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Maroon - Order (Century
Media) Review by Steve Green |
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It's impossible to know the music of every band on the planet and Maroon
are a band whose name I've seen countless times, in fact I think we've
reviewed them a couple of times in the past, but this is the first time
that they've had the opportunity to assault my ears, as well as my
senses. And for once, we have a biog that captures perfectly what a band
are all about. References to early Metallica, comparing Maroon to a
German Panzer etc... are all spot on. Although the Metallica comparison
refers to the music more than the vocals as Andre Moraweck is more
Hardcore in texture than James Hetfield's more accessible bark. |
| It has to be said that I find the majority of Hardcore quite samey, but
when it's mixed up both Death and Thrash, then the dynamics are
completely different. This album kicks ass, as well as most other body
parts and the mature song structures, with acoustic interludes and more
melodic vocal structures, give this album a longevity others of its type
can only dream about. I didn't really know what to expect with Order and
I have to say that I've been pleasantly surprised by the overall quality
and this one comes highly recommended to all those looking for a new
band to discover amongst the sea of averageness in today's Metal scene.
www.myspace.com/maroonhate |
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Moonstone Project - Rebel On The Run
(Blistering Records) By: Joe Florez |
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This is the second endeavor from Itallian guitarist Matt
Fillipini. What continues from the first offering which I
never had the privilege of hearing is bringing his brand of
70’s hard rock to the fold and updating it. As in the past,
some of the best musicians appear on here. Glenn Hughes,
lends his voice as well as House Of Lords vocalist James
Christian. Also, on board for one cut is the mighty Ian
Paice from Deep Purple pounding away on the skins. More on
these individuals involvement in a moment. Since most people
like myself aren’t familiar with Matt Fillipini’s work, he
has worked with Glenn, Blue Oyster Cult and much more.
Things are well underway with the opener “Sinner Sinner.”
This one is pretty |
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much a slow groove that has a little bit spice thanks to the
guitars, but the flow is just a bit too sluggish. James’
lung capacity has a Jeff Scott Soto flair and if I didn’t
read the credits on here I would have thought that JSS was supplying them. The 70’s vibe is well
intact, but refuses to sound dated and the production is
crisp and loud, but again it just doesn’t grab your
attention for the most part with the exception of some bass
licks and odd nuances thrown in during the solos. “Moonster
Booster” is a much livelier cut as we get some retro
keyboard work that is reminiscent of Led Zep. Everything is
in place here and the mood is ecstatic. All the elements
fall into the right place making this an enjoyable track.
“Cosmic Blues” offers a slowed down tune that delivers with
some cosmic atmosphere and James delivers with a more
soulful voice. The other slow jam on here is “Closer Thank
You Think” with the voice of rock taking over the mic here.
Mr. Hughes sings in a high range which quite frankly he
hasn’t done in a long time. This one is packed with soul,
power and emotion. Glenn never disappoints as far as I’m
concerned. Normally, when you hear the first track on a disc
it pretty much sets the tone for the rest of it, but luckily
this one contains a variety of pacing. If you are looking
for something that combines the best of classic rock fused
with blues and shakes it all up, then you have come to the
right place. I see this one being a release for people in
their upper 30’s and beyond as we could relate to this more
so than the new breed of listeners, but then again this is
for anyone who likes their music spiced with life.
www.blisteringrecords.se
| www.moonstone.it
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Nifelheim - Re-issues
(Regain Records)
By: Dave Schalek |
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Here’s a quick look at the re-issue of Sweden’s Nifelheim’s
first two full-lengths from Regain Records. Nifelheim’s
self-titled debut and the second album, “Devil’s Forces”,
were originally released in 1994 and 1997, respectively.
Anyone with any knowledge whatsoever of the Swedish death
metal scene is probably already familiar with Nifelheim, a
rather notorious act fronted by identical twins with
noticeably receding hairlines, and a penchant for an
incredible amount of bullet belts, spikes, and black
leather. I’ve never really taken the band very seriously (in
a fun, not derisive, sense), but the first two albums from
the band are an excellent throwback to the days of Bathory,
Hellhammer, and early Sodom.
I tend to prefer the debut over “Devil’s Forces”, as I think
that the production is a bit fuller. Neither release,
though, as far as I can determine, is re-mastered, but each
comes with a bonus track. The debut includes a cover of “Die
In Fire”, which originally appeared on a Bathory tribute
album, and “Devil’s Forces” include “Witches Sabbat”, a
Vulcano cover which originally appeared on the split
“Headbangers Against Disco, Vol. 2” (what a title). Both
albums come with new liner notes penned by Jon ‘Metalion’
Kristiansen, the rather famous author of the “Slayer” ‘zine
(which, according to what I’ve heard, will be |
compiled into book form by Bazillion Points).
Anyone interested in Swedish death metal would do well to
pick up these Nifelheim re-issues, if you haven’t had a
chance previously. Also, I would also highly recommend
“Swedish Death Metal” by Daniel Ekeroth (Bazillion Points)
as the definitive account of the history of the genre.
www.myspace.com/nifelheimofficial
| www.regainrecords.com
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Nova Art - Follow Yourself
(My Kingdom Music) Review by Mat Willcocks |
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My Kingdom Music’s PR staff have rather conveniently formed
the opinion that Nova Art’s target audience will be those
“who love Opeth, Paradise Lost, Amorphis and A Perfect
Circle”. Their record label’s tendency to make similarities
to some of the most well known bands in metal is at least
deceptive, but most notably lazy. Not to say that the
aforementioned groups are anything other than brilliant and
at the forefront of the subgenres which they occupy, but
Nova Art are wonderfully talented and advanced to a level
which belies their young age.
With an audience seemingly restricted to within the inside
of the Russian border, it comes |
with great responsibility and pride that I should pass on my
wisdom to you, the reviewee, about this Eastern European band.
‘Don’t Follow The Crowd’ starts off the album very nicely,
thank you very much. All the right notes and all the right
chugging in the right place, it is the standout track, but
paints a picture of what the listener can expect over the
remaining 10 songs which follow. End track ‘Lost In Dreams’
is also notable, with some nice guitar picking and fluidly
played solo midway through.
Though it is considered bad practice to pigeonhole bands,
Nova Art naturally fall into the Progressive Metal camp.
Most obvious comparison can be made to Andromeda, that dark
and brooding sound reminiscent on the latter’s
destined-to-be-a-classic Chimera. It is also evident that
Art Nova’s main man, the conveniently-named Andrew Nova,
also has previous for listening to hours worth of prog
stalwarts Dream Theater.
Evidently, this is a group likely to make waves in the
subgenre and though they might gain some well-deserved
recognition with this release, it is now up to their own
label to fork out and get them known outside of their native
Russia and into the ears of the Prog Metal listener.
www.mykingdommusic.net |
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Sear Bliss - Forsaken Symphony
(Vic Records) Review by Crin |
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Originally appearing on Red Stream Records in 2002, this was
the bands fourth album and I had forgotten just how potent a
release this is. If you are a fan of Dimmu Borgir's Enthrone
Darkness Triumphant, [and I know purists will be looking
away now] then this release will seem like you have gone to
heaven. The comparison is one of admiration rather than
sarcasm, as Sear Bliss have a totally unique style and one
that is compelling to behold. The intro itself is an
obligatory keyboard piece, but it is actually an emotive
memorable one and full of anticipation for the mighty
opener, Last Stand. This track is utterly majestic and full
of pomp and dynamism. This is a master class in symphonic
Black metal without |
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descending into the prog realms or
suffocating the listener with full on mainstream theatrics.
Sear Bliss still have enough bite, and devilry to retain a
certain underground flair, ensuring that the music overcomes
the senses as opposed to unsettling them. Synths/ guitars
and horns seem to bleed into each other and pump out a huge
sound as one fluent being. Add some Bathory like snarling
vocals and we get a very balanced melodic Black Metal. I
cannot emphasize enough the quite chilling velocity the
music takes one moment to deconstruct into infectious dreamy
harmonies. There is little else to comment upon apart from
heaping more praise on an album that should be far more
acclaimed. This Hungarian act really are top class.
www.vicrecords.com |
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Sear Bliss - Glory and Perdition
(Vic Records) Review by
Crin |
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Originally appearing on Red Stream in 2004, this is a
welcome re-release. Hungarian atmospheric Black Metal is
what we have here and this band needs no introductions.
The production is very good, too; it is in a comfortable
middle ground between raw and polished, a solid and clear
production enhances the music’s more progressive elements.
Formed in 1993, ‘Glory and Perdition’ is Sear Bliss’ sixth
release and, With ‘Glory…’ Sear Bliss has once again
maintained the ‘Brass’ elements in their sound adding to the
uniqueness displayed by this band. Whilst the trombones
lurch out of the mix in sporadic bursts, it seems all quite
natural. The additional vocal presence of fellow Hungarian,
Attila |
Csihar adds a certain potency to the tracks, Birth of
Eternity, and Shores of Death. You just cannot mistake those Mayhem-ic snarls. The whole album is a stunning symphonic
masterpiece, whether the music is slow spacey keyboards or
up-tempo fast black metal, the addictive melodies are just
sublime.
This is a cult album in every sense of the work and sits
deservedly along side other likewise supreme offerings from Graveworm,
Old Mans Child and Thy Serpent. By far the finest of the
Hungarian bands with the likes of Marblebog,
Aetherius Obscuritas, and Dusk, following close behind.
www.vicrecords.com |
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Teitanblood - Seven Chalices
(Norma Evangelium Diaboli)
By: Dave Schalek |
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Before you even get to the music on the debut full-length
from Teitanblood, the layout of “Seven Chalices” is
absolutely stunning. Carefully drawn, wildly imaginative,
and incredibly detailed blasphemous drawings in dark ink
over white paper adorn the cover and booklet from start to
finish. Combining dark imagery with calligraphy in a couple
of different alphabets that seem to endlessly spiral within
each drawing, the sheer density of the detail presented
approaches sensory overload. The CD booklet contains one
drawing after another, and I’ve heard that the vinyl
gatefold edition of “Seven Chalices” is even better.
Certainly of note with “Seven Chalices” is that the album is
released on Norma Evangelium |
Diaboli, a label that usually
just screams out quality with a roster of black metal acts
that resonate. With that in mind, Teitanblood immediately
piques my interest. Hailing from Spain with connections to a
few other minor acts, Teitanblood is a mysterious duo with
an unaccredited artist (from what I can make out, at any
rate) playing primitive proto-black metal in the vein of
Hellhammer and, most notably, “In The Sign Of Evil”-era
Sodom. In fact, the music on “Seven Chalices” sounds like a
continuation of that legendary EP with vocals eerily similar
to Angelripper’s hissed rasps, and an incredibly low-fi
sound to the guitar that would make Grave Violator quite
proud. “Seven Chalices”, however, is crushingly heavy with
more variation in tempo than that classic EP, and contains
plenty of atmospheric touches in the form of between song
interludes that make up a sizable portion of the album.
Naturally, a certain demographic that grew up with primitive
black metal (namely mine) is probably going to be all over
this one, but the songs on “Seven Chalices” are varied and
atmospheric enough for Teitanblood to be more than just a
nostalgic look at yesteryear for the thirty and forty
somethings crawling around out there. Other than that,
“Seven Chalices” is pure old school black metal.
www.teitanblood.com
| www.noevdia.com
| www.theajnaoffensive.com |
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Tim Ripper Owens - Play My Game
(Steamhammer) Review by Metal Mark |
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First off I just can’t believe it’s been well over ten years
since Tim “Ripper” Owens replaced Rob Halford in Judas
Priest. Time sure flies and after Priest, Owens moved on to,
first Iced Earth and then Yngwie Malmsteen. So he has
certainly kept busy and now he can add his first solo album
to that resume.
The first thing that struck me was the
almost endless list of “guest” musicians. It reads like
who’s-who of journeymen metal musicians because it includes
Doug Aldrich (Whitesnake), Billy Sheehan (Mr. Big, ex-David
Lee Roth), Rudy Sarzo (Dio, ex-Ozzy), David Ellefson (ex-Megadeth),
Vinny Appice (Heaven & Hell) and Chris Caffery |
| (Savatage,
Trans-Siberian Orchestra). Owens had some help writing some
tracks such including the title track, but Ripper handled
most of the writing on his own. For the most part this is
classic style, mid-tempo metal that is going to bring Judas
Priest, Dio and others to mind. Of course it’s fairly well
played due to the amount of veterans who were brought on
board. Owens sounds as good as he did ten years ago. He was
obviously very comfortable with the material and controls it
well. All of that is fine and this is certainly a good album.
As I listened to this disc I just couldn’t help but think
that this could have been a chance for Owens to really
establish himself and I don’t think he took full advantage
of it. He is a fine singer no doubt, but he is still a guy
who has followed in the footsteps of others pretty much his
whole career. No matter how strong his voice, he is still
largely known as a replacement singer. I think with this
release he had a chance to take charge and establish himself
as his own performer. Instead someone felt the need to fill
the credits with known backing musicians and the songs are
by the numbers. I can’t deny it’s solid metal, but the end
results just seems more safe than it needed to be. Nothing
was left to chance and very few risks were taken. The
results are an album that fans will like, but it’s not going
to bring in anyone new and doesn’t do much to further
establish Tim “Ripper” Owens. Maybe he is content with that,
but I was hoping for more. |
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Total Terror - Total Terror
(Vic Records) Review by Crin |
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Recorded in the late 90’s at Unisound and mixed and mastered
in 2008 by Dan
Swanö at the re-activated Unisound Studios, Örebro, Sweden.
Swano handles the guitars and vocals here and it was an short
lived side project of his masterly death act, Edge of
Sanity. He has also played drums in Katatonia, and appeared
in cult acts, Pan Thy Monium and Nightingale. He has also
been in Death metal super band Bloodbath. Now we have that
out the way, let's concentrate on this ass kicking release.
This is angst charged Swedish Death Crust [punk takes cues
from the anarcho-punk of Crass and Discharge] 27 tracks of
short, sharp acidic bone cracking Grindcore punk in the |
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best traditions of the brain sensory hammering of Napalm
Death and Extreme Noise Terror. There are unavoidable
similarities with fellow Swedish D-beat acts, Anti Cimex,
Wolfbrigade, Driller Killer, Skitsystem, Avskum, and the
like. As you would expect, the production is thick, dirty
and shredding, keeping in with the in your face, keep it
simple ethos of the genre. It's like a conveyor belt of short
sharp electric shocks to the balls with that extra mouth
full of puke in the face and a good kick in the teeth.
Fantastic.
www.vicrecords.com |
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