|
|
|
|
|
Nadja and Black Boned Angel - Self Titled
(20 Buck Spin Records)
By: Dave Schalek |
 |
Here is a two-track collaboration between drone outfits
Nadja and Black Boned Angel. Nadja, for those of you not
familiar, are a highly prolific duo from Canada specializing
in dreamy, psychedelic ridden, soft spoken drone with plenty
of droning bass lines and percussion. Black Boned Angel are
a trio from New Zealand with which I’m not familiar, but a
cursory look at the band’s MySpace page depicts Sunn
O)))-like imagery, as well as a track or two obviously
walking in Sunn O)))’s footsteps.
Given the two projects’ respective backgrounds, you pretty
much know that you’re in for a fifty or so minute excursion
into fuzzed out, droning doom with plenty of atmosphere. |
That’s exactly what you get with each track, evenly spaced
out over the fifty minutes. Each track pretty much follows
the same pattern of a slow build with plenty of deep bass
lines and a glacially paced percussion, to a slow fade of
drowning fuzz and atmospherics. Overlaying the bass and
percussion are plenty of higher pitched harmonics with
considerable distortion and low-fi fuzz. Fading in and out
periodically are higher frequency, razor thin sounds that
border on the subliminal. In essence, the overall effect is
that of a higher pitched version of Sunn O))) prior to the
obvious dynamics of “Monoliths and Dimensions”.
The collaboration’s result, overall, works pretty well, and
is certainly going to appeal to fans of Sunn O))) and so on.
If you’re not familiar with either Nadja or Black Boned
Angel, this is probably as good a place to start as any, but
this excursion is probably closer to the individual work of
Black Boned Angel than that of Nadja. Recommended for the
barbiturate fueled drone crowd.
www.20buckspin.com |
www.myspace.com/blackbonedangelnz
| www.myspace.com/nadjaluv
|
| |
|
Opthalamia - A Journey in Darkness
(Peaceville, re-release)
review by Sam Thomas |
 |
Another re-release from Peaceville, this time dating back to
1993, and the debut album from Sweden’s Opthalamia.
Confusingly, this was originally dedicated to Euronymous and
Dead, which would lead you to think of Norwegian black
metal, but, surprise, surprise, it’s Swedish, and produced
by Dan Swanö. And, to add to the confusion, this was also
re-recorded and released in 1998 as “A Long Journey”.
Opthalamia have to be one of the more interesting Swedish
bands (not that being interesting is the first thing that
springs to mind with Swedes!) – named after a fantasy world
very much in the style of Michael Moorcock, creature of the
imagination of guitarist |
It – members, on this recording rejoicing in the names It,
Shadow, Winter and Mourning (later replaced by, amongst
others, Legion of Marduk fame).
Strangely, every track title on this album is in the format
phrase1/phrase2, e g “Castle of no Repair/Lies from a
Blackened Heart”. Not to mention that there’s a part 2 of a
track that has no part 1. Weird.
The thing that strikes me most about this album is its
remarkable inconsistency. There are some absolutely superb
bits of sorrowful melancholy, not dissimilar to Katatonia,
another Peaceville band, some bits which would not disgrace
a Norwegian black metal band (think Varg when he was banged
up) and then there are some absolutely tedious bits that
should definitely be consigned to the outer darkness. And
that’s not a positive comment!
Ultimately, I’m at a bit of a loss to see why this album
rates what is, effectively, a third release. Well, I would
be at a loss if I weren’t a cynical bitch. I’m sure you can
work it out.
www.peaceville.com
|
http://ophth.free.fr/music/ophthalamia.html |
| |
|
Skyclad - In The… All Together
(Scarlet Records) Review by Crin |
 |
No matter how this band try, they will never escape the
shadow of Martin Walkyier. It’s a shame as this album is
full on, balls to the wall Folk Metal and a fine return to
form. Its just so hard for a well oiled Skyclad fan to shed
that lyrical genius of yore. But, let’s try to look at this
on its own merits. The new vocalist, Kevin Ridley [well not so new, he’s
been around a while now] is slowly claiming his own place in
the bands legacy. Musically this is a better album that the Walkyier
fronted Folekemon, and the best Skyclad release
since Irrational Anthems [in my opinion]. There is a sharp
energetic surge of guitar and fiddle to reawaken the past
wonderments of The Answer Machine and Oui Avant-Garde a |
Chance, both fine albums although not as sharp or decisive
as this new opus.
So, I think the time has finally come when Skyclad has shed
its Walkyier husk and emerged from his shadow. Once I got
through the album once, I was totally mesmerized the second
time round. Eloquent fiddle playing and strident guitars
harkens back to the more in your face days of old, and yet
the polished edged make this a very modern Skyclad that will
appeal to both old and new fans. The vocals are still very
much part of what this band are about, so you do not get a
totally different vocal to drag you from the comfort zone of
a Skyclad atmosphere. Add some really strong up-beat folk
metal and what we get is the rebirth of one of England’s
most important bands. |
| |
|
Spartan Warrior - Self Titled
(Metal Mind) Review by Metal Mark |
 |
The NWOBHM was such a massive movement that some bands were
inevitably left behind and even forgotten to an extent. One
of those overlooked bands is Spartan Warrior. Even though it
is self-titled this was actually their second full length
offering. The thing that struck me first about this band was
that they cross the line between hard rock and metal. Not so
much a blend, but more that they take on one style on one
song and then dip into the other style on the next track.
The influences are definitely varied as they show shades of
Saxon, Scorpions, Ted Nugent and a handful of others. There
is definitely some 70's hard rock flavors tossed into their
mix, but they sound like some other bands |
|
from the NWOBHM as
well. The bass is often pumped up enough to really add some
support. The drum sound is loud, but not always as heavy as
it could be. The vocals are perhaps the part of their sound
that adapted easiest to the different approaches that they
attempted. Above all else they approach most of the songs
with a rough and dirty feel to them no matter what the pace
is. That's what really helps to set them apart. If there is
a shortcoming it's that several songs are more basic than
they needed to be. I found myself hoping they would take a
few more chances and dig a little deeper, but that didn't
always happen. Still Spartan Warrior were certainly one of
those bands that perhaps got unfairly overlooked back at the
end of the NWOBHM scene. |
| |
|
Taake - Nattestid Ser Porten Vid
re-issue (Peacevile Records) Review by Crin |
 |
Originally released in 1999 on Wounded Love Records, this is
the mighty Taake Debut, and an album that encapsulates the
Norwegian Black Metal sound perfectly. Enigmatic main, man Hoest, is a character of immense musical ability as proven
on subsequent albums, Over Bjoergvin Graater Himmerik
[2002], Hordalands Doedskvad [2005], and the more recent,
Taake [2008]. One would not say this release is better or
worse than the aforementioned, as all retain a certain
uniqueness, all sounding very Taake in the way they are
written. Originally formed in 1993 under the Thule banner,
changed to Taake in 1995. The tracks here are simply titled
VID1 – V11. From the very first guitar notes we are |
|
hurled into the complex yet melodic song-craft of Taake, dynamic
and at times intricate, the harsh scowls of Hoest
disintegrating into clean Viking style theatrics during the
chorus parts. The magnificent Windir shared a similar
musical flow where the Heavy Metal root formula is
accentuated into brute blackened force. The involved writing
style of Hoest is a creative coin with two sides. Where as
one track will melt into the ears, another will need a few
plays to unravel the multi layered musical skins that peel
off like torments pieces of death. This album also embraces
the treble atmosphere of fellow Norwegians Satyricon, and
Emperor during their early outings. Is it the best Taake
album? I would place it on a level mantle with Over Bjoergvin, and certainly these two albums are the bands
finest to date. Nattestid Ser Porten Vid, incidentally, was
recorded at the famed Grieghallen Studios under the guidance
of Pyttten, so it certainly has authentic credentials to sit
amongst the true classics of the Norwegian Black Metal
genre. www.peaceville.com |
| |
|
This Weary Hour - No Hand To Comfort You
(Self Release) Review By Steve Earles |
 |
First thing, This Weary Hour earn massive kudos for the
beautiful packaging of this EP. In an era where reviewers
are expected to download releases to promote bands
(incredibly short sighted-a major part of a metal release is
the physical package, the lyrics and artwork). Opening into
a gatefold to present their (very well written it has to be
said) lyrics, with an eerie painting on its cover. This
Weary Hour very much have their own sound, if I was going to
compare it to anything, I’d describe it as a cross between
Neurosis and early Paradise Lost, but they very much have
their own identity. Immensely heavy riffs |
interspaced with brooding soundscapes , invoking a feeling of approaching
menace. It’s a release that very much reflects the world we
see around us today. All good art draws from both within the
artist and the world without. This Weary Hour have succeeded
in this and deserve to be heard by a wider audience.
www.myspace.com/thiswearyhour
|
| |
|
Vader - Necropolis
(Nuclear Blast Records)
By: Dave Schalek |
 |
After last year’s Summer Slaughter tour was concluded, what
remained of Vader fell apart. Founding member Peter
Wiwczarek, determined to soldier on, quickly assembled a
band of session members around him, most notably guitarist
Vogg from the tragedy stricken Decapitated. Wiwczarek and
company proceed to quickly write and release “Necropolis” on
Nuclear Blast Records, Vader’s ninth proper studio
full-length and first since 2006’s monstrous “Impressions In
Blood”.
To be blunt, Wiwczarek plays it safe as “Necropolis” is a
competent, rather typical-sounding Vader album. There is
very little in the way of surprises as Wiwczarek has pretty |
much perfected his patented formula of Slayer-based death
metal. As expected, there is plenty of speed, fast riffs,
and so forth on “Necropolis”, which continues the formula
with generally well written songs with a degree of
variation, but is not a standout record in Vader’s
discography by any stretch. There are lots of fast blasts, a
few slower paced songs with crunch, and even a moment of
melody or two from Vogg. Although “Necropolis” sounds
exactly like Vader’s recent efforts in tone, Vogg does make
his presence known with fluid guitar work that complements
the “chugga chugga” riffing quite nicely. Also noteworthy is
the rather short length of the album at almost exactly a
half hour.
Wiwczarek basically continues to demonstrate a strong work
ethic with his determination to carry Vader forward, and a
touring cycle will undoubtedly follow. But, “Necropolis”
will probably become lost within Vader’s extensive
discography pretty quickly.
www.myspace.com/vader
| www.nuclearblastusa.com
| www.nuclearblast.de |
| |
|
Winds Of Plague - The Great Stone War
(Century Media) Review By Steve Earles |
 |
The concept album is a brave move to make by any band, it
requires a unique combination of musical talent, a strong
concept and story, and put simple…courage. Winds Of Plague
have more than succeeded on all these counts. Vocalist Johny
Plague has a powerful and versatile voice. Nick Piunno and
Nick Eash lay down a devastating twin guitar attack, and new
recruit on drum Art Cruz delivers a world class backbone for
the band. Keyboardist extraordinaire Kristen Randall makes
her recording debut with The Great Stone War. This lady is
clearly a virtuoso and a unique talent, giving Winds Of
Plague at epic sweeping sound. Like all great concept
albums, The Great Stone War deserves to listened to as a |
|
body of work as it’s a album that will stand the test of
time and grows mightier the more it’s played, but all the
tracks stand up well on their own, particularly Creed Of
Tyrants, Soldiers Of Doomsday and the title track itself. My album
of the year thus far!
www.centurymedia.com |
|
|
|
|
|
|
|
|
|
