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4Bitten - No More Sins (Rocksector
Records) Review by Steve Green |
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I have to say I absolutely hate the band name. It's horrible, clichéd and
dated... but thankfully, even though the music is from a couple of
decades ago, it's a hell of a lot better than the band name
would suggest.
4Bitten are a female fronted Blues based Rock band from Greece, who'd
have been very at home in the early to mid-80s. And although they don't
sound like this song, I'd say the style of Alannah Miles' Black Velvet
is a good barometer of what to expect here. Albeit with a rockier edge,
particularly with sassier numbers such as Follow, which follows the
David Coverdale book of blatantly suggestive lyrics. And they do sound
very good coming
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(no pun intended) from front woman Fofi's very smooth
tones. In fact, the more I hear her voice, the better I think she
sounds.
Let's put everything on the line here. I don't think 4Bitten will ever
rise above the level of a very good, hardworking support band. And
that's not to say I don't think this is a very good album. I reckon 20
years ago I would have gone crazy for No More Sins, especially when I
was getting exposed to a huge number of slick US bands. As it stands, I
don't listen to this type of music much these days, so this album is a
refreshing distraction from the norm and it's an album that comes very
highly recommended to fans of 80s Hard Rock.
www.4bitten.com |
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Acid Drinkers - Dirty Money, Dirty Tricks
(Metal Mind) Review by Metal Mark |
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Poland's Acid Drinkers were back for their sophomore effort in
1991. Now I wouldn't go as far to say that they had mellowed
since their debut, but they were overall less chaotic this
time around. The Dead Kennedy's influence is perhaps even
greater this time. These guys were still rooted in thrash as
well, say similar to Anthrax. None of that quite does
justice to the gung-ho direction that this band takes. They
take metal, punk, hard rock and stir it all up in the pot
and then pull just various elements from their arsenal as
they see fit. Having that kind of take on their music allows
for it to be both surprising and exciting. At a time when
many metal bands were becoming all too predictable, these
guys seem to have |
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more than their share of ideas and they were not afraid to
use them. They also benefit from not caring much about
labels or sticking to one style. They pretty much just did
what they wanted to. Obviously they had more varied
influences than some of their peers, but these guys knew how
to pull it off as well. Pulling off this style isn't
something that everyone could do. This kind of insanity has
to have a flow to it to really work, but apparently this
band had the kind of skill and personality to make it look
easy. This disc didn't have quite the spontaneous feel of
the debut. It's close, but the debut just had more pace and
style changes. Still this is another fine chapter in their
career of this long running band. The re-issue includes a
lyric booklet and a live version of "Street Rockin" from 1996 as a bonus track. |
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Acid Drinkers - Striptease
(Metal Mind) Review by Metal
Mark |
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The year was 1992 and metal was being swept away by grunge
in many circles. However Poland's Acid Drinkers didn't
seemed phased or concerned about the shift. If anything they
seemed more than content to continue on in the direction
that they had established with their first two efforts.
This
album includes a whopping fifteen tracks full of thrash,
foolishness and other oddities. Almost everyone gets in on
the action this time around as "Titus", "Litza" and
"Popcorn" all contribute vocals. Always big on covers, the
band contributes two here with an acoustic version of
Metallica's Seek & Destroy. It is sung by a Polish artist, Edyta Bartosiewicz. |
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The second cover is "Menel Song/Always
Look on the Bright Side of Life", a remake of a song by
Monty Python. Both fit it very well with the band's less
than typical approach. Their mix of thrash, punk and off the
wall arrangements works wonders in large part to their sense
of humor and unrestrained enthusiasm. When I can pin down
influences I hear Anthrax, Dead Kennedys, Tankard (minus the
beer soaked lyrics) and they even toss in some Guns n' Roses
inspired bursts as well. Acid Drinkers were more than just a
joke or novelty band though. The music is tightly woven and
the flow is spectacular. They were about being off the wall
than getting some cheap laugh and that's a large part of
their appeal. It also gave their material a fresh feel that
still works today 17 years after the fact. My only regret is
that I didn't hear this back in 1992. The re-issue includes
a lyric and two live bonus tracks. |
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Agathodaimon - Phoenix
(Massacre Records) review by Sam Thomas |
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Agathodaimon are one of those bands that have always been
around, have never been absolutely brilliant, but have always looked as if
they could produce something one day. Well, that day has
arrived! They’ve got rid of all but two members of the
previous line-up (keeping Sathonys on guitar and vocals and
Felix Ű Walzer on keyboards) and moved from Nuclear Blast to
Massacre. And if I was at their previous record label, I’d
be gnashing my teeth right now.
For me, part of their problem was always a lack of identity:
they didn’t really fit into any particular niche (not of
itself a bad thing) but they always seemed to lack
direction. Well, |
they’ve now got a sense of purpose, a new vocalist, Chris
Bonner, and a new, catchy, clean, well-produced sound. The
first few tracks are very much in the style of earlier (ie good) In Flames, with some rather
good rippling keyboards, which could lead me to make bad
jokes about Phoenix rising from the Flames, but I will
resist the temptation. “Decline” in particular has so many
hooks that your average fisherman would feel quite
inadequate... But they haven’t forgotten their roots either
– they’ve managed to combine their earlier black metal
leanings with the best of the Gothenburg sound to produce
something which is both melodic and harsh. “Winterchild”
features a very effective contrast of clean and distorted
vocals, interleaved with great keyboards and some stirring
riffs. Towards the end of the album, there are a couple of
tracks that head more towards the style of Opeth in terms of
vocal and guitar work, which of course is no bad thing...
Altogether this album fits together like a well-tailored
suit: Savile Row rather than George at ASDA.
Both new and old members do well on this album: keyboards
and vocals are the strongest aspects of a very strong
offering. And the songwriting of course is something which
has improved beyond measure.
This isn’t a short album (72 minutes, including 2 bonus
tracks) but it’s sufficiently good to keep the interest
going for all that time, and it’s got enough about it to be
one of the (very few) albums that I will play again after
I’ve finished the review. If you’ve encountered these
Germans before, especially if you heard their previous
album, Serpent’s Embrace, give this one a try – they’ve made
a quantum leap in almost every respect. Agathodiamond in
fact.
www.agathodaimon.de
| www.massacre-records.com |
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Backjumper - Across the Deadline
(Killer Pool Records) Review
by Anthony Deane |
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Although I feel Backjumper’s roots lie in a fusion of Punk
and Hardcore, they are not to be underestimated. Their debut
album “Across the Deadline" is testament to this fact.
Backjumper are not afraid to incorporate a hybrid of sounds.
These can range from ambient soundscapes on the track
"Gravity," to quirky mathcore on tracks “Stabbed Back and
Fall” and “Life Sponsored By." These ranges in sounds
certainly add character and an element of experimentation
which is refreshing to hear.
As "Across the Deadline" opens with title track "Deadline"
I thought I knew exactly what I was in store for. Deadline
definitely has to be the most straight ahead song on the
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but has an uplifting quality which conveys as much energy as
a relentless train inferno, much like their artwork and
front cover suggests.
From track to track the songs structures have a
rollercoaster of dynamics which are packed with many
pleasant surprises. Backjumper have a habit of leaving the
listener left wondering where each track is going on their
epic journey through “Across the Deadline".
Without a doubt there is no lack of groove and good levels
of musicianship throughout the album. From the chunky guitar
riffs, to the funky bass lines to help fatten up the bottom
end, not to mention razor-sharp drumming which keeps the
whole thing flowing, and brings its own pieces to the
puzzle. Plus with PaCman manning the vocals you’re sure not
to be disappointed. His own combination of high pitched
screams and melodic singing suits the raw energy that the
band portrays.
www.myspace.com/backjumper1
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www.myspace.com/killerpoolrecords |
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Bai Bang - Are You Ready
(Metal Heaven) By: Julian Handley |
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Hailing from Helsingborg, Sweden Bai Bang don’t serve up
pretence, they are the classic case of what you see is what
you get. Ageing glamsters cavorting in mascara may not be
everyone’s cup of tea, but with this their 6th studio
release they have concocted a satisfying tonic to banish the
winter hangover.
Having emerged on the scene in the late eighties releasing ‘
Enemy Lines ‘(1989) followed by ‘ Cop To Con ‘ (1992),
they were looking to export the L.A sound from the heart of
Scandinavia, and whilst not exactly setting the world on
fire, they were equally as good as any of the MTV favourites
of the day Bulletboys, Faster Pussycat et al. But in an era |
saturated by bands coming out of the L.A cloning machine, it
was inevitable that the chimes of doom were set to peel,
thus sounding the death knell for the scene, with the
impending arrival of grunge.
Whilst the band refused to die, they went quiet, just
ticking over, putting out ‘ Riding High ‘ (1996) and ‘
Attitude ‘ (2001) followed by ‘ Best Of Bai Bang ‘ (2006) which appeared to be the swansong for another hard luck
story.
Fast forward to 2009 and Bai Bang are back with a vengeance,
having been cited as a major influence on the excellent Wig
Wam and The Poodles both of whom are currently spearheading
the resurgence in the Scandinavian glam scene.
‘Are You Ready‘ epitomises the bands never say die
attitude, having achieved a 20 year apprenticeship at the
school of hard knocks, emerging broken, beaten and scarred
yet triumphant in creating their finest work to date.
Perfectly crafted but simple in a vibe that is somewhere
between Def Leppard meets L A Guns in a glorious head on
collision. Stand out tracks are ‘ Party Queen ‘, ‘ Big Time
Party’, ‘ Born To Rock ’ and the excellent ‘ Only The Best
Die Young’. Here's to the future guys.
www.baibang.se |
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Bloodbound - Tabula Rasa
(Blistering Records) Review by Mat Willcocks |
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Sporting a cover of what cannot be described by any better
way than something seen in the 80s (including the band’s
logo), one’s opinion is already formed of not only what the
CD will produce upon being played, but also whether to
negate even listening to it. However, my friends, opener
“Sweet Dreams Of Madness” is a wonderfully hurried affair
with a nice powerful, but not typically-of-the-genre
theatrical chorus. It is already evident that this
relatively-recent formed group have a lot to offer. Though
not possessing what could be described as a signature sound
displayed by Sonata Arctica, Dragonforce and Firewind,
Bloodbound are in the position of being able to play around
with the sound and |
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not live up to anyone’s expectations. From the opener, the
disc continues in rocking one’s socks off (track 5 ‘Night
Touches You’ initially coming across as the album ballad,
but turning into an epic stomper). Track 6
‘Tabula Rasa pt II’ comes over a little Symphony X, which by
no means is a bad thing, but it is by this point that your
attention is grabbed, your liking to Bloodbound truly
irreversible. End track, ‘All Rights Reserved’ is sadly not
a cover of the wonderful Vicious Rumors track, but is an
energetic way of finishing the album off, encompassing what
BloodBound appears to be about, which is being a devastating
heavy metal band.
www.blisteringrecords.se |
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Darkness By Oath - Fear Yourself
(Cyclone Empire) Review by Chris Davison |
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Right, a quick challenge for you. When was the last time you
heard a new melodic death metal band that a) didn't sound
like a million other, soulless, over-polished goons and b)
didn't just plain suck? Can't remember? No, nor me, to be
honest. Well, fear not, gentle reader, because Darkness By
Oath are the miracle answers to both proposition a) and b) !
Huzzah!
A Spanish outfit by nature, (which is unusual, in itself),
Darkness By Oath manage to avoid many of the pitfalls that
afflict their peers in melodic death metal. Firstly, the
keep the emphasis on sounding raw and deathly, and add the
melodies as a bonus, rather than |
focusing on sickly sweet guitar melodies that suck all the
metal out of the songs. Secondly, they can play some
serious, serious guitar, these boys. I haven't heard such
effective, infectious twin guitars in a very long time.
While Diego and Tristan deserve rich plaudits for managing
to come up with fresh, engaging melodies and crunching,
powerful riffs in a genre populated by copyists and the
mundane, the true praise must be reserved for vocalist Aritz, who has a phenomenal range of
death metal voices. From his main rasping delivery, to a
deep, almost brutal death metal grunting style, this guy
really knows how to deliver.
Of course, all this would be for naught if the band couldn't
write songs. They don't disappoint here, either, with the
likes of the breathless “My Own Mind” being a perfect
example. A racing tempo, some deftly played drums and
matching bass lines, while the guitars themselves plumb a
rich vein in intricate, almost sorrowful melodies. The
production throughout is thick and pleasingly rough around
the edges, maintaining a clear sound but also keeping that
all important abrasive edge. Anyone looking for fresh ideas
in a tired genre should bring themselves to this opus right
now.
www.cyclone-empire.com |
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Devin Townsend Project - Ki
(InsideOut Music)
By: Joe Florez |
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I honestly thought that after SYL and the numerous side
projects that Dev was going to pack it in and perhaps focus
only on producing and other behind the scenes action. Little
did I know that he had a new outlet on the horizon. Minor
background info first about how Ki came to be. First, according
to the bio sheet Devin had to quit his hazardous vices which
included the usual of drugs and alcohol and other things.
Next up was putting this disc and band together. He says
that it will contain four discs in the end and then he will
do a small tour and play this in its entirety with specific
musicians. For the freshman debut, he has enlisted drummer
Duris Maxwell who is 62 and has worked with the likes of
Heart, |
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Jefferson Airplane, Tommy Chong and more. That in
itself is quite different, but before you jump to any
pre-conceived notions, this isn’t a full blown out angry and
aggro record. This is so much different. “A Monday” which is
the intro is an instrumental that is just guitar, but it’s
quite soothing, calm and relaxing. The parameters soon shift
to something a little bit groovier with “Coast.” I’m digging
this one a lot because the rhythm is so spot on with a
simple drum beat and the bass just giving it the right
amount of thump. The guitars are also passive, but contain a
good riff and Devin is mellow here actually singing and not
burning out his throat with harsh screams from hell.
“Disrupr” remains a bit low key in the beginning, but the riffing has a tinge more bite, but you can hear things
slowly progress into a monster of sorts. By the second half
of the song, it crescendos into crunchy riffs, heavy handed
drumming and screams. However, it doesn’t speed up or
anything like that of the old days. It just gets meaner. The
formula is pretty much laid out in which you are going to
get calm and peaceful music to more aggressive. I won’t say
extreme because it doesn’t get to the point. The only thing
is here is that you don’t know where or when these actions
will occur. There are plenty of jazz elements thrown in as
well to keep things fresh and funky. This isn’t a metal
record by any means. This one really goes outside of the
boundaries and there will be no apologies made here. I think
that this the next phase of the unpredictable man’s career.
Don’t expect much of that signature “wall of sound” either
such as in Ocean Machine or Physicist. If you are a daring
music lover who likes to think outside the box, then you are
welcomed to soak in the new sounds of Mr. Devin Townsend,
but if your diet consisted of nothing more than SYL, then
you’re SOL!
www.insideout.de
| www.heavydevy.com |
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Disbelief - Protected Hell
(Massacre Records) review by Sam
Thomas |
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This is going to be a difficult review to write. Not because
of any musical problems, but because I’ve finally been
dragged kicking and screaming onto Microsoft Office 2007,
and none of the commands for Word are in the same place...
The Luddites may have had a point, you know.
Anyway, back to the business in hand. Protected Hell is the
eighth studio album from Germany’s Disbelief (one of a huge
number of Dis- bands that fill up my CD shelves, sorry,
piles on the floor). If you’ve never heard them before, they
are generally categorised as death metal, largely for lack
of a precise category to pigeonhole them in. To my ears, |
there’s more than an echo of Fear Factory about the vocals
and the general style. Karsten Jäger has a particular,
tortured vocal that is fantastic for the first half hour or
so, but begins to grate by the end of the album, simply
because of its inflexibility.
Something that I do like very much with this album is that
the track names are generally exactly the names that you
would tend to refer to them by: ie they are the most obvious
fragments taken from the lyrics. That always makes it easier
for me to engage with an album, and makes it more likely to
stick in my head. “Nemesis Rising” is the perfect example of
this phenomenon, Karsten bellows those words enough times
that it’s obvious this must be the track name.
The onslaught of sound is quite impressive too – the
production is good enough (particularly on headphones) that
you can still distinguish the individual elements whilst
still being submerged in a sea of sound. There’s just one
thing that really wrecks this CD and has led to it getting
fewer listenings than would otherwise be the case: the
voiceovers. Now voiceovers are a necessary evil, and we are
quite happy to accept them because we recognise that
otherwise music is pirated before release, which clearly is
a bad thing. But, equally, one voiceover per track is enough
to solve this problem. On this album, I’ve been getting them
every couple of minutes, and the tracks aren’t that short!
It breaks up the flow of the music, and prevents me from
wanting to hear it too often. So come on Massacre Records,
revert to your previous level of voiceovers, which were
fine! Rant over.
“Hell Goes On”, the sixth track, is to me the stand-out
track of the album, with its intense, driving power. The
whole feel of the track is rather like standing underneath a
corrugated tin roof in a hailstorm: noisy, but exhilarating.
I’m not sure that the lyrics quite “causes goose spots and
thrills your inner!!!” as promised by the press release, but
nonetheless it’s damn fine stuff.
Raw, driving and intense death metal delivered with Teutonic
thoroughness. What’s not to like?
www.disbelief.de
| www.massacre-records.com |
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