: Dave Schalek |
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Given that my views of deathcore have precipitously dropped of
late (not that I was entirely enamored with the genre in the
first place, mind you), I approached the long overdue debut
full-length from Abigail Williams (the band has recently gone
through numerous line-up changes) with some trepidation.
Although I gave their debut EP, “Legend”, a good review awhile
back, I was almost positive that I was in for a grueling
session of mediocre deathcore with “In The Shadow Of A
Thousand Suns”, the band’s debut full-length released on
Candlelight Records. I was pleasantly surprised to find that
my anxiety was misplaced. |
The deathcore influences that appeared on “Legend” from 2006
have largely been excised, at least in terms of the music.
Instead, the symphonic black metal influences already present
in Abigail Williams have been greatly emphasized on “In The
Shadow Of A Thousand Suns”, right down to the album’s cover
art. Yeah, Abigail Williams is more than just borrowing a page
from Dimmu Borgir, Emperor, et al, with shredding guitars,
blastbeats galore, and plenty of keyboard work and melody, but
the band’s high quality of musicianship and overall good
songwriting skills briefly let you forget that you’ve heard
all of this before. Worth noting is the exceptionally good
keyboard work with interesting compositions and an ability to
provide extra emphasis to the melodies present without
becoming overbearing or saccharine. Also of note is the
excellent drumming from Samus (apparently, Trym also has a
hand in here); however, the vocals are still a rather annoying
deathcore shriek.
In short, “In The Shadow Of A Thousand Suns” is a good example
of symphonic black metal (I’ve also recently warmed to the
debut from Sothis, more so than my review from a few weeks
back). I do think, however, that Abigail Williams would be
better off if they dispense with the deathcore “aesthetic”
that still seems to surround them.
www.candlelightrecordsusa.com
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www.myspace.com/abigailwilliams |
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Artas - The Healing (Napalm)
Review by Steve Green |
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With Napalm having dubbed this "Modern Metal", I really did fear the
worst. As much as I love the label, I'm never too enamoured at their
signings that stray too far from the underground, and this is no
exception.
I liked the opening number Babossa, which is in your face modern Thrash.
Then came a take-it-or-leave-it piece of bouncy Thrash, which reminded me
of Sepultura... although this Austrian band decided to sing in Spanish.
Then comes a cover of Coolio's Gangsta's Paradise, which is ok, but sounds
too contrived and veers too close to bouncy nu-metal shite for my liking.
But then, thankfully, we get a few decent songs in a row. But it doesn't |
really matter what comes next as I'm always expecting another
clanger to be dropped. And then the band moved onto their
third language, this time German.
Truth be told, Artas could be a good band, as I like the core of their
sound, but it feels as if they are trying to fit too many styles and ideas
into a small hole. This lack of direction leaves this a little messy and
to be honest, I've no idea what sound Artas are trying to achieve on The
Healing. As the old cliché goes, "Less Is More", and this album is in need
of a serious de-clutter.
www.napalmrecords.com |
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Beehoover - Heavy Zooo
(Exile on Mainstream/Southern) Review by Metal Mark |
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Beehover are a bass and drum duo that play an offbeat style of
heavy music. Now they adore some good, raw and heavy riffs.
Most of their songs begin around their love: a big, meaty
riff. After establishing that they then slowly begin to
venture of his other directions yet they never lose site of
that riff. At first I took this approach as being somewhat
repetitive, but I don't think that's fair. It's more like the
main riff is their hive and the two instruments do at times
leave that hive and go off in other directions, yet they
always return. Many of the songs start off in a very simple
manner but they soon divide and bring different sounds and
styles into the expanding mix. There is often a sense of
subtlety because they |
know that they can amaze and astound your senses without
having to beat you over the head. They were probably raised on
equal doses of Budgie, Sabbath and ELP and they probably love
Tool and OM as well. They still manage to create their own
addictive and bizarre interpretation of those influences. This
band obviously love some down and dirty doom, but they embrace prog-rock as well. So they end up combining the two into an
oftentimes uneven marriage of sorts that somehow manages to
work.
This is not an album for everyone because it does
require patience because they are taking their own time about
building these songs exactly as they see fit. However if you
sit back and enjoy ride then you are in for bone-rattling,
mind-numbing experience. |
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Black Metal Satanica - DVD
(Cleopatra Records/ MVD Video)
By: Dave Schalek |
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A month or two ago, I gave the totally silly “documentary”
entitled “This Is Black Metal” a rather dismal review, mostly
for its inanity and lack of seriousness in its treatment of
the subject matter. As an interesting juxtaposition to that
DVD is yet another black metal themed documentary from
Cleopatra Records, this one entitled “Black Metal Satanica”.
The juxtaposition is warranted as “Black Metal Satanica”
purports, at least, to be a much more serious look at some of
the current, most definitely “true”, bands working out of
Sweden, mostly, today.
A rather short film at about 90 minutes with no extras
included whatsoever; the focus of “Black Metal Satanica” is
not really to showcase the music, as very little is actually
presented during the film. Instead, the film allows members of
such bands as Watain, Shining, Ondskapt, and others to
describe the ideological thinking of the current scene. |
Along with these one-sided conversations, as the interviewer’s
questions are rarely filmed, is some narration (probably the
only distracting element of the film as the narrator uses a
rather forced, sonorous intonation that comes across as
unintentionally humorous) explaining different aspects of the
black metal genre and the usual historical background
information on the first bands to come out of Norway (Burzum,
Mayhem, et al). Worth noting is some emphasis placed upon
Bathory (some rare photos and footage are presented), and
Quorthon’s contributions in general, along with descriptions
of Viking cultural influences in black metal.
Probably the best moments of “Black Metal Satanica” occur when
Erik Danielsson and Kvarforth, in separate interviews, talk at
length of their personal ideologies and their effects upon the
music. As Danielsson and Kvarforth explain with an obvious
personal devotion, black metal is so much more than just music
and you do get a pretty good sense of that with these
interviews that come across as totally sincere, and not as
theatrics designed to sell records (as other “true” bands seem
to do, in my opinion). Other interviews featuring Svartahrid,
Ondskapt, and Vreid are also compelling and genuine, as is an
interview conducted with an unidentified member of the scene
who has participated in Scandinavia’s spate of church burnings
(the interview ends on a rather strange note with an almost
“Blair Witch” feel).
Needless to say, whether or not you choose to totally buy in
to what various figures are saying throughout the film, “Black
Metal Satanica” is one of the more serious looks at the genre
(that may change as more films about black metal are being
produced, such as the just released “Until the Light Takes
Us”, and as the pre-production frenzy swirling around “Lords
of Chaos” continues to grow), and the film does so without
descending into condescension or frivolity. For that reason
alone, I highly recommend “Black Metal Satanica”.
http://mvdb2b.com
| www.cleorecs.com |
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Crematory - Pray
(Blistering Records)
By: Joe Florez |
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I have to say that I have had a real love/hate relationship
for a long time with this German band. I know a lot of
fans were there in the beginning when they were considered
more or less doom/death metal when it was all the rage in the
early 90’s. Felix growled his way from track to track and
album to album. I didn’t care it for it until I saw the video
for “Shadows Of Mine” which was more melodic, but managed to
still pack in a wallop. From record number two and onward, the
keyboards were used more and their sound became more
accessible for someone like myself while others perhaps flew
away. It would be Act |
Seven and Believe where things got more commercial and
synthetic, but happened to just work. I cherish those records
the most. Also, that is when Matthias would join the band as a
new guitarist and clean vocalist. When the more techno sounds
were incorporated into the mix on Revolution, that’s when I
called it a day with them and pretty much never looked back. I
knew of their new album Pray, but had no interest in hearing
it until it was mailed to me. And now, the new journey begins.
“When Darkness Falls” is up to bat first. The guitars are very
melancholic and relaxed. Katrin’s keyboard work provides great
atmosphere as always and the vocals are spoken very softly in
the beginning that is until everyone comes crashing in with
full force. I have always liked Marcus’s drum style because
it’s very strong, solid and tight and even technical at times.
Both Felix and Mat collide during the chorus between the clean
and harsh singing. This is how I remember the guys. They
manage to be heavy, dark and yet catchy and melodic. While
this may not sound like their humble beginnings, this is still
entertaining. The eerie vibes continue to crawl all over “Left
The Ground” and this one has a more pop/commercial feel. Mat
handles the verses/bridges perfectly while Felix only chimes
in for the chorus. Fans from the past may want to gravitate
toward “Alone” which brings back the sludgy sound that is slow
and creepy. Very doom like. It’s funny to hear a melodic death
metal ballad and “Sleeping Solution” is it with the growls.
After a few songs inserted in the middle that kind of bring
things down to a halt, “Burning Bridges” picks up the pace to
a more mid range setting and keeps it there. The main problem
I have always had with this band is…Felix. All he ever does is
growl and it very monotone. It has never changed since day
one. I would like for him to change it up just a little to add
some freshness to the band. I have always thought of these
guys as talented musicians who were always tight and on point
with their sound. I think that by taking a few years off from
this band proved to be good because I missed their sound and
this is a pretty damn record. Now with American distro, fans
who haven’t been able to get their stuff since their Nuclear
Blast days can once again complete their Crematory Catalogue.
Melodic/doom/death/goth is still alive and well.
www.blisteringrecords.se
| www.crematory.de
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Elite - We Own The Mountains
(Folter Records) Review by Crin |
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3rd full length from this Norwegian band who formerly resided
on the cult No Colours label. Here we find the band thundering
onwards with their fiery thrash meets Immortal style of choppy
Black Metal. The pagan subtleties of past works is all but
replaced with a more direct “Bash ‘em up” musical barrage that
straddles the fertile line between wanton Mayhem affiliated
ear dismemberment and the more polished aural hacking of Aura
Noir. There is a flickering of Kampfar in the mix, that
certain Nordic identity that reaches out during the
mischievous guitar arrangements. The barking vocal snarls add
nothing new to what seems a band in need of direction as the
initial three tracks plod through familiar |
territory. Fast bits woven into slower parts, fusing together
harsh dynamics with intricate guitar sections. It isn’t until
track five, Rovnatt, that a cleaner vocal is applied and the
album attempts to vault into life. Here we find the strengths
of this band used to better effect. This is pure Norwegian
pagan Black Metal at its finest.
As the album rolls into its end, there is a further surprise
from the Bathory-like, Fodt til Vanvidd. This slow burner is
an up-tempo arrangement that will drag you into a head nodding
metal orgasm, as will the hypnotic “Vi Skyr Ingen Strid”. This
is an album that necessitates you hearing its entire contents
to grasp the full potential of its, at times, fantastic music.
The album’s strengths reside in the latter half of its
construction. Elite are a Norwegian band that inhabit that
middle area alongside the likes of Kampfar, Helheim, Hades and
the likes. They will never slither into obscurity, but equally
they will never burst into the upper levels of mainstream
Black Metal. Elite will always produce what I call a reliable,
well meaning, passionate onslaught of decent [and on occasions
quite resplendent] music without changing the world as we know
it. |
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Enforcer - Into The Night
(Heavy Artillery) Review by Metal Mark |
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The first time I heard Enforcer was last year on the "Speed
kills...again" compilation on which they contributed two
songs. They were signed to Heavy Artillery Records and their
debut was actually towards the top of my list of releases that
I was most looking forward to in 2008.
The opener "Black Angel" comes pounding on like early Exciter
only with slightly higher vocals. Right away I know that I am
going to love this album. "Mistress From Hell" is on next and
this is more like Raven's first few albums, which is a
refreshing change as not enough bands acknowledge their
influence on thrash. After that, the influences go back and |
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forth including a huge dose of early Iron Maiden, more
Exciter, Kill 'Em All era Metallica,
Savage Grace and probably a few NWOBHM bands as well. One of
my favorite tracks is the instrumental "City Lights" which
begins like something from Iron Maiden's "Killers" and then
halfway through switches to be more like something from "Piece
of Mind". Much of this album sounds like it could have come
right out of 1983 with the blend of NWOBHM influences and
early thrash bands. However, Enforcer are more than just a
time capsule because they do blend styles and bring a
smoothness and energy to their style. They have their own
ideas and they how to weave those ideas in with their
influences. This results in a spectacular blend of some of the
best styles of metal's past coming together. Many of today's
retro-thrash acts look only to the sounds of about 1986 and
later, but Enforcer dig into the roots of the genre which
happened earlier than that. I think one of my favorite aspects
of this album is just their unbridled fire as they just plunge
ahead and go. I will say the vocals are higher than many
typical thrash bands and I think they work fine, but I can see
some thrash purists not being big on them. Personally, my only complaint is that I had to
wait until now for this to come out because I think originally
they thought it would be out a few months ago. This is a fantastic release that captures the
sound and spirit of some of my favorite sounds in metal.
www.myspace.com/enforcerswe |
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Enslaved - Vertebrae
(Nuclear Blast Records/ Indie Recordings)
By: Dave Schalek |
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I must admit that it took me a couple of listens of
“Vertebrae”, the latest full-length from Enslaved on Nuclear
Blast Records, to really get into it. A challenging band,
Enslaved have now moved pretty far from their roots as
“Vertebrae” could only loosely be called Viking metal, mostly
just in terms of the ethnic origin of the musicians if nothing
else, and are now solely a progressive band with some
similarities to Opeth and with a focus upon melody, variation,
and minor psychedelic touches.
Fellow L4M scribe Crin, in a different review, recently
described Enslaved as forever morphing into a contorted
version of Pink Floyd. His description is certainly apt as the |
Pink Floyd touches that have been increasingly present on Enslaved’s last few releases are now very much at the
forefront of the music with more emphasis placed upon the
clean vocals and, notably, very fluid guitar soloing that
takes more than a page from David Gilmour’s playbook (I’m
greatly reminded of Gilmour’s early solo albums). As is
expected from this veteran outfit, the songwriting,
musicianship, and production are all of exceptionally high
quality along with an interesting theme prevalent throughout
the album. Therefore, the only question really remaining is
whether or not you’re going to like it; that is, those of you
that have been with the band for awhile, as well as anyone
else taking a look at Enslaved for the first time. Well, those
of you that bailed out prior to “Isa” will probably continue
to stay away since the blastbeat era of “Blodhemn” and so
forth is long gone, but those of you that enjoy the band’s
current direction will find much to like on “Vertebrae”. In
addition, newcomers may be surprised to find that all of the
progressive touches really no longer label Enslaved as an
extreme act.
As I mentioned, however, I did have to warm to the album as
the first track or two are passive and melodic with some
quirky songwriting. By the time the title track arrives,
though, “Vertebrae” really hits its stride with excellent
variation ranging from faster paced tracks mixed with the
psychedelic, thoughtful, progressive touches.
Overall, I do recommend “Vertebrae” as an excellent example of
an album that transcends genre boundaries, but those of you
looking for a harsh blast of Viking metal, and nothing more,
will probably be disappointed.
www.enslaved.no
| www.nuclearblast.de
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www.myspace.com/indierecordings |
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Exciter - Thrash Speed Burn
(Blistering Records)
By: Joe Florez |
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With the resurgence of thrash and how much of a fan I have
been of this genre for many moons now, I have to say that I am
ashamed of myself for not listening to Exciter more often than
not. Yes, I have always known of this band and possess one of
their records and even played a track or two when I worked at
a radio station, but I simply never investigated into this
band much. I believe that this is their 11th studio record
with new vocalist Kenny Winter and hot damn! This is thrash at
its finest. “Massacre Mountain” (wouldn’t that make for a cool
band name, no?) just decimates your speakers and ear drums
with sinister riffing, quick drumming and vocals that hit the
high pitch range |
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at times. Jesus Christ, this track will make your flowers wilt
because this is music with a shot of steroids injected into it
and this is raw too. No slick production here. This is old
school with better use of recording equipment, but keeping the
old vibe and spirit alive and well. The solo on here made my
ears bleed. I love it! Each track on here simply gets faster
and more primitive as we progress. These Canucks simply don’t
know the meaning of quit and deliver the goods on all fronts
as far as I’m concerned. They pull no punches as make no
apologies for what they do. This is simple and straight up
thrash, the 80’s way. Hey, I know many of you out there are
being lured by the current crop of kids creating music that is
older than they are. Do yourselves a favor and get one of the originators of the scene
and they will show you how it’s done. Dig in.
www.blisteringrecords.se
| www.hemidata.se/exciter
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