tag:blogger.com,1999:blog-69927907056183373052024-03-05T03:04:18.813-08:00Goul's CryptFrom the blackest black to the deathest deathJakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.comBlogger203125tag:blogger.com,1999:blog-6992790705618337305.post-70261701396178133052016-01-06T08:10:00.000-08:002016-01-06T08:10:35.675-08:00AnnouncementPosts, reviews and all activity on Goul's Crypt will cease within 2016.<br />
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Since I have been reviewing more and more diverse music I have decided to move away from the "Goul's Crypt" concept and instead move my reviewing and writing activities to a new website entitled <a href="http://tonewoodmusic.blogspot.dk/"><b>TONEwood</b></a>.<br />
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The concept of TONEwood is that anyone who feels like they need an outlet for music-related writing like articles, analysis and reviews not just focused on one genre can contribute. Simply get in touch through the email found on the new site.<br />
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All my future writings, and re-written old reviews from Goul's Crypt, will be on <a href="http://tonewoodmusic.blogspot.dk/"><b>TONEwood</b></a>. I'd greatly appreciate if anyone would check it out and/or contribute in the future.<br />
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Over and out!<br />
-Jakob GoulJakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-37352406830404855342016-01-02T04:41:00.002-08:002016-01-02T04:41:17.411-08:00E-Musikgruppe Lux-Ohr - Spiralo [Full length] (2014, Svart Records)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><b>A journey to 70s Germany with a group of Finns as tour-guides</b></span></div>
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Some claim that the German music style known af Krautrock (and to an extent the various subgenres the Kraut movement spawned) never quite went out of style. Though Tangerine Dream's mastermind Edgar Froese passed away not too long ago, the group was active right until his death. Others like Klaus Schulze (of Ash Ra Tempel) and the band Faust are still going strong, as if they've forgotten about the passage of time. In addition newer groups are crawling forth from various scenes all over the world, inspired in some degree by the landmark German movement.</div>
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The Finnish group E-Musikgruppe Lux Ohr have since 2010 bestowed upon the world musical minimalism in the form of synthetic melodies with ample headroom. The two previous releases form the band presented gloomy synths in an equally gloomy environment. Spiralo is in that regard not as such a mould breaker, but yet manages to add greater depth and a slightly more melodic tendency to the group's style.</div>
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In a musical genre where easily recognisable melodies or catchy choruses usually don't play a prominent role it can be quite difficult for a musician to stand out. Differences will often be minor and subtle. At a cursory glance two albums that are in fact vastly different can sound remarkably alike. This is the same problem the Finns stand before, and Spiralo can as a result easily appear to be an anonymous and forgettable outing which perhaps draws a little much from Klaus Schulze's new-agey tunes.</div>
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<span style="font-size: large;"><b>"The tempo is laborious in the nature of the genre, so it is definitely an album that you have to take your time to listen to..."</b></span></blockquote>
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But then again it would be a great shame to write off the band's third release as boring background music, because it is so much more if you just let it sink in. The esoteric foundation is built with rolling synths and exhaustive effects that gets your fantasy going, and even if the composition can only scarcely be called innovative the Finns yet succeed in summoning forth an exciting musical landscape focused on simple but effective compositions. The tempo is laborious in the nature of the genre, so it is definitely an album that you have to take your time to listen to, but it is 40 minutes well spent.</div>
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The album seems almost tailored for the vinyl medium (and doesn't even come in CD form) and is split into six parts - Teile I-III on side A and Teile IV-VI on side B. The tracks on Spiralo kan be understood as individual compositions, but to a higher degree also as one continuous journey. As such it is in my opinion imperative tat you at least once take the time to listen to the entire album in one uninterrupted sitting.</div>
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Bonus fun-fact:</div>
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The group includes among others guitarist Kimi Kärki, who in some circles is best known as the guitarist in doom metal groups Reverend Bizarre and Lord Vicar. Kärki also released his first solo album, The Bone of My Bones, as an acoustic singer/songwriter in 2013 through Svart Records, inspired by musicians like Leonard Cohen and Simon & Garfunkel.</div>
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8/10 guitars</div>
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<b>Tracklist:</b></div>
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1. Teile I</div>
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2. Teile II</div>
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3. Teile II</div>
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4. Teile IV</div>
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5. Teile V</div>
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6. Teile VI</div>
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<a href="https://www.facebook.com/EMGLuxOhr/?fref=ts"><br /></a></div>
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<a href="https://www.facebook.com/EMGLuxOhr/?fref=ts"><b>E-Musikgruppe Lux Ohr on Facebook</b></a></div>
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<a href="http://e-musikgruppeluxohr.bandcamp.com/"><b>E-Musikgruppe Lux Ohr on Bandcamp</b></a></div>
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<a href="http://www.svartrecords.com/"><b>Svart Records official site</b></a></div>
Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-35026736281264826362015-12-25T01:24:00.000-08:002015-12-25T01:24:44.498-08:002015 End of the Year List<div style="text-align: justify;">
In the world of metal 2015 has been an exceptionally busy year. On the old front this year saw Paradise Lost returning to a style more akin to their gritty origins, as well as Iron Maiden and Slayer finally coming out with new material. Bands like Cattle Decapitation and Ghost are at the peak of their careers. And Arcturus are out with a new album!? </div>
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As always there's some stuff to look forward to next year as well. Vektor is coming out with the long awaited follow up to their technical thrash masterpiece Outer Isolation, and a personal doom metal favourite of mine - Stone Magnum - are also releasing new material. Going further, Conan from Britain are supposed to release a new album as well.</div>
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Arbitrary to some, I find end-year lists to be a great way to sum up and process all the new impressions from the past year. Sometimes you've already forgotten some of the greatest releases from the earlier parts of the year, only to rediscover them at the end. Between listening to new records and worshipping old ones, some simply slip through the gaps.</div>
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On a side note I haven't listened to the new Hooded Menace, Uncle Acid or Dynatron albums yet, although I suspect they're all fantastic. Until then here's the preliminary (read: final) top 15 of the year 2015 for me. I've been listening to a lot of records, not only metal ones, which are all included in one definitive list, including a few honourable mentions. The albums featured this year seem in retrospect to be mainly from bands I knew beforehand - Perhaps I've been a little lazy in checking out new names? Or maybe those new acts don't quite live up to expectations... It could all just be coincidence. At any rate, please refer to the comments section below to deliver death threats, accolade and/or inquiries.</div>
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<span style="font-size: large;"><b>The Top 15 of 2015</b></span></div>
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<b><span style="font-size: large;">15.</span> Acid King - Middle of Nowhere, Center of Everywhere</b></div>
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(Svart Records)</div>
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A quiet but cautious "fucking finally" escaped my lips as Acid King's new album arrived in my inbox. Not since 2005 have we been graced with new material from the acid royalty. The Californian band haven't released two albums on the same label, and yet my surprise was great when I realised that Middle of Nowhere, Center of Everywhere was to be released on Finland's prime label Svart Records. I'm a fan, as the label's rate of quality releases is quite substantial, just like the albums of Acid King, however far between they may be. Let me just start out by saying that MoNCoE ain't no Busse Woods. Busse Woods is the standard that I hold other stoner-doom records to, and Middle of Nowhere doesn't have quite the same classic stature. With that out of the way, let me address the great musicianship Lori S. and Co. present on the new album. It's stacked to the brim with the usual quirky-natured and heavy-tempered stoner riffs they've become known for, and thank Satan for that. They've found room for more paranoia-inducing tracks which mixes up the usual 420 tunes, making it a more varied outing than previous efforts. It's definitely got it's memorable moments, and I'm sure it will see as many spins as their previous material.</div>
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Listen to "Coming Down from Outer Space" and "Center of Everywhere"</div>
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<b><span style="font-size: large;">14.</span> Ranger - Where Evil Dwells</b></div>
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(Spinefarm Records)</div>
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Finnish speed metal heroes RANGER practically exploded with the release of their 5-track EP Knights of Darkness in 2013, which I reviewed back then. Their approach features elements from all the classic early speed and thrash acts of the 80s, but with an especially heavy nod towards Slayer's debut Show No Mercy. Their sound has remained completely uncompromising, hard, heavy and fast. Surprisingly the tracks found on Where Evil Dwells are pretty lengthy for speed metal, most of them clocking in at above 4 minutes in length, with the title track taking the cake with over 10 minutes of play time! A bold move indeed. Ranger is with good reason among the shooting stars of the current speed metal movement, even if they're getting plenty competition from other competent bands. But only few rival the impulse and lack of restraint that the Finns put forth!</div>
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Listen to "Defcon 1" and "Black Circle (S.Y.L.S.)"</div>
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Read my full <a href="http://gouls-crypt.blogspot.dk/2013/09/ranger-knights-of-darkness-ep-2013.html">review of Knights of Darkness</a></div>
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<b><span style="font-size: large;">13.</span> Various Artists - Kung Fury OST</b></div>
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(Universal Music)</div>
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Kung Fury was the kickstarter-funded short film that caused quite a commotion on the internet with its tongue-in-cheek, nostalgic rendition of 80s B-movies earlier in 2015. Though the film itself was only mildly entertaining at best, the whole mythos surrounding it is where the real fun begins. On paper the plot is fun, the artwork is so 80s that the Transformers, He-Man and Michael Jackson all seem modern by comparison, and the fact that Swedish musician Mitch Murder collaborated with none other than 80s super star David Hasselhoff to create the viral hit True Survivor. Combined with the hugely successful campaign to fund the movie it's a real American adventure (but in Sweden). The very fact that the OST is released on vinyl by Universal Music stands testament to the reach and popularity of the concept. The soundtrack in itself summons the best the current synthwave scene can muster with fantastic tracks from Mitch Murder, Lost Years, Highway Superstar, Betamaxx and others, carving a neon path through space and time straight back to late 80s, clad in white Reebok Pumps and tight jeans.</div>
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Listen to "West Side Lane (by Lost Years)" and "Power Move (by Mitch Murder)"</div>
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<b><span style="font-size: large;">12.</span> Power Glove - EP II</b></div>
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(Invada Records)</div>
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With their soundtrack for the video game Far Cry 3: Blood Dragon and their first EP before that, Power Glove were among the first movers in the movement now widely known as synthwave. For many their first EP was a gateway into the world of modernized 80s synthscapes, and the tone they set has since been imitated by many. But as the Australians put it, their new EP leaves the 80s behind and moves into a seedy early 90s club. Tracks like Punker and Motorcycle Cop bring to mind a darker re-imagining of Justice's "†" album from 2007 and plays like the soundtrack for a William Gibson cyberpunk novel. It feels like a brave move for the duo, seemingly not wanting to conform to the colourful 80s style more than they have to. Though not too far removed from their previous material, their venture into new markets comes with the same quality that they've been known for in the past.</div>
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Listen to "Punker" and "Grip"</div>
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<b><span style="font-size: large;">11.</span> Armored Saint - Win Hands Down</b></div>
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(Metal Blade Records)</div>
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Some enjoy John Bush in Anthrax, but I've always felt as though his true home as a metal vocalist is with Armored Saint. Though they've come a long way since 1984's classic March of the Saint the style and approach has remained largely the same through the last 30 years, even in spite of the long hiatuses they've had through the years. Win Hands Down may not be a new Symbol of Salvation, but with their usual strong songwriting and the drive and commitment they've always presented their return comes much appreciated.</div>
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Listen to "Win Hands Down" and "Muscle Memory".</div>
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<b><span style="font-size: large;">10.</span> Black Rainbows - Hawkdope</b></div>
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(Heavy Psych Sounds)</div>
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Italian hard psych n' stoner rock may not sound all that innovative or interesting. Adding a garage element and saying it sounds "kinda like Queens of the Stone Age, Kyuss and Hawkwind" may sound like blandness in the making. Lots of bands are doing it, like King Gizzard and the Lizard Wizard and Greenleaf just to name a few. But the new album from Black Rainbows stands out, even if the incredible cover image doesn't convince you. They may be inspired by the greats of hard psychedelia, stoner, space and desert rock with crisp, driven gutiars, catchy hooks, airey psychedelia, pounding drums and groovy bass, like so many others, but the songwriting is as catchy and memorable as any of the classics they mimic.</div>
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Listen to "Hawkdope" and "The Prophet"</div>
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<b><span style="font-size: large;">9.</span> Disasterpeace - It Follows OST</b></div>
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(Milan Records)</div>
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It Follows caused quite a stir within the horror film fandom in 2015. I haven't seen it yet, but most seem to praise it. That doesn't stop me from enjoying the soundtrack, which in my eyes means that it does its job well. The intro track kicks off with a paranoia-inducing theme of equal parts Silent Hill and the famous shower sequence of Psycho. The crisp, bitcrushed synths of the soundtrack conjure up and perfectly capture an intense atmosphere of urgency, of being stalked and pursued, and a fear of the unknown. Demented synths go hand in hand with a simplistic rhythm section, and especially with headphones does the soundtrack come into its own. Disasterpeace plays with extremely high and low pitches in a hysterical, almost psychotic, soundscape designed to freak you out. If the film is even half as good as the soundtrack, I won't be disappointed.</div>
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Listen to "Title" and "Company"</div>
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<b><span style="font-size: large;">8.</span> Encyrcle - Encyrcle</b></div>
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(Unspeakable Axe Records)</div>
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There are times when you see an unknown band live that you have a feeling are gonna get big. When I saw Encyrcle prior to the release of their album (even before they had a social media presence, which in all honesty is probably the first thing every band gets around to these days) they brought down the house and raised the roof, or whatever it is young people say nowadays. I'm sure Encyrcle wouldn't know anything about what goes on in the modern world, because with that dresscode and that style they might as well have been from the late 80s. Although the band's relationship with 80s speed metal and heavy metal is purely second hand nostalgia - they are young guys after all - they commit to the style and execute it extraordinarily well. Production-wise they're a lot "cleaner" sounding than similar bands, new or old, but their strength lies with the incredible songwriting and energy with which they deliver the goods. Tight leather pants, studs and sunglasses in the dark, this is the best 80s since the actual 80s.</div>
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Listen to "To the End" and "Bloodbasker"</div>
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<b><span style="font-size: large;">7. </span>Melody Gardot - Currency of Man</b></div>
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(Decca Records)</div>
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To my knowledge the American singer has been pretty consistent throughout her career, both in style and quality. Her style usually leans on smooth jazz with soft blues undertones, carried out in a pleasant down-played disposition. However, on her fourth solo album she appears to be leaning more towards a darker blues sound, her deliberate vocal style shining brightly on a sombre tapestry of atmospheric, almost ambient combination of jazzy strings and bluesy guitar and bass interplay. By now her style seems almost gothic in its ponderously eloquent nature, both musically and in regards to voice. Depending on what you're looking for, Currency of Man is in my opinion her most affectionate and deep felt album yet.</div>
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Listen to "Don't Talk" and "She Don't Know"</div>
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<b><span style="font-size: large;">6.</span> Ozric Tentacles - Technicians of the Sacred</b></div>
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(Mad Fish)</div>
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This band has somehow remained in relative obscurity since the 80s. Their spaceous progressive psych rock may be a bit much for some people, but their vast vistas and expansive soundscapes are virtually unrivaled. As usual they're quite heavy on the synthesizers and sonic effects, but the almost improvisational songstructures on their newest album benefit greatly from the multitude of layers that builds their music. With the shortests song being just over 5 minutes in length, Technicians of the Sacred opens up for hours upon hours of listening and exploring. This is one album that you can keep listening to and finding new elements over and over and over.</div>
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Listen to "Epiphlioy" and "Butterfly Garden".</div>
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<b><span style="font-size: large;">5.</span> Death Hawks - Sun Future Moon</b></div>
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(Svart Records)</div>
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How could Death Hawks possibly follow up the great hypnotic tunes of the self-titled album from 2013? And what direction would the band be heading in? Death Hawks was vastly different from the debut from 2011, but had they found their final stylistic resting place with their sophomore album? All kinds of thoughts and worries passed through my head between the release of Death Hawks and Sun Future Moon, but I was pleased to find that the answer with the band's third effort wasn't entirely unambiguous. It hints with nostalgia to the debut with gutsy sunshine rock while maintaining the feel of spacey hypnosis found on the follow up. Sun Future Moon stays grounded and substantial while also leaping into psychedelic aeons beyond time and space. I mentioned in my previous review of the album that it feels like a result of their musical journey up til now, and I stand by that notion.</div>
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Listen to "Hey Ya Sun Ra" and "Friend of Joy"</div>
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Read my full <a href="http://gouls-crypt.blogspot.dk/2015/11/death-hawks-sun-future-moon-full-length.html">review of Sun Future Moon</a></div>
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<b><span style="font-size: large;">4.</span> The Avener - The Wanderings of the Avener</b></div>
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(Capitol Records)</div>
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I have been putting this album on regularly ever since it came out. Emerging from the French scene with a few hit singles, The Avener's album of remixed tracks, collaborations and re-imagined older songs explores both house and lounge in a wonderfully produced mish-mash of old and new, traditional and modern. I'm usually not into lounge at all. The simple faux-laid back rhythms get old really quickly. But through his talented musical sorcery this new French artist has created not only a great loungey album, but a phenomenal record in itself with lots of feeling and memorability.</div>
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Listen to "Panama" and "Castle in the Sky".</div>
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<b><span style="font-size: large;">3.</span> Carpenter Brut - Trilogy</b></div>
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(Neuropa Records)</div>
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Trilogy isn't an album per se, but rather a compilation of the artist's three EPs, the last of which came out in early 2015. I won't go into detail about the EPs individually - That would make up a whole article in itself. But with the 80s electro revival synthwave fever running rampant with tons of mediocre acts and only a few good ones, the frenchman known only as Carpenter Brut stands out with the arguably most hardhitting and well-produced variant. His rolling synths and powerful rhythm sections are real suckerpunches and completely blew me away in an almost literal sense with absolutely incredible tracks like ROLLER MOBSTER and TURBO KILLER. As a side note, the crisp triple 45rpm vinyl configuration from Neuropa Records is the absolute prime way to be listening to this monolithic and, dare I say, potential timeless classic collection. If you can afford it.</div>
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Listen to "Roller Mobster" and "Disco Zombi Italia".</div>
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<b><span style="font-size: large;">2.</span> Symphony X - Underworld</b></div>
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(Nuclear Blast Records)</div>
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Last time Symphony X released an album, 2011's Iconoclast, they made it to the top of my list. It's an album I still listen to frequently. As usual for Symphony X the new album is almost universaly well-received and with good reason. Underworld shows a band still at their prime full of envigorating progressive power metal tunes. Underworld has tougher competition than Iconoclast did, but seems like a return to form for Symphony X with less groove and more power. As I mentioned in my review of the album from earlier this year it feels both like a natural progression from the sound of Iconoclast, but also like a mix of their three previous albums, mixing in elements from both The Odyssey, Paradise Lost and lastly Iconoclast.</div>
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Listen to "Charon" and "To Hell and Back"</div>
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Read my full <a href="http://gouls-crypt.blogspot.dk/2015/07/symphony-x-underworld-full-length-2015.html">review of Underworld</a></div>
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<b><span style="font-size: large;">1.</span> Undergang - Døden Læger Alle Sår</b></div>
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(Dark Descent Records/Me Saco Un Ojo Records)</div>
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Undergang have, among fans of the death metal underground, become synonymous with the vilest, most rotten and decayed death metal available. Since 2009 they've been tearing it up, fuelled by the decomposed sound of obscure death metal demos from the 80s and 90s, with each album delving further into putridity. Indhentet af Døden brought corpse-dripping metal in the vein of Slugathor and Disma, while Til Døden os Skiller from 2012 vomited forth another 8 great tracks in the same style. Sound-wise Døden Læger Alle Sår has changed a bit, mixing and mastering being handled by Greg Wilkinson and Dan Lowndes respectively, though I would like to note the hardhitting style suits the rotten guitars and drums perfectly by accentuating each fetid chord after the next. Døden Læger Alle Sår establishes the fact that musical merrit isn't inherent in advanced music. Undergang's brand of death metal is knuckledraggingly troglodytic, but when coupled with gut-pounding drumwork and the scene's greatest flair for composition it's a truely devastating concoction. Death heals all wounds indeed.</div>
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Listen to "Ad Ligbitum" and "Det Gør Kun Ondt Til Du Dør"</div>
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<span style="font-size: large;"><b>Honourable Mentions</b></span></div>
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<b>Enforcer - From Beyond</b></div>
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(Nuclear Blast Records)</div>
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There's a reason Enforcer are at the top of the game in regards to revivalist speed metal. Ever since the release of Into the Night in 2008 they've not only been expanding their fanbase, but also at the same time progressing as songwriters and musicians. The sound they found on Death by Fire has now been triple-distilled and perfected to the point of deadly precision with an immensely well-crafted album. The Swedes've found room for a bit of innovation with much longer tracks and more intricate compositions, and the very fact that they could almost out-do Death by Fire is in itself a huge feat, even if From Beyond doesn't have quite as many memorable tracks.</div>
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Listen to "Undying Evil" & "Mask of Red Death"</div>
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<b>Gruesome - Savage Land</b></div>
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(Relapse Records)</div>
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Evil Chuck's Death no doubt had a huge influence on metal, both then and now. There's always been the presence of a few bands that sound almost unmistakingly like Scream Bloody Gore and/or Leprosy, but Gruesome really took the world by storm with their completely unashamed influence from Death when they released Savage Land this year. Together with Trenchrot they're the prime of Death rip-offs, and I mean that in the best way possible. They don't actually cover any songs by Death, but everything from the riff composures over the drumming to the vocal style and vocal patterns is unmistakingly heavily influenced by especially the Leprosy album. If that's the style of death metal you're into, you cannot afford to miss Gruesome's Savage Land (or Trenchrot's Necronomic Warfare from last year, for that matter).</div>
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Listen to "Trapped in Hell" and "Gangrene"</div>
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<b>Sammal - Myrskyvaroitus</b></div>
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(Svart Records)</div>
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Sammal has a history of few but great releases behind them, and building upon that saga is their third outing, Myrskyvaroitus. It's definitely one of 2015's strongest proggin' hard rock records, and an absolute must if you're into classic rock with a modern twist of heavy organs and the most innovativ riffing available. </div>
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Listen to "Aika on alkamassa" and "Järjen ohimarssi"</div>
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Read my full <a href="http://gouls-crypt.blogspot.dk/2015/12/sammal-myrskyvaroitus-full-length-2015.html">review of Myrskyvaroitus</a></div>
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<b>Acid Witch - Midnight Movies EP</b></div>
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(Hell's Headbangers)</div>
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The guys from Detroit definitely aren't what they used to be. 2008's Witchtanic Hellucinations was mostly in the vain of psychedelic, tripped out and occult death-doom metal, before going for a more death n' roll like sound on the following records. They definitely can't be lobbed into one specific category, 'cause last year their split with Nunslaughter featured something much more like "regular" death-doom, before returning this year with a tribute to 80s heavy metal-themed horror films. This EP has the horrific quartet covering absolute classic tracks by Sorcery, Fastway, Black Roses and 45 Grave. They might not do the originals justice, but they definitely give it their own spin in a way only Acid Witch can do with reverance aplenty.</div>
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Listen to "Soldiers of the Night (originally by Black Roses)" and "Partytime (originally by 45 Grave)"</div>
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<b>Lord Huron - Strange Trails</b></div>
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(Iamsound)</div>
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Indie folk is definitely alive and kicking. Though I consider most of the groups in the genre to be the authors of abysmally boring, offendingly run of the mill and drivelous tripe, Lord Huron's semi melancholic vocals and flowy guitar play really struck a chord with me. Pun intended. From start to finish 14 tracks make up the almost hour-long play time, so it's a lengthy affair for a mostly mainstream album. However, right from the album opener it's quite a journey with emotional ups and downs. It's a deep felt album with lots of feelings poured into it. It's beautiful is what it is, and thankfully it sounds nothing like Mumford & Sons.</div>
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Listen to "Love Like Ghosts" and "The World Ender"</div>
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<b>Madeon - Adventure</b></div>
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(Columbia)</div>
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Now here's what is essentially a product of modern music culture. This young French newcomer debuted in 2009 with his first single, at the ripe old age of 15. As such his album debut has been a long time coming. His popularity started out with a viral youtube video, and since then he's only been getting more popular. And with good reason. His powerful brand of electronic music, inspired by pop, electro and house, has a unique and invigorating sound that maxes out every positive feeling in the emotional register. It's fresh and it's raw talent distilled into a fine spirit of summerly rhythms.</div>
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I'm not usually that much into special editions or deluxe editions as the bonus tracks are often a waste of time and merely filler material to justify a higher price, but with Madeon's debut album the deluxe edition really is essential, with his singles from 2012 making it as bonus tracks.</div>
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Listen to "You're On" and "Finale"</div>
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<b>Bikstok - Uranium</b></div>
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(Mermaid Records)</div>
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Danish reggae-hip hop trio Bikstok Røgsystem finally return after having released nothing but a single in the last ten years. In Denmark the group's only album, 2005's "Over stok og sten", stands out as a modern classic that set a certain standard and trend for years to come in the Danish scene. A standard that very few have even come close to imitating successfully. It seems doubtful that the new mini LP "Uranium" will do the same, but even after many years of silence the trio - Now known as just "Bikstok" - perfectly recaptures the silly and laid back style of the preceding album. The album opener, 80'eren, is a tribute to their youth and really sets the tone for the A-side. Unfortunately the B-side sort of meanders with few highlights shining as bright as the spliffs Eagger, Pharphar and Blæs B are undoubtedly smoking.</div>
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Listen to "80'eren" and "Uranium"</div>
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Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-28146530267562967952015-12-15T04:04:00.002-08:002015-12-15T04:04:15.967-08:00Sammal - Myrskyvaroitus [Full length] (2015, Svart Records)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><b>Finnish prog-rock usurpers return for a third strike</b></span></div>
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A part of the struggle of participating in trends is standing out from the lot, and those that achieve this are ironically often those that give the trend the most unusual twist. The vast majority will suffer from being unimaginative and ordinary, which when done well may be a strength on its own. Often the boundary between blindly following a trend and expanding into new territory becomes blurred; At which point exactly does music go from simply paying tribute and drawing inspiration from something to discovering new areas to colonize? The Finnish band Sammal, who are with the release of Myrskyvaroitus now three releases into their journey, seem to be an example of this question.</div>
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Having listened to the eponymous debut from 2013 and the subsequent EP from the following year Sammal stands out as a busy band that usually delivers a thrilling, on-point set of rock songs that feel uncommonly artisanal. And thusly the new album, "Myrskyvaroitus", feels as much like a natural musical development to the EP "No 2" as "No 2" did to the debut, even if there's no particular progression in terms of songwriting and skill involved. If there is any noticable difference between Sammal's releases, it would be that "Myrskyvaroitus" features, at times, darker tunes. "Kohtaus yön vyöllä" and "Muurahaisen päiväuni" especially tend more to these melancholy currents.</div>
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<span style="font-size: large;"><b>"Their bright and upbeat seventies sound, complete with crunchy guitars, juicy organs, funky bass and lively drums are what set them apart and take them beyond the planes of mere accolade and appreciation of days gone by."</b></span></blockquote>
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Even so, the majority of the new album explores in depth the very same corner of seventies-based progressive rock that the predecessors did. Their bright and upbeat seventies sound, complete with crunchy guitars, juicy organs, funky bass and lively drums are what set them apart and take them beyond the planes of mere accolade and appreciation of days gone by. On "Myrskyvarioutus" the group toys more with playful and expansive quasi-improvisational psych sessions than previously attempted, as noticable especially on "Järjen ohimarssi". As such their latest effort comes across as being a more expansive piece in terms of overall composition.</div>
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Clever compositions aside, Sammal subscribe much to the same currents as bands like Horisont, but with a more substantial Deep Purple and November feel to them. The lead singer's powerful vibrato sings along playfully to the organism that the rest of the band composes. I mentioned earlier the overall composition and flow of the album, and every music fan will have a notion of what is coming next in the frame of an album. The Finnish band throws these anticipatory notions to the wind with a loving punch to the face of tradition. Though experimentation with a traditional sound has always been the way of Sammal, but by following the previously mentioned less cheerful tracks with a mockingly cheery and catchy tune like "Aika on alkamassa" the band plays in new ways with expectation and album-wise flow.</div>
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I've come to expect a great deal from Sammal, and indeed do they deliver. I find myself inadvertently humming along, and that impact is one of the main reasons why the band is so unique. As usual there are hard-hitting rock tunes as well as more dour or psychedelic tracks, but tied together to make "Myrskyvaroitus" this makes it one of the best and most different yet thrilling rock albums of 2015. 8/10 guitars.</div>
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<b>Tracklist:</b></div>
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1. Stormvarning</div>
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2. Järjen ohimarssi</div>
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3. Samaan arkeen</div>
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4. Kohtaus yön vyöllä</div>
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5. Muurahaisen päiväuni</div>
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6. Aika on alkamassa</div>
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7. Sulle haavan tein</div>
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8. Kohti pintaa</div>
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9. Herätkää!</div>
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<a href="https://www.facebook.com/Sammal-109324700030/"><b>SAMMAL official facebook</b></a></div>
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<a href="http://sammal.bandcamp.com/"><b>SAMMAL official bandcamp</b></a></div>
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<a href="http://www.svartrecords.com/"><b>Svart Records official site</b></a></div>
Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-71331942393011335992015-12-07T04:48:00.000-08:002015-12-07T05:14:14.726-08:00Eero Koivistoinen Quartet - Hati Hati [Full length] (2015, Svart Records)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><b>Well-crafted jazz opus that speaks in colourful volumes of a great musical journey</b></span></div>
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Originally a student of music at both Sibelius Academy in Finland and Berklee College of Music in Boston, Eero Koivistoinen has remained a fixture in the Finnish jazz scene since the sixties, his first release being with the rock group Blues Section's first album of the same name in 1967. Since then the saxophonist has played with and composed for many musicians and band itterations. Already in 1972 did he enjoy international acclaim with his solo album "Wahoo!", but already as early as 1969 did his band at the time win the band competition at the legendary Montreux Jazz Festival. His extensive discography, over thirty albums at the time of writing, explores several different genres and subgenres, although jazz has always been his mainstay.</div>
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<span style="font-size: large;"><b>"The eight tracks found on the album elegantly but sternly speak of a lengthy career within the genre, both in terms of musicianship and composition."</b></span></div>
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Though Koivistoinen has shown a great interest in African music since the nineties, the clash between Scandinavian and African musical culture is absent on his latest record "Hati Hati", recorded with the Eero Koivistoinen Quartet. The eight tracks found on the album elegantly but sternly speak of a lengthy career within the genre, both in terms of musicianship and composition. Without drawing too many comparisons, the opening track in many ways mirror the sound of Miles Davis' modal masterpiece "So What", but this title track is among the more actively outgoing of the bunch. Later tracks like Moz or Relations are much more laid back and easy going, the latter in particular with its lengthy and voluminous bass section.</div>
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The organic fluctutations of the compositions seem entirely unpretentious and highly expressive. The deep felt expanses of the veteran's saxophone coupled with prominent piano playing provides an unusually pleasant and easy going atmosphere that brings to mind the many aspects of every day life, from the busy goings of a metropolis to a sunny autumn afternoon. All these attributes come together to form a monumentally well-crafted and listenable jazz album. From the perspective of a selective jazz listener Eero Koivistoinen Quartet have committed a highly enjoyable and personal record, in this case presented on beautiful black vinyl. The group's warmth and the masterful interaction between the members are among the prime examples of what makes Hati Hati stand out. A solid 8/10 album.</div>
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<b>Tracklist:</b><br />
1. Hati Hati<br />
2. Seaside<br />
3. Relations<br />
4. Times They Are a-Changing<br />
5. Moz<br />
6. Things<br />
7. Far North<br />
8. Helium<br />
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<a href="http://www.eerokoivistoinen.com/"><b>Eero Koivistoinen official site</b></a><br />
<b><a href="http://www.svartrecords.com/">Svart Records official site</a></b>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-84608662905329379142015-12-02T12:54:00.002-08:002015-12-02T12:54:52.348-08:00Cosmo Cocktail - Cosmotronic Racing [Full length] (2015, 30th Floor Records)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><b>Oversaturated neon-nostalgia</b></span></div>
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Cosmo Cocktail's album comes courtesy of 30th Floor Records, a label dedicated to the synthwave genre. Though not a veteran per se, they were definitely one of the early movers within the scene to organize and release synthwave albums from independent artists. Cosmo Cocktail, based in Italy, prides himself on his use of hardware synths, sequencers and drum machines, and with good reason. With a morass of new artists emerging from the scene every day there's more than a few who rely solely on standardized VSTs and digital sequencer software, often resulting in an amateurish feel to otherwise groovy synths in a rude and entitled celebration of the fact that nowadays "anyone can make music".</div>
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Should you somehow be in doubt of what sort of music an artist with a striking alias like Cosmo Cocktail and an album title such as Cosmotronic Racing would compose, you needn't look further than the cover artwork and the tracklist itself. Complete with neon racecars and titles like "Neon Tokyo Nights", "Sunrise at 180MPH" and "Speedlove", there really can be no doubt as to the intentions of the artist. Rolling neon synths, pounding plastic drums and dark, exotic ambience is all part of the game. And game may well be the right wording in this context, because Cosmotronic Racing - apart from the fact that the title itself feels like it - sounds daringly close to the soundtracks of late eighties to early nineties arcade racing games!</div>
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<span style="font-size: large;"><b>"Cosmotronic Racing seems not like a quick grab for attention or success, it is far too sincere for that."</b></span></blockquote>
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The Italian races down the nighttime highway, but rather than doing so in a proverbial Testarossa, Cosmotronic Racing drives more like a nice, unasuming black Honda. The album cuts through the night at a brisk pace, hinting at times to previous decades through token gestures to Tangerine Dream and Vangelis' Blade Runner soundtrack in the company of dubious drum types. Cosmotronic Racing seems not like a quick grab for attention or success, it is far too sincere for that. Rather, while engaging in every concievable cliché of the genre, the half-hour tour through the colourful eighties grasps at straws and hangs on by the skin of its teeth to find a foothold. There's the insisting speedway track, the cruisin' down the road track, the darker track - The only thing missing is the power-pop ballad.</div>
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With accomplished songwriters such as Mitch Murder, Dynatron, Power Glove and Lazerhawk dominating the scene, there's little room for mistake if you want to join the big leagues. Synthwave needs drive in order to not fall victim to the dreary and samey nature of simple electronic drums. Mitch Murder gets around it by adding a funky groove, Power Glove are masters of creating and breaking flow, Dynatron has great buildup and hooks. Cosmo Cocktail loses ground in all these fields. The album opener, "Speedlove", has a combination of the above to some degree, but sincerity and nostalgia aside Cosmotronic Racing feels rushed to the point of being a slew of good ideas thrown into the trunk of a car together with a drum machine, whereupon being transported through a minefield. 5/10 guitars.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic6rifiWAbHW4p6sjb0HRIkDwJvOBx93loVrINCJPnpDDE-Iv98Lhyphenhyphenbdfx61H3mN3-ZdwN4vGN9__KyAPjAtVaUYCQRAMWPwYyFwmwoLcDoGHeIN88ZtNjx5UAjMtm9c6966gibehKErM/s1600/5+of+10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="62" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic6rifiWAbHW4p6sjb0HRIkDwJvOBx93loVrINCJPnpDDE-Iv98Lhyphenhyphenbdfx61H3mN3-ZdwN4vGN9__KyAPjAtVaUYCQRAMWPwYyFwmwoLcDoGHeIN88ZtNjx5UAjMtm9c6966gibehKErM/s400/5+of+10.jpg" width="400" /></a></div>
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<b>Tracklist:</b></div>
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1. Speedlove</div>
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2. Neon Tokyo Nights</div>
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3. Wangan Midnight Club</div>
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4. Cosmotronic Racing</div>
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5. Do Androids Dream of Electric Human Beings?</div>
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6. Sunrise at 180MPH</div>
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7. The Blackbird</div>
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8. The Bayshore Route</div>
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<b><a href="https://www.facebook.com/cosmococktailofficial/">COSMO COCKTAIL on Facebook</a></b></div>
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<a href="http://cosmococktail.bandcamp.com/"><b>COSMO COCKTAIL on Bandcamp</b></a></div>
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<a href="http://30thfloor.uk/"><b>30th Floor Records official site</b></a></div>
Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-83706128416739770422015-11-26T06:30:00.000-08:002015-11-26T06:30:32.922-08:00Hard Action - Sinister Vibes [Full length] (2015, Svart Records)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_LurUeSg2knSPpgg-MgJHPhX857lq0_QFzeMer6kE5XrbxxQQozWtuCr_J3-Z19B06KQSW9ZXiuAJU_s6CbuYlPhcfdzWJR7AKa9tcuizuj3Mfbjjm7xOIJ3v3J0OOlVZKjPRwJNyFRY/s1600/hard_action_LP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_LurUeSg2knSPpgg-MgJHPhX857lq0_QFzeMer6kE5XrbxxQQozWtuCr_J3-Z19B06KQSW9ZXiuAJU_s6CbuYlPhcfdzWJR7AKa9tcuizuj3Mfbjjm7xOIJ3v3J0OOlVZKjPRwJNyFRY/s320/hard_action_LP.jpg" width="320" /></a></div>
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<b><span style="font-size: large;">Leather-rocking biker music with everything it entails</span></b></div>
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Everything about this band screams "we're one of those seventies hard n' heavy clones from Sweden that land somewhere in the midst of a circlejerk consisting of early Judas Priest, Thin Lizzy and Girlschool". The promo shots feature sunglasses, denim, beards and a bandana. The cover presents wrecked guitar equipment and a stylish seventies design. Songtitles like Watch Me Burn, Cut to the Bone and Dead Dogs really do the trick. It's a sure thing, right? Well, no, not really.</div>
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These Finnish bad boys - a veritable super group to say the least, consisting of fine musicians from Speedtrap, Forced Kill and other prominent Finnish bands - may be sporting the mandatory seventies hard rockin' biker dresscode, but these motorcycles carry them to far punkier territories. When they're the punkiest they sound like a head-on collision between a flashier Ramones and Danzig-era Misfits on speed. When they're the heaviest, Airbourne and a slew of other hard rock bands come to mind.</div>
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<blockquote class="tr_bq" style="text-align: justify;">
<span style="font-size: large;"><b>"It's tough to compare Hard Action to any one band or scene because they borrow so much."</b></span></blockquote>
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There's really no defining moment on Sinister Vibes, the band's debut album. With no real highs or lows to set the bar, the tracks come off as being nothing but a case of explosive nostalgiarrhea. It's tough to compare Hard Action to any one band or scene because they borrow so much. To put it bluntly, they sound like every aviator shade-wearing biker cop on Earth had an unlubricated orgy on top of a giant heap of Gibson guitars and Marshall stacks.</div>
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It's not that Sinister Vibes is a boring mess, it's just that this particular style has been done better by other bands, and it seems mostly like a group of already established musicians wanting to cash in on the recent resurgence of popularity in the genre. It's entertaining enough, and it's certainly listenable with its hookless chords and flashy shredding, but ultimately nothing really stands out. Hard Action is in many ways to hard rock what Speedtrap is to speed metal: A crash course in all the tropes and an entirely by-the-numbers experience going top speed through a wall of nostalgia. 6/10 guitars.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5nZdctTvgdiim5gLG0tVhbdM0H6t2weWlywW7leY5kuZcBFtzI7xS6HVfi5Vmjf6ZaXod52YbDNS44wWNLT4HPIluoo4Mq0eM6EEo1LxgDvrl5_ArIszjOM8YeoSni6AOlpoBFMoOOz0/s1600/6+of+10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="62" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5nZdctTvgdiim5gLG0tVhbdM0H6t2weWlywW7leY5kuZcBFtzI7xS6HVfi5Vmjf6ZaXod52YbDNS44wWNLT4HPIluoo4Mq0eM6EEo1LxgDvrl5_ArIszjOM8YeoSni6AOlpoBFMoOOz0/s400/6+of+10.jpg" width="400" /></a></div>
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<br />
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<b>Tracklist:</b><br />
1. Dead Dogs<br />
2. Chosen Few<br />
3. Cut to the Bone<br />
4. Night Moves<br />
5. Deadweight (Cut Me Loose)<br />
6. Watch Me Burn<br />
7. Hey You<br />
8. Sinister Vibes<br />
9. Gun Point<br />
10. No Lesson Learned<br />
<br />
<a href="https://www.facebook.com/hardaction/"><b>HARD ACTION on Facebook</b></a><br />
<a href="https://hardaction.bandcamp.com/"><b>HARD ACTION on Bandcamp</b></a><br />
<a href="http://www.svartrecords.com/"><b>SVART RECORDS official site</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-59476111775935144852015-11-21T02:17:00.000-08:002015-11-21T04:15:50.336-08:00Death Hawks - Sun Future Moon [Full length] (2015, Svart Records)<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-size: large;">Consistently ambitious and well-crafted nature-rock</span></b><br />
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The Finnish folk and rock scene has many gems hidden to the rest of the Western world. If you're not acquainted with the progressive grooves of Sammal, the ecclectic ramblings of Paavoharju or the laid back finesse of Riitaoja, all I've got to say is get going! One of the many surprising acts that the land of a thousand lakes has to offer is Death Hawks, a group which has been consistently releasing albums and touring Europe since 2010.</div>
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While the morbidly titled debut from 2012 hinted at sun-powered seventies-gone-modern psychedelia through compository valleys and mountains alike, and the self-titled follow-up from the year after flew among the stars on a hypnotically interstellar space rock trip, the Finnish group's third album - Sun Future Moon - opts for a greater scope than the preceding releases.</div>
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The dreamy ambience that Death Hawks has integrated into their sound on the previous album features strongly on Sun Future Moon, contributing with alluring synths, smooth bass and wistfully effective guitars and strings right from the start with the first offering of organic folk rock "Hey Ya Sun Ra".</div>
<blockquote class="tr_bq">
<b><span style="font-size: large;">"Sun Future Moon... ...elaborates on the sound and style they found on their two earlier efforts..."</span></b></blockquote>
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No doubt about it, Sun Future Moon rings like a true Death Hawks album and showcases a band still going strong in terms of songwriting on their triennial album. While Sun Future Moon shows what we already know the band is capable of, it also elaborates on the sound and style they found on their two earlier efforts, and is - like nature - in an ongoing state of evolution. The A-side of Sun Future Moon provides a stern, traditional approach, while the B-side is a bit more on the daring side of things. As an example "Dream Life, Waking Life" comes off as a Riders On The Storm-esque psychedelic lounge piece, while the follow-up track "Heed the Calling" has late sixties earworm written all over it. And next, airy pop track "Wing Wah" takes over, followed by a fragile composition of spaceous guitar ambience akin to Black Sabbath's Planet Caravan.</div>
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The captivating bass play of Riku Pirttiniemi has, to my great pleasure, been promoted to a more prominent position, driving forth the lingering synths and gentle instrumentation with a sense of instinctual purpose. As usual Tenho Mattila's sax, synths and keys are juxtaposed against Teemu Markkula's more tenacious vocals, with the percussion provided by Miikka Heikkinen returning to a more traditional rock-setup, as opposed to the more tribal sounding rhythm section of the self-titled sophomore album. In many ways Sun Future Moon has succeeded in becoming a colourful amalgam of every essential element of Death Hawks. 8/10 guitars.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWveLR3N-LBVTCWiHVoJogpsXxOs848a9Nq5ahPM4lwQzQ4omBofuIJs1RKRoCSzXPvybD7mwNKhy3uHEiTOYVZX08bVmI0LonNflzgTDfj0XfUznZh0mKL92jRj74l0Z-7q95aq8-VkY/s1600/8+of+10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="62" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWveLR3N-LBVTCWiHVoJogpsXxOs848a9Nq5ahPM4lwQzQ4omBofuIJs1RKRoCSzXPvybD7mwNKhy3uHEiTOYVZX08bVmI0LonNflzgTDfj0XfUznZh0mKL92jRj74l0Z-7q95aq8-VkY/s400/8+of+10.jpg" width="400" /></a></div>
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<b>Tracklist:</b><br />
1. Hey Ya Sun Ra<br />
2. Ripe Fruits<br />
3. Dream Machine<br />
4. Behind Thyme<br />
5. Seaweed<br />
6. Dream Life, Waking Life<br />
7. Heed the Calling<br />
8. Wing Wah<br />
9. Future Moon<br />
10. Friend of Joy<br />
<br />
<a href="http://www.deathhawks.com/"><b>DEATH HAWKS official site</b></a><br />
<a href="https://www.facebook.com/deathhawks/"><b>DEATH HAWKS on Facebook</b></a><br />
<a href="http://www.svartrecords.com/"><b>SVART RECORDS official site</b></a><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ad_u4ZwSzEY" width="560"></iframe>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-49958915910580259752015-07-26T03:03:00.000-07:002015-07-26T03:03:02.231-07:00Gouge - Beyond Death [Full length] (2015, Hells Headbangers)<div class="separator" style="clear: both; text-align: center;">
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Kolbotn, Norway, is perhaps best known for fathering Darkthrone. With Gouge, there's really no semblance to those legends, turning more towards an American style of thrashing, grinding, old schooling death metal in the dirtiest style imaginable.<br />
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Their album debut, released on respected label Hells Headbangers, is about as graceful as a car crashing at a hundred miles per hour against a flock of devoted christians. The count-in of the opening track 'Wretched Passion' is about as classic as it gets. In that way the demented Norwegian death metal duo portray their convictions rather vividly at an early stage. Paying tribute to the legends of early American extreme metal, Gouge represent a state of mind that's all about combining riffs designed to be played at insane speeds with equally fast drumming. Since this hasn't been tampered with to the point of musical regurgitation in ProTools, this means it sounds a bit sloppy. Just like it should.<br />
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When you aim for the legacy of the likes of Repulsion, Impetigo, Autopsy and Master, slowing down once in a while may not always seem to be part of the equation. But without the contrast between fast and slow, the faster, thrashier parts don't stand out as well. Tracks like 'Butcher Attack', 'Devil's Debt' and 'Morbid Curse' do this adequately, but they are the exception to the rule it would seem. The fist-fight riffs are forcefully captivating, but it all gets a bit much over the course of the half hour Beyond Death lasts without slower parts to mediate the sonic chaos that is Gouge.<br />
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While I enjoy grinding death metal as much as the next guy, I also like when neckbreaking speed is juxtaposed with slower, churning sections. Maintaining an evil atmosphere by speed alone is tough when the majority of the riffing is savagely simple, and the longer tracks - especially the title track, which also serves as the closing track - are easily the best on Beyond Death. Whether the band's debut is beyond anything but a respecting homage to the groups that started it all I'm not too sure, but it is a fun listen nonetheless, even if it doesn't quite soar to modern classic status. 7/10 guitars.<br />
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<b>Tracklist:</b><br />
1. Wretched Passion<br />
2. Breath of the Reaper<br />
3. I Smell of Rotten Death<br />
4. Blood Feast<br />
5. Putrefaction<br />
6. Butcher Attack<br />
7. Morbid Curse<br />
8. Malady Macabre<br />
9. Uncontrollable Madness<br />
10. Chaos and Horror<br />
11. Devil's Debt<br />
12. Beyond Death<br />
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<a href="https://www.facebook.com/GOUGE.NEKRO"><b>GOUGE offical facebook</b></a><br />
<a href="http://www.hellsheadbangers.com/"><b>Hells Headbangers official site</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-48838110017916499202015-07-24T13:32:00.000-07:002015-11-21T02:05:13.216-08:00Symphony X - Underworld [Full length] (2015, Nuclear Blast Records)<div class="separator" style="clear: both; text-align: center;">
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Introducing Symphony X should almost be unnecessary. Symphony X have been a mainstay in both the progressive and the power metal scene for many years now, each album reaping heaps of great reviews and praise from critics and listeners alike. Their reach is far and wide, spanning neo-classical, progressive and groovy compositions. Fronted as always by the immensely talented Russell Allen, Underworld is an album that needs only a few listens to convince.<br />
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Disregarding the quality or lack of the same of Russel Allen's many collaborations and appearances, including Jørn Lande, Ayreon and Adrenaline Mob, Symphony X will always feel like the vocalist's true home. His variation between gruff Anselmo-ish vocals and higher melodic vocals are in focus on almost each and every track, leaving no doubt that he is as essential a part of Symphony X's music as guitarist and main songwriter Michael Romeo. Where 'Iconoclast', the band's previous album, dealt primarily with mankind's promethean relationship with modern technology, Underworld has returned to the more mythological subjects as the albums from earlier in the band's career.<br />
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Though not among the initial singles, the track 'Charon' feels like one of the strongest tracks on their ninth album. There are several strong tracks that I for one will be listening to for years to come, including 'Nevermore' and 'Kiss of Fire'. Symphony X are masters of the power ballad, and of course there is one on Underworld as well. 'Without You' is as strong a ballad as ever, but Underworld lacks the lengthy prog display of power that most have come to associate closely with the group. Almost every album up until now has had one of these tracks, but 'To Hell and Back' is the best we've got this time around. A mighty track, but not quite akin to the masterpieces like the Divine Wings of Tragedy and the Odyssey title tracks.<br />
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In many ways Underworld feels like a mix of the band's three previous albums, combining the neo-classical progressiveness of The Odyssey, the lofty compositions of Paradise Lost, and the heaviness and powerful groove of Iconoclast. You always hear talk of "the difficult second or third album" when talking about a band's career. Never the impossible ninth album. Most bands have lost their flair long before reaching that point, and in that way it's refreshing to hear Symphony X release such a powerful and well carried-out album more than twenty years into their endeavour. Their output has been incredibly consistent quality-wise, and while Underworld may not be in their top 3, it comes incredibly close. Closer than many bands could ever hope to achieve this late in their career. This is unmistakingly Symphony X as we know them. 8/10 guitars.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWveLR3N-LBVTCWiHVoJogpsXxOs848a9Nq5ahPM4lwQzQ4omBofuIJs1RKRoCSzXPvybD7mwNKhy3uHEiTOYVZX08bVmI0LonNflzgTDfj0XfUznZh0mKL92jRj74l0Z-7q95aq8-VkY/s1600/8+of+10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="62" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWveLR3N-LBVTCWiHVoJogpsXxOs848a9Nq5ahPM4lwQzQ4omBofuIJs1RKRoCSzXPvybD7mwNKhy3uHEiTOYVZX08bVmI0LonNflzgTDfj0XfUznZh0mKL92jRj74l0Z-7q95aq8-VkY/s400/8+of+10.jpg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<b>Tracklist:</b><br />
1. Overture<br />
2. Nevermore<br />
3. Underworld<br />
4. Without You<br />
5. Kiss of Fire<br />
6. Charon<br />
7. To Hell and Back<br />
8. In My Darkest Hour<br />
9. Run with the Devil<br />
10. Swan Song<br />
11. Legend<br />
<br />
<a href="http://www.symphonyx.com/site/"><b>Symphony X official site</b></a><br />
<a href="http://www.nuclearblast.de/en/"><b>Nuclear Blast official site</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com1tag:blogger.com,1999:blog-6992790705618337305.post-48261584949309425642015-07-13T11:18:00.001-07:002015-07-13T11:18:24.179-07:00Sangus - Vengeful Brutality [Demo] (2013, Self-released)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh4jQY2nlDQhP9triJHn930slMYBtuaoi2SXzRIEVQCXSYsu2TXvAXscJd0zmXXYKWPgiBUan6L57gp-sB_2JWosYDtBFRM7j7AIumahNHkrz5hL_6qEBqn-4PVHxqEbYajqA-1zcqBGQ/s1600/377910.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh4jQY2nlDQhP9triJHn930slMYBtuaoi2SXzRIEVQCXSYsu2TXvAXscJd0zmXXYKWPgiBUan6L57gp-sB_2JWosYDtBFRM7j7AIumahNHkrz5hL_6qEBqn-4PVHxqEbYajqA-1zcqBGQ/s320/377910.jpg" width="320" /></a></div>
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<br />
Holding high the tatteret banners of thrash-encrusted black metal are Sangus of Rhode Island, USA. Vengeful Brutality seems a fitting title for the kind of furious black metal ablaze with the naked flames of crust punk that we find under their moniker. But the intensity of the raw abrasions comes at the cost of the atmosphere often found inherent in black metal, gambling with the wholesomeness and entirety of the debut, often making it a cacophonous mess of blasting drums and hostile guitars.<br />
<br />
It is neither sophisticated nor majestic. Rather, it is clandestinely concrete, dirty and almost graphically visceral. Without any of the subtleties of black metal, and with all the hard-wired tropes of crust, the general thinking seems to be "go fast or go home", and as such Sangus makes a convincing case of what a bulldozer going 100 mph would sound like. For a 10-minute dose of face-blasting black-thrash-crust, look no further than Vengeful Brutality by Sangus. 6/10 guitars.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5nZdctTvgdiim5gLG0tVhbdM0H6t2weWlywW7leY5kuZcBFtzI7xS6HVfi5Vmjf6ZaXod52YbDNS44wWNLT4HPIluoo4Mq0eM6EEo1LxgDvrl5_ArIszjOM8YeoSni6AOlpoBFMoOOz0/s1600/6+of+10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="62" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5nZdctTvgdiim5gLG0tVhbdM0H6t2weWlywW7leY5kuZcBFtzI7xS6HVfi5Vmjf6ZaXod52YbDNS44wWNLT4HPIluoo4Mq0eM6EEo1LxgDvrl5_ArIszjOM8YeoSni6AOlpoBFMoOOz0/s400/6+of+10.jpg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<b>Tracklist:</b><br />
1. Bonecollector<br />
2. Gaspipe<br />
3. Si Brucera<br />
<br />
<a href="https://www.facebook.com/pages/Sangus/494864457231431"><b>SANGUS official Facebook page</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-32728922715118015102015-05-07T11:54:00.001-07:002015-05-07T11:55:38.573-07:00Uroboros - Misantropía & Blasfemia / Herejía & Exilio [EPs] (2013, Self-released)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbRubiTHw65H-ktVYsYK478xtkwVaoNsPLdMm18qoE4Dk45jQwcKMhvKSeKR_h4oOJTudXSyWAaVVfzrMiWV6aElI_nIN-PHPqSDSU3bWiMopsCN6m02xCLSQ8I6j5LG0vQGtIGd29Le8/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbRubiTHw65H-ktVYsYK478xtkwVaoNsPLdMm18qoE4Dk45jQwcKMhvKSeKR_h4oOJTudXSyWAaVVfzrMiWV6aElI_nIN-PHPqSDSU3bWiMopsCN6m02xCLSQ8I6j5LG0vQGtIGd29Le8/s320/cover.jpg" width="320" /></a></div>
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<br />
Straight from Buenos Aires in Argentina comes a roar of thunder through a night as black as tar. This uproar from the underground go by the name Uroboros, and right off the bat their debut duo of EPs make most other newcomers of the genre seem like taciturn murmurs in comparison. Respectively entitled Misantropía & Blasfemia and Herejía & Exilio (A translation shouldn't be necessary), these EPs show merrit both as a whole and as two separate outbursts. While the first EP, Misantropia & Blasfemia, shows reckless ruthlessness that culminates in the 10 minute opus En Las Fauces de Uroboros, the follow up EP - released only a few days later - shows another side of the band which ends in a distressing piece of obsidian acoustics.<br />
<br />
Mantar showed us in 2014 that the mammoth riffs of sludge with a deathly approach can easily become tired quicker than a fat person competing at the Olympics, even if sternly powerful and delivered with an abundance of energy. But through greatly varying songwriting, spanning both no-compromise death-infused sludged with all the heavy riffage and recklessness that comes with it, and sombre acoustic tones with a considerable ambient presence, the Argentinians burst the bubble of boredom that so often plagues these types of bands.<br />
<br />
The powerful riffing that serves as the duo's hallmark is underlined by excellent drumming that is neither too tight or too sloppy. All the little imperfections makes the music come alive - Uroboros show it's not about soaring production with lots of head room, it's about songwriting. And the songwriting rules. There's not one single beat squandered on lacklustre filler, and the focus on huge cyclopean riffs comes with a massive payoff. In many ways they subscribe to the same school of doom as groups like Conan, using minimalistic and beastly riffs to create a feeling of energy even if the tempos are slow. They show that a the coupling of death metal and sludge, while done many times before, can still be well done by newcomers. Their hearts are as black as coal, their sound is as rough as a savage beating. 8/10 guitars.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWveLR3N-LBVTCWiHVoJogpsXxOs848a9Nq5ahPM4lwQzQ4omBofuIJs1RKRoCSzXPvybD7mwNKhy3uHEiTOYVZX08bVmI0LonNflzgTDfj0XfUznZh0mKL92jRj74l0Z-7q95aq8-VkY/s1600/8+of+10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="62" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWveLR3N-LBVTCWiHVoJogpsXxOs848a9Nq5ahPM4lwQzQ4omBofuIJs1RKRoCSzXPvybD7mwNKhy3uHEiTOYVZX08bVmI0LonNflzgTDfj0XfUznZh0mKL92jRj74l0Z-7q95aq8-VkY/s400/8+of+10.jpg" width="400" /></a></div>
<br />
<br />
<br />
<br />
<br />
<b>Tracklist:</b><br />
<b>Misantropía & Blasfemia</b><br />
1. El Último de Nosotros<br />
2. Paz Para Los Idiotas<br />
3. Ars Goetia<br />
4. En Las Fauces de Uroboros<br />
<br />
<b>Herejía & Exilio</b><br />
1. K'Zulu<br />
2. Arcano Devorador<br />
3. Holocausto<br />
4. Somos el Pueblo de Dios<br />
<br />
<a href="https://www.facebook.com/cultodeuroboros"><b>UROBOROS Facebook</b></a><br />
<a href="https://cultodeuroboros.bandcamp.com/"><b>UROBOROS Bandcamp</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-2889003633193838352015-04-21T13:51:00.001-07:002015-04-21T13:51:57.099-07:00Non Opus Dei & Morowe - Dwizki Dwie [Split] (2013, Witching Hour Productions)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrspefVZGFYehyFkNKVAzmiSN3ufRJfVPU0tnNyQZrW37viwUd0vbE6I0Guw73_yumqkiGc6mZj6vc7jEusFpeOtsa9ZAuUVfBLZSO_EJpxK6Ib2uVLcODHfkZZXTg2_8ehUzVQJRI4vU/s1600/non+opus+dei.morowe.+cover+art.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrspefVZGFYehyFkNKVAzmiSN3ufRJfVPU0tnNyQZrW37viwUd0vbE6I0Guw73_yumqkiGc6mZj6vc7jEusFpeOtsa9ZAuUVfBLZSO_EJpxK6Ib2uVLcODHfkZZXTg2_8ehUzVQJRI4vU/s1600/non+opus+dei.morowe.+cover+art.jpg" height="286" width="400" /></a></div>
<br />
Since the late 90's Non Opus Dei have graced Europe with several albums of black metal from their stronghold in Poland. They represent the old school of the genre, but aren't shy of pushing the boundaries a little every now and then - Something that they make evident on their split with country-mates Morowe. And when I say that Non Opus Dei are more old school I mean that strictly in the sense that their approach to song writing is more straight forward. Morowe hail from a different part of Poland, and in the same manner as Non Opus Dei, their approach is tinged by the tendencies of the time in which they started out. In Morowe's case, that means a much more modern take on black metal, often lending them the definition "post-black metal".<br />
<br />
Using the split-release format for something particular is always more interesting than two bands that sound exactly alike or that are worlds apart making a split for no apparent reason. On the Dziwki Dwie split-release, we find two bands from the same country, but from two different currents of the black metal subgenre. While not entirely removed from one another, the stylings of Morowe and Non Opus Dei compliment each other sufficiently to communicate the general idea and to promote each band and their individual strengths.<br />
<br />
Both bands offer up three choice cuts created especially for the split. And both offerings are good for quite a few listens.<br />
I suppose you have to be into simple song progression with a clinical edge for it to have lasting appeal, because mostly I found especially the songs of Non Opus Dei to be a little too ordinary. The highlight on Dziwki Dwie for me remains Kat Kota by Morowe after many a listen. The riffs presented there are unique and interesting while being easily recognizable and different - Something that precious few bands master. This, coupled with their unusual rhythm section has swayed in their favor, which is something that isn't easily done as I find the whole "progressive-posty-wosty black metal" thing to be usually more of a shitty gimmick than a descriptor that holds any real merit. What it usually means is riffs starting and stopping awkwardly to the sound of poorly timed drums and drugged out vocals, or extremely long stretches of useless noise or acoustic guitar. Yuck.<br />
<br />
Dwizki Dwie is a great example of exactly how to make a split. The bands compliment each other without overlapping too much in regards to style and purpose, and it certainly helps when the songs don't sound like throwaway garbage that wasn't good enough for the upcoming album. While the great old ones of the genre are busy reinventing themselves as a speed metal outfit or playing opera houses accompanied by huge orchestras and choirs, this is the part of the scene that still knows what it's all about. Ass-kicking blast beats and gruesome riffs. 7/10 guitars.<br />
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<br />
<br />
<br />
<br />
<br />
<b>Tracklist:</b><br />
1. Non Opus Dei - Dziwki Dwie<br />
2. Non Opus Dei - Kres Hanby<br />
3. Non Opus Dei - Szaleniec Glupiec Opeetany<br />
4. Morowe - Czij to Glos<br />
5. Morowe - Kat Kota<br />
6. Morowe - Obustronne Oczy Patrza<br />
<br />
<b><a href="http://www.let-the-world-burn.org/">MOROWE official site</a></b><br />
<a href="https://www.facebook.com/nonopusdei"><b>NON OPUS DEI official site</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-80748670160305545552015-02-26T05:21:00.000-08:002015-02-26T05:21:00.865-08:00Rape on Mind - Downwards [Full length] (2013, Self-released)<div class="separator" style="clear: both; text-align: center;">
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<br />
Experimentation is the essence of progress. Some musicians take this to heart and always seek to push boundaries, and some are content to just fine tune what has been done before. What is worth remembering is that experimenting with no real goal or purpose probably won't yield any usable results.<br />
<br />
My initial reaction to Downwards by Rape on Mind was something along the lines of "huh, I wonder where this is going". These notions of experimentalism were however quickly exchanged with a feeling of disappointment. Downwards starts out with some atmospheric saxophone, which I tought was pretty interesting, bringing to mind darkjazz groups like Mount Fuji Doomjazz Corporation. But I found that these fleeting moments of intrigue were few and brief. Before long the music of Rape on Mind degrades into mindless chugs with late-era Max Cavalera vocals, like a thugged-out Soulfly. To me, Downwards seems like a rancid misinterpretation of what death metal and grindcore are about, jazzed up with aweful groove-core elements.<br />
<br />
It's not like chugging riffs are the bane of all that is holy. But chugs only work if they're used as interludes between more meaningful songwriting. Otherwise the music will just be an amorphous mass of start-stop pseudo-riffs with no real merrit. Deathcore bands usually take the heat for being too chuggy, using downtuned strums at irregular intervals at every possible climax, but at least most deathcore has climaxes, varying intensity and temper. Instead, Rape on Mind just jerks around on the floor in a half-hour seizure to the sound of a malfunctioning jackhammer, making even the simplest deathcore acts seem like gracious ballets.<br />
<br />
Perhaps I'm being unfair. The second half of Downwards shows a more varied approach to songwriting, and bands like Portal (Which I quite like) have very little variation in intensity, and their music is exactly just an amorphous mass of riffs. But at least their music has wanderlust, purpose and atmosphere, which is something that can't be said of this Polish group. Keep in mind that I don't particularly care for this kind of music at all, so take that into consideration whilst reading this. But I think Downwards by Rape on Mind is complete rubbish. 4/10 guitars.<br />
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<br />
<br />
<br />
<br />
<br />
<b>Tracklist:</b><br />
1. Downwards<br />
2. Remorse<br />
3. Steps<br />
4. ......<br />
5. Nothing<br />
6. Lost<br />
7. Memories Always Burn<br />
8. Break or be Broken<br />
9. Question<br />
<br />
<a href="http://rapeonmind.bandcamp.com/"><b>Rape On Mind on Bandcamp</b></a><br />
<a href="https://www.facebook.com/pages/rapeOnmind/218042744883829"><b>Rape On Mind on Facebook</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-85323417214532222222015-01-27T00:13:00.001-08:002015-01-27T00:13:23.806-08:00Defilementory - The Dismal Ascension [Full length] (2014, Torture Music Records)<div class="separator" style="clear: both; text-align: center;">
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<br />
After three long years it's time to revisit a prominent Danish death metal band. Finally, Defilementory have released their debut full length album, after having teased death metal fans with their 2-song EP "Infatuated with Deformity" from 2011. What made them stand out to me was the prominent bass work, and the fact that they so finely balanced elements from brutal, technical and "regular" death metal in a mix that was both impressive and extremely enjoyable. Needless to say, I've looked forward to this release.<br />
<br />
Though the Danish band has always flirted with the more technical aspects of death metal, those elements have now become much more dominant on The Dismal Ascension, leaning closer to bands like Gorguts or even Deathspell Omega than ever before. In that regard their previous release, 2011's demo EP "Infatuated with Deformity", was more straightforward in its usage of technical passages. As an example, the track "Misanthropic Emancipation" features some fairly interesting use of sliding riffs and popping bass amidst ruthless slams. The Dismal Ascension has it all, and the four title-tracks that serve as the pièce de résistance more or less serve as a condensed presentation of everything the band is capable of. From raw quarries of primitive slams and structures that may at first sound like basic chug-a-chug diddley-diddley type affairs to sprawling deltas of blazing melodies and weirdly dishamornic themes, Defilementory's debut album is a release that both hails the greats of the genre and seeks new territory.<br />
<br />
Where brutal death metal can often come off as clumsy and thuggish, Defilementory are deliberate and precise. Where technical death metal can become too intricate for its own good, the Danish band prove themselves as masters of flow. But - and there always is a "but" - there are a few scattered occurances where things tend to get a bit out of hand, with the usual groove and flow of the band being beaten down at the hands of overly atmospheric harmonies. The track "In Soullessness - Supremacy" is one such occurance. However, those brief moments are vastly outnumbered and outclassed by the much more memorable passages that make you wish for more. I'll be returning for more. 8/10 guitars.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWveLR3N-LBVTCWiHVoJogpsXxOs848a9Nq5ahPM4lwQzQ4omBofuIJs1RKRoCSzXPvybD7mwNKhy3uHEiTOYVZX08bVmI0LonNflzgTDfj0XfUznZh0mKL92jRj74l0Z-7q95aq8-VkY/s1600/8+of+10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWveLR3N-LBVTCWiHVoJogpsXxOs848a9Nq5ahPM4lwQzQ4omBofuIJs1RKRoCSzXPvybD7mwNKhy3uHEiTOYVZX08bVmI0LonNflzgTDfj0XfUznZh0mKL92jRj74l0Z-7q95aq8-VkY/s1600/8+of+10.jpg" height="62" width="400" /></a></div>
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<br />
<br />
<br />
<br />
<b>Tracklist:</b><br />
1. Intro<br />
2. Misanthropic Emancipation<br />
3. In Soullessness - Supremacy<br />
4. The Mask of Anatomy<br />
5. Endless Abjure<br />
6. The Horrid Reflection<br />
7. Abhorred Veracity<br />
8. The Dismal Ascension - Vengeance<br />
9. The Dismal Ascension - Despair<br />
10. The Dismal Ascension - Sovereign<br />
11. The Dismal Ascension - Departure<br />
<br />
<a href="https://www.facebook.com/Defilementory"><b>DEFILEMENTORY on Facebook</b></a><br />
<a href="http://defilementory.bandcamp.com/releases"><b>DEFILEMENTORY on Bandcamp</b></a><br />
<a href="http://www.torturemusicrecords.com/store/"><b>Torture Music Records official site</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-32609310458109994472015-01-05T23:39:00.003-08:002015-01-05T23:39:51.359-08:00Incarceration - Sacrifice [EP] (2013, F.D.A. Rekotz)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv2lYM6g3Yw0y8HhX_OYRJH6WDkOnES0HUr1qqOFkTAsJ3EFkaZgj7BnQQuXMoIijF9xBDoMMhAT8AuU93E2xlG5FfOEmfyaFgmvHlnf-gkuEFPG7ucJhBrZt2YzMxnWu5-CK5oi8fOvA/s1600/Vinyl+Front+(Cover).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv2lYM6g3Yw0y8HhX_OYRJH6WDkOnES0HUr1qqOFkTAsJ3EFkaZgj7BnQQuXMoIijF9xBDoMMhAT8AuU93E2xlG5FfOEmfyaFgmvHlnf-gkuEFPG7ucJhBrZt2YzMxnWu5-CK5oi8fOvA/s1600/Vinyl+Front+(Cover).jpg" height="320" width="320" /></a></div>
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I suppose you could say the Brazilian/German death metal band Incarceration are on the verge of breaking through within the underground of heavy metal. Having garnered much praise through numerous reviews Incarceration is now more or less a household name within certain circles of the underground of old school death metal. I had the extreme pleasure of witnessing their performance at the last edition of the Danish death-festival Kill-Town Death Fest where they played the smallest stage, Dødsmaskinen. Witnessing their savage performance seemed like a privilege in itself, especially with frontman Daniel Duracell smiling broadly the entire time, obviously enjoying what he does even if death metal is of course very serious business.<br />
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But enough of this, let us get back to the matter at hand: The band's 2013 EP "Sacrifice". Despite the title, nothing was spared in the production of this EP. From start to finish, this is roughly 10 minutes of death metal the way it's meant to be. Incarceration draws heavily upon the sinister regional sound Duracell's native Brazil became known for in the 80's, but presented in a much more varied and well-produced manner. Though Sacrifice mostly consists of classic death metal songwriting, there are definite hints to other genre tendencies as well. Especially the closing track Cemetery of Lies relies on some hardcore punk-derived mosh parts, letting go of the mainstay two-beats for just a little while. There's not much going on in terms of slowing down except for a few breaks here and there, always keeping things lightning fast and precise.<br />
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Most early extreme metal bands like Bathory, Hellhammer, Venom, Sarcófago or Sepultura weren't at the time known for their dedication to being tight. In fact, most were infamously sloppy. Back then that was just how things were, it was part of the scene, a side effect of extremity. As time passed and the genres got more defined, so did the musicians writing and performing the music. With Incarceration, there's absolutely no trace of sloppiness. The trio performs way beyond was is expected from old school death metal throw-back bands of today, and does so without losing one single ounce of the malevolent and chaotic feel those bands had back in the 80's.<br />
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I cannot stress enough just how much fans of early death/thrash should check out Incarceration. Whether or not they'll be the next big thing in the underground really doesn't matter, because this is where you will get your fix of flesh-rending guitar hooks, demonic screams and blasting battery. 9/10 guitars.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJNNogLCQko3pBsjD8iw9TK6wC4dD0UhNnS8Ew0XNdyHxScPy7_VkponBvmiWvKuRZnYyGOJoTh-gSixtwtwNEOxc7uLRrj8gkTY9hsDjQELcz75Tp6H6fSHGA8CMo10JBZXGv4fcAbPw/s1600/9+of+10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJNNogLCQko3pBsjD8iw9TK6wC4dD0UhNnS8Ew0XNdyHxScPy7_VkponBvmiWvKuRZnYyGOJoTh-gSixtwtwNEOxc7uLRrj8gkTY9hsDjQELcz75Tp6H6fSHGA8CMo10JBZXGv4fcAbPw/s1600/9+of+10.jpg" height="62" width="400" /></a></div>
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<br />
<br />
<br />
<b>Tracklist:</b><br />
1. Forsaken and Forgotten<br />
2. Sacrifice<br />
3. Cemetery of Lies<br />
<br />
<a href="https://www.facebook.com/incarceration"><b>INCARCERATION on Facebook</b></a><br />
<a href="http://incarcerationdeath.com/"><b>INCARCERATION on Bandcamp</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-64449493848053963892014-11-30T23:22:00.003-08:002014-11-30T23:22:39.672-08:00Plaguewielder - Plaguewielder [EP] (2013, Self-released)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKvw72L6x8hI8lwvVt5NCbiTjYevM7qg-E0-vn405jpubrrYKQyhzx3cPj5fAcQu4DE6ExxFVriTmCNtXKNXhVb_oPENjvp1AQ7cMWZooRTgJydc-PYmQxcxnttH54nkq-bJYt3n1a6y4/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKvw72L6x8hI8lwvVt5NCbiTjYevM7qg-E0-vn405jpubrrYKQyhzx3cPj5fAcQu4DE6ExxFVriTmCNtXKNXhVb_oPENjvp1AQ7cMWZooRTgJydc-PYmQxcxnttH54nkq-bJYt3n1a6y4/s1600/cover.jpg" height="258" width="320" /></a></div>
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Luxembourg is not known for its wealth of metal bands. As a matter of fact, Metal Archives states that the small European country has had as little as 76 metal bands, under half of which are currently active. I don't remember ever having heard of a metal band from Luxembourg, and yet here we are, talking about Plaguewielder, a band formed by Discordant System members Maxime Weber and Nicholas O'Connell.<br />
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Crushing guitars and a varied take on drumming, plus a sharp and heavy production are mainstays with the sound of doom aswel as with Plaguewielder. Their take on the genre through their debut self-released EP of the same name casts light on how to alleviate the insufficiencies of many other upcoming bands within the genre. Keyboards, organs and choirs aren't at all new to the genre, but Plaguewielder's keyboardist utilizes his instrument to its fullest when adding atmosphere to the tracks. Lurking in the background with the synths are the painfully whispered screams that are the vocals, while drums and guitars take the helm. A classic approach, some may argue. Some do it better than others. Mostly I'd say Plaguewielder barely resembles any metal band. Their music swirls around post rock elements, and the most metal song on the EP is arguably The Funeral March.<br />
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There are many great doom bands out their that master the art of atmosphere, and Plaguewielder's music is indeed just that - Atmospheric. Their music features some interesting use of eerie synth, but with long stretches of tedious melodies and meandering riffs their music often borders on becoming generally uninteresting in nature. The flow found in the songwriting on Plaguewielder's debut isn't always up to par, and as such the EP feels very ambivalent. On the opening track, Drowning, one minute we're listening to a crushing tune that fades into a passage of thinly veiled synths, and the next thing you know a bland guitar chimes in with a whiney melody. Where exactly are they going with this? I get song progression is key, especially in songs of extreme length like with Plaguewielder's take on atmospheric funeralesque doom metal, but the whole latter half of Drowned is barely even rock music as much as it is just a 6-minute wank fest of arpeggiated "solo" pieces set to a seemingly unrelated drum track with a few screamed vocals joining the keyboards in the background once in a while.<br />
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Luckily the remaining two tracks are of superior quality. Though very different from each other, they present the band from its best sides. Casket of Dying Flesh shows their capacity for drive, passion and zest with its use of pumping 70's organ-keyboards and catchy melody. The Funeral March is a testament to the great old ones of the genre, a true set-piece of doom, and portrays savage intensity, eerie piano passages and maddening screams.<br />
<br />
Plaguewielder's debut album/EP/whatever is a lengthy one. At times it serves best merely as background music, but once in a while they take a step forward and force their way into your consciousness. But these moments are a bit too far between. Realistically this is what will separate the bands of tomorrow. But the band from Luxembourg has definite potential hidden away within their music. More force, less tip-toeing around. 6/10 guitars.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5nZdctTvgdiim5gLG0tVhbdM0H6t2weWlywW7leY5kuZcBFtzI7xS6HVfi5Vmjf6ZaXod52YbDNS44wWNLT4HPIluoo4Mq0eM6EEo1LxgDvrl5_ArIszjOM8YeoSni6AOlpoBFMoOOz0/s1600/6+of+10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5nZdctTvgdiim5gLG0tVhbdM0H6t2weWlywW7leY5kuZcBFtzI7xS6HVfi5Vmjf6ZaXod52YbDNS44wWNLT4HPIluoo4Mq0eM6EEo1LxgDvrl5_ArIszjOM8YeoSni6AOlpoBFMoOOz0/s1600/6+of+10.jpg" height="62" width="400" /></a></div>
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<br />
<br />
<b>Tracklist:</b><br />
1. Drowned<br />
2. Casket of Dying Flesh<br />
3. The Funeral March<br />
<br />
<a href="https://www.facebook.com/Plaguewielderband"><b>Plaguewielder on Facebook</b></a><br />
<a href="http://plaguewielderdoom.bandcamp.com/"><b>Plaguewielder on Bandcamp</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com1tag:blogger.com,1999:blog-6992790705618337305.post-18195682302680480752014-11-10T23:58:00.000-08:002014-11-10T23:58:19.277-08:00Black Rock - Black Rock [Demo] (2013, Self-released)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioAPfdwUf3C-1Xr2goCOsXY7J-ZT6dKFQNdwbD4pZkmGE3fvC34NGG_mbSjRJaW3aOlUswP0ylOlURh5OVH3p2OJcke_1YU4A0ASa7Ky47dOvdQP1uCWArHdTtqXs0-IzhChcIlZgR4RU/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioAPfdwUf3C-1Xr2goCOsXY7J-ZT6dKFQNdwbD4pZkmGE3fvC34NGG_mbSjRJaW3aOlUswP0ylOlURh5OVH3p2OJcke_1YU4A0ASa7Ky47dOvdQP1uCWArHdTtqXs0-IzhChcIlZgR4RU/s320/cover.jpg" width="320" /></a></div>
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Something is stirring in Finland, disturbing the peace. Apart from the vast horde of great black metal bands, in the later years Finland has been home to several thrashing, rocking speed metal groups such as Speedtrap and the almighty Ranger. Another band, which at the time of writing remains on the demo stage with just one small release, joining them is Black Rock from Hyvinkää.<br />
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I'm gonna go out on a limb and say they're pretty fond of Hellhammer and crust punk. Black Rock's simplistic blackened speed metal riffs coupled with a raw, shouting-styled vocal brings to mind other similar bands, and the bridge parts in The Forbidden Portal and Into the Dungeon even bears strong resemblance to newer Darkthrone material, albeit in a very crude way. One could easily imagine Nocturno Culto or Tom Warrior groaning these occult lyrics to the sounds of Black Rock's prominent guitar and drums.<br />
<br />
The band itself is a duo consisting of Vehmaa behind the drumkit and Willberg shredding the guitars and screaming the vocals. On the demo they were joined for a brief period by Kuusisto on bass. People familiar with Hellhammer's history will know that this almost sounds like the early incarnations of that classic band. Black Rock's music is obviously more punk-inspired than that of the other bands mentioned, and where the real resemblance comes in is in the structures of the songs.<br />
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To be honest, the brute directness of the music takes some getting used to. Darkthrone have great production and Hellhammer were just incredibly brutal for their time. Seen in the light (or darkness) of metal today Black Rock positions themselves dangerously close to sounding dated and sloppy. One must not forget that the reason late 80's production sounds so gritty was the absence of the possibility to sound any better. Nowadays everybody and their grandma can conjure up something that sounds pretty good soundwise. The gritty production in this case is a matter of reverence for the bands of yore.<br />
<br />
Taking in Black Rock and fully appreciate their beastly compositions took quite a few listens. If the demo EP hadn't been so short, I doubt I would've given it the benefit of the doubt and listened to it as much as I ended up doing. It falls just short of fourteen minutes with four tracks, and that results in a much more easily digestible piece of metal. Don't expect too much in regards to advanced songwriting or anything, and just sit back with a beer or six and enjoy the oddly beseeching choruses, bridges and elementary riffs. <b>7/10 guitars.</b><br />
<br />
Final sidenote: The cover isn't necro enough.<br />
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<br />
<br />
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<b>Tracklist:</b><br />
1. Black Rock<br />
2. The Forbidden Portal<br />
3. The Phantom Sailor<br />
4. Into the Dungeon<br />
<br />
<a href="https://www.facebook.com/blackrockmetalband"><b>Black Rock on Facebook</b></a><br />
<a href="http://blackrockmetal.bandcamp.com/"><b>Black Rock on Bandcamp</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-22437517936964975332014-10-27T00:33:00.000-07:002014-10-27T00:36:01.777-07:00Frozen Realm - Frozen Realm [EP] (2013, Self-released)<div class="separator" style="clear: both; text-align: center;">
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Once the acoustic guitar intro to Frozen Realm's debut EP of the same name breaks into an orgy of flashy guitar melodies, there can be no doubt as to the nature of the Swedish band. Balls deep in the long-standing tradition of the Gothenburg sound, Frozen Realm break into full-fledged melodic death metal complete with everything the definition entails.<br />
<br />
In that regard, the Swedish band's EP is a textbook example of the modern take on melodic death metal. And by that I mean that it has very little in common with actual death metal, save perhaps the growled vocals. The pompous drumming greatly accentuates the rest of the musical body, which consists of about fifty-fifty amounts of ill-composed melodies and mindless chugs.<br />
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The main problem with most melo-death bands is the lack of hooks. When you add substantial amounts of melody to your music it subtracts greatly from the heaviness and brutality, so you'd better make damn sure your melodies are catchy as fuck. As a result, the tracks on the Frozen Realm EP don't stand out from each other - There are plenty of melodies, though none of them are particularly catchy. The hookless compositions bring to mind a watered down In Flames, a less edge-seeking Dark Tranquility, or a less epic Wintersun.<br />
<br />
What really sets bands such as Frozen Realm apart from the heroes they worship is their lack of flair for the flow and focus of the songwriting in itself. Where In Flames perfected the straight-to-the-point approach with groovy riffs satiated with the adding of melodies on top, Frozen Realm fool around with melodies at the helm, only relinquishing it's weak grip to allow equally uninspired chugs to take over. 4/10 guitars.<br />
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<b><br /></b>
<b><br /></b>
<b><br /></b>
<b><br /></b>
<b>Tracklist:</b><br />
1. Iceshaper<br />
2. Thirst<br />
3. The Pawn<br />
4. Abandoned by the Sun<br />
<br />
Should you want to listen for yourself, you can do so by following the link below<br />
<a href="http://frozenrealm.bandcamp.com/">http://frozenrealm.bandcamp.com/</a><br />
<a href="https://www.facebook.com/FrozenRealmMalmo">https://www.facebook.com/FrozenRealmMalmo</a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-87318079171107209412014-09-25T23:23:00.001-07:002014-09-25T23:23:35.124-07:00Uncoffined - Ritual Death and Funeral Rites [Full length] (2013, Memento Mori)<div class="separator" style="clear: both; text-align: center;">
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The mix of doom metal and death metal has arguably been around in some form since some time in the 80's and has since been perfected by notable and influential bands like Asphyx and Autopsy. The Finnish scene especially is known for it's gloomy ways in death metal, and much in the same way we find the British band Uncoffined, who've subscribed to the old ways of down-doomed metal of death.<br />
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Spanish label Memento Mori heeded their growling calls and released their debut album "Ritual Death and Funeral Rites" in the autumn of 2013. Treated to a few classic quotes from the British school of horror flicks, we're sent on a journey through heavily distorted and down-tuned guitar melodies and roaring, cavernous vocals. The whole thing is set at a murderously slow pace, showing no signs of ever halting its forward momentum.<br />
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The churning chugs mixed in with a few darkly melancholic melodies are adequately accentuated by a powerful bass. One can only guess whether the immensely simple yet compelling songwriting is the result of one man's effort or the orchestrated endeavor of the entire band, but the musicianship in itself speaks of a band seasoned in the arts of metal. Indeed, all the members of the heavy quartet have play in several bands of varying nature - Something that is highly evident on Ritual Death and Funeral Rites.<br />
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Were I to compare the accomplisment of Uncoffined to a more established act, it would be Finland's shooting stars Hooded Menace. However, this is also where the British band's shortcomings are revealed. Hooded Menace are a result of the international death/doom scene booming in these last few years, probably reaching its all time high in popularity. And by that standard, Uncoffined have joined the movement in the eleventh hour, almost completely missing the boat. Were it not for the great craftsmanship with which their material is presented, they would by now already feel very dated, like a band seeking to cash in on a trend.<br />
<br />
What Ritual Death and Funeral Rites really lacks are more tempo changes. The distorted convulsions of guitar are of the essence in this manner, but without even slower or some faster passages to emphasize their meaning and effect it's hard to fully appreciate the crushing broadsides of sluggish overdrive and fuzz in the long run, which in this case of just above forty minutes of murky horror-worship. 7/10 guitars.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAPMC9XL935gflf2jL5egWRz1vsQ_aztgSMfd3ikDTCucHSYwKOyk2PZTa2YIGaAhwxuQXcf929xOkeqN5N8zqj7fSCe6geseCsifnbVRJg31oHzSuKWJTD6MCHy6mnLLAMIaW03pgmMc/s1600/7+of+10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAPMC9XL935gflf2jL5egWRz1vsQ_aztgSMfd3ikDTCucHSYwKOyk2PZTa2YIGaAhwxuQXcf929xOkeqN5N8zqj7fSCe6geseCsifnbVRJg31oHzSuKWJTD6MCHy6mnLLAMIaW03pgmMc/s1600/7+of+10.jpg" height="62" width="400" /></a></div>
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<br />
<br />
<br />
<br />
<b>Tracklist:</b><br />
1. Twisted Shape of Creeping Terror<br />
2. Night of the Witch Childe<br />
3. Ritual Death and Funeral Rites<br />
4. Blasphemous Execration of Holy Ground<br />
5. The Devil and the Old Cursed Tree<br />
6. Frustrations<br />
<br />
<a href="https://www.facebook.com/pages/Uncoffined/196192110415782"><b>Visit Uncoffined on Facebook</b></a><br />
<a href="http://memento-mori.es/"><b>Visit Memento Mori</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-40575970865005206792014-09-15T22:43:00.001-07:002014-09-15T22:43:23.564-07:00Forsaken Legion - Seeds of Black Dawn [Demo] (2012, Self-released)<div class="separator" style="clear: both; text-align: center;">
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Once Switzerland was a place where legends formed, with Hellhammer - and subsequently Celtic Frost and Triptykon - being the reigning kings of metal there. Recently the country of Switzerland has begun stirring anew with the miasmic sounds of Bölzer resounding through proverbial catacombs. But enough talk of Switzerland's exports of metal - Everybody knows, or at the very least should know of, bands like Samael and Coroner. Let us instead deal with the Swiss underground, Forsaken Legion in particular.<br />
<br />
Forsaken Legion formed in 2012 and released their first album in december that same year. Though their sites and profiles are tagged as black metal, there's a bit more to it than that. Tracks like Crow has a definite thrashy edge, while something like Human Decay - like you may have guessed - has a strong death metal influence. These variations lend great strength to the music found on Seeds of Black Dawn. Forsaken Legion refuse to conform to the standard practices of the genre, and while they may not be wholeheartedly legend-material their debut album makes promises of great things yet to come.<br />
<br />
There's no use shoehorning the quintet into genre conventions. It's not that there is anything new and exciting about the way they mix extreme metal genres, but they are entirely their own, doing exactly what they please. The songs are built on a strong foundation of blackened metal, empowered by thrashing riffs, blast beats and death-like growls, a few creeping melodies lurking in the background.<br />
<br />
While the drums are executed at profound speeds and with a fair bit of force, they could be utilized better to underline the powerful rhythm section. The title track stands out as the best use of tempo changes and the "classic" black metal sound, bringing to mind bands like Dark Funeral and Marduk. All in all, though, without a more tight rhythm section and more attention to flow of songwriting, Seeds of Black Dawn falls through as a modern classic. It should be enjoyable to most fans of blasting black metal mixed up with a bit of the ol' death n' thrash combo, but apart from a few well-made compositions the album holds little merrit as anything but background noise. 6/10 guitars.<br />
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<br />
<br />
<b><br /></b>
<b>Tracklist:</b><br />
1. Human Decay<br />
2. Mountain's Massacre<br />
3. Seeds of Black Dawn<br />
4. Crow<br />
5. Deserve to Die<br />
6. Azathoth<br />
7. Ambassador of Chaos<br />
<br />
<a href="https://www.facebook.com/ForsakenLegion666"><b>Visit Forsaken Legion on Facebook</b></a><br />
<a href="http://www.reverbnation.com/forsakenlegion"><b>Visit Forsaken Legion on ReverbNation</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com1tag:blogger.com,1999:blog-6992790705618337305.post-18232450784635591602014-09-03T22:54:00.002-07:002014-09-03T22:54:42.527-07:00Asilo - Comunión [Full length] (2014, Self-released)<div class="separator" style="clear: both; text-align: center;">
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Turmoil breeds frustration and anger, which in turn breeds outlets for that frustration. South America has had a rich history dating back to the early 80s of metal bands expressing their anger through their music and lyrics, and like those legendary and trendsetting bands from the days of yore, the four-man group Asilo from Argentina presents a lyrical universe revolving around themes such as politics and the suffering it can bring, set to a soundtrack of furious and often dangerously calm mix of doom-laden drones drenched in grimey sludge.<br />
<br />
Pure aggression is one of the mainstays of Asilo's music, of that there can be no doubt. In a hardcoresque style, lead singer Manuel Platino practically screams his lungs out to the sounds of harshly distorted bass and thunderous percussion. Comunión's structure as an album is also one of the strengths that underline the band's style. The way it fluctuates between insane cacophonies and inky pools of fragile pianos - or even saxophone at one point - is what makes listening to Comunión as an album interesting.<br />
<br />
However, aggression necessitates some kind of structure and form. Were it not for the disciplined interludes of classical piano set regularly throughout the album to provide some sort of contrast, Comunión would appear to be a harsh collection of discord. There are a multitude of examples of bands that do this unhinged, rambling musical lunacy all too well, but Asilo lack the intensity and groove that those bands utilize.<br />
<br />
The vocals, though wholy authentic and honest, come off as a bit too immusical to me. In grindcore, the gratingly raw vocals are an essential part of the whole expression, complete with that intense wall of distortion. But in Asilo, the vocals take up a lot of space in the mix, and needlessly so. Coupled with that is a lifeless overall sound which so lacks that concentrated emission of sound. This isn't the first time I've had the (dis)pleasure of listening to guitarless music, using instead a fairly driven bass. But to be succesful in that endeavour, you better make damn sure the bass has drive and punch enough to take the guitar's place.<br />
<br />
The main highpoint of Comunión was, to me, Miedo y Curiosidad from the latter part of the album. This track feels somewhat out of place, although not entirely. It features the same harshness as the rest of the album, but is graciously garnished with the haunting sounds of a well-played saxophone, adding a thick atmosphere of eerieness that the rest of the album sorely needs. Elaborating on what I mentioned earlier, Asilo's first actual album since their spawning in 2010 is an honest affair where they stay true to their own values - Something that many bands could learn a thing or two from. But that particular style does nothing to me, other than fill me with a wish of listening to something else. The saxophone melodies in Miedo y Curiosidad committed that last shred of reason to the insanity that made it a more easily digestible portion, but the rest of the album remains a bothersome clutter of confusion. <b>4/10 guitars.</b><br />
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<br />
<br />
<br />
<b>Tracklist:</b><br />
1. Geografías<br />
2. Pichiciega Fe<br />
3. (epidemia mundial del desencanto)<br />
4. La Paciencia del Cuchillo<br />
5. Arquitectura del Silencio<br />
6. (anti voz)<br />
7. Dinámica del Cambio<br />
8. Mideo y Curiosidad<br />
9. (no a la vida)<br />
10. La Ultima Voluntad<br />
<br />
<a href="http://asilo.bandcamp.com/"><b>The music of ASILO is available on Bandcamp</b></a><br />
<a href="https://www.facebook.com/estoesasilo"><b>Visit ASILO on Facebook</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-27788308078332937462014-08-29T01:13:00.001-07:002014-08-29T01:13:48.855-07:000 The Experiment - Simplifying A Demon [Full length] (2013, Self-released)<div class="separator" style="clear: both; text-align: center;">
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Whenever I see a band or project labeled as drone my warning bells start ringing. Much too often drone has been used as a cloak for lazy songwriting, blaspheming against great acts like Boris or Sunn O))).<br />
Supposedly the idea behind 0 The Experient is seeing how far you can take music with just a bass. Apparently the answer to that conundrum is "not very far", because most of what Simplifying a Demon presents is a mimic of what you might as well do with a guitar in much the same manner. Disguised in a veil of treble distortion, sometimes accompanied by pseudo-jazzy bass fiddling, the bulk of the work presented might as well have been a regular bedroom black metal band. Add to that the weak nature of the vocals, and you've got yourself a long, boring album.<br />
<br />
0 The Experiment affiliates itself with tags such as drone, black metal, minimalistic and experimental. Indeed, there are tracks that are veritable feasts of reverb and distortion delivered in an appropriate wall-of-noise manner. And black metal too has an obvious presence among the seven tracks the project's first album. It's all presented in a very minimalistic and simple manner. What I don't see is the experimental part - Experimental for the practitioner perhaps. But there's hardly anything progressive, avant-garde or otherwise experimental in nature about a guy rubbing out some mostly mediocre basslines to unengaging lyrics and unending wads of boring drone. Simplifying a Demon is really basic stuff, and "The Experiment" simply lacks the ritualistic ambience that makes black metal and drone great, without adding anything else to take its place.<br />
<br />
Looks like the ol' warning bells were right. But then, in the midst of all this mediocrity comes the two last tracks, Demon and Ritual to Nothingness. The latter portrays a great entrancing feel of cosmic psychedelia while still maintaining an odious core of something a bit more sinister hidden away among the meldoes, while the former feels like a downright study in the bass' capabilities as a more analog counterpart to the synthesizer, bringing to mind some of Burzum's finer works in black metal and ambience in spirit. I don't particularly care for the lifeless black metal aspect of Demon, but there is still a bounty of quality to be found therein. And while the two works show great promise and showcase the diversity of the bass as a versatile instrument, the same cannot be said for the rest of the album. It baffles me that the rest of the album is such a mess of coma-inducing boredom.<br />
<br />
Those two tracks that I have praised seem like they should be the main core of 0. With or without the help of computerized effects, the modern electric bass can provide astounding amounts of diversity... Something that is for the most part poorly expressed on Simplifying a Demon. 4/10 guitars.<br />
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<br />
<br />
<br />
<br />
<b>Tracklist:</b><br />
1. Prophet In Blood<br />
2. Black Elf<br />
3. D.I.E. (Death Is Eclectic)<br />
4. I, The River<br />
5. Waiting for Something to Die to Eat<br />
6. Demon<br />
7. Ritual to Nothingness<br />
<br />
<a href="https://0-the-experiment.bandcamp.com/album/simplifying-a-demon"><b>Listen for yourself on Bandcamp</b></a><br />
<a href="https://www.facebook.com/pages/0-The-Experiment-/191559844345029?fref=ts"><b>Visit 0 on Facebook</b></a><br />
<br />Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-90646306808126178262014-08-24T22:57:00.001-07:002014-08-25T23:57:39.259-07:00Deathlord - Maximum Perversion [Demo] (2013, Self-released)<div class="separator" style="clear: both; text-align: center;">
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<br />
When you get down to business and back to basics with death metal what you're left with is indisputable. Stomache churning vocals, gut wrenching instrumentals, loathsome melodies and ass kicking drums. It's been like that since day one. There's absolutely nothing abstruse or profoundly intelligent about it, and neither does there need to be. That is indeed the modus operandi of the Dutch band of death metal motherfuckers Deathlord. Even the name in itself seems to be giving the middle finger to overly thought out, image-based hipster metal.<br />
<br />
The warm gusts of burly attacks can seem downright primitive, so much so that tracks like the immense opener "War" and "Into the Depths" have incredible impact just from the sheer brutal rhythm that underlines the entire demo. The vocals are nothing if not honest - It's basically just a guy screaming his guts out, spewing all kinds of filth about death, gore and even more obscure subjects. Lastly of course, the demo is garnished with a cover of Nunslaughter's "Burning Away". At this point it seems almost obvious, like we'd all seen it coming miles away. And that's what Maximum Perversion is all about; Deathlord pervert the very notion that you have to be smart about your music and not just play what sounds fucking awesome. Combine Morbid Angel's ominous melodies and Asphyx's sturdy rhythms, add dual vocals, and there you have it. The bastard child is Deathlord.<br />
<br />
The unceremonious arrangements found on Maximum Perversion viciously deals with any pretention. Herein lies both the strength and the weakness of Deathlord. For were it not for their twist with two very different vocal styles spewed forth by the lead singer and the bassist - who both remain unnamed - their style in itself would be rather anonymous. The rough screams put forth as vocals serve as a great identifier for the band, but is as Maximum Perversion is presented one of the only elements that set Deathlord apart from similar bands - Their churning rhythms and steady war-machine beats aren't quite enough. The guitar work is quite astounding on tracks like "Cursed to Live", and I only wish that this element would be used to greater effect on the release as a whole.<br />
<br />
In the end Deathlord's mix of short and longer songs mix things up at regular intervals, always ready to assault with something new. Be it slow-burning, steady grinders, gloomy doom-laden bursts or explosions of violent death, Maximum Persersion has anything a good death metal album needs. 7/10 guitars.<br />
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<br />
<br />
<br />
<br />
<b>Tracklist:</b><br />
1. War<br />
2. Maximum Perversion<br />
3. Altars in Flames<br />
4. Lord of Death<br />
5. Into the Depths<br />
6. Cursed to Live<br />
7. Kill is the Command<br />
8. Burning Away (Nunslaughter Cover)<br />
<br />
<a href="https://www.facebook.com/deathlordband"><b>Visit Deathlord on Facebook</b></a><br />
<a href="http://deathlord.bandcamp.com/"><b>Get Maximum Perversion for pay-what-you-want on Bandcamp</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0tag:blogger.com,1999:blog-6992790705618337305.post-46520488666775170452014-08-18T11:30:00.000-07:002014-08-18T11:34:25.142-07:00Licrest - Misery [Full length] (2014, Music for the Dead)<div class="separator" style="clear: both; text-align: center;">
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<br />
I've had my hands on a good portion of Armon Nicholson's material. For those not initiated in his cult and dogma, Nicholson is an American musician with quite an astounding body of work. In the last few years he's recorded and released six albums, seven EPs and an assortment of other releases under various monickers, exploring virtually every sub-genre in extreme metal, all without any significant lapse in quality. The guitar-wielding metalhead's trademark is immensely powerful compositions and top notch production, usually set to a crisp guitar groan.<br />
<br />
Misery is the second album Nicholson has released under the name Licrest. While the first album, Devoid of Meaning from 2013, was pretty straight forward in its execution, the second album is less so, though still keeping close to the almost symbolic and iconic branches of immaculate doom that permeated the debut. Misery is a slow burner, never hurrying anywhere lest you miss the churning rhythms found within. The album in itself is constructed in just the same manner as the songs, with a few intermissions giving room and air around the lengthier main tracks, and it serves as a way of building tension for those songs.<br />
<br />
I've found that most bands playing a mix of death and doom metal fall within one of two categories: One is laden with rot, relying heavily on death metal and Autopsy-inspired riffs set at the churning pace of doom metal. The other is the kind where almost gothic melodies and finer tunes play the leading role, with the doom parts resounding more heavily. Armon Nicholson's Licrest project falls outside this sentiment, and belongs to that minuscule quantile that is different from the rest of the bunch. It neatly balances the uncompromising nature of death metal with the sombre essence of doom metal, pertaining to the ominousity of both genres in equal amounts.<br />
<br />
On Misery, Nicholson firmly establishes his rightful place among the big shots as an accomplished songwriter with flair for multiple genres. Other than the fact that the lyrics can sometimes come off as a bit whiny, there's really not much to complain about. And this is what makes a great album. 8/10 guitars.<br />
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<b>Tracklist:</b><br />
1. Into the Abyss<br />
2. Regret<br />
3. Forever Lost<br />
4. Like a Flood of Anger<br />
5. A Starless Sky<br />
6. I Want to Watch You Die<br />
7. Misery<br />
8. Make Up<br />
9. Fading Away Into Nothing<br />
10. The Heart of Winter<br />
11. Exhale<br />
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<a href="http://licrest.bandcamp.com/"><b>Get Misery on Bandcamp for Name-Your-Price!</b></a>Jakob Goulhttp://www.blogger.com/profile/12054950079452910837noreply@blogger.com0