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Havohej - Kembatinan
Premaster (Hells Headbangers Records) By: Dave
Schalek |
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Paul Ledney’s one-man kvlt USBM project Havohej (don’t
bother trying to pronounce it; spell it backwards) returns
with a new full-length after sixteen whole years since the
debut. The new album is entitled “Kembatinan Premaster”, and
is released on Hells Headbangers Records.
Somewhat strangely, I’ve never gotten around to listening to
any of Havohej’s prior output, although the project’s
influence upon USBM is somewhat legendary. “Kembatinan
Premaster” is pure, black noise similar to Abruptum, but
with more structure, a deep sense of cavernous power, and a
crushingly deep, bottom heavy production. With droning |
tempos, a kaleidoscope of deep harmonics with industrial
overtones, tortured howls, synthesizer effects, and very
little guitar or bass to be heard in a traditional sense,
you’d think that “Kembatinan Premaster” would descend into
unlistenable howling chaos similar to Diagnose: Lebensgefahr
and other noise acts, but somehow doesn’t. The main reason
for that is the percussion, which is the obvious backbone
that holds everything together, ultimately resulting in a
completely fucked up, yet mesmerizing (“enjoyable” is
probably not the right word) and satisfying listening
experience.
“Kembatinan Premaster” is, from what I understand, far
different than Paul Ledney’s creation’s debut full-length,
“Dethrone the Son of God” from 1993. That album was more
along the lines of traditional black metal, whereas
“Kembatinan Premaster” is essentially a black ambient
exercise (there have been numerous EPs released in between
with which I am not familiar). Suffice to say, though, I am
quite impressed with “Kembatinan Premaster” and the album
comes highly recommended for those with the stomach for this
sort of thing. Evil as all Hell, buy or die.
www.myspace.com/havohejofficial |
www.hellsheadbangers.com |
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Hittegods - You Reap What You Sow
(Self Release) Review by Steve Green |
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It's been just over a year since the last Hittegods demo and it seems
these hard rockin' Finns have improved in every department, especially
frontman Mikko, who sounds absolutely fantastic. This time around
they've got Olli Kykkänen handling the production and these guys have
never sounded so good. The thing I like most about this band is that
they play simple, yet catchy Hard Rock. It's bullshit free music for you
to enjoy, nothing more, nothing less. Like listening to AC/DC, you know
exactly what you are going to get from Hittegods, good time rock 'n'
roll, although obviously we aren't talking on the same scale here. |
First and foremost, I'm a music fan and a music writer 2nd, so
discovering a band like Hittegods, where you can feel their music,
empathise with their struggle to get a deal, get their music heard
across the world etc... well, it's what loving music is all about.
Finding the bands that make the hairs on the back of your neck stand up,
well, it's priceless. I know that Hittegods aren't the best band on the
planet, but I absolutely love their music and it brings a smile to my
face. So I really hope
that the band get a deal off of the back of this demo as the 4 songs
here are all of a very good standard and I'd love to hear an albums
worth of material as good as this.
All internet phenomena's start somewhere, so let's get this one rolling
now. Visit www.hittegods.net and
spread the word far and wide. |
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Lightning Swords Of
Death/ Valdur - Split (Cult War/ Bloody Mountain
Records) By: Dave Schalek |
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Here’s a split from a couple of relative unknowns in the USBM
scene. Released jointly on Cult War and Bloody Mountain
Records (I’m sure that Blackmetal.com has a hand in here
somewhere), this is an eight-song split featuring Lightning
Swords Of Death and Valdur.
First up are four songs from LSOD, a raw black metal band
based in Los Angeles with some members serving time in
Endless Blizzard and The Cauterized (a local L.A. act). LSOD
already have a full-length under their belt, which I haven’t
heard, but the four songs released here on this split are
reasonably well done raw black metal with a certain degree
of sloppiness. Combine a low-fi production with sloppy
musicianship, a generally mid- |
paced approach, and moments of well done atmosphere, and
LSOD are pretty good, basic black metal, if not wholly
original.
Frankly, Valdur really make this split well worth tracking
down. I’m already somewhat familiar with Valdur, a trio from
the incomparable beauty, and relative isolation, of the
eastern slopes of the Sierras. My prior exposure to this
band comes from a four-way split from Blackmetal.com awhile
back, and Valdur were the best of the bands profiled on that
split, by far (I haven’t been able to locate the band’s
self-titled debut from 2007, though). Playing fast, highly
atmospheric black metal in the vein of mid-period Burzum,
Valdur also greatly remind me of Walknut, another band in
the same vein. Although produced with a bit of a low-fi vibe
and fuzz, Valdur quite obviously drip with power with a very
loud bass overlaying fast drumming and rapidly strummed
guitar on their four song contribution to the split.
Insanely catchy and well played black metal, Valdur showcase
themselves as a definite band to watch in the USBM scene,
and I eagerly await a new full-length. Also, I would suggest
that some of the bigger labels take note of this band. In
short, this split comes highly recommended.
www.myspace.com/valdurkult |
www.myspace.com/lightningswordsofdeath |
http://bloodymountainrecords.com
www.blackmetal.com |
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Lillian Axe - Sad Day
On Planet Earth (Blistering Records) Review By
Strawb |
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Lillian Axe are a band that I should like. They are from New
Orleans, and taking a hint from the bands initials, recorded
this album in Los Angeles. This is their ninth album since
the self titled debut was released in 1998, so they have
experience and longevity on their side. They class
themselves as Heavy Rock and from there on in the publicity
blurb which arrived with the CD descends to the level where
the paper it is written upon should be perforated, soft,
strong and long.
Ignoring that, I decided to let the music speak for itself.
And having a number of CDs to review there was an amount of
listening to the odd track from each band as circumstances |
allowed. None offended the ears of myself or Mrs S. All were
attracting favourable comments and none were rushing to the
pile of ‘never to be played again’ or coaster status as it
is becoming known. However, this album is fifteen tracks
long and when it got to the top of the pile for review, my
first listening to it all the way through took place in the
gym. And a few tracks in, I found myself forming a new
opinion ‘this is samey’. Soon to be followed by checking the
TV and finding my attention switching to the Tour de France
– trust me here, men in lycra has never been my thing - and
even when the camera was seemingly stuck on one of the
competitors urinating at the side of the road, it was taking
more of my attention than Lillian Axe. And so it continued,
a transfer to the rower took the TV from my view, but I
found the increasing number of metres travelled had a newly
discovered fascination. Sad Day On Planet Earth had become
just that. I had a CD playing and really could muster not an
ounce of concern for it after a couple of tracks. And
despite numerous attempts to muster an interest in it, that
just hasn’t happened. It isn’t that the product is bad, and
when listened to a couple of tracks at a time I find room
for it, but all fifteen is way, way beyond my boredom
threshold. It now has a glass containing single malt
standing on it.
Form your own opinion at
www.lillianaxe.com |
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Powerwolf - Bible Of The Beast
(Metal Blade) Review by Steve Green |
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I really like Powerwolf. They may be as cheesy as hell, but you just gotta
love this crazy Power Metal band, who, these days, are sounding more and
more like Therion. Atilla Dorn is on fine form once again as
he leads his band through a classically themed romp based around our
good friend, The Devil. Operatic sounds clash headlong with wonderful
strains of pure Heavy Metal, joyous sing-a-long anthems and blistering
guitar solos. Their themes are as a camp as it gets, (Resurrection By
Erection, anyone???) but it's all good fun. Like an innocent version of
Mercyful Fate's classic The Oath, with more accessible vocals, this is a
riotous listen.
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With a lot of the original Metal bands now hitting their mid
to late 50s, I do wonder who is going to carry the flame
forward when they all
decide to retire, and I think Powerwolf are the sort of band who will do
the job admirably. Because, if you love Metal, then it's highly likely
that you'll love Powerwolf as well, as long as you can cope with the
Power Metal chessiness, which is very tastefully done. So quite
obviously, this one comes highly recommended, especially to fans of
Therion, Iron Maiden and King Diamond.
www.myspace.com/powerwolfmetal |
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Shackles - Traitors
Gate (Hells Headbangers) Review by Chris
Davison |
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G’day, and welcome to Australian heavy metal time again,
mates. Yes! With their traditional panache and appreciation
of all things finely cultured, Shackles appear with their
messy, thrash-laden taste of early death metal. Recoil in
horror as they pour Castlemaine XXXX in your speakers!
Thrill as they set fire to your parents!
This, perhaps unsurprisingly is a low-brow, who-gives-a-fuck
chaotic romp through extreme metal, perhaps channelling the
spirit (if not talent) of early Sodom, then getting it
wasted on cheap hooch and then bumming Destroyer 666. It’s
not exactly subtle, and nor is it particularly original, but
the innate charm of the treble heavy razor sharp riffing is
nicely |
complimented by the neat guitar soloing that sounds a lot
like the early Judas Priest work, which is a nice
combination and no bad thing. So what if this sounds like at
least half a dozen other Australian bands? No one complains
when approximately half the underground tries to sound
Swedish do they? Catch them live! Oh you can’t. They’ve
split up. Bugger.
Oh well, farewell then Shackles. Your name may have been
crap, but it was fun while it lasted.
www.hellsheadbangers.com |
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| UDO - Infected EP (AFM) Review by Steve Green |
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With a new UDO album just around the corner, AFM have decided to tease us
with this EP. But before I even get onto this release I have to question
Accept's decision to reform without Herr Dirkschneider at the helm. I
feel it an absolutely crazy idea, yet if they (Accept) played anywhere
near me, I'd have to go and see them, although I'd much prefer to see
UDO, the band, because no-one can sing the Accept classics like Udo
Dirkschneider. Anyway, on to the EP...
Lead song, Infected, is the only track from the new Dominator album to
feature on this EP and if this is an indicator of what to expect, then
the album is going slay. This is prime
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Teutonic Metal and is right up there with (almost) anything
from the Accept back catalogue. Udo sounds
as good now as he's ever done and I've been a fan of Accept for close on
30 years now and I never tire of the mans unique voice.
The two new tracks, which are exclusive to this EP, fall into the
typical UDO (balls to the wall) category. Both are stompin' rockers,
with Systematic Madness just beating Bodyworld because of its catchier
chorus.
Next up is a remix of Platchet Soldat, which was on the last UDO album
Mastercutor and the EP is rounded off by a live version of the
impossibly catchy Trainride In
Russia (Poezd Po Rossii), which was recorded in Moscow, with a lot of
the song sung in Russian, naturally.
I have to admit that I have a copy of the new album, but I've decided
not to play until after I write this review... so now I can't wait to
get stuck it. www.udo-online.de |
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UZI - Madhouse
(Eonian) Review by Metal Mark |
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Chicago's UZI formed in late 1986 out of the ashes of KIDD.
They started out as Dillinger, but soon changed to UZI. They
played around the area, recording a number of tracks and
playing shows in the Midwest. In late 1990 the band earned a
trip to Los Angeles to perform at Concrete Management's
"Foundations Forum" music clinic and promotional event that
was headlined by Judas Priest. After that they decided to
move out to LA and take their chances. The entire music
scene was already changing and the days were numbered for
many hard rock bands. UZI recorded a few more tracks and
played some shows, but eventually called it quits in 1992.
This collection captures ten of their |
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songs and gives a decent snapshot of what this band was
like. There are a variation of styles represented here and
that's to be expected because the songs were written over a
seven year period and recorded over a six year period. Most
of the songs from the 1980's reflect the hard rock sounds
that were in style back then. I hear Ratt, Skid Row and even
Guns N Roses as influences. The production quality is
consistent throughout even if the styles vary slightly. They
opt mainly for a mid-tempo approach, but handle a ballad
good enough as well. Some of their later tracks are slightly
heavier and much like someone like Skid Row on "Slave to the
Grind" they were attempting to keep up with the trend of
heavier music becoming slightly more in fashion at the time.
Really they still sound good on these songs even if it may
not be their first choice in musical directions. I found the
majority of the tracks on this album to be instantly likable
because they know how to sell a good hook. Although I can't
say they were doing much different from a lot of other bands
running around the scene back then. There were so many bands
like this pushing to get noticed that some were bound to get
left by the wayside and UZI were one of those casualties. At
least they are getting chance to see some of there music get
released even if it is two decades after the fact. |
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