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Gwar - Lust In Space
(AFM Records) Review By Steve Earles |
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I have to be honest here, removed from their outrageous
costumes and visual effects, I expected GWAR to disappoint
on disc. I was pleasantly surprised however, as this is a
great heavy metal album, with fantastic, well-written songs,
and fuelled with an irreverent punky spirit (that’s punk in
the 70s sense of the word, not the mall-product placement
punk of today). GWAR also display a terrific sense of
humour, something that is not only in vogue at the minute,
with the likes of Steel Panther, Deathlok and Zimmer’s Hole,
but with the doom and gloom that pervades everyday life
during this recession, it’s something that’s badly needed.
GWAR have more in common with Zimmer’s Hole than the other |
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two previously mentioned bands. Like Zimmer’s Hole, GWAR
come out like the mutant offspring of Motley Crue and Venom.
All the tracks are excellent, in particular the title track,
the blasphemous Damnation Under God, Release The Flies, and
the hysterical Where Is Zog. I love this album and it should
be mandatory by law to banish the economic blues. Nice Kiss
parody on the cover (surely even Gene Simmons wouldn’t sue
GWAR!). We are not worthy! But we’ll have to do (or else
GWAR will solve all our problems by wiping humanity out!).
As Rob Halford once memorably said: “Fall to your knees and
repent if you please!”
www.gwar.net
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Hollow Sin - Vacant
Transgression (Self Released) Review by Strawb |
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Hollow Sin were formed in 2008 and this is their first demo
release. It arrived with a short bio, the most important
part of which is the bands raison d’être, ‘to create music
for the sole purpose of world domination........and beer’.
Moving on to the five tracks themselves, they were recorded,
produced and written by the band themselves, and they have
made a good fist of it. There are no great prophetic
messages in any of the songs, but there does seem to be some
heartfelt reflections in some of them. Hurricane, the
opener, has a deceptively slow intro before the drums arrive
accompanied by one of the best riffs on here. Andrew doubles
his credit with the guitar and the vocals. He has a
distinctive voice, |
but it is not the most powerful I have heard and would
therefore fall into the adequate category. Fated
Consequences has the drums open with a militaristic beat and
is a slower track. Shell is the shortest track here, and
another to fall from the slower tree. Then we come to Blood
From A Stone, which is a heavier and faster track, and
illustrates Hollow Sin at their best. Calling loses some of
this pace, but does have a good section where the guitars
are let loose just before the end. I would like to have
heard more of Dave's drums, they seem to be subdued in the
mixing, but overall this is a good first effort launching
Hollow Sin in to a crowded marketplace.
Try them yourself at
www.myspace.com/hollowsin |
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Hypocrisy - A Taste Of
Extreme Divinity (Nuclear Blast) By: Joe
Florez |
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Despite the fact that Peter and the gang haven’t put out a
Hypocrisy disc since 2005, don’t think that Mr Tagtgren
hasn’t kept himself busy. In between that and touring he
released three Pain CD’s and continues to produce other
bands. Well, now that vacation is over it’s time to dominate
the death metal scene once again and this record is a
testament to all things heavy. Yes, while the band had
gotten rather melodic over the years the tides have turned
once again to get back to the more abrasive ways. Sure,
there are some melodies that exist, but you find out that
this is one heavy record. “Valley Of The Damned” is one
brutal opener that shows everyone that they’re back. Peter’s
voice is harsh and grating and |
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his guitar licks prove to be powerful, raw and a little bit
catchy. Immortal’s Horgh on drums is nothing short of
thunderous and Mike’s rhythmic bass work is thick and
mighty. While the song doesn’t reach the 1,000,000 mph in
terms of sound, it’s still got plenty of pep and the old
schoolers should dig it. “Hang Him High” has more rhythm and
groove, but don’t let that fool you as this composition
contains plenty of piss and vinegar. “Weed Out The Weak”
shows the really old side of the band as in when they first
started with Obscenum and Penetralia. This is raw emotions
at its most primal along with some modern and melodic sounds
thrown in. This record is a true smorgasbord of sounds as it
will appeal to many people from the primitive days to the
present which incorporates the more modern and melodic side
with a dash of raw. This three piece have done well again by
mixing it all up but bringing back the past is a new and
refreshing way. The time off they has served them well and
you can tell that their batteries are now recharged and
ready to take over. There’s a limited edition as well that
boasts 3 bonus cuts and the logo is reverted back to the
original version. Sweet! The sound on here is Grade A
because it’s exploited all over this thing from beginning to
end. So, come one come all and receive the beating that you
all deserve. This belongs in your collection for sure.
www.nuclearblast.de |
www.hypocrisy.tv |
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Ill Disposed - To Those
Who Walk Behind Us (Massacre Records) Review
by Anthony Deane |
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Ill Disposed hail from Denmark they have their roots firmly in
Thrash and Death Metal which can never be a bad combination.
Ill Disposed have certainly stood the test of time since
they first erupted on the metal scene all the way back in
1991 which I still find hard to believe considering, I only
discovered this amazing band back in early 2000. From the
first listen I was instantly hooked on the band and still
am.
With the band being on their eleventh studio release they
are certainly no strangers to writing and recording albums.
With the latest offering entitled “To Those Who Walk Behind
Us” Ill Disposed continue to make amazing music, which will
have any self |
proclaimed metal head in a head banging frenzy before the
first thirty seconds. This album should only be played at
volumes which are capable of shaking your house to its
foundations and if possible, your neighbours too.
Ill Disposed never fail to deliver solid chucks of guitar
brutality, and great melodies which are as potent as the
vocal lines. The drums emit enough power and energy to drive
an army into battle. Vocalist Bo Summer has to have one of
the most unique vocals in death metal. His style has all the
qualities of great death metal vocals but, still manages to
pronounce coherent words with the greatest of ease. Ill
Disposed have never been afraid of experimentation, with
using underlining synth sounds which only enhances their
immense sound.
If you are new to this band then I strongly urge you to
listen to their back catalogue. I can guarantee you wont be
disappointed with what you hear. One key feature that has
always made Ill Disposed stand out for me is the amazing
production work that goes into their albums, not to mention
the quirky samples which will defiantly put a smile on your
face. So what are you waiting for?
www.illdisposed.com |
www.massacre-records.de |
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Immortal - All Shall
Fall (Nuclear Blast) By: Joe Florez |
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Hells bells yes. After the band was put to rest in 2003, the
coldest black metal band from Norway strikes back 6 years
later with another bombastic effort that will decimate
everything in its path. Now, I’ve never been nothing more
than a fair weather fan of the band since Damned In Black,
but I’ve been catching up lately with their back catalogue
and I don’t know why I never got into them because they are
simply entertaining. As a scribe, I or we in the metal
community were sent releases by the PR reps stating that no
one was going to receive a digital download of the disc or a
physical copy prior to the release date. This goes back
about a month. So, with this PR machine in full swing I’m |
wondering just how good is this release gonna be. They are
putting a lot of mystique and suspense leading up to the
respective dates pending which side of the pond you’re on.
Well after all the hoopla, this is the one time that the
band delivers…in spades. I’ve already spun the disc about
four times in full and I’m still just getting warmed up. The
relentless line-up of Abbath, Horgh, Apollyon with Demonaz
writing the lyrics still pummel your ears from pillar to
post and I love this punishment. The title track blows the
doors wide open letting you know that these Norwegians mean
business. The double bass drum attacks are ruthless. Horgh
puts his kit to the ultimate test whether or not it will
survive the next 40 minutes. The guitars contain a ton of
melody, but they are cold and rapid fire quick. I think my
house and stereo system turned to ice because the sound is
chilling and I love every second of it. At six minutes here,
there is not a dull second here. It’s furious and
unapologetic. “The Rise Of Darkness” which is my personal
favorite pays out in dividends because this is one catchy
ass tune that will definitely have the crowd going in a live
setting. There’s plenty of punch to this one, but it’s more
rhythmic and upper mid paced, but hot damn this is one
killer jam. The riffing here is spellbinding and the drums
are bashed so hard that you can feel them. From the get go,
these guys fire on all cylinders refusing to ever let up.
The six years that they were off did them plenty of good. I
don’t know how long it took them to craft each composition,
but they are all homeruns with zero waste. Immortal prove
why they are the best then and now. There are numerous ways
to purchase this disc in terms of packages because they each
have something different to offer. The media blitz on this
thing was huge and for once it was spot on. Could this be
album of the year? Hmmmmmmmm. Buy or be left out.
www.nuclearblast.de |
www.immortalofficial.com |
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Litmus - Aurora
(Rise Above) Review by Crin |
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Sonic space rock fuelled by a band who are like a streamlined
astral rock machine spitting forth massively layered mind
seducing music. The Hawkwind references are unavoidable as
they are necessary. But Hawkwind's career has been long and
sporadic. Litmus are a solid band with a sound firmly rooted
to the more dynamic Hawkwind atmospheres. Imagine the
following Hawkwind albums [Levitation, Sonic Attack,
Chronicles of the Black Sword, and Electric Teepee] mashed
up into the Litmus cosmic rock grinder and re-moulded into
the fresh, vibrant and utterly convincing space imploding
music we have here. In fact, I would go so far as to cite
the more manic live performance by the Hawks, |
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as a good pointer to the fast and wonderfully energetic
guitar sound this band produce. The band seem to create a
jam like atmosphere where all the instruments bounce off
each other and flow down a meandering path of sonic ambience
and hard rock guitar dynamics. The Bass is a roaming
Lemmy-esque hammer drill and plays against the epileptic
guitaring to good effect. The swooshes, bleeps and twiddly
noises rain down on the multiple vocals that give verse to
the lengthy retro prog rock arrangements. This is an album
to slowly absorb rather than digest quickly. Mind enhancing
additives will heighten your listening experience but not
necessarily make any sense of it. Like all good acid you
need to be in the right frame of mind to get the best out of
a Litmus album. Play it in the car, play it while you read,
play it while you go down on your partner. But don’t play it
while cooking or you may well be putting eggs in the ice
cream and jam on the chicken. Such is the mind altering
qualities of this great English entity. Litmus are a band
who transcend Hawkwind rather than becoming them. They are
endowed with the bands defining characteristic, but they do
have a distinctive high octane psychedelic power drive of a
sound that offers a far more aggressive space rock
experience. |
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Skyfire - Esoteric
(Pivotal Rockordings) By: Dave Schalek |
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Sweden’s Skyfire return on Pivotal Rockordings with their
third full-length, entitled “Esoteric”, and their first
album since 2004. Not really being familiar with Skyfire
prior to this release, the band is treading the well worn
ground of progressive, melodic death metal with hugely
pompous keyboards, alternating tempos, both rough and clean
vocals, and lots of fluid, melodic guitar work.
Certainly, the musicianship and production to be found on
“Esoteric” are all quite good, but I found the songs on
“Esoteric” to be interchangeable and lacking distinction.
Throughout the album, the focus is upon the keyboards at the
expense of riffs, whether the |
pace be quick or slow. When the guitars are at the forefront
of the music, the focus is upon soloing rather than forging
a solid backbone to the album in the form of memorable
riffing. This decided lack of emphasis upon crunchy guitar
work is the key to what is wrong with this release for me.
The lack of interesting riffs robs the music of any heft or
memorable qualities, and you find yourself instantly
forgetting about each song as soon as it’s finished.
I’ll be the first to admit that my own personal tastes are
somewhat coloring this review as I’ve not much interest in
melodic death metal (the term “death metal” is really a
stretch when describing Skyfire, though). But, what’s
readily apparent is that Skyfire are a solidly second tier
band. Most of the qualities for a solid album in “Esoteric”
are there (musicianship, production, and so on), but the
songwriting is mediocre.
“Esoteric” will probably appeal to those with a huge taste
for saccharine, overly melodic Swedish death metal, but this
album lacks the necessary punch.
www.myspace.com/skyfiremusic |
http://label.pivotalalliance.com |
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SubArachnoid Space -
Eight Bells (Crucial Blast) By: Dave Schalek |
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SubArachnoid Space are an instrumental quartet currently
residing in Portland, Oregon, and are anchored by longtime
guitarist Melynda Jackson (she is a founding member of the
band, which was first put together in 1995). Jackson,
originally from the windswept plains of Texas, infuses
SubArachnoid Space with the purpose of exploring her muse
through the use of guitar and the inclusion of a few, minor
vocalizations. After numerous line-up changes, “Eight Bells”
is her project’s eighth full-length, and is released on
Crucial Blast Records, a label with a varied roster.
I’m not familiar with SubArachnoid Space prior to this
release, but “Eight Bells” is a |
kaleidoscopic mix of different genres, all woven together
into a cohesive whole. In all honesty, you’d be hard-pressed
to call SubArachnoid Space metal, although a certain
cavernous space, replete with heavy chords similar to those
found in post-metal (that I’ve heard, anyway; post-metal is
not really my thing), are present. Lots of progressive
elements are also woven in with plenty of psychedelic
musings, all done with guitar and a few synthesizer effects
that mostly consist of harmonics. Every so often, as
mentioned, a few heavy, metallic chords make an entrance.
Percussion, when present, ranges in tempo from a slow dirge
to a few up-tempo moments. Somewhat surprisingly, the album
is actually quite short for the genre, clocking in at about
37 minutes spread out over five songs. The relatively short
length actually works quite well as the instrumentals
explore different aspects of guitar work, and then move on
before boring the listener.
For the most part, “Eight Bells” is engaging, but I found
myself mostly drawn to the psychedelic moments as I have a
soft spot for such music. The more up-tempo, rock oriented
passages (apparently, SubArachnoid Space incorporate
elements of “Krautrock” into their music, but I’m not
familiar with the genre) were a bit too progressive and too
far from metal to greatly interest me, though. Certainly,
those of you willing to explore different sounds on the
fringes of metal may find something to like in SubArachnoid
Space.
www.crucialblast.net |
www.myspace.com/subarachnoidspace |
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The Green Evening Requiem - Bastards of
Atlas (Self Release) Review by Steve Green |
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I first heard The Green Evening Requiem on last years Anthrosphere Vol. 1
compilation. I was at a bit of a loss on how to describe their style
with just the song Affliction to go on, and now I have a whole album at
my disposal, I'm still struggling for the right words on how to describe
their sound. If you held a gun to my head, I'd probably say Progressive
Black/Death, but there's so much more to their sound, a simple
pigeonhole just won't do.
The guitars have a certain lo-fi quality to them, so that's the
blackened side of their sound taken care of. Shane Madden has a strained
Death meets Viking Metal vibe going on with his vocals, while his bass
style, is at times Progressive in nature, which is also how I'd
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describe drummer Evan Madden's style. The guy plays all around his kit and I love
the different textures he adds to each song. Throw in some psychedelic
keyboards, a few moody passages, the odd mellow folk tinged dreamy
segment and things are starting to come together nicely. And whatever
sound gets thrown into the mix, it works.
This is very slightly off the wall, but it's just got that certain
something that clicks with me. So if you're looking for something other
than the mediocrity that seems to litter the scene of late, look no
further than The Green Evening Requiem.
www.greenevening.com |
www.myspace.com/thegreeneveningrequiem |
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