Sunday, December 2, 2018
Taking December off from reviews due to the typical hectic Holiday schedule, but my year's end picks should arrive here by the end of the month, with a link to the more substantial list I post over at Rate Your Music annually. And of course, I'll be back, fresh and ready to scribe in the new year. Until then, stay toasty, folks!
Friday, November 30, 2018
...and the first perfect score I'm giving to a metal album since 2010. The first perfect score I'm giving to a Voivod album since the 1987-89 trifecta that I consider a hallmark of music, period. The Wake is such a polished, seasoned, inspired record that it seems as if these four have been playing together since that early 80s period in which the group formed. Now, when I said 'Renaissance' earlier, I did not mean to imply that the band had been experiencing much of a slump. In fact, I wouldn't say they ever had...Negatron might have been the low point for me, when they were transitioning to a three piece with Eric on vocals, but that was far from a 'bad' album, and even then they rebounded quite nicely with the interesting followup Phobos. Some fans despised the 'Rock-vod' years which started with Jason Newsted's tenure in the band, and ended with Piggy's failing health, but I happen to enjoy all three of the records of that era as fun, catchy driving tunes. No, when I say 'Renaissance', I mean these last five years have been an escalation from that phase back to their late 80s greatness and perhaps even beyond if they stay this course.
Stylistically, The Wake hearkens back to the 1988-1993 stretch, fusing the high science fictional concepts of Hatröss and Nothingface with the accessible, cleaner, prog-friendly presentations of Angel Rat and The Outer Limits. That's not to claim that these eight tunes are radio-ready singles, in fact they each possess quite a lot of depth, but that is achieved directly through the writing and musicianship, not through some obscure, raw approach to the production like the unnerving cover artwork might imply. The guitars are as clear, punchy and potent as ever, whether jamming along speedier little thrash licks, somber, bluesier moments or crystalline lead harmonies. The bass lines are entirely flush with Blacky's style, groovy and thick with just the right level of distortion on them so as not to give the listener a headache. If anything, Rocky handles the instrument with even more agility and progression than his able predecessor. Snake's vocals are among the best I've ever heard, with a lot of variation between his drugged out, psychedelic cleans and then an array of grainier growls or snarls that help diversify the stories being conveyed through the lyrics. Away's drums range from a patient, tribal bliss to the more hectic techniques the band launches into once they get heavier.
Even the occasional synthesized bits here sound fantastic, lending ambiance and mood to the busier instrumentation. Reverb and other effects are tactfully applied to vocal lines or guitars so that the listener feels as if he's floating through some derelict asteroid field or abandoned spacecraft, and the 'alien' aesthetics that Voivod first introduced through earlier efforts like Rrröööaaarrr, Killing Tech and Hatröss feel as fresh and innovative to me now as they did when I was a teenager. What's more, the band is clearly trying new ideas here...such as the soaring, memorable leads in the belly of "Sonic Mycelium", to which the backing rhythm guitars are splayed out in staccato patterns that almost feel like the band was using them as orchestration. Or the cybernetic psychedelics of the vocal patterns in "Always Moving" before they switch off to those guitars. Creating an album which is 100% loyal to their own history and yet still surging forward, somewhere, is no mean feat in this day and age, and the genius here is that The Wake is an album I think might thrill stubborn hold-outs who adhere only to the group's 80s discography, while still reaping in newer, younger admirers from many other realms of the progosphere.
The lyrics are quite good, nothing too impenetrable perhaps, like the story of Nothingface, but possessive of a similar scope of a personal perspective set against some cataclysmic singularity which forces humanity to awaken itself to the greater universal society around them. I'd also like to add that the double disc Digipak I'm covering also includes the entire Post Society EP, which I've covered elsewhere but is almost equally stunning as the newest material. So that's a pretty good bonus if you missed that release, although this obviously lacks the great packaging that had. The artwork in this version is good and freaky, although there isn't a lot of it, instead the lyrics and photos are presented simply and clearly, almost as if they wanted a minimal aesthetic to defy the spiraling chaos and creepiness of the front cover. There are a half dozen live cuts also added after the EP, but these all sound pretty grainy. Hardly a critical component of the release, but since they're just dressing on the bonus CD, their presence doesn't detract.
The Wake is an album with no real, discernable highlights, because EVERY SECOND is a highlight. There is not a single note or syllable I would want differently. I would not sift through this for any one individual song, as they are all equally compelling. A 56 minute trip I'm willing to take at almost any moment. I feel a profound joy that I get to be a living, breathing organism in a time of human history when I get to hear something like this. The first few times I was listening, as I was sorting through Magic the Gathering cards at one of my day jobs, hypnosis was immediately induced. Certainly the frenetic, fragmented picking and clever, swerving bass grooves of "Orb Confusion", or the roiling anger and aggression of "Iconspiracy" might 'pop' from the framework of The Wake more than some of their neighbors, but really this is a Court of the Crimson King or Tales from Topograhic Oceans for me. I didn't come here for a quick burst of exhilaration, but for a profound experience, an escape to a place I can't touch with my fingers, only my brain.
This is the best album I've heard this year in any genre.
Voivod is the best band on Earth.
Fuck off nowadays jock metal.
The nerds win.
We were always going to.
Verdict: Epic Win [10/10] (recycle yourself)
Friday, November 23, 2018
Okay, let me back up and make one exception...this record has the best production I think they've ever presented us with. Clear, powerful chords, abrasive and grooving rhythm section, gravelly and angry vocals, and even the few embellishments like the symphonics used in the title track sound quite good in the mix. I struggle to call this much of a 'thrash' metal effort at all. The band has always had just as much of a tie to the blunt instruments of groove and nu-metal throughout the 90s, while not nearly as annoying as most bands to bear those descriptors. The stark simplicity of the chords here, running through predictable, bouncy cuts like "Back to Zero", often reminds me of the metallic derived elements of New York hardcore, and many of the riffs are purely rock or punk injected, differentiated only by the more growled vocals that seem more indicative of aggressive thrash. As I hinted above, Warpath does try a few deviations here, like the orchestration used to kick off and accompany the title cut, or the slower paced "Believe in Me" with its clean, deep vocals and guitar lines that lead into the bruising of the distorted chords..."St. Nihil", with its doomed gait. Alas, these just don't bring the 'catchy' any more than the rest of the material...
There is some thrash, to be fair...like "Killing Fields" with its Black-album Metallica pacing, or a couple other tunes with thick palm muted phrases ripe for 80s urban moshing. There are a handful of melodic or lead-like elements, as in "F.U." (come on, really?), but these seem a little subdued, as if the band isn't confident enough to slather them over the brickheaded grooves. And that's another thing, the titles and lyrics all seem rather bland, not that this is always a dealbreaker to me, but when there's not a lot of music to value, they definitely can drive an experience further under. As a total package, Filthy Bastard Culture offers just so little aspiration, so little genuine nastiness, comparing this to their 80s German forebears like Destruction and Kreator is like having a Cro-magnon emerge from its cave, to see a jet or helicopter soar above for the very first time. Nothing risked, nothing gained, and after over a quarter of a century, I'm not sure anything ever will be. Far from the most incompetent band I've heard, yet a long way from making any progress. I'd hesitate to say that it truly 'sucks', but the most memorable aspects of this album are the production and the fact that they're still packing that logo which looks a lot like New York thrashers Whiplash.
Verdict: Indifference [5/10]
Wednesday, November 21, 2018
Aesthetically, there a number of positives to this latest Bloodbath outing. The cover artwork is interesting and disturbing. The title is cool. The commitment to an even more repulsive production than Grand Morbid Funeral could have wound up something compelling. Nick's grainy growls still felt like a fresh change of pace from the more polished gutturals used in the past by Mikael and Peter during their tenure within the group. The lyrics maintain that vibe of recapturing a lot of the death metal tropes of the 90s, which really remains the whole point of this project. The production, while looser and more murky than any of the prior albums, does have the necessary punch to impress Swedish tone-a-philes, and they manage to spruce it all up with some atmospheric, higher pitched guitars that occasionally add a level of creep to the proceedings. But fuck if this album takes so long to deliver anything of any lasting value...the first half of it is almost completely devoid of the good riffs that stick to the ears for more than a couple moments.
Where is the "Year of the Cadaver Race" for this album? The "Outnumbering the Day"? "The Soulcollector"? Or "Devouring the Feeble"? Too few of the riffs present on The Arrow of Satan is Drawn are worthy of even sharing the same cemetery plots as some of their predecessors, and so the album has to aim for a more total atmospheric package that contains a lot of humdrum guitars which are unfortunately serviced as well by the crunch of the tone as they ought to have been. Granted, it's not the most roughshod recording in the band's catalog...Resurrection Through Carnage is much more cheap and torn sounding, but the issue here is that with the exception of the melodies or the disjointed leads that might explode over the meatier rhythm guitars, none of the progressions really stand out beyond the billion or so records out of Europe that have come along to share in the worship of the Swedish forebears like Entombed, Dismember and Carnage. Energy isn't the issue, since the production gives it plenty of hellish swerve, but the riffs feel too hastily thrown together as if just anything would do because HEY WE'RE BLOODBATH.
Even when they seem to get something really going in "Bloodicide" with those great, almost cosmic melodies, the rhythm guitars are just too mediocre. The latter half of the album is a little tighter and more appreciable, and they do try some varied song structures you haven't heard before in tunes like "Wayward Samaritan" and "Deader", but I was always left feeling like I'm hanging, that the results could have been so much better if Blakkheim and company just did a couple more run-throughs at the idea-stage, changing some of the chords here or there or the order at which they pummel through the track. I'm also just not convinced Holmes is the best man for the job here, as much as I've enjoyed a lot of his early Paradise Lost growls (and his other Gothic vocals), there's little to the rhythm and meter of his delivery that thrills me. It's gravely and grim like the path up to the mortuary, but once you've heard a couple syllables and sustains it gets old pretty fast.
This is far from a terrible album, but it's somewhat undercooked to my ears, and while this might have been a purposeful stylistic choice, to just scrabble together some death metal jams and go play a couple festivals, to not overthink it, I think it wound up in the worst of their full-lengths to date. Almost all the components were there for something great, but the execution escaped me.
Verdict: Indifference [6.75/10]
Tuesday, November 20, 2018
The rest is business as usual, which is not a bad thing for one of France's greatest tributes to the Dark Ages, and Castellum is probably the least fantastical of their output, with tunes like "Le castellus du moine brigand" genuine historical references in their lyrics. It's also one of their best produced, along with the debut. Guitars have a nice crunch to them but also sound great streaming chords along to the faster drum tempos, and you can hear all the upper strings being struck to portray a few glimpses of atmosphere. The bass lines are tucked right under the rhythm guitar, and not doing anything terribly interesting, but they diverge just enough to matter in the context of the album's atmosphere. The synthesizers are as usual very well implemented, not too subtle but never brazen or disruptive to the metallic components. You very often feel like you're charging around a courtyard or a mountainside while the sunlight is gleaming down upon your armor. Cervantes' rasp here is not too far at the forefront, but it sounds just as good if not better than their other albums, and his delivery can get good and nasty to accompany a glorious piece like the thundering of "Glorious Horns".
You do get a dungeon synth-like, minimally percussive interlude in "Feodus Obitus" and the excellent, shining finale "Medium Aevum", but otherwise it's about 38 minutes of majestic and determined black metal which never thrives on being the fastest or meanest, but instead locks itself in canter with the atavistic imagery portrayed. There are some truly effective moments, like the melodies in "The Bulwarks Warlords" or the mystique-building depths of "L'incandescence Souterraine", but there's not a bad track among the bunch, and next to A Passage to the Towers... I think this is their best work, although all four of the full-lengths thus far have been in the same ballpark quality. Wholly traditional black metal baptized by just the proper amount of cinematic grace through the keys, and the Medieval trappings are something I'll never grow tired of.
Verdict: Win [8.25/10] (vigilant winds assemble)
Monday, November 19, 2018
Ironically, Overtures of Blasphemy isn't some unique, transitional milestone for the Floridian Christian crushers, but it's a record that incorporates a little of that Stench of Redemption vibe, while at the same time reducing the riffing down to its bare basics, tremolo picked patterns and a whole lot of brute force chugging. Despite this, I've quite enjoyed it, because the riffs are tight and energetic enough, the songs so compact in their 2-3 minute formats, that each feels like an infernal burst of genre purity straight to the dome. Benton only uses his growl for most of the duration, competently executed, with only a couple lines where he'll break out a goofy snarl. Rhythmically, the band is a flawless machine. Asheim's kick drums sound like anti-aircraft machine gunnery, felling squadrons of angels at a time, while he can blast off effortlessly where the band wants to transform the mood away from the moderately paced churning and grooving. Glen's bass sounds about as fantastic as you're going to get when you're following the rhythm guitar so closely, with a meaty tone that feels like it can clog any of the diminutive air-holes between the chugs and chords.
Fine-tuned, hellish brickwork being laid out at unholy speeds, so when the lead guitars erupt they are always striking an excellent balance against the fury below them. These aren't always quite so catchy or explosive as on Stench of Redemption, and there aren't a whole ton of them, but they work very well where they exist and really round off the whole album. In terms of riff strength, there might be a lot here you'll feel like you've heard from this or another band in the past, but the production is just so spot on, the tracks so skintight that they feel like they're exactly what the songs required to remain kinetic and entertaining. One of Jason Suecof's best recordings to date, just honest and punishing and yet clear enough to let the smaller details through. The lyrics are about exactly what you think they are, and yet they are rather well done this time out, providing some memorable imagery along with the typical blasphemy. I'd also like to point out that Zbigniew M. Bielak's cover artwork on this one is astonishingly good, for me easily the best Deicide have ever had, and that really wraps this package up into something worthwhile. After a few spins, I was quick to promote this to one of my favorite albums the band has ever released, even if it's nothing novel or unique by any stretch.
Verdict: Win [8.25/10] (there's nothing worth saving)
Wednesday, November 14, 2018
It's a thicker sounding, blockier album than the first, as if levels were being tweaked between the instruments to try and even them out, and some slight calamity occurred as a result. Don't get me wrong here, Echoes is still quite listenable, but the dynamic range of its Passage was superior to my ears, and remains so, since I went back and listened to it before tackling the rest of their catalog. On a stylistic standpoint, this is very much that mid-90s style of black metal pioneered largely by bands out of Norway who early on applied symphonic elements as complements to the guitars. You could trace it back to Emperor, Limbonic Art, Old Man's Child, and their ilk, good influenced to have as they permit Darkenhöld to truly manifest the archaic, haunted majesty of their lyrical themes. The riffing here is quite solid, perhaps not always so unique but shifting about often enough that there is no real boredom anywhere, with tight-cropped tracks that don't their heads to spawn mediocre 'epics' that lack the ideas to fill them. Drums sound tight and appropriately crashy, while the guitar tone itself is good, the synths are laid out just right behind it all and the vocalist's rasp slithers right thru to coil itself around the listener's bewitched ears.
It's only when it all fires off at once that I sensed a little bit of clip or excessive evenness which robbed some of the individual components of their power potential. Sometimes the keys would shine forward a little much for the strength of the guitars, and so forth, but I'm such an admirer of this style and where it takes me mentally that it's not a great obstacle. The 'dungeon synth' like intro pieces, "Subterranean Corridor" and "Interlude" are well enough made, but perhaps not as catchy as the keys used in some of the proper metal tunes, and not as good as those Darkenhöld has used on some of its other albums. For this album, the more the band takes risk and provides evil riffing, the better the tunes seem to be, as in "Chasm of Asylake", but they hit a lot of mid-paced Blood Fire Death style sequences adorned with eerie symphonics or pianos that I also found quite agreeable. The lyrics are also worthwhile, whether you're into fantastical creatures ("Wyvern Solitude Chant") or alchemy ("Under the Sign of Arcanum"). All told, I'd say this ranked as their third best album, quite good but not as impressive as the debut or the album that would follow it in 2014.
Verdict: Win [8/10]
Tuesday, November 13, 2018
All three of these instrumentals consist of a clean guitar component, with Aorlhac's album opener being the most purely rustic and folksy, pure acoustic bliss. Darkenhöld's is a little more dingy and tribal, with some ambient sounds hovering just at the crest of the guitars. The finale of the split, Ysengrin's "Herege", features some electric guitar along with the acoustic, and cedes into a more funereal synth as it comes to its close. All three of these pieces were very well done, highlights of the recording, and for their small differences flow together rather well with one another and the slightly divergent styles of the bands. Fortunately, just about everything else on offer is also worthwhile, from Aorlhac's savage, riffy "Les charognards et la Catin", to Darkenhöld's mid-paced, evil piece and fittlingly titled "Eerie Plain at Dawn", to Ysengrin's morbid amalgamation of death, doom, heavy and black metal "La Procession Noire" with its more atmospheric, guttural vocals and weird, snaking riffs and leads. Each of these tunes is quite fluid with what the band was releasing individually at the time, and like a lot of their material easy for the Dark Age headbanger trapped in the 21st century to lose oneself in.
Ossuaire was new to me, but their sole track also seems like a microcosm of what their peers had on exhibition, with some acoustic guitars that transmute into some chunky, dissonant black/death metal with, yet again, guttural vocals rather than the black rasps that you'll hear from the first two bands on the split. I did think this tune was okay, but perhaps my own issue was the dingy, dissonant tones and overall production once the heavier sections kicked in stood out a little much from the rest. Some of the style here reminded me a lot of another French band, Suppuration, which is cool, and I did like this enough that I'll track down their 2010 full-length Mortes Fables at some point to check it out, but I'd say of any of the selections for this release, it was probably the one I would have cut out to make the rest flow a little more smoothly. That aside, and its a minor gripe at best, La Maisniee du Maufe is a very cool release which delights for much of its runtime. France has by far one of the best scenes in all black metal these years, and even though the bands included on this would be considered second or third 'tier', they are all well worth hearing, following and supporting.
Verdict: Win [8/10]
Monday, November 12, 2018
Musically the focus is on mid-90s black metal riffing, an admixture of scathing rhythms, dim chord choices and occasional swings into full-on, ale-pounding majesty that come out of left field. The mix of the album is very even, with the guitars, bass, drums, synths and nasty snarling of the frontman 'Cervantes' complementing rather than fighting with one another in the speakers. It's a firm medium between the rawer elements of the genre, and the more overly produced, big budged offerings of the Scandinavian luminaries and mainstays. The atmosphere is created through the graying moods of the guitars, adorned with organs and other synthesizer effects which fit them perfectly. There is one brief interlude piece called "La Grotte de la Chêvre d'Or" which you could consider full-on dungeon style synth, but otherwise the band is heavily guitar driven, with a heavy use of acoustic guitars that are seamlessly integrated along with distorted lines when they're not appearing alone. Some of the riffs are quite good, with occasional drifts into leads or melodies that stand independently of the rhythm section, but to be honest there are a number of forgettable or overly familiar patterns that would not stand out whatsoever if not for the sum atmosphere created on the album.
The snarl is quite good, but also akin to many you've heard before, so I'm thankful that they also do include some soaring, background choral vocals that make it sound like it's being broadcast at you from some mountain monastery. Memoria Sylvarum also keeps most of its tunes reined in at around 4-5 minutes, so they aren't so headstrong to think they can cycle endless waves of repetitive riffing at you in a vainglorious attempt to seem epic or profound. With a couple exceptions, Darkenhöld just charges into battle, as a convocation of black knights attending a joust, and then doesn't wear out its welcome, providing the listener an atavistic portal into his or her own fantasy. It's almost elegant apart from how it does occasionally deliver the savagery of the earlier albums by acts like Midvinter or Old Man's Child. While it's not my favorite of the albums they've put out to date, this does not disappoint, it's only marginally less engaging to me than A Passage to the Towers or Castellum, and yet again secures a catalog of consistency for a band that, Franc-ly, is not spoken of nearly as often as they deserve. Sorry for the terrible pun, it appears my jestering skills need some dusting off.
Verdict: Win [7.75/10]
Thursday, November 8, 2018
Bâ'a opens with a volley of fast-paced, highly melodic and sorrow-stoking black metal complete with some great bass-lines and added layers of orchestration at just the right moments for just enough of a transcendence. There are some breaks in the momentum, where the material becomes more longing and pensive, but overall they are just a well-rounded project with a multi-faceted attack that worked for me at any pacing. Verfallen feature some of the longer tracks on the disc, each over 9 minutes long and giving me some nostalgia for 90s melodic black or death metal with an intense blast beat battery and some harsh, nasty vocals. They too will throw in some segues where they move onto a more mid-paced, charging style or some softer guitars, but when they're firing on all cylinders I got the impression of a French Dark Funeral or Marduk, maybe some shades of Merrimack. They're probably the most monotonous of the three bands here, but I don't mean that in a bad way, the songs are just more grandiose in weight, there is still plenty going on to keep the listener's ear trained and not lapsing into boredom.
Hyrgal, the 'veterans' of this release, take things down a notch with a very somber, morose piece that moves at one of the slowest crawls, but packed with harrowing emotion and driving chords. A few parts of their album closer, "Sicaire", ramp up the pacing to flow more fluidly with some of the offerings of their compatriots earlier on, before then breaking down again into a soul-sucking climax with some multi-layered vocals, and lastly a wonderful ambient ending that trails off for the last 4 minutes, spacious and heavily distorted guitars ringing out before a torrential downpour cedes to some stormy swells of cleaner, sparsely strung notes. All quite breathtaking, especially after the near hour of time you spent building up to this, it's as if all the tension of the bands' material breaks at long last, drenching the listener in a chance to reflect back upon the journey. All thoughtfully constructed, and while these particular bands might not have the same level of distinction or creativity as some of their better known countrymen, they're all quite good at what they do. Passion, savagery, escapism, such crucial components for black metal. France has a very rich scene in this genre, and here are three freshly blooming examples of why.
Verdict: Win [8/10]
Monday, November 5, 2018
Jettatura is primarily mid-paced, driving rock-punk rhythms with a few slightly faster, dissonant chord patterns woven in and out for good measure. It shows a sort of parallel development to how crustier metal/hardcore bands of the D-generation write at moderate speeds, only with a brighter production level. Think Nails playing a Darkthrone cover, mitigating their anger a bit for a more bruising, cruising effect. It's not so sunny, rocky and punky as something like Turbonegro or Kvelertak, but take that style and integrate some more mug-swilling, atmospheric and melodic disposition and you're in the right ballpark. In fact I'd say they sound most to me like the Danish band Horned Almighty, although I didn't enjoy this quite so much as that band's catalog which has a more cruel, abusive streak to it. The riffs here are just slightly north of 'stock', occasionally dressed up with a jangly little minor note fill so it's not just all meaty chords, or some occasionally chugging which will break off into a faster tremolo picked sequence.
A lot relies on the vocalist 'C' (they all use initials here), who has this very level, consistent and nasty rasp which is capable of some sustain to match up with the general mid speed of the instruments. C sounds loud and central to the mix, and about as professional as you're going to get, but at times I also though the vox were a bit too obvious and overbearing, without the little flaws and personality quirks that would make them stand out. Essentially it's a rock solid delivery over a rock solid base, with the drums and bass and rhythm guitars all adequate for a style of black metal that is the very opposite of flash. I think they do a fairly decent job of balancing out their two 'sides', but the issue I had for much of this was just that the black metal riffs are never evil enough, nor haunting, even when they clearly try to be. Some more experimentation, higher pitched guitars, perhaps some more unpredictable rhythm guitar patterns could really turn this around because VOID clearly knows how to achieve a high level studio sound. The album packaging looks cool, and they also have a really cool lyrical style which seems to flow like beat poetry when you read them outside of the music.
A lot of potential here, I just wish the band would go further out into the unknown. I think in the end, if you're really into that early Darkthrone black metal style but want it cleaned up a bit, Jettatura would hardly be a waste of your time, but the whole experience felt a little too stable and samey for what I'm looking for in this particular niche.
Verdict: Indifference [6.75/10]
Friday, November 2, 2018
There are a couple flaws...for instance, the cover art is really shitty, some aberration of their Chaly like winged skull mascot superimposed with half an evil woman face, and completed by the tacky album title font. Doesn't bode well for what you're about to hear, and that's too bad, because this album delivers on many fronts. The other setback here is that, for all the detail and extravagance on exhibition throughout Unleashed Bastards, a lot of the tunes center around some really generic riffs that you've heard a thousand times before. Does Necromonicon offer enough relish on top of this fundamentally predictable core to help offset that fact? I'd say they do, because the album has a great flow to it, with plenty of variation in the riff-sets, lots of good leads and melodies applied to the duller rhythm guitars to help spice them up and keep the ears fixed. Tracks like "Forbid Me from Living" and "Imperial Hunger" really soar through the roof, not only because of these guitars but also the resonant, Schmier-like vocal quality of the band's long time axeman-singer Freddy.
He has that ability to pitch that nasty Germanic mid-range bite into the stratosphere with some great chorus-work that patches up many misgivings I'd have for some of the verse riffs. The lead guitars if a little forgettable, are all thrown in at the right times and places, and combined with the heavy use of melody there is easily an appeal here for fans of bands like Heathen, Forbidden, Paradox, Deathrow,etc. The rhythm section is rock tight with some great drum tone throughout, and busy bass-work in spots that really help lend the tunes some replay value. They'll also throw out a couple tunes with unexpected structures like "Malevolent", which takes its time ramping up to the neckbreaking. All told, this is some pro stuff here, with a production that I can't find any complaints about. The packaging might suck, but Unleashed Bastards has vaulted itself to my favorite album of their post-2000 catalog, and second favorite only to Escalation among their entire discography. Perhaps not among my thrash picks for the year, but these guys prove why they've remained in the game for so long.
Verdict: Win [7.5/10]
Thursday, November 1, 2018
The results here were mixed for me. I find the album very well produced with appreciable nastiness, and lots of cool flourishes in the lead work and the atmosphere that takes me right back to a lot of US underground thrashers in the 80s, from Atrophy to Indestroy, not to mention the overt parallels to their own legendary countrymen Sodom and Kreator. However, about half of the tunes here suffer from some really banal rhythm guitar progressions that are entirely too dull and predictable. "Low Velocity Blood Spatter" is a good example, because it starts with some nice, dim harmonies and seems like it's about to explode like a mix of Artillery's By Inheritance and Kreator's Coma of Souls, but then devolves into some lame moshy parts. These are saved by the fiery energy of the band, in particular the lead guitars wailing out all over the place, or the meaty drum performance. In general, they just perform far better when they're moving along at either a faster paced with speedier picking redolent of Agent Orange, or a few of the peppier mid-paced riffs which recall Exodus.
There's also a similar mood or feel to a number of the tracks here where a lot of the guitar seem to blend together; don't mistake me, they all feel flush to the artwork and atmosphere that the album is trying to present, but a few more guitar parts out of left field would have rounded it out better. The band's newer vocalist Lee does an adequate job of delivering a nasty, sincere, splattering tone, but sometimes a bit too polished and punctual. As I mentioned before, the leads are fired up and inspiring throughout, when they erupt in tunes like "See You on the Bodyfarm" they almost always elevate their surroundings, and without any need to be overly wanky or technical. It's largely thanks to these that First Class Violence is still an album I'd recommend to pure thrashing fans who are looking for proficiently implemented throwbacks to that 80s Golden Age, which Darkness themselves were a small part of. The Gasoline Solution was slightly better, but a tune like "Born Dead" works for me in any decade, these gentlemen don't sleep on the execution.
Verdict: Win [7/10]
Sunday, October 28, 2018
Does that matter here? Yes and no...there's a primal hideousness coursing through the ten cuts of this album which is certainly engaging and abusive. Like a lot of bands out of the NOLA scene, or Cali's cult crushers Autopsy, there's quite a chunk of punk or hardcore influence, only rather than cultivate a crust, sludge or doom center, Necrophagia channels it directly into a raw, pummeling death metal. Riffs are meaty and atrocious, with a raw, thrashy and crunchy tone to the rhythm guitars that does get a bit noisy in the recording. They do delve into some slower, groovier, doomy riffs at points, and there are also some really minimalist, bottom of the barrel sorts groove/nu metal riffs that they clog up some of the choruses with. Really, though, while a lot of the riffs can feel creatively bankrupt or flat-out predictable, they do suffice at least as a basis from which to launch the keyboards or other effects, not to mention they are angry, violent and abusive enough to compete with Killjoy's savage, tortured barking, forever the hallmark of this project.
It's kind of an odd sound because apart from maybe something like Autopsy, Impetigo, Slaughter or Sarcofago, it doesn't really wedge itself easy into other classifications of death metal. It's 'brutal' by its own standards, but the riffs feel more based in thrash and punk than the influence of the Swedish, British or Florida scenes. You don't get the feeling that there are any 'rules' in motion, or any real ambition, other than pounding the guitars into your skull like nails. The basslines and drums provided by the international rhythm section of Iscariah and Titta Tani, are very barebones and rock & roll in prowess, which also stands out like a sore thumb among the more technical and brutal inclined acts, but then again serving the style on this disc pretty well. Unlike a lot of the faceless hordes of bands that fit snugly into some category, when I hear a Necrophagia tune in a radio lineup I'm going to be pretty sure of who it is, and that's not a bad position to be in.
Mirai of the godlike Sigh provides the keyboards on the album, and he retains his penchant for choosing lines and tones that sound like they're somewhere between carnival music, giallo scores and prototypical New Age. I did not quite like how they were mixed here, feeling a bit too acidic or grating especially when coupled up with that brash guitar tone. Occasionally, as in "Rue Morgue Disciple", the band will break away into some simpler chugging and melodic guitars, where Mirai offers a more fulfilling, symphonic background, and these were some of my favorite parts. Overall though, with all the special effects coming and going through the music, Killjoy's lung puncturing roars, and anything else going on, I do feel like it can all devolve into quite a clamor, and isn't really mixed very well, a flaw that I think could prove a deal breaker for many listeners.
A horror guru like few others, Killjoy picks some interesting subjects here, like a tune about the Parasite Eve video game, or the "Flowers of Flesh and Blood" episode of the Guinea Pig torture-porn series. Not the sort of stuff you expect on your average horror-inspired death metal album which will mine the same old slashers from the 80s, and that much is appreciated here. The Divine Art of Torture is certainly one of the Necrophagia records with the most potential and cool concepts, but the lack of really sticky riff passages, as well as the production hold it back a step.
Horror-Meter: Seven out of ten phobia-driven heart seizures.
Verdict: Indifference [6.5/10]
Wednesday, October 24, 2018
Now, on one level I was not mistaken with the GWAR comparisons...certainly the band's elaborate prosthetics and stage get-ups, while not taken to the same extreme, are comparable to the Scumdogs of the Universe. Mr. Lordi's meaty, gritty vocal style also highly resembles the late Oderus Urungus, if a little more sustained and gravel-chewing. They occasionally also strike the same general level of heaviness, while remaining accessible to a broad metal audience following several genres. But where GWAR was rooted more directly in punk and thrash, Lordi have evolved their shock rock ambitions into a panoply of thrash, heavy metal, groove metal, rock opera and 80s hard rock complete with a heavy use of dated synthesizers that remind me simultaneously of cheesy AOR tunes and stuff like the intro to Ozzy's "Mr. Crowley". That they are able to assemble all of these aesthetics into one seamless whole is impressive, especially on this 64 minute, 14-track juggernaut upon which there isn't a single tune void of some extremely catchy riffs, chorus lines, or arrangements.
It does start off a little corny with a narrative horror intro and then "Let's Go Slaughter He-Man (I Wanna Be the Beast-Man in the Masters of the Universe)", which, if you couldn't already tell is a childhood relation towards the villains in the He-Man universe. It's not that I didn't once share this same sentiment, but the lyrics here are dumb as rocks. Likewise with the cringe-worthy sex anthem "Hug You Hardcore", focused exclusively on rear entry. Now, ironically, the music in both of these tunes is quite good...the former a synth-laden hard rocker which reminded me of their fellow Finns Twilightning, and the latter a super groovy rock track with a simple but unforgettable riff gimmick that I'm surprised nobody had ever tried before. So yes, despite their lyrical shortcomings, neither is a track I'd ever skip when listening through the album, and it's no wonder that "Hug You Hardcore" is their choice for a video, which strangely seems to feature more of a slasher theme and doesn't much have to do with the words...whiiiiiich, might be for the best!
After that point, while a few of the lyrics might still be plebeian ("Down with the Devil"), the rest of the music is quite excellent, with a huge dynamic range, from the slow and grooving "Mary is Dead" to the dirty heavy metal of "Sick Flick" to the power metal that inaugurates "Demonarchy" itself. The arrangements of the tunes are just about perfect, with lots happening through the synths and other instruments, but the ability to still come together for an amazing chorus. They employ a few higher screamed vocals which create a cool contrast with Mr. Lordi's usual tone, and maintain a kind of modern, creepy haunted theme park feel throughout. Production on the disc is polished but really perfect in allowing the listener to experience every intricate note, with nothing too loud or muted in the mix, no mean feat when you consider the wide range of riffs on exhibition. That the album goes over an hour without ever firing off a misplaced measure to me is staggering, perhaps not every riff or line is unique, but assembled together they offer quite a substantial window into shock rock contemporary and future, and Monstereophonic is a much less silly than it looks. Far less childish than its early attempts to derail itself. A whole lotta fun.
Horror-meter: Six out of ten underpaid makeup artists.
Verdict: Win [8.75/10] (scheming the night through)
Friday, October 19, 2018
You'll instantly notice, upon first spinning the disc, how well the symphonics and choirs have been produced here, impressive since they're largely the work of a single keyboardist. Whether on their own or being used to decorate the straightforward, brutish rhythm guitars that populate most of the album, they feel so well-tuned and well-constructed that you really feel like you've spent a night at an opera which was crashed by some Ozzfest rejects, and I don't say that as an insult. As for the riffs themselves, they don't quite hit nu-metal levels of generic bounce, but there's not much to them other than serving as a foundation for all of those synthesizers, synth leads and the vocals, lower string chords most of the time with a few grooves and fills. Occasionally they'll infuse some higher pitched speed picking stuff that gives an impression of anthemic 21st century European power metal, but the majority of the time they are the element of the record that's striking the listener in the gut while the other trappings are more evocative of the imagination. Some slightly rave-like electronics are also incorporated into the harder riffs, so this isn't just some Gothic horror act living entirely in the past, even if the lyrics and overall imagery seem to point that way.
The real star of this morbid musical cinema, however, is Eleonora Steva Vaiana, who has a lower pitched, evil, wavering vocal style which so fluidly suits the punch of the music. At the cleanest of times she sounds like some sultry which summoning a hex, but she can also get even nastier with a near-rasp tone to accent a few of the lines, and kick in some power and sustain to the chorus lines. I'd liken her to an Agnete Kirkevaag of Madder Mortem, or perhaps Italy's occult scream queen herself, Cadaveria, but she totally makes this album, leveling out whatever elements you might find too overproduced or cheesy with a passionate and shadowy delivery that makes it difficult not to take seriously. Elsewhere, the band shines, with great drums, solid bass-lines, and a bevy of other instrumentation like the acoustics of "Vigor Mortis" that sound crystalline in execution. All of these are mixed in a beautiful balance that can go toe to toe with most 'modern' metal recordings in the fields of Gothic and power metal, without sounding too shallow or commercial.
It's not perfect, as some of the predictable guitars and symphonic melodies don't leave much in the way of a surprise lurking around any surface of this haunted opera. The music in general, while so painstakingly well produced, would not often be that memorable save for Steva's presence, but as an entire package it sounds great, and it casts such a potentially wide net that I could recommend it to fans of bands as varied as Nightwish, Benedictum, Ghost, Powerwolf, Cradle of Filth, Devilment, and of course their spiritual precursors Death SS. A good, solid album to pump out the speakers, not so much for metal seeking filthy, raw, flawed evil sounding material, but certainly could impress a lot of the squares and commercial metal receptacles who are more likely to let it find them than go out hunting themselves.
Horror-meter: Seven out of ten spectral orchestra pits.
Verdict: Win [8/10]
Tuesday, October 16, 2018
So a bit of a letdown thematically, but beyond that The Living Dead is yet another in a long line of competent, professional, Grave Digger records. Their 18th studio full-length overall, if I did my math right and am skipping the re-recordings album they dropped a couple years back. Like a lot of its predecessors, stretching back to around 1993 (The Reaper) when they truly solidified the German power metal sound they are most known for, the record does feel like its carved out of a lot of typical riffing progressions that the band have used time and time again, 'paraphrasing' them slightly on each iteration. You could honestly jump back 25 years to that and not notice a great degree of difference, other than what Axel 'Ironfinger' Ritt has brought to the table during his tenure, which is a little more Rhoads-like flash and flair to the guitar work that helps shepherd it away from redundancy or from the dire predictability it might otherwise have grown into. He brings a fraction of uniqueness to the decisions here, like the speed picked battery that inaugurates "What War Left Behind", and lots of anthemic little melodies all over the tracks that give it somewhat of a distinct personality.
But similar to their countrymen Primal Fear, Blind Guardian or most directly Running Wild, they really don't require a lot of variation to kick your ass. You know what you're getting into when you pick up a Grave Digger effort, and there's some comfort in that, and some comfort in the fact that they are so committed, over such a long career to keep up the power level. The rhythm section here hits hard, an imbreachable foundation for Ritt's playing and Chris Boltendahl's gritty, unapologetic, accented timbre. The mix is quite good, putting the guitar right up front but not losing the swerving bass lines, the beats or the atmosphere brought in by the vocals. Speaking of Running Wild, you'll hear a number of cuts like "Fist in Your Face" which bring to mind the more layman's style of muscular hard rock Rolf & crew brought on certain songs on their first three discs, or the earliest Grave Digger albums like Heavy Metal Breakdown and Witch Hunt. But for my money there is this large chunk in the middle of the record, stretching towards the end, where its best tracks like "Hymn of the Damned", "What War Left Behind" and "Insane Pain" had me most pumped, the latter of which has a melodic guitar line nestled in there which sounded to me like "The Time Warp".
As for the album's single "Zombie Dance", while it's one of the few cuts that actually service the undead theme I was hoping for, it's more of a party polka folk tune that warps into chugging metal verses, and it's a little on the goofy side, which is obviously the point of it if you've seen the video (in which Chris plays a newscaster who looks like he's about to break down at any moment). I think if you've got a drunk or warm enough audience at some large European festival and break that out, people are going to have a blast swinging around to it, but it's just not the most serious tune here, even though it's far from awful, and develops a decent bridge-chorus. As the flagship for this album though, I might have made another choice, and there are several of them, because The Living Dead is yet another testament to why this band has the longevity it has. They rock the rotten soil off of your self-inflicted domestic coffin, crack it open and then kick your butt back to the land of the living. This is hardly their best album, even in recent memory, but apart from 1-2 tracks it's damn dependable.
Horror-meter: Four out of ten unnecessary sequels.
Verdict: Win [7.5/10]
Sunday, October 14, 2018
At any rate, Warfare perform a grimy form of speed metal that builds off a similar momentum to a Venom, Motörhead or Tank, but here on Hammer Horror you can tell they were aiming for a more structured thrash nervous system on which to apply all the bells and whistles of the concept. The riffs in tunes like "Baron Frankenstein" almost have a simplistic S.O.D. or Sacred Reich mosh style to them, interspersed with some darker pure old heavy metal progressions. To contrast against this, they use a lot of lavish intros that feel like they're plucked straight from imaginary cult horror films, the organ tones or the acoustics used briefly to frame up the next track, although they'll also throw you a big curveball like "Phantom of the Opera" which is almost all this spacious, atmospheric, theatrical sounding tune which is only borderline metal, features male/female dual vocals and other things you just wouldn't expect if you'd come at this band from their older albums. Normally, the vox are a dirty style which at times reminds me of Cronos or even Ron's garbled barking in Coroner, but he also uses a lot of straight talking, blander narrative lines or others that sound like someone with a tummy ache being tossed out of the local pub by bouncers. It's charmingly pedestrian in places, but also fairly scatterbrained and inconsistent.
This also goes for the riffs...it's a little difficult to really get involved with the better, harder hitting guitars when they're rubbing elbows with super cheesy, slower punk picking parts as in the verses to the "Scream of the Vampire" tracks here, which are strangely divvied up. The album seems to be split into three chunks: the large amount of intros and interludes, the harder headbanging cuts and then the broad epics like "Hammer Horror" itself which actually do a good job at capturing a guitar-driven sort of soundscape to a perceived film from that time and scene. There are a number of good tunes throughout, like "Plague of the Zombies" which is just some mid-paced, ballsy metal; or the title track I mentioned, or the brief "Ballad of the Dead", but others like the woozy slow dance number "A Solo of Shadows" are almost entirely laughable, though I get the feeling the band was right there laughing along with us when they were laying them out in the studio. As far as its pure metal content, I think the stuff is pretty good, some of their best in fact, with strong licks and cool atmosphere.
The issue is just that it feels a little bit TOO corny and inconsistent to really squeak out more than a barely passing grade. You have to think, at this time we already had an act like King Diamond or his Mercyful Fate putting out one masterful record after another, with more coherent narratives, more complex and interesting and memorable music, so Warfare's approach felt a little too blue collar or primitive; nor is it even as interesting or unusual as something like The Exploited's Horror Epics, and its weird punk industrial metal death rock fusion. That aside, this is a delightfully goofy romp with some genuine good metal moments...just not enough to terrorize its way into greatness. And at the very least, we know Warfare had some ace taste in movies.
Horror-meter: Six sexy Sarumans out of ten.
Verdict: Win [7/10]
Saturday, October 13, 2018
It was 10 years ago today that I decided to start up my first metal 'zine' since the late 90s, when I had published several issues of a short-lived, self-published, stapled and photocopied fan rag during my university years. With the help of several fellow forumers over at Penny Arcade, I launched a site to hopefully sharpen our critique on metal and other music, taking the name from my favorite novel (and title) by the late Ray Bradbury. I had at that point stepped away from performing in metal bands for a few years, but wanted to still contribute to the music that had always been there to strengthen and uplift me since early in my childhood. A decade and several thousand reviews later, I've come to learn a lot more about this medium, what makes a write-up work for me, and what doesn't. The response has always been overwhelmingly positive, so to my readers, and the bands and labels that have submitted material for me to cover, I owe you a tremendous amount of gratitude! To receive a message that someone really connected with an album through a list or review here, to experience that trust, has always been the highest reward to me, and the reason I press forward. To those friends who also posted reviews back in the earlier years of the site, I am grateful. Of course, there was no way I was going to post such a volume of reviews without attracting some degree of heat and hate, and while I've happily ignored a scant amount of childish, homophobic keyboard warriors and useless 'metal' trolls since the site's creation, I would absolutely like to thank those critics that have kept it constructive, or folks who have mailed me errata on band line-ups, grammar and so forth, which I've always been happy to correct.
Thank you so much for stopping by, and let's share a toast to ten more years, and all the great sounds, new and old, that we'll discover in that time. Marriage and children might have slowed down my output since the glory days, but...2028? Hold my mead horn.
Friday, October 12, 2018
Thankfully, this debut album sounds just as interesting and mysterious as it looks. For a one-man project (that of one Sparda), the amount of effort put into Créatures arrangements and ideas is tangible behind each of its epic-length tunes. That's not to say that all of them are equally brilliant or distinct, but no matter what shadows you're playing in here, you're bound to come across some quirk or surprise that separates it from the chaff of pure, monotonous, trad black metal. At its core, the harsher elements here morph between a mid-paced, somber melodic black metal and a more savage, blasted variety. The rhythm guitars aren't mixed too raw, but neither are they too sterile, and many of the riffs are affixed with tinny little melodies that create a particular, treacherous charm. Bass lines are often splayed out into curious creepshow grooves, while the beats seamlessly stray between the mandatory metallic intensity and the sparser backbone needed for the album's more orchestrated, atmospheric components. The rasps here are protacted and tortured to the level of sickening, often bursting into Burzum-like screams over the more frenzied musical moments. There are a variety of vocals used, ambitiously, to represent different characters relating the ominous story.
This would be all well and good, but it's the further details that truly flesh out the experience. Flights of crazy jamming pianos hover at the edge of perception, or eerie little synth lines that sound as if they were penned from classic haunted house film scores. Where acoustic guitars appear, as in the first track "L'horreur des lunes pleines", they are wonderfully sad and evocative, especially joined to the animal and nature samples. Sparda very often shifts into a more garbled, narrative, clean and deep voice in place of the rasping, which might be one small nick on the album's quality, as these lines can become a bit jumbled; but even then, I can appreciate the versatility he's trying to reward to listeners. Minor flaws like these are also easy to forgive when you are beholden to the brilliance of the bridge of "Martyre d'un tanneur", the true highlight of this album, when he evokes this amazingly catchy string section and haunted vocal accompaniment of whispers, rasps and howls that is well worthy of its inspirations, much less other avant-garde horror metal bands like Sigh or Hail Spirit Noir. When the horns erupt deeper into that bridge, and then the blasting and choir-like chants, you feel like some sun of genius has just shined upon the dark woodland border in which the music dwells.
Really, it's almost criminal that Le noir village is not a better known album. While that deep underground status is certainly an attraction for scum like myself, this is top flight stuff with only a few cracks marring its surface. Not only would I recommend it to fans of horror-themed black metal in general, or Sparda's compelling countrymen (early Blut Aus Nord, Aorhlac, etc), but also as a 'spookier' alternative for fans of Quebecois black metal acts such as Forteresse and Neige et Noirceur. The French lyrics and vocals might be a turnoff for some imbeciles, but I found the album intriguing enough that I'd sit there trying to translate through them and better embrace the concept. One of the better albums I've interfaced with this Halloween season, and a great introduction to an act that I hope we hear more from in the near future.
Horror-meter: Eight spine-tinglings out of ten.
Verdict: Win [8.5/10]
Wednesday, October 10, 2018
The core here is a slightly more muscular Danzig style of simplistic hard rock and metal with a bit of Glenn's vocal antics being delivered through the performance of Landon Blood. The riffs are a sort of amalgam of very basic thrash, heavy metal, stoner doom and swaggering bluesy bar metal possessing the banality of a Black Label Society, only far less of the guitar proficiency. The riffs progressions are extremely mediocre across the whole album, with some predictable chugging and groove riffs meant only to work up the manliness of the vocals and the gang shouted chorus parts. It doesn't help that the tone of the rhythms sounds like crap, going for a noticeably more live feel but ending up rather annoying and amateur, especially when being used to perform some of the most insipidly boring chugs and squeals you've ever heard. There are some decent attempts by some backing synths and other atmospherics to try and dress this all up in a more appealing package, but it's really just a clutter of stuff that Pantera would have laughed out of their recording sessions back in 1989.
As mentioned, the vocals are real similar to Glenn Danzig, although once they pick up into a more howled, angry timber as in the depths of "Man or Monster", there's also a clear Rob Zombie style, strained growling influence, only nowhere near as harsh, memorable and charismatic. The drums are loud and clappy, while some of the bass lines seem a little too buzzy and filtered, used often to anchor the really bland bluesy swinging riffs in cuts like "Devilgirl". The lyrics are also very basic, but I wouldn't say they were one of the weak points, occasionally offering out some engrossing or titillating horror lines. Gorgeous Frankenstein is essentially a flesh golem stitched together by numerous other bands before it which have carved out excellent careers imbuing their hard rock, punk or industrial metal with the macabre, Gothic and kitschy traces of horror...but take away the life-giving lightning of catchy songs, or the distinction of those bands, for a fairly lazy and easygoing impersonation. It's not completely awful or incompetent, as there are a couple ideas here or there which make good sense, but I forgot it entirely in less time than the 35 minutes it took to get through the songs. You've got a lot better options out there, including some of the other albums members of this band have been involved with.
Horror-meter: Five gestalt corpse-things out of ten.
Verdict: Fail [4.75/10]
Sunday, October 7, 2018
I'm assuming the band drew its name from the LaVeyan concept of a 'psychic' or 'energy' vampire, or perhaps the film Lifeforce or some other source I'm forgetting, but regardless, they played the sort of heavy/power metal with excessive vocals characteristic of the 80s US scene, which makes a lot of sense as a followup to Stewart's alma mater. From the 'official' pics of the band, they definitely had a glam look to them, and there's also a bit of a nasty hard rock feel coursing through the music, most reminding me of Mötley Crüe if they'd stuck to their guns and gone more pure heavy metal through the remainder of their career. However, this is largely the sort of driving, anthemic riffing you'd equate with other bands of that region like Shok Paris, Breaker or Destructor, predictable in terms of the chord patterns, but always just messy and unhinged enough due to the way Stewart threw his vocals up over the metal. This s/t can be a bit of a clamor, especially where it gets the most ambitious in a track like "Pull the Stake Out" where they slather in some organs and unruly leads while John is just pouring it on. I mean, if 'overacting' were a musical concept then I feel he'd a clear candidate, but that's not to take away that he has some angry damn pipes, shrieking howls and would have been an enormous star if he just had a great set of tunes to use them over.
You could also compare this to Lizzy Borden, not quite as shrill or consistent, in the vocals, but the music is far less eloquent, technical or effective. Energy Vampires throw you for a few loops, like the Meatloaf-ish opera "Rock 'N' Roll", over which Stewart STILL throws up some of those insane screams, creating an outlandish but amusing contrast, but I get the feeling that even for a demo, this stuff was in good need of a proper edit or a producer who knew how to take these ideas and ground them into phenomenal songs. The riffs are alright, but a little too standard for their style, and I don't know that I heard a catchy lead throughout, even though they are competent and atmospheric. The production is airy and era-appropriate, giving John a lot of space amid its vaunted ceilings to go ballistic, but every time I feel I get into a particular riff section it just sort of teeters out, almost like there's a drunken sheen to the whole affair, the undead authors tapping a few inebriated veins before heading into the studio. Tracks like "Different from the Rest" and the wailing bonus "On the Run" come pretty close to the quality I'd want, but overall it feels like it's all a VERY NEAR miss.
That said, I think if you want another example of what a potential weapon this guy was, Energy Vampires is no less of an exhibition than either of the Slauter XStroyes outings. I'm not saying in a world of Halfords, Udos, Dickinsons, Bordens, Danes, Dios or other screamers that Stewart brought a lot of novelty to the field, since there are a number of others with very similar characteristics to him, but this was a guy feeling around that upper air raid atmosphere, a caged animal that just isn't done service enough by the music, choruses, or lyrical line choices. With further development, meatier riffs, and hooks that got into the skin rather than deflected off of it, this could have been formidable.
Horror-meter: Four crouching banshees out of ten.
Verdict: Indifference [6.5/10]
Friday, October 5, 2018
Having said that, The Samhain Feast is hardly the golden apple in this band's orchard of rotting sadness. With just two tracks that largely pursue the same style, it doesn't really offer up enough room for the band to really absorb you into its aesthetics. The thick riffs, cruising along with an almost Hellhammer-meets-Nebula guitar tone, are very bare-boned and predictable, in particular for the title track which has a chord progression similar to a dozen or so desert rock tracks you've already heard. Drums shuffle along at a simple pace, with just enough fire in them to support the heavier guitars, and the listener really has to lean on the haunted house organ lead aesthetics and the deep, wavering creep-out vocals of Labes C. Necrothytus to win the day. To give an accurate description of his style, think somewhere between Jari of Root and Lee Dorrian from Cathedral, those flawed but unforgettable lower cleans which care nothing for being perfect, but accurately casting the audience into its world of wraiths, specters, catacombs and coffins left slightly ajar.
Some riffs are better than others, and I'd say that "Grimorium Verum" is the superior of the offerings here, especially where the guitars hit that late bridge riff and the lead breaks out over it. That one also sounds a little more Hellhammer due to the riff makeup, thus automatically more evil! Production on the EP is appropriate, with a very dark, molasses-like consistency to the guitars, and a shadowy murk through which no light penetrates, even with the female near-whispered narrative and the brightness that the organ usually brings as an instrument. Both the tunes are acceptable rockers, without being particularly interesting or inventive, but I definitely don't think this is the sort of format in which these guys can really bring their inner pallbearers to bear upon the audience. Instead I'd make a recommendation that new listeners head straight over to one of their first two full-lengths, the s/t and Misfortune to get a better portrait of what this Italian underground staple is really all about.
Horror-meter: Five out of ten tarnished vestments.
Verdict: Indifference [6.5/10]