Live 4 Metal - Reviews

Another Life - Memories From Nothing (Vic Records) Review by Steve Green
	It's albums like this, that the skip button was invented for. Another Life is the brainchild of Ribspreader, and ex-Paganizer guitarist, Andreas "Dea" Karlsson and to be honest, it's dire. It's supposed to be melancholic, doomy, progressive metal, but in reality it's a whiney dirge, with the lyrics, on the first couple of songs at least, seemingly written by someone (in this case Rogga Johanson) who has been dumped and has no chance of ever getting over it. This is very painful listening. The first couple of songs are by far the worst and after this awful start, things do get slightly better. I actually think Cotton Pines is a decent song, but there's not enough variation in
Andreas Karlsson's voice and the whole album comes across like a poor version of latter day Paradise Lost, a band who lost me after Icon. Not even the production of workaholic Dan Swano can save this one. One word sums this album up perfectly: Avoid. www.vicrecords.com

Black Rain - License To Thrill (Thundering) Review by Metal Mark
	One thing about 2008 is that there has been a greater outpouring of glam releases from countries other than Sweden. Black Rain are from France and their roots go back to 2002 when vocalist/guitarist Swan and guitarist Max 2 begin playing covers of Motley Crue, WASP and others. They went through some bass players and drummers before landing a solid line-up. A few months ago I heard a three song sampler from Black Rain and as it turns out those songs are the first three tracks on this album. So it wasn't until track four that I got to hear something that was new to my ears. This is a big, fun slab of 1980's influenced glam/sleaze rock. The sound has a definite early
Motley Crue sound and I hear some LA Guns, WASP and others as well. They are big on anthems and group choruses and they use those very well to their advantage. Granted that describes a lot of younger bands who have been bitten by the 80's glam bug, but they guys are a little better than a number of other young glam acts. The guitarists are definitely capable of propelling the music beyond the usual fluff that many glam bands settle for. Swan has a slightly higher voice than some other vocalists, but it works because he knows how to use and it is just different enough to help set them apart. However I will say that songs like "Party War" and "Kill 'em all" appealed to me more than some of the other songs just because it's Black Rain getting away from just their influences and trying to strike out on their own some. "Kill 'em all" particularly shows the real potential of this band. It's a rocker that clocks in around 5:20 in length and it's the heaviest track on the album. I think this album is grower and it's already grown on me. Yet for others who didn't have the benefit of hearing their "Innocent Rosie" EP; you may have to give it a few plays before it sinks in. This is certainly an album that appealed to me and here's hoping that Black Rain keep pushing and progressing. www.myspace.com/blackfuckinrain

Crystal Eyes - Chained (Metal Heaven) By: Joe Florez
	I must give these Swedes some major props. They have been out sixteen years and this is their now sixth release. This is a power metal band that should have made it by now, but have been plagued by poor label and distro deals. Perhaps, now that they are on Metal Heaven they will get some recognition. This is no frills straight up metal with no strings attached. What you hear is what you get. Danish vocalist Nico Adamsen is the newest member to take hold of the mic. With that said, the opener “Ride The Rainbow” is a typical silly fantasy title that starts out the disc and is a mid paced number that contains nice pacing, catchy riffs and choruses that will
have you shouting. This will be a nice crowd pleaser in the live circuit. Nico’s voice is a cross between mid to higher range, and works well for this genre. As we go through the paces, each song is pretty much laced with happy riffs and good beats. The tempos vary without ever going extreme. Things are kept in check from beginning to end with the last song “Guardian” being an acoustic number that is very folky. As I said before, nothing on here is original. It’s just fun music to be taken lightly. Basically, if you are a fan of the German power metal scene and you know the artists associated with the genre, then I can’t see why you won’t have this in your collection. Good times are to be had once this is popped in your player. www.metalheaven.net \| www.crystaleyes.net

Elder - Elder (Meteor City) Review by Metal Mark
	This is the first official full-length release from Boston's Elder and it's heavy-duty monster for sure. My initial response that it reminds me a lot of Sleep's Holy Mountain. Perhaps it's more like an album that would have followed had Sleep became heavier and gone a more progressive route. I dare say that Elder have a greater knack for subtlety than Sleep and they be a little less self-aware as well. From the opening notes of "White Walls" I could feel myself being sucked in by the thick, dark sludge being created. They take a basic approach to their music, but that works wonders as they just dip down low and start hammering out the skull-crunching rhythms. Each track just seems to get better as Elder
summon up slabs of Sabbath style doom and when needed they call forth some fuzzed out type grooves reminiscent of early Electric Wizard. Yes, indeed this album is a virtual doom paradise that grabs you roughly and drags you ever so slowly down a dark and winding path. Each song has it's own personality and the band seem to gain momentum as they move along. The riffs are mainly slow and deliberate, but you can feel parts multiplying as they move along and become more and more comfortable with what they are constructing. Everything is very deliberate, but they have a strong grasp on how to create and manipulate these massive grooves. This year hasn't had as many good doom albums as I was hoping for, but the Elder's self-titled release does a lot to fill that gap. www.myspace.com/beholdtheelder

Gore - Hart Gore/ Mean Mans Dream reissues (Southern Lord) By: Dave Schalek
	Gore, an instrumental Dutch band from the 90s that I’ve never heard of, were apparently a huge influence upon some of the post-metal popular today, most notably Pelican; that is, at least, according to the promo material from Southern Lord. So, with that in mind, and the burgeoning popularity of post-metal in some circles, Southern Lord takes it upon themselves to remaster and package together the first two albums from Gore, entitled “Hart Gore” and “Mean Mans Dream”. In addition to each album in full, numerous bonus live tracks from the same era are included, resulting in a mammoth total of 43 songs spread out over two discs. In addition,
there’s a 32 page booklet included with exclusive liner notes penned by bassist Rob Frey. In short, just about every Gore fanatic out there is probably going to want to jump up and snatch this one up. Frankly, I’m not really sure what the big deal is, though. OK, post-metal is not necessarily my favorite genre, and I can see how comparisons to Helmet and so forth could be made with Gore’s music, but this is pretty amateurish stuff with relatively simple chords, strong structures, and not much variation from the generally mid-paced tempo. In addition, although remastered, Gore definitely come across as a garage band that happened to throw together a few albums, sort of jump started a genre, but never really seemed to go anywhere after that, at least as far as I know. Essentially, I’m underwhelmed as some of the gigantic soundscapes present in the music of some of the better post-metal bands are really nowhere to be found in Gore. However, that said, this is a retrospective anyway, and I’m sure that those of you familiar with post-metal’s roots will find this appealing, as well as anyone wishing to delve deeper into the genre’s past history. Go for it. www.southernlord.com

Mind Gone Blind - Liars And Preachers (Rising Records) Review by Strawb [the cabin boy]
	Welcome aboard me hearties! In the service of the queen, the good ship L4M sets sail to risk all in the waters we know to be full of pirates, as we head to our destination - bonny Scotland. In fact, on the map of the UK we are going up into the top right-hand corner, because it is from here that the four person band Mind Gone Blind hail, although they have signed with Ipswich label Rising Records for this, their debut release. The publicity blurb is brief, so my other source research has led me to the internet where I see pictures of some very young people - far too young to have been around for the original releases of the music they emulate on this CD. The internet search sees them referred to as a ‘classic’
rock band on many sites – they are not by time spent on this planet, but their tunes would attempt to belie this fact. This means that a general simplistic style is employed, harking back towards times when there was no other choice. And it is in recognising this that Captain Steve has scored another success, in that he has sent this album to the reviewer who is still mainly living in this era. Another word that describes the music here is ‘raw’, and I wish to qualify this by stating I am not criticising the mixing or the depth of the product, more that it reflects the hunger of the band members, the youthful exuberance, the cockiness. It hasn’t been over produced either, which I see as another good thing. Midshipman Chris [another reviewer] heard barely a track before declaring – ‘Good band, they just need a singer’. Further discussion reveals he doesn’t like Gary’s voice, but I would say it is not out of place with the music on offer here; he hasn’t got the greatest range, but he is capable. Guitar strangling must be a popular sport for the Jocks, because a number of necks are wrung on several of the tracks and all to good effect. Helen, a work colleague, wondered what it was and said that from the next office it was monotonous, just 20 minutes of repetitive guitar stuff. And would no doubt have exclaimed the same for the remaining 26 minutes to complete the eleven songs, had I not deployed my headphones. So, in spite of being a touch samey at times and released thirty years after its peers, it is in fact a fine CD showing lots of promise, and it highlights the potential for good things to come. Google led me to www.mindgoneblind.com, which seems well out of date, and then I found www.myspace.com/mindgoneblind which is up to date and has two gigs listed later this month - not only opportunities for good music but also perhaps, a chance to plunder Banff and Elgin for those who are with us

October Tide - Rain Without End (Vic Records) review by Sam Thomas
	Rain Without End was originally released in 1997 and featured the work of Fredrik Norrman and Jonas Renkse, better known of course for their work with Katatonia. This re-release has been remastered by Dan Swanö (the man gets everywhere!) and comes with new artwork. Sadly, I missed out on this first time around, but that is one of the great things about reissues: sometimes you get to hear something that you never knew existed. Apparently, October Tide ebbed away because of a reluctance to court publicity – it remains to be seen if this reissue will succeed in raising their profile. As you might guess, the style of this album is not a million miles away from Katatonia,
particularly from the Brave Murder Day era. In fact, if you’d played me this and told me it was produced by Katatonia at about that time, I would have agreed without question. You get the beautiful, dripping melancholy making a perfect whole with (apparently, according to the label) Jonas’ last ever harsh vocal performance. Which begs the question: Why? When you can produce something as perfect as this, why stop doing it? This album has everything going for it, there are lovely passages of doom separated by insistently catchy bits, which all add together to make a haunting sound that seeps into your consciousness like woodsmoke on an early autumn morning. This is mournful doom with death metal vocals, which, when done properly, has to be one of the finest combinations in the metal firmament. Why on earth this was not an outrageous success when it was first released, even with the lack of publicity, astounds me. Most of the CDs that I review are listened to a few times (especially if they are either by a band that I know well or are particularly awful) and then are consigned to the end of a shelf, never to be heard again. This has been played to death (much to the delight of the rest of the household (no, that isn’t sarcasm, for once) and will join the far smaller collection of CDs that I listen to for pleasure. Rain Without End is a beautiful, evocative work of piercing melancholy, which dies away to a haunting absence of sound. Part of its appeal comes from its familiarity, and part from the inevitable way in which the themes are developed throughout, towards an unavoidable conclusion of loss and absence. This is one of the best albums I’ve heard in ages, and I’m sure I won’t be the only one to think that. www.myspace.com/octobertideband

Rose Tattoo - Blood Brothers Special Tour Edition (Wacken Records) Review by Steve Green
	Rose Tattoo were the first band I ever saw live back in 1981. Their first 3 albums, Rock N Roll Outlaw, Assault And Battery, and more importantly, Scarred For Life, were a major part of my teenage years. Since The Tatts reformed at the start of the millennium I've been lucky enough to see them a couple of times, but I've showed very little interest in hearing any new material from them. Maybe it's because I don't want the memories of those early albums tarnished. As it happens, my decision was kind of correct, because on the strength of this album, I went out and bought Pain, and it really wasn't a very good
album at all, but this album.... wow. Blood Brothers was originally released last year, and the version I have, which fellow L4M scribe Dave Schalek kindly sent me, is the US version with a Live at Wacken dvd added to the package, just to add to the already excellent value for money. And whatever you pay for this album, it's worth every penny, as Blood Brothers is right up there with their first 3 classic albums. Kicking things off is the rough and ready Black Eyed Bruiser and it's vintage Rose Tattoo from the very first minute. Cool as hell slide guitar, a catchy as... well, hell riff and Angry Anderson in top notch form, firing out his World weary lyrics with all the conviction he can muster, showing that the fire is still very much alive in his belly. As one songs ends, the next one begins almost immediately. Not as heavy as the opener, Slipping Away is still just as effective, with the guitars of Mick Cocks and Dai Pritchard weaving their magic throughout the song, resting on the very AC/DC sounding (on this song at least) rhythm section of Steve King and Paul DeMarco. Fuck this is good. Once In A Lifetime carries on the same theme, just at a slightly slower pace. Rose Tattoo have always been masters at varying the pace, remember The Butcher And Fast Eddy? And this slow burner threatens to rip your head off at a moments notice, but the trap is never sprung, but you are always aware that the threat is real. The feelgood factor of old is restored on 1854, which a great sing-along anthem that reminds me of the Scarred For Life/ We Can't Be Beaten era of the band. Damn, you just can't beat a good bit of nostalgia and this albums takes me right back to my mid-teens. I've mention "The Butcher..." already and City Blues really could be its long lost brother. Ok, the story isn't as hard hitting as the original, but man has this song got the same sort of magic about it, with Angry Anderson never sounding so good. Sweet Meat re-introduces Rose Tattoo's more carnal side, with lyrics that put Sydney Girls to shame. While Man About Town seems to have a gang theme running through it, and you know that a certain Aussie is still not to be messed with. The seedier side of life is continued on Creeper, which sort of reminds me of a catchier version of AC/DC's Night Prowler, mainly because of the similar lyrical theme. Night Prowler/ Midnight Creeper, kills people at night etc... Stand Over Man cranks up the pace again and this song probably has the best lyrics on the album. I'm not a lyric junkie at all, but even I can raise the odd smile to "A chronic fornicator" and "a verbal masturbator". Again, another cracking song with an infectious chorus and cool as merry fucking hell guitars. As we near the end of the album, we are treated to Nothing To Lose, which is another party hard, rockin' anthem, which lightens the mood a little, before we get the Austra Wally meets Remedy stomp of Lubricated, which brings the album to a very satisfying conclusion. If you were a Rose Tattoo fan in the 80s, then this album, if you haven't got it already, is an essential purchase. And for those that still haven't discovered how amazing this band are, then for fucks sake, get a hold of this, and then start buying up the rest of their back catalogue. www.rosetattoo.com.au/

Theocracy - Mirror Of Souls (Ulterium Records) By: Joe Florez
	Here is once again another band that I never had the chance of hearing, but knew about. The bottom line is this. This only their second record in about five years Numero uno was done by one man as a project. These guys have now expanded to a three piece. This unit is from the U.S. and play a mixture of power/progressive metal. “A Tower Of Ashes” rips right into it with plenty of speed, agility and class. Some haunting atmospherics and keyboards open the song before the guys tear right into their instruments. This is fast, melodic and precise music. The guitars have a ton of bite and the drumming is quite tight and unrelenting. The vocals/guitars are handled by Matt Smith. The only
problem I have here with his singing capabilities is that I feel they are a little too high for this type of composition. I feel that they should be slightly lower and more aggressive, but hey to each their own. Perhaps I just need to get adjusted to them. Overall, a solid and promising showing. This is the second and last of the short songs which are just under the five minute mark. Everything else goes beyond that. “On Eagles Wings” is where I begin to hear Matt’s voice really begin to settle in. The music once again is jammed with power and finesse. There are bombastic background vocals here and this one could be an epic number condensed in a short amount of time. Damn! “Laying The Demon To Rest” opens up with some low end that is a little shocking, but I like it. It throws things off just slightly and they also throw in some seminal blast beats just to keep your attention. The low end remains throughout the song, but the overall sound here is just killer. The six string dual attack has more meat and muscle here. It’s vicious. Just to show you that they just not all about the testosterone, “Bethlehem” is a ballad with some nice acoustic guitar work inserted. Just to show you how progressive they can be, there is a twenty-two minute number in the form of the title track that incorporates everything into the mix. I was shocked at just how proficient Theocracy is. The musicianship is top notch with a lot of power and progressiveness thrown in that will make fans of Primal Fear to Dream Theater happy. You can hear that Matt was influenced by Kamelot. Overall, I’m not sure how much of an improvement has been made since their debut, but all I have to say is…WOW! I’m glad to have heard of this band. I don’t know what the distro looks like for this new and up and coming label, but I suggest hunting this one down as it’s a great way to close out the year. Bravo! www.ulterium-records.com \| www.theocracymusic.com

This Haven - Today A Whisper, Tomorrow A Storm (Vic Records) Review by Marco Gaminara
	The debut album from this Swedish quartet that has been around for 5 years is actually well worth listening to. It is actually a very melodic and mournful affair rather than being all high energy and aggressive. In many ways Patrik Karlsson's vocals remind me of Vincent Cavanagh's by being depressingly uplifting and suiting the music perfectly. Both Patrik Karlsson and Tobias Jacobsson's guitar work blend melody with subtle aggression, by being chunky but mid-paced and nice and heavy, which is exactly how "It’s the End" starts things off. While chunky guitars diminish to give the vocals precedence on "I Will Deceive", but still drive on with occasion airy interludes. Not really dropping the pace, but still feeling
a major tempo change "Welcome to Delirium" has vocals that test Patrik's range very well. Johan Berglund's bass fills on "The Fallen" keep the song driving on when it's winding down to the intense battery that's the intro to "Hero of Your Hell", where the vocal melody prevents it from ever completely letting loose. Ploughing along and having the vocals as a complete counterpoint to the guitar, "Itch!" builds up and slows down several times as it progresses. Slowing things down completely and taking on a far more ethereal sound towards the end of "Apocalyptical Anthem: I. B.C.; II. A.D." does help give it its epic feel. Carrying on in a similar vein to the rest of the album "And the Devil in Me Smiles" alternates between ultra melodic and slightly aggressive, then "Plague" reminds me a lot of Anathema in its slow delivery and mournful timbre. and then it's really slow for the last 2 minutes of the song to help you unwind. www.thishaven.com \| www.VicRecords.com