Sunday, January 26, 2020
The punkier mix of the original "Schwarz-weiß wie Schnee" is reinforced with a more grandiose rendition, with audience participation and a more anthemic production. Of the two, this one feels like it's being played at you right from the stadium, and in fact that's where the video takes place, with an entire arena full of football fans cheering along...now to think, if only every person in that audience was buying Tankard records, they'd be the biggest thrash band in the world! So that is at last fun to see, that the band was allowed to perform this (possibly numerous times). Now I don't know much about Euro professional soccer, and to whether this is a really big deal, I'm a World Cup/national team guy, but it certainly looks like the band is jazzed up and sure they fucking deserve it. However, I think in terms of digesting the track, I prefer the original incarnation which sounds like it might have been lifted off an old mid-80s punk album only injected with some slightly thrashier guitars. But hey, you can compare and contrast them and choose for yourself.
Apart from these two versions of the same song, the EP is padded out with the studio title tracks to their albums A Girl Called Cerveza and One Foot in the Grave. Both good tracks, but rather useless except as random filler that I presume they wanted to expose to football fans that might like hard rock or heavy metal and haven't already heard the band until their football anthem. Their other sportsy tune, "Forza SGE", has been reproduced here from its status as a Vol(l)ume 14 bonus track, and it's another punk rock spin with shoutalong vocals and it basically just sounds like a bunch of drunken hooligans. No interesting riffs or anything to be heard. Finally, there's a live version of "(Empty) Tankard" live, another punk-charged piece that goes well enough with the other content, but it's kind of a murky, subdued live mix. So ultimately, there's not enough new or interesting here to recommend at all unless you are dead set on getting that new version of the football song, and even that isn't so great if you're not in the audience cheering before the kick-off or half-time. The original EP is nothing to write home about, but this is even less of a curiosity, a product that doesn't need to be.
Verdict: Fail [4.5/10]
Saturday, January 25, 2020
Now the live songs do sound quite good here, plucked from dates in places as far abroad as Chile, the UK and the Masters of Rock festival in Czechia. Hellish, energetic and very clear sounding, they sound as aggressive as you want them to be, with "Hordes of Chaos" and the more melodic "Fallen Brothers" standouts, and then the legendary "Flag of Hate" finishing up the trifecta, and that one did not translate quite as well in some sections, partially because it's being broken up for crowd interface. The final track, "Earth Under the Sword", is actually really great, it was released as a bonus track on a bunch of versions of Gods of Violence, and even had a limited 7" single put out with Decibel, but in my opinion it should have probably been a main track on that album, it's energetic and has a little bit of cinematic atmosphere created through some sparse orchestration which manages to help it feel urgent and powerful without intruding on the core instruments or vocals whatsoever.
If you like collecting metal magazines, this EP is a nice little nudge in the right direction, even though all of its content will inevitably be made redundant. In that regards its very similar to the Chosen by the Grace of God of EP which also featured in this magazine, just a little lighter on the actual content. I certainly don't need it or recommend it beyond its nature as a collectible, but if you hadn't heard "Earth Under the Sword" somehow and you want quality live recordings you could do a lot worse, and at the very least it has me psyched that London Apocalypticon - Live at the Roundhouse should prove to be a potent enough live album come Valentine's Day, when you know all you want is to thrash. Partner optional.
Verdict: Indifference [5.25/10]
Friday, January 24, 2020
You've got "Gods of Violence" itself leading this off, which I've already discussed elsewhere, and then the cover of Maiden's "Number of the Beast", which is pretty well done, but already available on Phantom Antichrist and the original Big Teutonic 4 split. "Wolfchild" is the one song I was not already familiar with, and it's a decent one, sort of a brisk heavy metal joint with Mille's distinct presence and a good flow to it all, erupting into the layered harmonies the band was sweet on for their last couple albums. Apparently this tune was also on the single for "Civilization Collapse", but new to me and the one thing here that doesn't feel too trite. "Iron Destiny" is another decent song, another Phantom Antichrist bonus cut, but probably unheard by many. It's a slower to mid-paced track, also with a heavy metal foundation, not terribly memorable riffs but if you're into this more glorious era of mature Kreator I can't imagine you wouldn't like it, especially the Maiden-like bridge.
Lastly, some live cuts of "Phobia" and "Violent Revolution" which are pretty useless to me since I've got the version of Gods of Violence which has the bonus live CD/DVD that includes them and more. Honestly the version of "Phobia" is a little silly, Mille sounds like he's losing his voice for part of it. But really, these are unnecessary editions to a fairly lame release that doesn't have much reason to exist other than as a promotional tool. Had Kreator maybe included an alternate version of "Gods of Violence", 3-4 unreleased studio tracks and then maybe "Wolfchild" for good measure, this might be a thing of beauty, but as it stands I have no reason whatsoever to revisit it beyond just that one song, and it's a hollow product that nobody's ever going to revere like they used to when bands put out EPs back in the earlier metal decades, where they were pretty important releases that built up their own cult followings and were often full of great original material.
Verdict: Fail [4/10]
Thursday, January 23, 2020
Kind of like Sodom's cover on the earlier split, Kreator's version of Raven's "Lambs to the Slaughter" is one I've already been familiar with forever, since it came out on the Out of the Dark...Into the Light EP back in the 80s, and many represses of that with the Terrible Certainty album since. Sodom's contribution of Tank's "Don't Walk Away" is also an oldie that has been around since the days of the Agent Orange. Both are solid versions but they don't really change up the formula all that much, maybe in Mille's case but even he is trying to emulate some of the Raven screams with mixed success. I feel that Destruction's rendition of "Princess of the Night" is more of the transformation you want to hear when a thrash act is covering some trad metal, but it also comes off a little goofy with all the vocals and backing vocals going over it, cluttered where the original is just so elegant, perfectly written and executed. Bringing up the rear yet again, Tankard is the one band doing something exclusive here, with yet another Maiden cover, this one a somewhat exciting romp on their eponymous "Iron Maiden".
Part II sort of falters with the first two tracks being pretty obvious covers that aren't news to anyone, and Destruction's is once again a bonus track from various versions of Spiritual Genocide. Since these three were all pretty saturated in exposure and easy to acquire, I think this is less of a value than the first time around, which was already a debatable value. So once again, hardcore Tankard fans will benefit the most from having it. What's the most disappointing though is that the label and bands could have taken this idea and done something really special with it, like new original material...an 8 or 12 track 4-way Teutonic split with 2-3 new original cuts from each band would sell like hotcakes. But this just seems like a lazier followup to something that already generated a little cash flow and it shows in both the selection and the product.
Verdict: Indifference [5/10]
Wednesday, January 22, 2020
The most obvious of these is going to be Sodom's handling of "Iron Fist", which we'd already heard as far back as Persecution Mania and even live on Mortal Way of Live. It's a classic, in the hands of either its originator or Tom Angelripper, and a natural cover from a band that draws so much of its own style DIRECTLY from those NWOBHM road-dogs, however at the same it was the inclusion I was least interested in, having heard it many times before. However, Destruction's cover of "The Hammer", which was only included with the Japanese version of Spiritual Genocide (that I had not heard), is quite nasty, Schmier plastering his version of the vocals all over the punk-fueled speed metal massacre. It's also a little messy in the right ways, not as tight as the original content those Germans were putting out, but that's fine in the context of this particular cover. Another of my favorites here is Kreator's "Number of the Beast", not the first time they've taken on Iron Maiden, but even though the music plays pretty close to the original, it sounds great with Mille's harsher vocals, and I loved the lead sequence. This one is also located on the later Violence Unleashed EP or the Phantom Antichrist single if you're trying to track it down elsewhere.
The thrashier version of "The Prisoner" that Tankard includes is also a good one, filthier guitar tone and filthier vocals via Gerre, but they still touch on some points of atmosphere that you wouldn't expect from the German drunkaholics. And as far as I know, this is the one cover that is only available on this particular split, at least for now, so if you're a Tankard collector, you've got the most motivation to snap this up. Now, if ALL of these songs were exclusives, then I'd say this was a CD or vinyl that almost anyone would want...the songs are all good, even if Sodom's contribution is a bit too redundant. And to be fair, many fans might not own most of the tunes elsewhere. It's a fun concept to round up these thrashers, legends themselves, and then watch as they don't toot their own horns, but cover even mightier legends of British heavy metal. If you can track one down, it's pretty sweet to have on your wall, even if the content isn't all that valuable. Not a necessary purchase, but neat if you've never run across these covers before. And to think, Nuke Blast and these same four bands would be doing it again in just a couple years...
Verdict: Indifference [6.75/10]
Monday, January 20, 2020
The Response: How many tracks? Are they exclusive? Is this one of those deals where each band is covering the other? Are they collaborations?
The Pitch: Well the Tankard track is also being released today on a full-length album called R.I.B., you know like Reign in Blood only its Reign in Beer! Surprised they never did that before. But the Destruction song, "Wildstyle/Immortality" is unique to this 7" as far as I know!
The Response: Well, that's somewhat less exciting, but let's check out this Destruction track. Hey, it's not so bad...sounds like a bunch of riffs that could have been patched together from anything they've put out from 2000-2014, but it's got that vicious energy they excel at, gnarly Schmier vocals, and a decent breakdown with lead guitar accompanying it. Nothing to scoff at.
The Pitch: I am so happy to hear you say that. So you want a copy? How about one of each color? Oh wait, you're not a Bronze Status Customer. I can only offer you the Red and White...
The Response: Nah, I'll just buy the Tankard album instead, and hope Destruction drops this on another album as a bonus track somewhere down the road. Thanks for nearly nothin'.
Verdict: Skimpy Fail [2/10]
Sunday, January 19, 2020
Now I love both of these bands...they've each been in my life for over thirty years. Had some effort been put into this to create some exclusive tracks, maybe have the bands covering each other, or creating more of a joint effort, you could have had a nice little fan package. I thought that the art for the Destruction side was really cool, possibly the only positive thing I have to say about this. As for the two songs, they match up well enough, as it's one of Rage's angrier modern style tracks which has just enough power behind it to hang in there with the more complex thrash of their countrymen. But each is far better experienced in the context of the other material written to be released along with it. There's simply no justification for this product independent of that. It's just as worthless as any old single which is cut & pasted from its respective album release, with no unique bonus content, not even any live or rehearsal cuts, cover songs, nothing.
Why bother in 2016 when the anxious audiences of the bands can just sample the tunes on their phones, their PCs, or whatever other devices and then go and grab a digital or physical version of the album? This shit is just useless. Any and ALL points I give to this are simply for the artwork of Gyula Havancsák, the Hungarian musician/artists who did the Destruction side. The rest is just needless Nuclear Blast excess from a label that has kept up with the times and thus I would assume should know better.
Verdict: Epic Frailty [0.5/10]
Saturday, January 18, 2020
This time out you get abused with a trio of new tracks before any of the tomfoolery begins. "Genesis XIX", "Down on Your Knees" and "Out of the Frontline Trench" are all nasty, dirty thrashers which I can't deny enjoying...there's a clear beeline back to Agent Orange and Persecution Mania in how they are composed, with choppy riffs being sauced in wicked sounding Angelripper vocal lines, material that seems it was conceived in the 80s with little tremolo picked parts, brief effective leads and just a vicious overall tone to it that leads me to believe the next time we get a full-length album it's going to be one that clearly looks backwards to the same era. In other words, I could argue that these three cuts are better than almost anything the band has put out in the last 25-30 years just by virtue of the style they were conceived in. To enforce the point, they've also included a re-recording of "Agent Orange", which doesn't sound half-bad...it's extremely loyal but has that slightly more modern sort of production which is present on the new originals, and I'd be lying if I told you I ever got tired of hearing this track...one of my faves.
Lastly you get a live rendition of "Bombenhagel". Again, living up the past...what you hinting at here, Tom? It sounds fairly good too, fresh and violent as the day it was birthed to the stage, and the contrasts between the blitzing thrash assault and the more anthemic bridge with its melody are fully present on the stage. While that could have been left off here, and I would have accepted just the new tunes and the new "Agent Orange", it doesn't kill the cohesive feel all that much. But yeah, this is a pretty good EP, nothing too original but I think those of us who have been waiting most of our lives to hear Sodom give it that real mid-to-late 80s Teutonic thrash appeal again will be satisfied. I know it's still remained there in fragments of their sound on every album since then, some more than others, but this stuff is really shaping up to be what might have happened before or after Better Off Dead if the band hadn't gone for the more bruising sound on Tapping the Vein (nothing wrong with that album, mind you).
Verdict: Win [7.25/10]
Friday, January 17, 2020
That redundancy is "Down On Your Knees", a track that serves as a preview for the band's latest 'official' EP Out of the Frontline Trench, which is out through Steamhammer in several formats. As I'm also going to cover that release, I'll focus here on the more exclusive content. There's a live cut of "One Step Over the Line", a track that has appeared on numerous Sodom releases in the past, and it sounds loud and chunky, punchy and effective even if it's not among their better material. "Predatory Instinct" is a great number, invoking the energy of albums like Agent Orange, and a good bonus if you don't have one of the versions of Decision Day where this belonged as a bonus track. Like that album, and several of the band's myriad EP tracks in the last decade, this one shows the band is still on a roll and just as energetic as ever, even if not's the catchiest song in their canon. "Lifeline" is a very cool cover of an earlier tune from England's Sacrilege, back when they were more of a punk grind band before their mutation into atmospheric heavy/doom. Sounds just as natural in the hands of these Germans as its originators, and they put an angry, pulsing spin on it.
The last little perk you're getting here is the track "Inside My Crosshairs", which was originally from the split 7" they did with fellow Teutons Running Wild, for yet another magazine exclusive in Rock Hard a couple years ago. Another solid thrasher with a few cool parts to it, possibly my favorite that is actually on this release. So when it comes to value, this one will really depend on if you're a big collector and own a lot of these more obscure recordings which also featured most of its content. If not, and you're just a Sodom fan who subscribes to professional print zines, then I'd say this is fairly neat, the live and cross-EP tracks aside. The material is consistent and engaging enough that I have confidence Sodom's win streak should continue beyond just Decision Day. I just hope we don't have to wade through another half dozen EPs before we find out! As an added note, the same issue also has a compilation CD with some more underground bands on it, a few recognizable, so it's clear the magazine wants to supply its readership with substantial bonus content and that is to be lauded.
Verdict: Indifference [6.5/10]
Thursday, January 16, 2020
The production here on Argoat, his 7th full-length (excluding the 2009 re-recording of Errances oniriques) is like bottled thunder, with a forceful-low end feel that is even carried through the more melodic guitars, distributed in a dense but clear tone that amply reveals every passionate progression of notes. There is constantly a lot happening in a Belenos track, consistently strewn between faster blasted passages and glorious mid-paced segments which seem to me like a more complex parallel you might hear from a Franco-Bathory of the late 80s-Viking metal era. Lots of places where the individual riffs or instruments are allowed to shine, such as breaks where some strong new guitar melody will be woven into the affair, or some calmer acoustic parts where the drums will still barrel right along for yet another interesting contrast. Despite the overall package, he also manages to keep the tunes rather confined to 5-7 minute song lengths here, so no real chance to get bored with all that he is packing into each of them.
That said, there is a degree of formulaic sameness to a lot of the individual riff patterns as well as the aesthetic impact of the tracks, all very solid when listened to as a whole, but I don't know that many of the tunes really stand out from one another. Maybe "Dishualder" with its atmospheric, folksy intro, which frankly is so good that I wish he had included more such material on the album; or the briefer closing piece "Arvestal" which has a decent Medieval swagger and some of the more overt chanted clean vocals on the whole disc. But it does feel like some of the highlights I'd pick out in one tune are also present in other tunes, and at 53 minutes it goes a little past the point where it feels resonant or fresh. Still, I won't deny that you can lose yourself to the style Cellier manifests, in particular if you are fond of Celtic black metal like Morrigan, or the wave of French Medieval black metallers like Véhémence and Aorlhac which might have a bit of Belenos influence in their musical DNA. Argoat is competent and confident, just not extraordinary.
Verdict: Win [7/10]
Wednesday, January 15, 2020
And in most of those cases, they're tunes that drudge along a little slower, but with the familiar, groovy bass lines, and a little more of a wall of discord to the guitars. New tricks are keyboards are implemented to great effect, almost choir-like in their swells, and as is normal for Virus, the combination of those intricate, flowing bass parts, morose almost spoken-world vocals and eerie guitars is unnerving and unforgettable. "Inverted Escape" moves along at a pretty quick pace, but it's so dense with ideas in the guitar lines and grooves that it demands repeated listened to really ingest it all. "The Pull of the Crater" is really creepy with those warped, almost orchestrated effects creeping along to the jangling rhythm guitar and wailing ambiance, possibly my fave through the EP. The other tune I dig (from the Agent double-vinyl) is "Saturday Night Virus", a pumping, playful tune that stays true to its title with a disco-like momentum dowsed in all the Norwegians' strangeness...this one could be like some trippy answer to Primus or Mr. Bungle, but despite its upbeat perkiness it's just as compelling as the more serious fare.
The one that didn't quite succeed for me would be "Gaslight Exit", sort of droning, raw, guitar track, the most experimental anywhere here, but while the bevy of daunting tones is itself interesting, they don't do much of note with it until the end when it begins to resemble Virus proper. The cover of the Walker Bros' "Shutout" is kind of fun, like Virus getting all bluesy and proggy in a dimly-lit, smoky dive bar in the wee hours of the morning to an appreciative but half-drunk audience. One wonders what these guys could have come up with if they dug through a broader array of covers and gave them the same sort of treatment, bending them ever so slightly into their own sound palette. Oblivion Clock might not have been meaty on its own enough to fill the 4-year gap before Memento Collider would arrive, and its not completely consistent, but paired up with Agent it was more than enough to believe that they still had some distance in them, and its highly recommendable to anyone who dug the full-length albums leading up to it.
Verdict: Win [7.75/10]
Tuesday, January 14, 2020
Carheart is the record I've had the most time to gel with, and fascinatingly, while there have been small evolutions in the band's sound over the four albums and two EPs, it's surprising how early they sort of found their niche and rarely ever wandered away from it. Not that I'm complaining, because this was such an unusual concoction in the first place, and the song quality itself would improve for their last two full-lengths, but they could put together a playlist or live set of anything in their output and it would flow pretty smoothly together. Thick, barreling bass grooves serve as alchemic constant, from which just about everything else flows, unless they're taking a pause to let the guitars' jangly, hazy dissonant note patterns. The drums are very rock & jazz oriented, a nice construct in which to settle the endless curving low end note patterns and their haunted, unnerving upper strings, and they will occasionally cycle in some additional percussion to clap and snap along. To top that all off, you have Czral switching between two vocal patterns, one very haughty sounding and the other more drugged, monotonous and subliminal, which creates this dope-addled atmosphere which sounds like you're hearing this in a dazed state after having your tonsils removed.
Within that range, I will say there's a good degree of versatility. Maybe not as much as something like a Primus album, but some tunes will go a little more moody and eerie, like "Road", letting the guitar and it's drizzly, slightly-twanged out tone take the fore. Others like "Gum, Meet, Mother", go for a more technical and proficient pacing which is sure to keep you glued to its subtleties as that almost numbing, fat bass tone collides with all the little distorted intricacies. In fact, Carheart is arguably the Norwegians' most varied effort just in terms of its rhythm and weird vocals, even lapsing for a pure ambient piece like "Dogs With Wheels" to break up the successions of vertigo-inducing rhythm. Once upon a time, I considered this my least favorite of their output, but I think through the years it has grown on me as one of the more monumental progressions of a formerly black metal or black metal adjacent act from this scene, and nowadays I like it more than the sophomore, The Black Flux, although that's also quite good. I would easily recommend this stuff to fans of Solefald, Ihsahn, Dodheimsgard, Ulver, Arcturus and the like, just as much as I'd offer it to a fan of Voivod or their fellow Canadians NoMeansNo. Exceptional, creative, deconstructive, timeless music seeped in evocative lyrical minimalism.
Verdict: Win [8.5/10] (As we whip ourselves to sleep)
Monday, January 13, 2020
Basically a way to think of tracks like "The Swinging Noose" is as hyper Euro blasting circa Marduk or earlier Enthroned, but with a bedrock of faster Morbid Angel-like riff patterns, shifts into slower and dense groove riffs, atmospheric bits like samples, dissonant higher guitars ringing off into the vaulted darkness beyond the blasts and rhythm tracks. But then they'll throw on a slower, more melodic and somber cut like "They Burn Without Wings" and change up the formula, where you can hear the bass-lines and the incandescence of the higher strings a lot. They definitely tease a little dark ambient/industrial around the corners and shadows of such material, but the bulk of this EP does consist of the faster material, performed with neck-breaking certainty. I was most surprised by their cover of Depeche Mode's "Broken" to close out the release, where the vocals are switched towards a more loyal, lower pitch clean, but they still include little periods where the drums are blasting away to make it feel like a more original rendition of the tune, and it's quite wonderful, my favorite part of this alongside "They Burn Without Wings".
I do feel like the French scene is still dominated by its mysterious or outspoken, controversial luminaries like Peste Noire, Blut Aus Nord, Glorior Belli or Deathspell Omega, but really there is this substrata of bands who are all extremely talented and ready to burst forth from the crust at any moment if the world would just give them a listen. A number of these are focused more in recreating a Medieval, atavistic feel, but others like Moonreich are just exceptionally good at marrying just enough of an obscure gloom to blasting extremity, while possessing an aptitude at the broader range of dynamics when desired. If you're new to the band, then I'd probably nudge you over towards one of the prior two albums for a fully immersive, destructive experience, but the new material here will certainly serve as a good balance if they were to mix it into set lists, and the cover tune is sweet.
Verdict: Win [7.25/10]
Sunday, January 12, 2020
Their final recording as Virus was this two-track EP which felt like a marginally more roughly produced extension of Memento Collider. "Investigator" itself was one of their bassiest tunes yet, with loads of thick lines cruising along as the primary instrument while the drums splashed along in the background, fused with cleaner-toned guitar tones that create that ever-weird atmosphere the band is so well regarded for. Czral's vocals continue in that monotonous, wastoid timbre but take a clear back seat to the instrumentation. "The Blue Flags of the Dead" is a slower paced track, where the guitars stand out a little more but the bass is just as thick. There are a few organs and harps in there which mesh rather well with the atmosphere, and I loved the churny, choppy bass lines playing out under the vocal passages near the center of the track. Both tunes are pretty good, if not the best stuff the band had released. They certainly in a way felt just as complex, if not more complex than the material on Memento Collider and Oblivion Clock.
I've only heard this digitally, and assume the 7" is quite hard to find, and so as a swan song it's kind of underwhelming, and I've heard almost nobody ever talking about it. However, if you enjoyed their run from Agents through Memento Collider then it doesn't hurt to have a little more of the same, and these tunes are at least close to worthy of that magnificent output.
Verdict: Win [7.5/10]
Friday, January 10, 2020
The "Rats" single was the first I heard of this, like anyone else, it was a fun tune, lot of energy, like a livelier "Square Hammer", and I really dug how they refrain that evil melody at the end from the instrumental on the previous album (it's also used in Prequelle's choral intro "Ashes"). I think it was also a pretty good choice to front-load the more metallic material here, letting us know that Tobias still considers it an important component of their sound, before they traipse off into the more varied territory. "Faith" is probably the hardest tune on the album, which surprisingly drew some parallels to Chastain of all things, with that neo-classical shred line reminding me of David's playing, and the verse groove highly reminiscent of some of the stuff on For Those Who Dare. Coincidental, most likely, but I found that amusing, and the song pretty kickass with a great groove to it and a really awesome, memorable chorus, once again using their trademark organs to supplement a killer vocal hook. If you've got a version containing it, they also do a heavy cover of the Pet Shop Boys' "It's a Sin", a natural fit to the Ghost style, although I thought the Gamma Ray cover off Power Plant was a far cooler, more metallic transformation of the pop gem.
Not to take away from the mellower material here, because a lot of it is quite catchy, like the folksy piano-driven ballad "Pro Memoria", which picks up quite nicely even though a couple of Forge's vocal lines sound a little goofy in the bridge. "Witch Image" is a nice, driving rock track that I'm surprised didn't turn into a radio single, although the dramatic butt-rocker "Dance Macabre" accomplished exactly that. "Miasma" is another standout, a steady, proggy instrumental that is satisfying throughout its escalation, leads, and tons of ear-worm synthesizer lines. It's not the only instrumental present, but the calmer "Helvetesfönster" didn't impact me quite as much, despite the nice Medieval melodies buried in there. And that's rather an interesting decision, to have about 11 minutes of the album, a full quarter of its playtime (excluding covers) devoted to instrumental journeys, which are mostly successful. Perhaps Tobias could score a film, is all I'm saying, I can certainly imagine some lush, 80s-like young adult fantasy with this sort of music all over it.
There's another cover of Leonard Cohen's "Avalanche" on the deluxe edition, but as well produced as it is, I just didn't enjoy Tobias' rambling vocal style over it, he seems a little weak when he's in that mid-range, spoken word inflection, and the ascending power of the instruments in this one could have used a little more brawn over it. Other than this and a few of the other, slightly less impressive tracks, there are few complaints to be had. The production is excellent, and I'd argue even more dynamic than on Meliora. The lyrics are still pretty good, even if they're not quite as emotionally relevant to me as they were on the prior album. There some cool guest spots nestled in here, like the esteemed Steve Moore on synthesizer, or Mikael from Opeth contributing some acoustics. The Cardinal Copia persona, which I envision to be more of a laid back Papa Emeritus, is fun...let's say Papa Emeritus if he was guest starring on Three's Company. Papa Emeritus if he watched women's prison exploitation flicks while smoking fat cigars. Papa Emeritus if he could tear up a disco floor, which he basically does, only in a city street with a lot of carnage strewn about him. And Zbigniew Bielak's cover art, despite clearly being referenced from a certain old Sepultura record, is just awesome looking. Prequelle's another win to me.
Verdict: Win [8.25/10] (what you've sold you cannot unsell)
Thursday, January 9, 2020
I won't go into detail on every single track, but it features one of the best 1-2-3 punch combos for opening songs that I've got in my entire music collection. The rousing "Spirit" with its eerie and endearing synth-lines, building through a steady driving verse into its epic chorus, a glorious hymnal dowsed in proggy keyboards and choirs. The groovy "From the Pinnacle to the Pit" with its fat, throbbing bass lines, creepy guitar harmonies, and excellent drumming that shifts around until this one too hits a monumental chorus. "Cirice", with those morbid acoustics that lead into one of the best doomy rhythm licks I've heard in my entire life, and some of my favorite lyrics in their discography. Each of these tracks scores on every level, from the strength of the riffing, the ebb and flow of Papa's gracious vocal chords, to the slight bits of nuance like timpanis crashing or smooth, simple leads. The minute-long string instrumental "Spöksonat" is a wee bit useless, but at the very least it sets up the closing segment to their future single "Rats" off the following full-length Prequelle. And right after that you're getting "He Is", the band's ultimate, beautiful mockery of some soaring Christian arena rock power ballad, you can just see the lighters flicking on out in the crowd, but the crucifixes being inverted as they're raised towards the stage.
The only songs that I really wasn't in love with were these small instrumentals, although the organ heavy prog rock piece "Devil Church" is a little better than "Spöksonat". For a while I also wasn't into the vocals for "Mummy Dust". Musically it's wonderful, but I just felt like some of the whispers, mutters and lyric lines felt corny. Eventually I got over that, especially because I love the riffs, solos and synthesizers throughout the tune. Similar, the closer, "Deus in Absentia", while solid, isn't quite on the same level of quality as the other six tunes. Otherwise, Meliora is phenomenal, it's such a fun and meaningful album despite any of its silly eccentricities. The production is polished but potent for the market the band was playing to, since by this time the guys were already circulating on the radio and internet a lot more than you would have thought. Every note, every beat mixed exactly as they needed to be, and yet, despite the accessibility of the record, I never found it mindless, cheap or shallow in anyway. Although the lyrics are set up as your normal verse/chorus refrains like in any pop or rock song, they manage to craft these hypnotic lines that mean a lot in context, like 'I can feel the thunder that is breaking in your heart/I can see through the scars inside you', or 'All those things that you desire/You will find here in the fire'.
For what a clean cut, friendly guy Tobias seems to be, he certainly has his sinister side! And we're all the richer for it. Now I know that Ghost has developed into a rather contentious band, and sure enough they bring out a lot of mainstream music influences from the 60s, 70s or 80s that might not be all that exciting for those who were more into the Mercyful Oyster Cult influences, or just for folks who don't want any sort of pop taint or accessibility within their music. I can understand it. What's the big deal, right? Well as someone who has always enjoyed occult rock, pop, prog rock, and heavy metal, I just really appreciate how these Swedes transmute them into a consistent style, which can maintain all the constituent variability of these genres and still come off sounding like a single band. I also don't mind having the occasional band most of the 'squares' in my life can hear in my car and get into; they don't always take well to my Icelandic black metal or cavern core addictions. And maybe it's a superficial thing, but I also love the subversion of such catchy and occasionally 'friendly' metal carrying its Luciferian undertones, a philosophical inversion of pop music and poppier religion. I mean, only Odin is real, but the Devil can be a hell of a lot of fun.
Version: Epic Win [9/10] (Anti saint wormwood catapulting your mind)
Wednesday, January 8, 2020
They handle Echo & the Bunnymen's "Nocturnal Me" rather loyally, keeping the similar, solemn textures but inserting a few doomier guitar lines in there to personalize it more towards their own material of the Meliora era. I especially like the ending with the busy drums and the mildly heavier prog atmosphere. The other cover I was familiar with is "Missionary Man" from the Eurythmics, which once again gets a heavier jump start due to the presence of the guitars. Musically I was on board with this, it works well with those chords churning it along, but I felt Papa's vocal here was far too nasally and distracting, especially as he is delivering it in a rather monotonous tone. Not that it's terribly distant from the original, but Tobias Forge is no Annie Lennox, as I'm sure he is aware, and we'll leave it at that. As to the other two tracks, I was unaware of the originals and so I had to go back and listen through them online just to make some comparisons. "Bible" by Swedish 80s rockers Imperiet is played quite close to the original, vocal harmonies and all, and in "I Believe", Ghost takes an English electro-pop cut from the 90s and reduces it to a more purely ambient piece with the shimmering synthesizers and Forge's voice leading it along...
That was a pretty interesting adaptation, but having now heard the original I was kind of missing all the little bleeps and beats that carried the dance version, which was basically a British New Wave track done a decade late, but hey at least it was an introduction for me. Overall, I think the choices here are pretty curious but not always as triumphant as I would have liked. "Square Hammer", itself arguably a half-cover of another famous track, is the main reason to return to this one. David Brinley's artwork is nice, architectural, imperious looking, which sits nicely aside his cover for the Ceremony and Devotion live album and Zbigniew Bielak's cover for Meliora. All the material, original or covered, is produced with a pretty safe poppy mix that emphasizes what it needs to. I'm sure this is sitting in most of the Ghost audience's collection already, but if you haven't already got it, try and grab the 2CD version of Meliora which features this is as the 2nd disc and possibly save yourself a couple bucks. On its own, the value is debatable.
Verdict: Indifference [6/10]
Tuesday, January 7, 2020
"Kiss the Go-Goat" is a slab of 1968 hard rock circa Iron Butterfly or Steppenwolf, with a stock, predictable, main riff drizzling acidic little leads and organs. Forge's vocals tether it directly to the Ghost canon, but there are a few differences like the mildly fuzzier rhythm guitar tone and so forth that I wouldn't mind hearing an entire album based around. The chorus and bridge definitely feel like other songs you've heard by the Swedes, and overall I was left slightly wanting for some catchier nuances here...for all its experimentation at dialing back yet another decade, this one doesn't have a lot to stand on. "Mary on a Cross" is more somber and atmospheric, and strangely enough captures the nostalgia of the intended era more successfully, even though it's driven by a standard hard rock undercurrent like a "Dance Macabre", which is similar. But it's the vocal harmonies and the way the organs are implemented that sell it, and I like the little break where the beat disappears after 2:30 where it makes you feel like Tobias is crooning at a high school dance 50 years ago, before the rest picks right back up.
The production is pretty good, that's never really an issue on Ghost studio recordings, but I think the two tunes here are among the least impactful of their career the last few years. I don't mind them, but it's easy to understand why they'd be better placed on a novelty item like this EP rather than on a full length where the stakes are higher. Who knows, though, perhaps Forge was thinking of heading even further back in time, channeling earlier chronological influences, and wanted to send this thing out as a crowd test to gauge the reaction. To that extent, at least to me, I would consider it a success, as I think an entire album of better written tunes in this style might be fun...like a Strawberry Alarm Clock meets Ghost effort. But as far as its inherent value, I don't think I'd be including either of these on a playlist of my Forge favorites...most of the material on Meliora and Prequelle sticks with me more than either of these, although they were innocuous enough ear candy for a couple spins.
Verdict: Indifference [6.25/10]
Monday, January 6, 2020
Now, naturally, an audio live album isn't going to be able to convey that whole experience, and that's one of the obstacles Ceremony and Devotion faces. You're getting some cool new cover art, some photos, a list of tour dates, and a pretty well-recorded physical proxy for attending and listening to them perform. You're not getting a single, complete performance accompanied by a DVD or Blu Ray of that gig, which I think would have been a far superior product for the fans, especially those who haven't gotten to attend one of their tourdates. This is material pulled from several different dates, curated to provide clear, consistent sound quality and crowd buzz and prove that they can largely emulate their studio offerings, which they more or less do throughout this selection. 15 songs, the vast majority of which I enjoy, the only exceptions being a couple like "Per Aspera ad Inferi" or "Body and Blood", but even those sound fluent enough in the live setting. The material is drawn fairly evenly from Opus Anonymous, Infestissuman, Meliora, and "Square Hammer" from the Popestar is the opener, so a lot of my favorites like "Con Clavi con Dio", "Cirice", "He Is", "Year Zero', "Monstrance Clock", "Absolution", and "Ritual" are present and accounted for. No complaints there.
The songs do lose a bit of power on this recording as compared to their studio counterparts, by which I mean the band is so devoted to playing so cleanly that I got a more sterile reaction when listening to these versions. I wouldn't have minded some more flaws and imperfections if they had a slightly dirtier live mix, or changed the material up a little more to give the audience something more novel. The guitars here sound a little constrained, although they pull off all the parts well enough. I think as the tunes move more towards a climax, as in the chorus to "Year Zero" when they've got the choirs, the band firing away, the bells, and so forth, it does come together rather nicely, but there are some points where certain instruments seem subdued, or Papa's voice, while crystal clear, just doesn't carry the same effectiveness you'd expect. In fact he sounds a little too dweeby in some parts with the cleans, but where he might spit out a lower, growled tone it's more potent. That said, this is what's going to happen when you're curating tunes from separate gigs rather than just delivering all the sincerity and bluster of a single performance (although I've read somewhere that many of these were taken from the same show).
Ceremony and Devotion is professional, unquestionably, and most of my complaints here are rather minor since the audience sounds like its having a good time, and the band clearly puts a lot of effort into the performances. However, this isn't one that I'm going to be taking off the shelf to experience in place of their studio offerings. It's not a case like Live Without Sense or Live After Death where I want to specifically listen to that recording, even though I think most of the set list is fantastic and it's a decent overall product in terms of packaging and audio quality. Had it come with a DVD to match, I'd probably give this a boost, it really could use one, but as it stands I think it's just decent enough to give a passing grade.
Verdict: Win [7/10]
Sunday, January 5, 2020
I'm going out on a limb here to say that I actually dig the Carpenter Brut remix of the song just as much if not more than the original. This is the Frenchman responsible for "Turbo Killer", setting beats for and starring in one of the remaining 1% of music videos that actually fucking rules. While his augmentation of the Ghost tune isn't quite as dramatic or extreme as some of his own tunes, I like the throbbing roller skate-ready synths he mixes for the bass line in the verse, as well as the more exaggerated, very retro radio synthesizer pads, and the reverb he throws onto the vocals. I have quite a lot of fun listening to this, even the slightly more atmospherically enhanced chorus with a couple of slightly acidic tones on top. The synth solo just about matches the guitar solo in coolness, and it's just a well done adaptation which knows what its about and doesn't need to force the envelope too far.
Now, as an overall value, this single isn't much. It's just that remix, plus the album cut, which is not necessary since you could compare it to the one on Prequelle. So it's a fairly useless release that just happens to feature a remix every bit as enjoyable as the one Health provided for "He Is" on that tune's expanded digital single. Perhaps Carpenter would be a trendy pick, but the fact is that he handles this material with respect, injecting just a fraction of his own persona while letting the original structure of the song thrive, and you couldn't ask for much more. It's not much of a product but if you like both of the artists then certainly listen to it online.
Verdict: Indifference [5/10]
Saturday, January 4, 2020
...on the very first track on the single. Possibly an error in judgement, since I think that could have been shoved off to the close of track list, but since this is just distributed digitally it's not like a lot of listeners are going to have any loyalty to a perceived ordering of its presentation. Yes, the live cut recorded in San Francisco is quite good, with the guitars and vocals up loud and front, sounding awesome, proof that Forge can largely pull this all off in the moment. Most of the instruments sound close to studio perfect, the climactic chorus retains its power and the audience roar is kept strictly to the backdrop, almost as if it were sampled in there where tolerable. The second cut here is a more directly acoustic piece, without the electric swells, and featuring Allison Mosshart of The Dead Weather and The Kills. Her style is definitely a little more grainy and emotional in her voice, but I found she was a little overpowered by Tobias once they were singing in duet, and although this plays more like a 90s alt-rock version of the tune it didn't hold a candle to the album cut.
After that, the selections become a lot more interesting...the "HEALTH remix" is a pulsing, rave version which lowers the pitch on the vocals and then becomes a rather mid-paced, atmospheric ambient piece that would be perfect to listen to through a sunrise. Aside from a few throbbing, sparse beats, this one never just goes outright techno, and while I was expecting it to, I was surprised that I preferred it just to stick with this rich, ambient texture with the more ominous vocals. The final version presented here, the "Haxan Cloak Remix" is a far more industrialized version with some more abrasive, noisy electronic sounds after a more ambient intro. I loved this one at first, thinking it was just the whole track being minimalized into these strings, keys and other ambient tones, a gorgeous reduction, but I was a little less interested when they were throwing the subdued vocal samples back in under the ear-rupturing, dirty synth explosions later on. Still, it's good for a few minutes.
Overall, it was curious to hear the different approaches in contrast with one another, but only the "HEALTH Remix" with its L.A. rave inducing-euphoria is one that I'll find myself running back to. The others are pleasant, especially the opening sections of the last remix, but there's never a need for me to listen to them over the album version. I think it was pretty wise to leave this sort of thing as a digital download for the diehards, and it's harmless enough, but mostly just an oddity with one real positive. The live track sounds great but you can also just hear that over on Ceremony and Devotion, a full live album that I'll cover soon.
Verdict: Indifference [5.5/10]
Friday, January 3, 2020
"If You Have Ghosts" is a very accessible, sweeping, uplifting sort of rock cut that works well in their hands, or alongside the other tracks they've written themselves which give off a mock Christian arena rock vibe, such as "He Is" on Meliora. I've addressed the ABBA cover "I'm a Marionette" on the review of the Infestissumam full-length, but if you don't own the Deluxe version of that then it's a treat to have it here among its neighbors. I'll reiterate that Ghost could cover almost any single tune in that band's history and it would probably work, the groups, despite their genre differences, share that unbridled sense of ear-pleasing pop quality. I was not as familiar with the original "Crucified" or the band Army of Lovers, but this one definitely recurs that hymnal concept that the band really likes to play on with its blasphemous Luciferian theatrics. It's a little goofy when he gets to the more spoken word bit in the bridge, but it's certainly an aesthetically fit for the Papa Emeritus II persona Tobias was using to front the band at this time.
The cover I was most looking forward to, Depeche Mode's "Waiting for the Night", is given a more doomed, melancholic edge than it already possessed, with a pungent fuzz to the guitars, and little organs that glimmer through almost too cheerfully from the somber weight of the tune. Still pretty cool, but I see why they kept it tucked behind the others. There's also a live offering of "Secular Haze" to round out the material, which sounds good in that setting, but just isn't one I find myself revisiting often, much like its studio counterpart. The production on the covers is quite good, I'd say even a little better than the Infestissumam material, with the guitars balanced better against all the vocals, organs, percussion, and bass lines. The EP is a decent value if you're a fan of the band, I might have preferred a full-length of covers without the live tune interfering but this thing is usually sold for only a couple bucks, and if you don't have the tunes elsewhere it's worth a pickup if not some towering success of a product.
Verdict: Win [7/10]
Thursday, January 2, 2020
It's instantly clear that Tobias and company were attempting to ramp up the theatrics of their stage personas through the studio component, evident through the fact that the album sounds like you're sitting in a mock Church, complete with bloodstained glass and Luciferian hymnals, surrounding by a carnival on all sides. The organs and other trappings beyond the standard metal instrumentation are whimsical and subtly sinister. There's a wide array of rhythmic exploration which feels light and airy, like a troupe of inverted Christian hippies traipsing down a hillside tossing beach balls to and fro. I would assert that Infestissumam was the band's most progressive offering, covering more new ground than any of its successors (to date), even if it wasn't able to form that into the catchiest of individual tracks. That's not to say you won't hear ear candy-larva burrowing through the DNA of a lot of the songs, but to me the smoothness of how the production locks it all together lacks a little of the power and menace I felt from the debut. The overt influence of your favorite Danish metal royalty and escapist New York hard rock of the 70s and 80s is still present, but a wider net has been cast.
It's eccentricity and all-over-the-place-ness is a positive. For instance, the album doesn't really lose any points from me for shifting between the safe psychedelic pasture-rock and the haunted house rockabilly of "Ghuleh/Zombie Queen", one of my personal favorites here. "Year Zero" is an undeniable strong point with its creepy verse vocals and development towards its sweeping operatic chorus. "Depths of Satan's Eyes" sounds like a track cultivated from Opus Eponymous' outtakes, and the closer of the album proper, "Monstrance Clock" is another highlight with its oozing synth lines, eerie organ breaks, and another of Tobias' wonderful vocal performances. I mean there's a good EP's worth of kickass material that rivals anything else the band has released. To boot, the bonus tunes on the Deluxe edition are quite good, especially the cover of ABBA's "I'm a Marionette". I mean mock the source all you want, their catalog is just perfectly fertile ground for a group like Ghost to come along and transform into their own designs, and this song does it wonderfully. I would probably purchase an entire album of ABBA covers by this group.
I think where this one sinks for me is that it front-loads some of its weaker tracks. "Per Aspera Ad Inferi" has a few high points but doesn't quite deliver on its initial promise, and "Secular Haze", one of the most popular tunes here with its circus-like march, falls short of its potential. "Jigolo Har Migiddo" is fun enough, but doesn't really tickle me until the bridge. The guitars here, while active and occasionally inventive, seem to take a back seat to the vocal production and synthesizers, not to mention the bass which sometimes seems to overpower them. I felt as if the debut was more directly driven by the riffs, whereas here they only occasionally poke out, but when they do, as in the kickoff to "Zombie Queen", they're great. Tobias' vocal production here is quite involved, with a lot of harmonies, but again some of the melodies just don't hit the catchiest patterns and seem to play it a little too obvious rather than hitting you with some unexpected, unforgettable note progression.
Elsewhere, the aesthetics are quite nice. The song titles interesting, the Satanic lyrics hold up through a number of readings, and the artwork a nice continuation from the debut. The flimsy Universal digisleeve edition of the CD sucks, and I recommend avoiding it and tracking down a Deluxe with those bonus tracks that actually add a good amount of value to Infestissumam on the whole. There is no question that this was an important transitional step for the Swedes. Sure, I might like Meliora a lot more, but without this I don't think Ghost would have necessarily gotten there. So for that, and the quartet of originals that really resonates with me, I do think this is an interesting album with enough qualities to recommend, and I'm not surprised that a lot of the band's fans see is as their personal favorite.
Verdict: Win [7.75/10]