Live 4 Metal - Reviews

Ekklesiast - ... When the Dead Boughs Will Awake From The Dreams (Solitude Productions) Review by Chris Davison
	Thank God for the internet. This came to me from those fine fellows at Solitude without any kind of promo or biog, and the disc and inlay both in Russian. Now, it's fair to say that my grip of the Eastern European languages really only extends to the words “beer, eat, drink” and a choice selection of profanity in Polish. Thanks to the wonders of the infernal workings of the interwebz and the creepy goblins that work it, I was able to discern that Ekklesiast are a fairly long lived band, having formed in Russia back in about 1994, and that this album is a re-recording of two old demos using modern techniques and (one presumes) better playing than in their formative years.
Look, it says on their myspace that Ekklesiast are a Christian metal band, but to be honest, given that it's all sung in Russian and sounds as miserable as unholy fuck, I wouldn't let that put you off if you're not one of the fans of that Nazarene chippy. The “Christian” label really shouldn't be a problem for doom heads considering the pedigree of bands like Trouble. Some people find depressing music to be...well, depressing, but I'm lucky in that I can consistently find it rather cathartic. This lot are clearly a doom band with some roots in doom / death, but there are also shades of classic doom, classic rock and more than mere hints of the arch miserablism of Icon era Paradise Lost. Deep, gravelly throated roars perpetuate the music, which consists mostly of tasty, rumbling riffs played towards the speedier range of slow. The mainstream rock connection makes itself heard through the proliferation of hooks and catchy riffage, which harnesses the more addictive qualities of simple riffing to good effect – once the riffs have you snared, like a struggling fish, you'll be reeled in and then battered over the head with the wooden mallet of the slower, doomier passages. The guitars themselves alternate between the sepulchral motifs of the main riffs, and the frequent, well played melodies that hearken back to classic Obsessed. The production can sound a little weak at times, particularly on the drum sound, which often sounds a trifle hollow to my ears, but as ever, it's the strength of the material here that carries through regardless. These are well crafted, earnest songs that are well played and significantly different to material being played by their Russian peers. It would be churlish of me to say that I think I suffer for not being able to understand the lyrics, when the vast majority of metal fans worldwide have to make do with most of their music being sung at them in English. It's a fine album, and a mysterious slab of music at that. Who knew, for all those years, what was fermenting behind the Iron Curtain? Turns out that they were quietly, competently training legions of accomplished metal heads... http://solitude-prod.com

Khors - Mysticism (Paragon Records) By: Dave Schalek
	Ukraine’s Khors release their third full-length, entitled “Mysticism”, on New York-based Paragon Records. In Khors, Paragon Records has added yet another quality Continental black metal act to their growing roster. Having connections to just about every black/ pagan metal band in the Ukraine from Hate Forest to Nokturnal Mortum, Khors play a mid-paced melodic brand of black metal with some influences of melodic doom present. “Mysticism” pretty much has it all; that is, stellar musicianship, good songwriting, huge guitars, a very loud bass, and plenty of melody all backed up by a gigantic production and a mid-paced tempo. Add a typical rasp and a few melancholic, quiet moments with a
somber tone, and “Mysticism” very quickly becomes a seamless blend of mid-paced black metal and melodic doom. I hate to say it, though, something is a bit lacking, even with all of the positive attributes. I’m not quite sure what it is, but, with the exception of the truly awesome title track (featuring some excellent slide guitar at the song’s conclusion), for some reason, “Mysticism” doesn’t really grab a hold of me in an emotional manner. I find myself generally liking the album, but I can’t help but think that I’ll probably end up putting the album largely aside once I’ve fulfilled my obligations in writing this review. However, my own negative comments about “Mysticism” are probably more of a reflection of my own tastes, rather than a result of any truly low quality aspects to “Mysticism”, of which there are none. Certainly, if you’re into melodic doom and/ or some mid-paced, mild black metal, you’re going to find much to like on “Mysticism”. Recommended. www.myspace.com/khorspagan \| http://paragonrecords.org

Seizure Crypt - Under the Gun (Bad Elephant Productions) By: Dave Schalek
	NYHC returns in the form of the second release from Seizure Crypt. “Under the Gun”, released on Bad Elephant Productions, is a short, 21 minute affair that largely continues the pure hardcore style of “Hello… My Name Is Madness” from last year. Take one part Agnostic Front, another part Attitude Adjustment, add some humor to the mix, and throw in a few quirky moments for variety, and you pretty much have summed up “Under the Gun”. Although enjoyable enough for its quirky bits of humor, considerable lack of polish and obvious distaste for any pretensions of such, and an almost rockabilly approach to their
brand of hardcore (it comes to mind), there’s actually very little in the way of metal to be had with Seizure Crypt on “Under the Gun”. Mostly, I’m reminded of some of the more humorous hardcore acts, what little experience I have with them at any rate, such as the Angry Samoans and so on. In short, this isn’t really my thing. If you find any of these comparisons appealing, then you may find something of interest in Seizure Crypt, but, otherwise, I’d probably pass on this one. www.seizurecrypt.com

Skitzo Calypso - Burning Down An Empire (Bi-Polar) Review by Metal Mark
	I always get kind of excited when I get to review a CD from a band from my area. It's even more exciting and satisfying when the band in question is actually worthwhile. Fortunately that is definitely the case with Baltimore's Skitzo Calypso. The band pulls in elements of metal, hard rock, and pop and then swirl them together while keeping everything in motion like some sort of windmill. It's not about how many styles you throw into the mix though. It's about what the band does with them, the strength of the arrangements and how well they put these tools to use. They handle the various sounds well as they manage change their approach frequently but still make it sound like a natural
progression. Now there are a few songs where they begin with a strong, hard riff and then go into some softer melodies, but yet they fail to blend the two styles. That's a shame because they also do manage to merge the melodies with some heavy bursts on numerous songs. When they get the two sides together that is where this band really excels. It's also where they seem very comfortable and they just build their energy level up. However there are times where they sound like they are trying to force something that is just not there. They fare much better when they just keep moving along. The vocals are decent, but not quite as consistent as the music. Again when the music is chugging along then the vocals tend to go along and elevate to the next level. When the vocals become the focus there is a tendency to sound very one-dimensional. Still this is a mighty effort with good results for the listener and I think that this band's skill is growing as well. www.myspace.com/skitzocalypso

Tardy Brothers - Bloodline (Candlelight) Review by Chris Davison
	Right. Question time. What do you get if you have John Tardy (Obituary), Donald Tardy (Obituary), Ralph Santolla (Obituary) and Jerry Tidwell (ex-guitarist for pre-Obituary incarnation, Xecutioner)? Well, you might be thinking “Obituary”, but then you'd have completely missed the title of the review, wouldn't you? I'm a really big fan of Obituary, so when I first heard that the brothers Tardy were forming the...erm...Tardy Brothers I was over the moon. The slight apprehension I had, however, was how the damned album was going to sound. How could the Tardy boys sound like anything but Obituary? Right out of the traps, let me tell you that Bloodline doesn't sound like Obituary. Except it
does. Confused? Allow me to explain. It appears as if the founding brothers of the most old-school of the Floridian death metal monsters have had this music pending for ages, but only now with the construction of their own “Redneck Studios” have they had the means, and the time to put the tracks down. This, by and large, is material that wouldn't sound right on an Obituary album. For the most part, this is slick, mainstream heavy metal with the trademark licks of Santolla resounding through the thick, slamming riffs. Much of the music wouldn't have sounded out of place on either the better segments of modern Metallica, or as with the blistering “Deep Down”, on a classic thrash album from around '88. This is clearly music that wouldn't sit well alongside the classic cuts like “Chopped in Half”, but in all honesty it's too good not to have released at all. If the mid nineties saw an explosion of so-called “Death and Roll”, then this could well be the vanguard of “Deathened Metal”, with the the extreme approach of death metal spliced with the simple, blue collar qualities of pure heavy metal. Of course, it's hard to escape from the spectre of Obituary, especially when the singer is none other than perhaps THE most idiosyncratic and evocative voice in death metal, John Tardy. With the music being more varied, and in many cases less extreme than that in Obituary, it might seem logical that he would tone down his vocals. Not of a bit of it – he projects his voice, THAT throat-stripping, lung-coughing roar with extreme prejudice – and all the better for it. This is most likely to be picked up by Obituary fans, I would think, drawn to the album for the promise of all things Tardy. I know I was. There is more than that here though – this is a genuinely exciting, enjoyable album of good, solid tracks that are as likely to snap your neck as anything that Obituary have released over the last decade or so. All of this would be pointless, of course, if it sounded like crap, but this has a great production. Every pound of Donalds drums sound like they're going to physically rattle your dome, and the guitar tone is brilliantly crunchy. Mark Prator (ex-Iced Earth) has done a wondrous job on the production, as he did on the last Obituary record. My big hope is that the tracks on here can find themselves airplay on rock radio, because the catchy, infectious head banging anthems (like the incendiary “Fates Call”) can attract more than the Obituary completists like me. Their website states that this album is not meant to replace Obituary. My big hope is that they can now produce more Tardy Brothers and Obituary. A great album, and a credit to the Tardy boys. Oh, and I went through the whole review without mentioning Nancy Drew. www.candlelightrecords.co.uk

Thin Lizzy - Still Dangerous (VH1 Classic) Review by Metal Mark
	This show was recorded at the Tower Theatre in Philadelphia back in 1977. To me this was around the band's peak creatively. This live recording reflects that, as the band are in fine form here. Thin Lizzy sound relaxed and comfortable for this set. My expectations for a live album are that I want it to be a little different form the studio versions. I may love the studio versions, but put some personality, energy or something of yourselves into the show to make it worth my time. If I want to hear the song note per note than I'll listen to that, but my hope is that on a live album that a band will either be fired up, take some chances or both. Thin Lizzy certainly take that approach here. It took all of maybe thirty seconds into
the opener "Soldier of Fortune" for me to know that this going to be a good live album. It seems like the band vary the tone and the grooves as much they do the pace on several of the songs here. There is certainly plenty here for fans old and new. They keep things moving an concentrate more on the songs as Phil Lynott keeps the between song banter short and sweet. Thin Lizzy were never overwhelming, but instead they made their point through a smooth and tight approach. The sound quality is good and the band of course is in fine form. I wish that it had been a little longer. It seemed to come to an end just as I was getting into it, but still a solid album.

This Ending - Dead Harvest (Metal Blade) review by Sam Thomas
	This Ending are yet another band from Stockholm, who have the usual muddled past. They originally existed as A Canorous Quintet, but after disappearing from the scene, reappeared as This Ending and signed to Metal Blade. This release is their second under the This Ending name. As you might guess, they play Swedish death metal, but the variant they’ve chosen to espouse would most probably be described as “brutal Gothenburg with a haunting touch of industrial”. It’s actually very well done, mixing death metal up in a quite creative way that leaves you wondering how many more ways these basic ingredients can be mixed and yet
still come out with something new. Having said that, TV cooks have been doing exactly that for years… I particularly liked the drums, courtesy of Fredrik Andersson (one of the nicest guys you could ever hope to meet) who’s clearly enjoying himself away from his Amon Amarth persona, delivering blastbeats in such a casual fashion that it’s almost jaw dropping. Unfortunately, once I’d realised that it was Fredrick on the drums, I started spotting fleeting likenesses to Amon Amarth, in the way that the intensity of the structure develops, particularly on the title track, and yet the overall feel is not even remotely like the Vikings’ output. Why do I have they feeling that this piece is going to be edited and have the addition “You’re talking bollocks, woman” added at this point? There are also echoes of melancholy in an almost Katatonia style, which again should come as no surprise once you realise that Mårten Hansen provided vocals for October Tide. There are so many different strands woven together in this music that it’s almost the aural equivalent of the Bayeux tapestry – a snapshot of Swedish metal in 2009. What the hell, This Ending have produced a memorable album that merges different, but not unrelated genres in an unusual and haunting way. It took me a few listens to appreciate that, but nothing complex is ever revealed to a passing glance. www.myspace.com/thisending \| www.metalblade.com